Endre søk
Begrens søket
2345678 201 - 250 of 541
RefereraExporteraLink til resultatlisten
Permanent link
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annet format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annet språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf
Treff pr side
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sortering
  • Standard (Relevans)
  • Forfatter A-Ø
  • Forfatter Ø-A
  • Tittel A-Ø
  • Tittel Ø-A
  • Type publikasjon A-Ø
  • Type publikasjon Ø-A
  • Eldste først
  • Nyeste først
  • Skapad (Eldste først)
  • Skapad (Nyeste først)
  • Senast uppdaterad (Eldste først)
  • Senast uppdaterad (Nyeste først)
  • Disputationsdatum (tidligste først)
  • Disputationsdatum (siste først)
  • Standard (Relevans)
  • Forfatter A-Ø
  • Forfatter Ø-A
  • Tittel A-Ø
  • Tittel Ø-A
  • Type publikasjon A-Ø
  • Type publikasjon Ø-A
  • Eldste først
  • Nyeste først
  • Skapad (Eldste først)
  • Skapad (Nyeste først)
  • Senast uppdaterad (Eldste først)
  • Senast uppdaterad (Nyeste først)
  • Disputationsdatum (tidligste først)
  • Disputationsdatum (siste først)
Merk
Maxantalet träffar du kan exportera från sökgränssnittet är 250. Vid större uttag använd dig av utsökningar.
  • 201. Lagerström, Cecilia
    Former för liv och teater: Institutet för scenkonst och tyst kunnande2003Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [sv]

    Innehåller längre avsnitt om Ingemar Lindh, Etienne Decroux och Jerzy Grotowski

  • 202.
    Levander, Björn
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Faust och Mefisto: Vadets dramaturgiska funktion i Goethes Faust I och II2010Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    In this dissertation I have studied the relationship between Faust and Mephisto and the influence of the wager in Goethe’s Faust I and II. Decisive for its coming into being is the lack of a thorough study over the influence of the wager throughout the play.

    The starting point is the analysis of the acting situations, of two individuals’ togetherness and struggle. Through close reading and with the wager as a center of Faust’s and Mephisto’s relationship, the tangible content of the dramatic action is explored.

    Faust’s and Mephisto’s lines and actions are investigated from their respective point of view of the action, with the aim to discover the idea of the play through its characters. This approach is directly influenced by the teachings of Konstantin Stanislavskij and conducted using his tools for dialogue and action analysis.

    I have no particular imaginary interpretation or performance in mind, but different problems which an actor has to consider when working with a role. In what could be characterized as hermeneutic circular movements, I argue the inevitability of certain interpretations, showing that lines are “living matter” and therefore subject to change depending on the given context and the treatment of it.

    In a continuous discussion with other Faust scholars, general problems and positions as well as distinctions between dramaturgical and literary interpretation are presented. While, in most cases, my interpretations emerge in opposition to what has previously been written, they sometimes are confirmed by Goethe specialists, who, while using other methods, have arrived at similar conclusions. Moreover, several references are made to Peter Stein’s staging of Faust I and II (2000/2001).

  • 203.
    Lidén, Ellinor
    Barn- och ungdomsvetenskapliga institutionen, Stockholms universitet, Samhällsvetenskapliga fakulteten, Institutionen för barn- och ungdomsvetenskap, Centrum för barnkulturforskning. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    "Jalla, vi ville kolla på teater!": Barns utsagor om och värderingar av teater vid Stockholms stadsteater Skärholmen2014Inngår i: Mycket väl godkänd: Vad är kvalitet i barnkulturen? / [ed] Karin Helander, Centrum för barnkulturforskning/Stockholms universitet , 2014, s. 32-43Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 204.
    Lidén, Ellinor
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Rörlighet och rörelser i en barnteater2014Inngår i: On the Move: ACSIS conference 11–13 June, Norrköping, Sweden 2013 / [ed] Johanna Dahlin, Tove Andersson, 2014, s. 59-67Konferansepaper (Annet vitenskapelig)
    Abstract [sv]

    Som ett samarbetsprojekt mellan Centrum för barnkulturforskning vid Stockholms universitet och Stockholms stadsteater Skärholmen genomfördes, med stöd av Statens Kulturråd, en studie av verksamheten vid den nyinvigda scenen för barn och unga i stadsdelen Skärholmen, Stockholm. Huvudfokus låg på den unga publikens upplevelser, tolkningar och meningsskapande av föreställningsbesöken. Avstamp togs i Skärholmsscenens uttalade ambitioner gällande tillgänglighet, delaktighet och närområdesförankring, likt s.k. community-teater där den specifika platsens betydelse för berättelse, tilltal och form undersöks konstnärligt. Skärholmsscenens strävan var, och är fortfarande, att närområdet ska färga av sig på hela verksamheten – inte bara arbetsprocesserna och föreställningsproduktionerna utan hela den fysiska byggnaden i sig. Studien utgör grund för mitt fortsatta doktorsavhandlingsarbete, i vilket jag ämnar undersöka en barnkultur som rör sig mellan vuxnas definierade ramar och barns meningsskapande, mellan scen och salong samt mellan en teater och dess närområde.

  • 205.
    Lidén, Ellinor
    et al.
    Barn- och ungdomsvetenskapliga institutionen, Stockholms universitet, Samhällsvetenskapliga fakulteten, Institutionen för barn- och ungdomsvetenskap, Centrum för barnkulturforskning. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Helander, Karin
    Barn- och ungdomsvetenskapliga institutionen, Stockholms universitet, Samhällsvetenskapliga fakulteten, Institutionen för barn- och ungdomsvetenskap, Centrum för barnkulturforskning. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    ”Interkulturella perspektiv på scenkonstför barn och unga”: Teatern som arena för interkulturella möten? Om den lokala förankringens betydelse för scenkonstens tillgänglighet. En studie av verksamheten vid Stockholms stadsteater Skärholmen2012Rapport (Annet vitenskapelig)
  • 206.
    Lion, Katarina
    Stockholms universitet.
    Les sacres: en socio-kulturell analys av tio versioner av ett Våroffer2000Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The purpose of the dissertation is to bring to light and focus upon, through a number of disparate investigations, the socio-cultural ideology and practices expressed in some of the dance events which constitute an echo of the cry implied by the most canonized ballet of the 1900s, Le Sacre du Printemps choreographed in 1913 by Vaslav Nijinsky. The study commences with a discussion, which aims to define key concepts such as "reconstruction" and "original".

    The main part of the text in Part 1 is devoted to the problems relating to Millicent Hod-son's and Kenneth Archer's reconstruction in 1987 of the "forgotten" milestone in western dance, Le Sacre du Printemps. The choice of methods by the reconstuctionists raises questions of scientific legitimacy in western historiography.

    Key concepts for Hodson and Archer are "lost" and "found". What is it that the recon-structionists have found in their effort to fill a void in the history of dance? Through the study of the Hodson's and Archer's method of reconstruction and other reconstructions in contrast with a few newly created versions of Le Sacre du Printemps the importance of the dance being perpetuated is confirmed. But that also leads to the insight that a dance event is not isolated from a contemporary context.

    Part 2 deals with relations to "the primitive" in dance history. Here we touch on questions concerning alienation or our view of what can be regarded as "the other", but also our need for hierarchies. This division of "we" and "them" functions as a dramatic formula through hundreds of years of western dance and at the same time describes an aspect of colonialism. Our relationship to this "the primitive", the other, shifts over the years and in the world of dance these questions constitute a reflection of our diffuse or repressed inner self or, more simply, an expression of our dreams and fantasies.

    In Part 3 Le Sacre du Printemps is placed in contexts and is summarised under the hea-ding "the New Spirituality." The ritual theme of the dances constitutes the foundation of an analysis of the new "scientific" relationship to religion, philosophy and psychology in the early 1900s.

    The view of the artist as a genius is related to Nietzsche's thesis "god is dead" and to the contemporary need for creating new divisions between "we" and "them". In this phase we are dealing with the human subconscious. The rite, and the spiritual power it suggests, are the springboard for a kind of "mass psychosis" which enables Le Sacre du Printemps to be described as a conceptual entity for various political statements. This possibility has been exploited not least by the female choreographers, primarily by their further development of the tradition within modern dance that had already begun with the first female pioneers of the dance.

  • 207.
    Ludawska, Janina
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen.
    "Emellan oss": om de svenska uppsättningarna av Witold Gombrowicz Vigseln1991Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The title ”Between Ourselves” alludes to one of the most important problems in Witold Gombrowicz's writings which finds full expression in his drama ”The Wedding” - that our thoughts and actions arise between us without our knowing where they will lead us. My study is concerned with productions of this drama in Sweden. They were three in number, and all staged between the years 1966 and 1969, during a time rich in political activities and tensions. Gombrowicz's drama is full of nuances and can be interpreted in many different ways. However, it is not a political drama, just as Gombrowicz's writings cannot be regarded as political. This study is concerned with the scenic interpretations of the drama: that which the theatres conveyed to their public; with which artistic means they took place and how the theatre critics received and commented on the performances of ”The Wedding”. In addition, the director's intentions are examined and endeavours are made to determine if the stage presentations have supported or opposed them. The political climate of the time has in different ways set its stamp on the three productions, directed by Alf Sjöberg, Ulf Gran and Ulf Fredriksson, which among themselves were very different from each other, both from the point of view of their content and form. The most nuance rich was the production at the Royal Dramatic Theatre directed by Alf Sjöberg. That production became a ”theatrum mundi”, where all the means of theatrical art were brought into play.

  • 208.
    Lundborg, Nina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Dansvetenskap.
    News Paper Reviews of Black Dancers in Sweden before 1970: - the Tradition2006Inngår i: The North in a Global Context: Proceedings 8th International NOFOD Conference January 12-15 2006 Stockholm Sweden, 2006, s. 4-Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    Dance criticism is shaped by society, politics, economics, gender, and it is shaped by race. The tradition of whiteness constructs the texts written about black dancers performing in a Swedish context. In the reviews from 1950-1970 that is studied in this paper, there is a constant look at "the Other" performing and words like primitive, exotic and original are dominating the outcome. The papers studied are Dagens Nyheter, Svenska Dagbladet and Expressen.

  • 209.
    Lundgren, Eva
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Lek med lust: 'Theatertanz', genusaspekter och historieskrivning2006Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This dissertation treats the choreographic works of Julian Algo (1899-1955), a ballet master in the Royal Opera house in Stockholm 1931-1952, whose experience and education were from Theatertanz, and Swedish dance history about his works. Theoretically it is inspired by post-modern historiography (Jenkins, Munslow, White), queer theory (Sedgwick, Doty, Rosenberg) and research about masculinities in dance (Burt).

    The first chapter is an introductory survey of Algo’s career in Germany. It shows that in Duisburg Algo was recognized as a choreographer with ballet skills, and like other choreographers within German “Theatertanz” he tried to establish new styles through mixing old ballet and modern dance. The chapter also answers question about reception and about whom Algo cooperated with.

    The second chapter consists of seven analyses in which I deal with the “gusto” and “playfulness” of Algo’s works in Stockholm 1931-1938. These ballet productions are analysed with focus on the concept of queer and gender, also pointing out their good reception and that they in Stockholm were described as modern. Some of the male characters are suggested to be related to dandyism. The chapter also shows that anti-Semitism and scepticism against foreign influences were expressed in the theatre magazine Scenen [The Stage] and that it is relevant to assume that these articles influenced the development in the Opera house.

    The third chapter shows that Algo’s ballet productions in the book The Swedish ballet (Rootzén1945) was described from a view of classical ballet’s preferences. Now, in 1945, Algo's choreographies from the 1930 were dismissed as being of mixed-genre and lacking ballet skills. Although this chapter in the book was criticised by contemporary critics, it is obvious that it has been of great influence for authors of ballet history in the 2.nd half of the century.

  • 210.
    Lundqvist, Anne
    Stockholms universitet. Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen.
    Anamorphic Theatre - Two Interpretations of Strindberg's Plays2009Inngår i: north-west passage, Yearly Review of the Centre for Northern Performing Arts Studies, ISSN 1826-641X, nr n.6, s. 115-119Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    The article discusses how the theories of the French psychoanalyst Jacques Lacan might influence the interpretation of August Strindberg's characters on stage. The point of departure for illuminating and locating the reflexive potential between the psychoanalytic thesis and the plays is the function of anamorphosis, understood as a drawing presenting a distorted image that appears in natural form under certain conditions.

  • 211.
    Lundqvist, Anne
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Da myten om Hamlet ble en myte2010Inngår i: Den inre scenen: Psykoanalys och teater / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, s. 17-38Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 212.
    Lundqvist, Anne
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    I begjærets tjeneste: Strindberg og Lacan på scenen2010Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    In the Service of Desire is an interdisciplinary study that combines psychoanalysis with aesthetic materials. The dissertation aims to analyze five of August Strindberg’s dramas within a theoretical frame provided mainly by the French psychoanalyst Jacques Lacan. The interpretations are, however, also supplemented with some specific philosophical perspectives. The Father, Miss Julie, Playing with Fire and The Dance of Death are studied as theatrical performances. The Father and Playing with Fire were directed by Staffan Valdemar Holm and staged at The Royal Dramatic Theatre Dramaten in Stockholm in 1997 and respectively 2002. Mademoiselle Julie was performed at the Comédie de Genève in Switzerland in 1988 and La Danse de mort was staged at the Comédie-Française in Paris in 1996. The stage director Matthias Langhoff was responsible for the two French-speaking productions. Creditors (1888) is analyzed as drama text.

    The method of study is to establish a reciprocal connection between Strindberg’s texts and Lacan’s theories, which makes it possible to demonstrate their multiple points of intersection. The different chapters expose certain Lacanian concepts in relation to the fictive protagonists. Through this procedure Strindberg’s characters, on as well as off-stage, are unmasked as typical Lacanian subjects; they owe their being to a certain nonbeing.  As a consequence, the traditional stories about the characters are inverted, in particular the women’s narratives. Because they are working in the service of desire, they are also opposing the patriarchy as a social system; transgressing the rules of decorum. Rejecting hegemonic ideals and the oedipal taboo as the final point, the women search for a personal truth of their own. Thus, the dissertation proposes the Lacanian psychoanalysis as a relevant and effective means of examining cultural and social structures, whether the characters are acting on a stage or wandering between the covers of a book. 

  • 213.
    Lundqvist, Anne
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Redbark-Wallander, Ingrid
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Strömberg, Mikael
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Westerling, Kalle
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Kroppsspråk och tankesprång: Vetenskap i rörelse2009 (oppl. 1)Bok (Annet (populærvitenskap, debatt, mm))
  • 214.
    Lysell, Roland
    Stockholms universitet, Humanistiska fakulteten, Institutionen för litteraturvetenskap och idéhistoria, Avdelningen för litteraturvetenskap.
    From Peer Gynt to The Master Builder: Ibsen transformed by Peter Stein and Peter Zadek2009Inngår i: Ibsen in the Theatre / [ed] Sven Åke Heed & Roland Lysell, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier, STUTS , 2009, s. 33-44Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 215.
    Lysell, Roland
    Stockholms universitet, Humanistiska fakulteten, Institutionen för litteraturvetenskap och idéhistoria, Avdelningen för litteraturvetenskap.
    Tre Ibsendramer i Ludvig Josephsons regi på Nya Teatern i Stockholm2005Inngår i: "Bunden af en takskyld uden lige": om svenskspråklig Ibsen-formidling 1857-1906 / [ed] Vigdis Ystad, Knut Brynhildsvoll, Roland Lysell, Oslo: Senter for Ibsenstudier og Aschehoug , 2005, s. 173-200Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 216.
    Lysell, Roland
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för litteraturvetenskap och idéhistoria, Avdelningen för litteraturvetenskap.
    Heed, Sven ÅkeStockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Ibsen in the Theatre2009Collection/Antologi (Annet (populærvitenskap, debatt, mm))
  • 217.
    Lysell, Roland
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för litteraturvetenskap och idéhistoria.
    Ystad, Vigdis
    Brynhildsvold, Knut
    Bunden af en takskyld uden lige: Om svenskspråklig Ibsen-formidling 1857-19062005Bok (Fagfellevurdert)
  • 218.
    Macotinsky, Oscar Hugo
    Stockholms universitet.
    Teater i Buenos Aires: Teatergruppen Los Volatineros (1976-1989): En kontextrelaterad uppsättnings- och receptionsstudie1999Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The primary purpose of the present study is to analyse the aesthetics, theory and practice of Los Volatineros, an independent theatre group, in the socio-political and cultural context of Buenos Aires in 1976-1989. Role interpretation and receptiongo hand in hand and comprise a unit in my combined staging and reception analyses, which are further related to contextual aspects. My analysis also includes various theatre genres and aesthetic orientations that have existed in the theatre of Buenos Aires since the beginning of the 20th century in order to establish their traces in Los Volatineros' work and aesthetics and in their contributions to theatre. My study addresses the social and ideological context in which Los Volatineros worked and its impact on the theatre group's activities and goals as well as on its public. Finally, I discuss the prerequisites for Argentina's cultural integration with other countries in Latin America and the legitimation of Argentinian cultural products on a regional and global level. The dissertation is divided into four overlapping parts: 1. Argentina's structural and contextual preconditions; 2. Los Volatineros - Staging; 3. The Theatre in Buenos Aires -a diachronic perspective, and a digression: A view of theatre in Latin America; 4. Ideology, culture and society. I have been mainly inspired by the social and cultural points of departure of Jürgen Habermas and Pierre Bourdieu and I have applied a hermeneutic view and semiotic principles in my analyses.

    Since 1976 Los Volatineros has pragmatically contributed to bridging the gaps between experimental and traditional orientations in the theatre. In practice, it has become a sort of representative example of - even synonymous with - a non-realistic approach, combining intensive physical acting, maximum use of the spatial possibilities of the performance space, emphasis on the metonymical function of lighting, and interactive communication with the public. Their productions took up Argentinian and Latin American themes and contained subtle social criticism. Their aesthetics became established in the 1980s and they became a model for new theatre groups in Buenos Aires. All this occurred within the context of an historically tense relationship between the cosmopolitan civil society of Buenos Aires and the state, and within the framework of the Argentinian state's constitutional ruptures, which engendered feelings of uncertainty, insecurity and impermanence as regards societal development in general and culture in particular. The cultural field in Buenos Aires has a central regional role, but at the the same time, a peripheral position vis a vis cities in Europe and the US when it comes to legitimising cultural products.

  • 219.
    Mattsson, Erik
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Editor’s Introduction: Turning Points and Continuity: Reformulating questions to the archives2017Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, nr 1, s. 1-5Artikkel i tidsskrift (Annet vitenskapelig)
  • 220.
    Mattsson, Erik
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Governing by Proximity: On distance and proximity in the criminal trial2017Inngår i: Performance Research, ISSN 1352-8165, E-ISSN 1469-9990, Vol. 22, nr 3, s. 42-48Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article explores the inherent tension between techniques of distance and proximity in legal practice. Laying bare the interplay between spatial, social and representational distance and proximity, the article clarifies the politics of the trial and the various kinds of subjectivation that take place in the courtroom. Drawing on the writings of Bourdieu and Foucault, legal practice is seen as making use of a range of power techniques. Law is not only using distancing mechanisms, turning humans into de-personed legal subjects, but it also uses personalizing techniques, investigating both the crime and the criminal and striving for social proximity. In conclusion, the trial comes forth as a ‘therapeutized’ event focused on governing and transforming the subjects, rather than merely judging them. The material consists of observations and experiences made during a field study at the lower level courts of Stockholm, Sweden. In addition, perspectives from anthropological and sociological literature are used to highlight the structural and symbolic dimensions of law.

  • 221.
    Mattsson, Erik
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Rättens iscensättning: rum, framträdanden, gränser2014Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This dissertation studies legal practice and representation from the perspective of Theatre- and Performance Studies. It aims to describe and analyse the theatrical, ritualistic and spatial aspects of law, its practices, representations and buildings. More specifically, the dissertation explores the trial as a performance.

    Cultural as well as artistic performances are explicitly structured. Trials, theatre performances, religious rituals, military parades and political demonstrations all raise a boundary that shuts out what is not part of the performance ("life", "the everyday"). Performances also depend on and create an inner order; they structure the social and material space and produce roles and hierarchies among the participants. The dissertation analyses the ways in which the trial in the lower level court in Sweden produces and maintains these outer and inner boundaries. How does law and legal practice produce frames, boundaries and spaces? How, when and as what does law appear? And what is made to appear in front of or under the law? By approaching the legal practice with a theatrical and performative terminology, the trial comes forth as more than a legal process; it appears as a performative, cultural and social event. The study focuses on the courtroom as a space where power is exercised and produced. It is not only the legal power of the judgment that is exercised, but also other forms of power. The court creates, communicates and sustains its authority in the courtroom by using performative, theatrical and ritual techniques of power. In making these different kinds of power techniques visible, the dissertation exemplifies the strength of a performance perspective. By using a terminology and a way of thinking from the study of performing arts, new knowledge of the trial as a performance is produced.

  • 222.
    Mattsson, Erik
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Turning Points and Continuity: Reformulating Questions to the Archives2017Collection/Antologi (Fagfellevurdert)
    Abstract [en]

    Under the title, “Turning Points and Continuity: Reformulating questions to the archives”, this special issue of Nordic Theatre Studies gathers articles emanating from a joint research project – as well as articles by invited guest writers – all dealing with the period 1880-1925. The issue is published with support from the Swedish Research Council. The project, and consequently also this collection of articles, centres on the twofold task of re-examining the period of the so-called modern breakthrough in performing arts and to rethink the historiographical approach, thereby adding to the theoretical and methodological toolbox of historical research. The geographical focus of the project is Sweden, but the research objects – e.g. actors, dancers, texts, and genres – exist on an international scale and, accordingly, the investigations stretch into Finland, Norway, Denmark, and other countries.

  • 223.
    Mattsson, Erik
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Törnqvist, Egil
    Strindberg’s Gustav Vasa and the Performance of Swedish Identity: from Celebration to Introspective Critique2018Inngår i: Reconsidering National Plays in Europe / [ed] Suze van der Poll, Rob van der Zalm, Cham, Switzerland: Palgrave Macmillan, 2018, s. 119-153Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    The contribution of Erik Mattsson and Egil Törnqvist functions as an example of a more traditional notion of the national play, in which the Swedish king Gustav Vasa is displayed as founding father of the Swedish nation. The play was written at the end of the nineteenth century but is clearly set in the sixteenth century, when Gustav Vasa played an important role in unifying the nation. Törnqvist and Mattsson show that Vasa’s unifying qualities have long been emphasized, whereas his tyrannical and disruptive actions have been concealed. Recent more critical performances of the play have brought those less positive traits to light.

  • 224.
    Molnár, István
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen.
    "Det gör godt att skåda": bildning, moral och underhållning i dramatik och offentlig debatt under teatersäsongen 1868-69 i Stockholm1991Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The purpuse of this study is to explore the views held on theatre and the idea-content of the theatre-productions during this specific year. The conception of the theatre's role in society is presented on the basis of the debates about theatre held in the parliament and by the press. The idea-content of the theatre-productions is described on the basis of the plays performed on the stages in Stockholm. The prevailing ideal in the parliament and in the press is that the theatre should serve as a tool for aesthetic and moral education. The theatre should at the same time fulfill the audience's demand for entertainment. Education and entertainment should be able to be combined by conveying the education in an agreeable manner. The theatre is supposed to depict real life, but the creation must be illuminated by idealism and display a virtuous tendency. The general terms of idealism emerge in the fictive world of drama in terms of rules and norms concerning acting in a right or wrong way. The basic tendency is approving harmony and mutual understanding, contrary to individualism and egoism. The acknowledgement of the right norms leads to a state of collective happiness. The theatre embodies and idealises the social agreements prevailing in the society.

  • 225.
    Motta, Antonello
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Il volto del poeta dietro la maschera dell'architetto: Gli allestimenti ibseniani di Ingmar Bergman2007Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This study deals with Ingmar Bergman’s stage productions of Ibsen’s plays. Ingmar Bergman is well known for having created a new way of interpreting Ibsen in Sweden. The aim of this dissertation is to show how he invented a new manner of presenting Ibsen on stage, but at the same time how his productions are definitely bound to the previous theatre tradition.

    In his autobiography, The Magic Lantern, Bergman himself declares who he considers as his masters: Olof Molander, Alf Sjöberg, Torsten Hammarén.

    Consequently the research has been structured in order to discover the elements which possibly Bergman has borrowed from his masters and how he has used them in his performances. The attention has been prevalently focused on the way he has reinvented them so as to adapt them to his own directorial style.

    This dissertation deals also with another director, Hans Jacob Nilsen, whom Bergman remembers in an interview. An attempt was made to discover whether Nilsen’s production of Peer Gynt has influenced somehow Bergman’s productions.

    Furthermore, this dissertation is an attempt to define which elements characterize bergmanian ibsenism by underlining their presence in a shakespearian production of Bergman, The Winter’s Tale, and also to investigate whether Ibsen productions by Ingmar Bergman have left a trace in the generation of the directors working at the present time at the Royal Dramatic Theatre in Stockholm.

  • 226.
    Motta, Antonello
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Theatricality in A Doll's House by Ingmar Bergman2009Inngår i: Ibsen in the Theatre / [ed] Sven Åke Heed & Roland Lysell, Stockholm: Stuts , 2009, s. 57-61Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 227.
    Neuger, L
    et al.
    Stockholms universitet, Humanistiska fakulteten, Slaviska institutionen.
    Słobodzianek, Tadeusz
    Laboratorium Dramatu.
    Splot.: Refelksje nad "Naszą klasą".2009Inngår i: Nasza klasa. Historia w XIV Lekcjach: Historia w XIV Lekcjach / [ed] Stanisław Rosiek, Gdańsk: słowo/obraz terytoria , 2009, s. 3-15Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 228.
    Neuger, Leonard
    Stockholms universitet, Humanistiska fakulteten, Slaviska institutionen.
    A Place of Crime2009Inngår i: Program National Theatre in London, s. 12-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 229.
    Neuger, Leonard
    Stockholms universitet, Humanistiska fakulteten, Slaviska institutionen.
    Splot2010Inngår i: Tygodnik Powszechny, Vol. 10-07-18, nr 29, s. 11-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Artikeln är en tolkning av en av Tadeusz Slobodzianek nyskriven pläs "Nasza klasa" [Vår klass] som 2009 hade urpremier i National Theatre in London. Jag fokuserar på de händelser som lag i grunden till pjäsen, d.v.s. mord i Jedwabne då de polska invånarna brände nästan alla sina judiska grannar och visar hur hos Slobodzianek dessa händelser begränsade till en skolklass växer upp till en ny typ av det tragiska med fatum som överskrider de historiska händelserna.

  • 230.
    Neuger, Leonard
    et al.
    Stockholms universitet, Humanistiska fakulteten, Slaviska institutionen.
    Słobodzianek, Tadeusz
    W poszukiwaniu wysłannika: Trylogia Słobodzianka2012Inngår i: Śmierć proroka i inne historie o końcu świata / [ed] Tadeusz Słobodzianek, Wołowiec: Czarne , 2012, s. 275-284Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 231.
    Neuhauser, Charlott
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Fruktansvärd, ospelad och nyskriven - kriser och konflikter kring ny svensk dramatik: från Gustav III:s originaldramatik till dagens beställningsdramatik2016Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The issue of this thesis concerns a selection of historical debates in which new Swedish drama is under discussion. The studied debates take place in the cultural and political fields and within the fields of theater and literature and deal with a recurring assumption in Swedish theatre history – that new Swedish drama is insufficient. The primary object of this thesis is to find explanations to: why is the Swedish new drama so often described as defective? The following questions, guiding the analysis, are: How are the crises described? What are the stakes? How has the dramatic text been influenced by being judged either as literary product or a product for the stage? How is the playwright’s role described, and perhaps changed, in the crises? The aim of the analysis is to understand how traditions and conventions are shaping the debates and contribute to perpetrate the myth of the malfunctioning Swedish new play.

    In a historical perspective several attempts have been made to govern new Swedish drama by legislative and political power. New Swedish drama has, for example, been viewed as a possible expression of the nation, as part of shaping the Swedish Welfare state or creating interactive communication with the audience. Despite its many uses, new Swedish drama continues to be describes as flawed.

    The study starts with King Gustav III:s Swedish theatre where the purpose was to produce Swedish original plays. The study ends with an analysis of a new government grant for new Swedish drama, which was installed in 1999. The chosen debates are analyzed with the help of concepts borrowed from the French sociologist Pierre Bourdieu, looking at each historical situation as a possible moment for the establishment of the field ”new Swedish drama”. The survey ends with eight interviews with playwrights, who are active today.

    The conditions for the new Swedish drama are the guiding line in this thesis. These conditions are found in the cultural, social and historical contexts that cooperate when a taste or convention is being shaped. They are part of the discourses in the field, where criteria for the new Swedish drama is formulated. In order to understand the significance of, for example, the expression, ”the newly written Swedish drama” research has been pursued in biographical material, historical surveys, and debates in the daily press and in professional journals.

    Without being a full bourdieuan analysis, the thesis is using concepts from Bourdieu. The work of British feminist theatre historian Tracy C Davis inspires the critical historic perspective.

  • 232.
    Neuhauser, Charlott
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Minnesplatsen som process och performace: Det urbana konstverket2012Inngår i: Peripeti, ISSN 1604-0325, E-ISSN 2245-893X, nr 18, s. 35-44Artikkel i tidsskrift (Fagfellevurdert)
  • 233.
    Neuhauser, Charlott
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    New swedish plays: A new genre?:  2013Inngår i: Text in Coontemporary Theatre: The Baltics within the World Experience / [ed] Guna Zeltina, Cambridge: Cambridge Scholars Publishing, 2013, s. 98-106Kapittel i bok, del av antologi (Fagfellevurdert)
  • 234.
    Nyberg, Madeleine
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    MAKTSPEL: En studie om iscensättning av kunskap på Livrustkammaren2014Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [sv]

    Uppsatsen fokuserar på Livrustkammarens utställning Maktspel (13/3 2014 - 5/1 2015) och handlar om historiebruk i populärkulturen. Med utgångspunkt i den svenska renässansen görs kopplingar till Englands elisabetanska tid samt den fiktiva kontinenten Westeros i HBO:s tv-serie Game of Thrones. Intentionen från museet är att besökaren ska ifrågasätta historiebrukets olika användningsområden och samtidigt belysa historiens dramatiska inslag. Jag har intresserat mig för de parallella maktspelen som sker i utställningsrummet utöver de berättelser som Livrustkammaren presenterar. Uppsatsen syftar till att lyfta fram museer och utställningars iscensättningskaraktär och min ambition är studera den interna ordningen i iscensättningen.

     

    Uppsatsen är uppdelad i fyra tematiska huvudkapitel. Utställningens makt, Klädedräktens makt, Museets makt och sist men inte minst Uttryckets makt. Vardera kapitel behandlar makt ur olika perspektiv, både ur museets intentioner, museiverksamhetens utveckling, kläders kommunikativa egenskaper och uttrycksmedels inverkan på besökarna. Detta gör jag med hjälp av deltagande fältarbete och med föreställningsanalys. Modevetenskap och museivetenskap fördjupar förståelsen för den specifika utställningens komplement. Tillsammans kompletterar kapitlen varandra och skapar en fördjupad helhet av utställningen. Uppsatsen diskuterar hur ett museum och deras utställningsverksamhet är iscensatt kunskap. I mitt avslutande kapitel Livrustkammaren har bytt kostym kommenterar jag den utvecklingen som jag noterat på Livrustkammaren samt vilket symboliskt roll Maktspel har i den utvecklingen. De fyra rummen som utställningen består av symboliserar i mitt slutresultat hur makten inom museiväsendet succesivt förflyttats från museets kunskap till att inkludera besökarna och tolkningar.

  • 235.
    Nygren, Christina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Introduction2009Inngår i: Theatre for development: Experiences from an international theatre project in Asia "Chlidren's voce" / [ed] Christina Nygren, Stockholm: Svensk teaterunion - Swedish Centre of the ITI , 2009, s. 9-20Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 236.
    Nygren, Christina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för Asien-, Mellanöstern- och Turkietstudier.
    Jingju - teatern som inte är opera2014Inngår i: Kina-rapport, ISSN 0345-5807, nr 4Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 237.
    Nygren, Christina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för Asien-, Mellanöstern- och Turkietstudier.
    Reflections on Asian Theatre: Japan, China and India in a Comparative Perspective2015Inngår i: Asian theatre and theatre education = Yazhou xi ju yu xi ju jiao yu / [ed] Liu Libin, Beijing: China Theatre Press , 2015, s. 424-451Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 238.
    Nygren, Christina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för orientaliska språk.
    Tabi shibai: Resande populärteater i vått och torrt. Berättelser från fältarbeten i Japan, i Broar av ord. En festskrift till Gunilla Lindberg-Wada2013Inngår i: Orientaliska Studier, ISSN 0345-8997, nr 136, s. 153-168Artikkel, omtale (Annet vitenskapelig)
  • 239.
    Nygren, Christina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för orientaliska språk.
    Teaching Asian Theatre History and Theatre2012Inngår i: Creation and Practice of Dramatic Literature, Beijing: The Central Academy of Drama , 2012, s. 231-236Konferansepaper (Annet vitenskapelig)
  • 240.
    Nygren, Christina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Theatre for development: Experiences from an international theatre project in Asia "Children's Voce2009Collection/Antologi (Annet (populærvitenskap, debatt, mm))
  • 241.
    Näslund, Erik
    Stockholms universitet, Humanistiska fakulteten.
    Birgit Cullbergs Fröken Julie: en svensk balettklassiker1995Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    Since Its creation ln 1950, Birgit Cullberg's ballet ”Miss Julie” has not only become a ballet classic In Sweden but has also become an Integral part of the International ballet repertory with few rivals in terms of popularity, productions and performances among ballets created after 1945. This dissertation discusses the place of the ballet in the choreographer’s development and In the general context of ballet at the time of its creation. ”Miss Julie” Is an exponent of the psychological realist ballet drama that developed during the thirties and forties and its actual model was Roland Petit’s "Carmen”. Its novelty, together with its erotic elements, attracted huge audiences in Sweden. It came to be a turning point In the development of ballet in Sweden, especially as regards the Royal Swedish Ballet. The dissertation shows how a new public came to the art of ballet, how ”Miss Julie” stimulated the development of ballet at the Stockholm Opera and gave an impetus to native creativity and how it revitalized Swedish dance as a whole. The Importance of productions of Cullberg’s ballet in many countries round the world In spurring an Interest In the modem dramatic ballet is also stressed. In conclusion, the ballet’s development over more than forty years is discussed: how Its expressionist roots have gradually faded as it has been performed by classic ballet companies and how great classical dancers such as Erik Bruhn have Influenced the ballet stylistically as well, to some degree, its narrative content.

  • 242.
    Näslund, Lovisa
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Företagsekonomiska institutionen. Stockholms universitet, Samhällsvetenskapliga fakulteten, Stockholms centrum för forskning om offentlig sektor (SCORE).
    The Employment Contract as Materialization of Social Order Contracts at Albert Ranft's Stockholm theatres, 1895-19262017Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, nr 1, s. 81-101Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In the archive, the materialized traces of theatrical organization and performances remain. In this paper, we focus on the employment contract, as a type of source material commonly found but rarely studied in theatre studies. Empirically, the paper is based on a study of contracts from Albert Ranft's Stockholm theatres, 1895-1926. Ranft built his commercially funded theatrical empire in Stockholm in a period when the competition from subsidized theatre was minimal, and for a time dominated the Stockholm theatres. The study demonstrates how the study of employment contracts allows us to form an understanding of power relations between managers on the one hand, and artists and directors on the other, and also the formal and social aspects of the employment contracts. In the case of Albert Ranft, the contracts bear evidence of his dominant position in Stockholm theatre, which in turn afforded him an unusually powerful position in relation to his employees. The relationship between the formal and social contract is explored, and it is suggested that the formal contract could be seen as a photographic negative of the social contract: if there is an extensive social contract, the formal contract will be more elaborate, and vice versa. The extensive formal contracts of the studied period might therefore be seen as evidence of a relatively thin social contract, implying that industry norms were, at the time, not institutionalized enough to be taken for granted.

  • 243.
    Ohlsson, Hélène
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    ”Gudomlig, ingenting mindre än gudomlig!”: Skådespelerskan Ellen Hartmans iscensättningar på scen och i offentlighet2018Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The purpose of the thesis is to examine the diva femininity, career strategies, and acting style of the Swedish actress Ellen Hartman (1860-1945). The aim is to highlight her importance to Swedish theater during the fin-de-siècle. The dissertation is a contribution to the history of actresses and explores her gender performance and diva codes and how they influenced her career strategies and acting style. The analysis is based on Tracy C. Davis’s feminist historiography, Mimi Schippers’s notion of pariah femininity, and Wayne Koestenbaum's concept of diva codes.

    Historical contextualisation, critical imaginativeness, and actors’ embodied knowledge are the methodologies used in the present thesis. The study emphasizes the close interplay of the gendered contexts and structures that framed Hartman’s career strategies, acting style and performance. The conclusion thereby underlines the idea that Hartman as a popular actress challenged the gender norms of her time and contributed to the empowerment of women in Sweden. As an actress, Hartman was a forerunner and thereby became a pioneer of Swedish modern acting.

  • 244.
    Ohlsson, Hélène
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    När Dramatens diva smittade Helsingfors med feber: En undersökning av Ellen Hartmans gästspel i Finland 18892019Inngår i: I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 1900 / [ed] Rikard Hoogland, Göteborg: Göteborgs universitet, 2019, s. 169-202Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    When the Swedish diva infected Helsinki with fever. An investigation of Ellen Hartman’s guest performance in Finland 1889

    During the autumn of 1889 Ellen Hartman, the star of the Royal Dramatic theatre in Stockholm, made a guest performance in Helsinki that resulted in a literal ‘Hartman fever’. This chapter is an analysis of this event and a contribution to the history of actresses, divas and celebrity studies. What did Ellen Hartman do on stage to create a success that was regarded as unsurpassed? And what expressions of admiration were seen amongst the audience?The analysis of the sources reveals Hartman’s strategy to represent herself as a diva where her performance was to be the focus, rather than the plays or their mise-en-scène. Hartman’s acting style was perceived as modern and absolutely “natural” and her embodied femininity, that was a predecessor to the so-called flapper, was a novelty. The sources also show that the audience surrounded her with processes that gave tribute to her as their chosen diva in accordance with contemporary diva codes. I argue that Hartman’s guest performance 1889 comprised both a prevision of the next century through her femininity and acting style, and on the same time was founded in a diva tradition that had long roots back in history.

  • 245.
    Ohlsson, Hélène
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Pariafemininitetens återuppståndelse: Diskurser om skådespelerskor runt sekelskiftet 19002016Inngår i: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, nr 1-2, s. 80-106Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The article discusses the strategies for to go beyond the boundaries of normative femininity in Sweden during the 1890s. The case study is the contemporary popular actress Ellen Hartman’s strategies for a comeback in Stockholm. In 1891, she had created a scandal by breaking her contract with the Royal Dramatic Theater, eloping with a lover, and divorcing her husband. She wanted to remarry, but the plan backfired and she was abandoned. She became a victim of a smearing campaign in the Scandinavian press that portrayed her as a promiscuous and manipulative diva. By examining this discourse with the tools of critical femininity theories, I argue that actresses were regarded as a pariah femininity because of their occupation and class. The diva concept is discussed as femininity in a category of its own. As a larger than life character that defies her social shame divas embodies a feministic potential. By following the smearing campaign against Hartman, I argue that it had ideological overtones. The conservative papers stood for the slandering, while the liberal papers worked for her comeback. I argue that this political feud reflects anxiety about modern femininity where conservative forces sought control over which categories of femininity should be acceptable in the modern Swedish society.Hartman became a refugee in shame and moved to Paris. She wanted to launch an international career. By letters and interviews in the press, it is possible to follow her strategies. She immediately started to improve her French and use her network. Through her connection with famous French actor Coquelin aîné, she got an offer to be his co-star in his upcoming tour to Russia and Scandinavia. She also took the diva concept, which originally was meant by the press as derogatory, and used it to her advantage. In interviews to liberal Scandinavian papers from Paris, Hartman discursively transformed her image to a diva. Through a photo by the famous French photographer Nadar, she appears as a glamorous woman who is also a hard working artist, loved by the audience and rewarded by the establishment. It is a visual self-representation as a diva. As a star in Coqulin’s company she made her first comeback in Stockholm as a French-speaking actress. By the audience’s reactions, it became clear that a more permanent comeback would be possible. Hartman returned to Paris, studied at the Conservatory and then made a successful debut in Versailles. Thereafter she was contracted at the prestigious Théâtre du Vaudeville in Paris and had some success. However, she soon decided to return to Stockholm permanently in November 1893. Now her popularity reached zenith. The diva persona combined with her association with personal notoriety transformed her into a gender model that definitely obtained her authenticity as a diva. I argue that by overcoming her social shame and reinvent her self as a diva, she managed to transgress the boundaries of contemporary idealized femininity and embody a feministic potential.

  • 246.
    Ohlsson, Hélène
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Representing Pariah Femininity: Sexuality, gender, and class at the fin-de-siècle2017Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, nr 1, s. 44-63Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article discusses the representation of an actress’s sexuality, femininity, and class at the fin-de-siècle with an emphasis on pariah femininity. The central empirical sources for this study are the correspondence between King Oscar II (1829-1907) and Baroness Henriette Coyet (1859-1941) about the famous actress Ellen Hartman (1860-1945). Tracy C. Davis’s feminist historiographical methodology is put to use in the analysis in combination with Mimi Shipper’s notion pariah femininity. The analysis of the correspondence shows how the actress Ellen Hartman’s femininity was discursively constructed as pariah femininity embodying asexuality, excessive sexuality, and of a degenerate moral. It is argued that Hartman’s specific kind of pariah femininity is based on a perceived threat triggered by her public profession, sexual history and social ambition. Her body was sexualized, her sexuality demonized, and her appearance downgraded to defuse the threatening presence of her profession, femininity, and class. The historical sources also show a change of attitudes toward intersections of femininities and class.

  • 247.
    Ohlsson, Hélène
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Rivaling Femininities-Jenny Lind and Emelie Hogqvist: The Emergence of Multiple Femininities and Female Identity2018Inngår i: European Romantic Review, ISSN 1050-9585, E-ISSN 1740-4657, Vol. 29, nr 1, s. 63-77Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This essay studies two rival representations of femininity at the Royal Theatre in Stockholm 1835-45. Jenny Lind and Emelie Högqvist embodied these different femininities through their stage persona, their image, and their legacy. The theoretical perspective is of gender studies with a particular focus on critical femininity studies. The two divas' respective self-representations and strategies for fashioning their celebrity are linked here to the concepts of idealized femininity and pariah femininity. It is argued that both femininities exemplify different branches of modernity that were crucial to nineteenth-century female identity and that still echo in society today.

  • 248.
    Olofgörs, Gunnar
    Stockholms universitet, Humanistiska fakulteten.
    Scenografi och kostym: Gunilla Palmstierna-Weiss : en verkorienterad monografi1995Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This dissertation is based on some twenty analyses of productions in which Gunilla Palmstierna-Weiss was responsible for the set and costume designs. Its purpose is to identify their contribution to the various potential readings of the productions analysed. The production analyses are based on the perspective of the observer/receiver, who, through a hermeneutic process, attempts to understand what is communicated by the visual components of the production. In addition, scenic models, costume sketches and interviews with the designer are analysed to determine how the designs are conceived and generated to serve as significant elements of the production. Further, the analyses are formulated to account for their aesthetic, sociopolitical and cultural contexts, according to a Wittgenstein-influenced conceptual model of the essential elements of both formation and reception of meaning.

    In a separate section, I review the designer’s primary influences, especially those of cubism and the purist ideal, as represented by De Stijl and the Bauhaus, which can be traced through much of her work. Throughout, her set designs are characterised by a sparse simplicity and architectural proportions, though these qualities manifest themselves in a wide variety of forms; she has produced both highly realistic and purely abstract designs. Her aesthetic creed can be summarized as a search for maximum simplification and optimum use of the stage space, but with a minimum of means.

    Her costume designs are generated by the belief that everything on the stage should have a function, both in the creation of a particular historical period and as components of the symbolic dimension of a production. The costumes and their colours are designed to support the metaphorical and psychological connotations which a spectator might formulate in response to a production. In the final chapter I review certain biographical data relevant to the thesis concerning stage and costume design, and to her status as a set designer. I also discuss her role as a creator of opinion in the cultural arena, and her active involvement in improving the status of the set designer within the theatrical profession.

    Gunilla Palmstierna-Weiss’ contribution to the ongoing changes within the wider European theatre is evident in the attached production list, which shows that a third of her productions have taken place on stages outside Sweden. Furthermore, she has been responsible for the design of some thirty guest performances of Dramaten and the Residenztheater in Munich with Ingmar Bergman as director.

  • 249.
    Olsson, Tom J. A.
    Stockholms universitet.
    O'Neill och Dramaten: en studie kring arbetet med och mottagandet av fjorton olika O'Neill-uppsättningar på Dramatiska teatern åren 1923-19621977Doktoravhandling, monografi (Annet vitenskapelig)
  • 250. Prykowska-Michalak, Karolina
    et al.
    Skjoldager-Nielsen, DariaStockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.Molińska, Izabela
    The Development of Organisational Theatre Systems In Europe: Sustainability and Changeability2018Collection/Antologi (Annet vitenskapelig)
    Abstract [en]

    The material presented in this book forms part of a research project called Development of Organizational Theatre Systems in EU countries financed by the Polish National Science Centre. The study, carried out between 2013 and 2016, was aimed at describing organizational theatre systems in selected European countries. It began as a project with a Polish perspective on European theatre systems, but quickly expanded into an international group of researchers interested in the topic. This anthology presents the diversity of European systems, as reflected by the composition and work of the group.

    Particular attention has been paid to diverse historical, political and social traditions, which affected the theatre systems in question. The development of each system is described in chronological order, supported by comprehensive examination of, for example, cultural policy and various forms of organization, their institutional, administrative and legal structures, as well as different sources of financing and subsidy. The focus of each research contribution is determined by the specific theatre system of each country: its history, political restrictions and cultural characteristics. However, the attempt to capture the complex and multifaceted structure of theatre systems has resulted in some general findings.

    The readers may explore this book guided by interest in a certain country, the differences between countries, or the approach to the specific theatre system. Each chapter presents the development of the system with different amount of focus on historical, political, social and cultural conditions. The whole volume demonstrates that in each country the system was shaped in a specific way, dealing with indigenous circumstances, in response to recognized social needs. We hope that some solutions may be inspiring for the future strengthening of artistic institutions in Europe, but it is clear that none of these models are universal and can be transferred directly from one country to another.

2345678 201 - 250 of 541
RefereraExporteraLink til resultatlisten
Permanent link
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annet format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annet språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf