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- Bayati, Zahra, 1958, et al.
(författare)
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Nytt centrum mot rasism får fel vetenskaplig inriktning
- 2015
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Ingår i: Göteborgs Posten. - 1103-9345. ; :2015-06-14
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- När rasism ska förstås som något som kan lösas genom att lära ut tolerans undergrävs förtroendet för regeringens satsning. Dessutom saknas det etnisk/rasifierad mångfald bland forskargruppen.
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| 4. |
- Grehn, Sandra
(författare)
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Dom stökar och bråkar och kastar sten. Iscensättning och hybridisering av dominerande diskurser i Backa Teaters uppsättningar Lille kung Mattias, Gangs of Gothenburg och 5boys.com
- 2020
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this dissertation is to examine whether or not, and, if so, how Backa Theatre’s stage art contributes to the questioning of norms concerning children and young people by subversive representation of the young. The study investigates the dominant discourses of “children as citizens”, “the young gang member” and “boys and masculinity” that are staged and hybridized in the productions of Lille kung Mattias (Little King Matt) and Gangs of Gothenburg, directed by Mattias Andersson and 5boys.com, directed by Anja Suša at Backa Theatre between 2009 and 2012. By analyzing how ideas concerning sex/gender, sexuality, race and age appear intersectionally in the selected productions, and how the discourses are structured artistically through casting, dramaturgy, directing and scenography/the use of space, the dissertation examines the artistic composition of the discourses themselves. Theoretically and methodologically, the dissertation is based on a combination of semiotic performance analysis and critical discourse analysis. Concepts from Norman Fairclough’s critical discourse analysis such as activities, schemata, frames and scripts are used to uncover the performances’ foundations and relationships to the surrounding society, and to understand how the discourses are artistically formed and composed in the selected performances. In Lille kung Mattias “the becoming discourse” is staged and hybridized. According to sociologists Jens Qvortrup and James Lee the dominant view of children as being in a state of becoming adults has the consequence that children are granted neither significant private nor public space in the present tense nor are they taken seriously. In Lille kung Mattias the children in the audience are encouraged to conduct political discussions and democratically vote on Sweden’s national budget. Thus, they practice what religious scholar John Wall calls childism. In this, the becoming discourse is challenged, since the children’s current priorities and views on society are focused. Gangs of Gothenburg stages and hybridizes “the marginalized gang member discourse” found in the contemporary media debate. In Gangs of Gothenburg the medial process of generating meaning is staged and challenged. By using Sara Ahmed’s concept of phenomenology of whiteness, the racialization of the young gang member is discussed and problematized. The adult, white viewer position/ gaze is staged when the white middle-class couple watch and comment on the documentary interview of a young gang member. 5boys.com captures and stages “the patriarchal masculinity discourse” that, according to gender scholar David Buchbinder, is based on the practice of misogyny and homophobia, a strategy to distance masculinity from femininity. The discourse is hybridized by letting the actresses themselves choose their costumes, by incorporating metafictional elements in which the actors discuss each other and the play, by the use of passionate movements and dancing to music, and by the literal deconstruction of the scenography. Thus, by capturing the patriarchal masculinity discourse and combining it with other contexts, the very embodiment of sexism, misogyny and homophobia is problematized. This dissertation thus situates Backa Theatre’s productions in an intersection of political, philosophical and artistic ideas and practices where children’s and young people’s realities encompass existential issues, socio-economic conditions, the pronouncements of adults, and not leastwise, power structures. In Backa Theatre’s performing arts, the worlds of children and adults are presented as co-operative and existing in a conditional relationship.
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| 5. |
- Grehn, Sandra, 1981-
(författare)
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Ecodramaturgy and Artistic Expressions in Riksteatern's Productions Polarfararna (2018), Slutet enligt Rut (2018) and Nationalparken (2019)
- 2023
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Konferensbidrag (refereegranskat)abstract
- Ecology describes the intertwined relationships in our world and includes the study of animals and plants and how we as humans relate to each other, our surroundings, and the more-than-human (Giannachi & Stewart 2005; Woynarski 2020). Ecodramaturgy describes theatre and performance that places ecological reciprocity and community at the centre of its artistic and thematic content (Arons & May 2012:4). Lisa Woynarski uses the term to deal with meaning-making concerning ecology in all theatre and performance forms, themes, processes, and narratives and thus potentially as a strategy to subvert dominant forms of representation that often devalue the more-than-human world (Woynarski 2020). Ecological theatre, thus, does something and can potentially problematize relations to the more-than-human (Woynarski 2020).In Sweden, a few important ecocritical theatre initiatives have been run by Riksteatern - Sweden's largest touring theatre since 1933. In the Human and Nature project (2017–2020), Riksteatern investigated climate, lifestyle, and nature/culture issues. In 2017, the production Polarfararna was played, directed by Åsa Johannisson, an absurd disaster drama about an expedition to the North Pole in 2016. In 2018, the production Slutet enligt Rut was played, directed by Nora Nilsson, a comedy about inheritance and desire where Rut, who has reached the age of 112, refuses to die so that the forest she leaves behind will live undisturbed. In Nationalparken (2019), directed by Lisa Färnström, the old-growth forest is a metaphor for diversity and becomes a tribute to thousands of ways of life. This paper focuses on the following questions: What ecodramaturgical strategies can be found in the three performances? In what ways do the performances examine man’s relationship to the more-than-human? What role do forests and landscapes play in the three performances, and what dramaturgical significance do they have?
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- Grehn, Sandra
(författare)
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Fri kärlek – för vem? Respektabilitet och konstruktionen av "fri kärlek" i Frida Stéenhoffs dramatext Lejonets unge
- 2016
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Ingår i: Tidskrift för Genusvetenskap. - 1654-5443. ; 37:2, s. 33-56
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Tidskriftsartikel (refereegranskat)abstract
- In this article, respectability and the construction of “free love” is investigated in Swedish feminist debater and playwright Frida Stéenhoff’s (1865–1945) drama Lejonets unge (1896). In 1897 the first production of the drama was set in the small town of Sundsvall in Sweden and caused a public storm because of its plea for free love for both men and women. Through an intersectional perspective, where the axes of class, gender, sexuality, religion, nationality and age are central and with a starting point in Beverly Skegg’s concept “respectability” I investigate how free love is constructed in the drama. I also link the construction of free love to the historical context of the debate concerning sexual morality and marriage, which was intense in society and literature in Scandinavia in the late 19th century.
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| 7. |
- Grehn, Sandra
(författare)
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Performativity and the Construction of Children's Citizenship in Backa Theatre's Staging of Lille Kung Mattias (2009/2010)
- 2017
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Ingår i: LIR.journal. - 1102-9773. ; :9, s. 77-95
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Tidskriftsartikel (refereegranskat)abstract
- The aim of this article is to investigate and explain how performativity, as defined by J.L. Austin and Judith Butler, can be viewed as an important element within the narrative framework of Lille Kung Mattias (Little King Mattias), as performed by Backa Theatre in Gothenburg, Sweden, during the 20092010 season. Lille Kung Mattias, directed by Mattias Andersson, is based on the novel Król Macius ́ Pierwszy (1923) by Polish author Janusz Korczak, and has been performed for children aged 11 upwards. I explore how class, age and gender are »made« (and also fail to be made) performatively, and show how being a king is revealed as a performative act precisely then, when Mattias receives all the attire and the title but doesn’t move or talk like an adult king. Thus he fails to fulfil expectations. But thereafter, in terms that Butler uses, Mattias pushes the borders of what a king can be and do by iteratively »making« a new kind of king. In the end, the audience also change their behaviour by becoming an active part of the performance.
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| 8. |
- Grehn, Sandra
(författare)
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Performativity and the Construction of Children’s Citizenship in Backa Theatre’s Staging of Lille Kung Mattias (2009/2010)
- 2020
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Ingår i: Diversity, Representation and Culture in TYA / edited by Manon van de Water. - Cape Town : ASSITEJ South Africa. - 9780994650559 ; , s. 58-68
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Bokkapitel (refereegranskat)abstract
- This chapter discusses how the construction of children’s citizenship is created in the interactive part of Lille Kung Mattias or Little King Matt, as performed by Backa Theatre in Gothenburg, Sweden, during the 2009-2010 season. I link performativity, as defined by queer theorist Judith Butler, to Mattias’ making of a subversive king and explain how his new kingship promotes new power relations within the narrative framework. I also discuss the outcome of the performance in relation to childhood theorist John Walls’ notion of ’politics as difference’.
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| 9. |
- Grehn, Sandra
(författare)
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Social Sustainability and Backa Theatre’s Staging of Red Card (2014)
- 2021
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Konferensbidrag (refereegranskat)abstract
- In the autumn of 2014, the production Red Card (Rött kort) premiered at Backa Theatre in Gothenburg, Sweden, directed by Gabriela Pichler. Backa Theatre is part of The Gothenburg Civic Theatre, mainly playing for children and young people. The production was based on 11-year-old Leo’s lived experiences as a hidden and undocumented migrant in Sweden and was a collaboration with the playwright America Vera-Zavala and Botkyrka Community Theatre & Dance. The actor Rasmus Lindgren and Leo himself were on stage.The metaphor of football and Leo’s bodily experiences of being an undocumented and hidden child in Sweden was a recurring element in the staging. By taking this place, Leo shares a story that seldom is told in Swedish cultural life, despite the national discourse about Sweden as a country at the forefront of children’s rights. The staging raises questions about children's civil rights and how belonging to a community is a fundamental part of a sustainable world. Red Card challenges the idea of citizenship connected to space and presents Leo as a citizen in his own right despite not having formal Swedish citizenship.By combining semiotic performance analysis with critical discourse analysis, my paper presents an analysis of a filmed performance of Red Card, focusing on the following research questions: By what means does the production stage the life of an undocumented child in Sweden in the 2010s? What discourses concerning the undocumented child are staged, and how do they relate to contemporary dominant discourses? What significance is created in the form of Leo himself being on stage, and what difficulties does this entail? How and by what means does the staging relate to ideas of social sustainability, focusing on Leo’s experiences as an undocumented child living in Sweden?
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| 10. |
- Grehn, Sandra
(författare)
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Techformance – shifting centres by performance practices with the young audience as co-creator
- 2022
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Konferensbidrag (refereegranskat)abstract
- Since 2019, a project has been run by the Administration for Cultural Development in Västra Götaland (Sweden), where the working method Techformance is developed to offer professional theatre for young audiences with new opportunities to create interactive performing arts. Within the framework of the project, a digital web application is being developed to give the encounter with theatre a new form and significance for children and young people, with or without neuropsychiatric disabilities. Five Swedish performing arts groups (Teater Jaguar, Masthuggsteatern, Unga Klara, Bombina Bombast, and Angereds Teater) have explored the tools through workshops and performances.The Techformance method connects to the genre of immersive theatre (Machon 2017) and thus explores and develops the theatres' potential to meet an audience in new ways where the performance is not just an event in one space but rather consists of a relationship and interaction between audience and ensemble in an ongoing process. The method challenges the current audience contract and invites a long-term sustainable co-creation and audience relationship (Gadotti 2009). The audience's active participation via digital tools is a prerequisite for the performances to develop and offers a clear framework where children, with or without neuropsychiatric disabilities, can be part of the theatre performance before, after, and in the meeting with the ensemble. By this, the audience position is being challenged and gives new ways of perceiving the point of departure when playing for young audiences. The paper focuses on the following research questions: How are the digital tools in the Techformance method used in professional theatre for young audiences, and how do they challenge the audience position? How can the design of the tools function as resources for a young audience with or without neuropsychiatric disabilities? How does the Techformance method develop immersive theatre and rethink the concept of theatre for young audiences?
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