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1.
  • Scripts of Kingship
  • 2008
  • Samlingsverk (redaktörskap) (övrigt vetenskapligt)abstract
    • When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.
2.
  • Holdar, Magdalena, 1970- (författare)
  • Scenography in Action
  • 2005
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • Developments in technology and new aesthetic idioms in the past decades have changed the preconditions for the scenographer’s work in the theatre. Therefore, it has become problematic indeed to describe scenography as the sum of costume and set, although this continues to be the common definition of the concept. This study focuses on the interaction of different features in a theatre performance, such as scenography, actors, light and sound. The aim is to show that scenography, as opposed to set and costume, cannot be separated from the live performance, i.e. the context for which it is created.By investigating scenography from the parameters space, time, and movement, the thesis demonstrates that the art is anything but stable. On the contrary, it continuously changes shape, size, and appearance. The actors in particular play an important role in the organization of the space, thus exposing the instability of scenography in action.The analytical chapters in the thesis discuss four different movements, or transformations, in scenography, appearing in eight theatre productions staged by Swedish director Ingmar Bergman between 1984 and 1998. The first chapter, "Expansion," discusses how scenography incorporates new spaces, either through the actors’ movements or by quoting architectonic details from other parts of the theatre building. "Revolution" shows different ways of revolving scenography without the aid of technical devises such as the revolve stage. "Perforation," the third chapter, analyses the effects of a perforated set and its consequences for the spectators’ apprehension of scenography. The last chapter, "Metamorphoses," highlights actions that undermine the definition of some central concepts in performance, such as “performers,” “props,” and “spectators,” all of which are intertwined in the analysed productions.A concluding part of the dissertation elaborates on the effects of these movements and transformations in scenography, in particular as related to the physical and mental relationship between actor and audience.
3.
  • Feiler, Yael, 1953- (författare)
  • Att välja och att välja bort
  • 2009
  • Rapport (populärvet., debatt m.m.)abstract
    • I rapporten Att välja och att välja bort: om ett antal svenska teatrars rutiner och kriterier gällande rekrytering av dramatiker med särskilt fokus på genus och jämställdhetsaspekten redogörs för teatrars rutiner och praktiker gällande repertoar, krierier för urval och beställning av dramatik samt hantering av frågor kring jämställdhet. De berörda teatrarna är: Dramaten, Riksteatern, Göteborgs stadsteater, Backa Teater, Östgötateatern och Norrlandsopera. Redogörelsen baseras på konstnärliga ledares och kulturpolitikers uttalanden i dessa frågor. Uttalanden är grupperade enligt tre huvudteman som även utgör rapportens kapitelindelning: 1. Praktiker, urvalskriterier och beslutsordning 2. Jämställdhet: Hinder, möjligheter, visioner och praktiska verktyg 3. Politiskt inflytande på den konstnärliga verksamheten.
4.
  • Rossholm, Anna Sofia, 1973- (författare)
  • Reproducing Languages, Translating Bodies
  • 2006
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This study discusses and analyses recorded/filmed speech, translation, and cultural identity in film discourses in early European sound film. The purpose is to frame these issues from a number of theoretical perspectives in order to highlight relations between media, speech and translation. The points of departure are 1. “universal language” vs. “linguistic diversity”, 2. “media transposition” vs. “language translation”, and 3, “speech as words” vs. “speech as body”. An important aspect in order to discuss these topics is the problem of “versions”, both different translated versions, and versions in different media of speech representation. The correlation of theory with a historical focus offers a contextualisation of translation as an issue of cinematic culture, and also sheds new light on topics that previously have been referred to as details (such as foreign accents in film) or as phenomena considered to be unrelated to “cinematic quality” (such as “filmed theatre”).The object of analysis consists of German, French and Swedish films, trade and fan press, and film theory from the 1920s and 1930s. The study begins with a theoretical and historical introduction, which addresses representation of speech in reproduction media focusing on early sound technology predominantly from the late nineteenth and early twentieth century. Chapter two offers a discussion of speech as signifier of differentiated ethnicity in relation to a utopia of universal language embodied in film and sound media. Chapter three addresses film speech as a multimedia issue revealing a problematic of version as a context for the various means of translating. Chapter four offers a general discussion of film translation in the period of transition to sound with a focus on dubbing, subtitles and inter-titling. The two last chapters deal exclusively with the multiple language version film, a translation practice based on re-making the same script in different languages.
5.
  • Sabzevari, Hanif, 1981- (författare)
  • Varför tiger du?
  • 2008
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This is a study of how expository information is presented in the metatext (title, subtitle, prefaces, dedications, the dramatis personae, announcements of act and scene, stage directions etc.) and the dialogue in seven one-act plays by August Strindberg: The Stronger (1889), Pariah (1889), Simoom (1889), Debit and Credit (1892), The First Warning (1892), Facing Death (1892), and Motherly Love (1892). Exposition in this study is defined as a semiotic temporal-structural element that: (1) is not restricted to any specific part of the drama; (2) is present in both the metatext and the dialogue; (3) transfers information about the prescenic time/action (time/action preceding the scenic time/action), interscenic time/action (scenic and non-scenic time/action between scenes), simultaneous scenic time/action (non-scenic time/action that takes place simultaneously with the scenic time/action, and postscenic time/action (time/action that follows the scenic time/action).The study shows that the expository information is presented gradually in the dramas, in both metatext and dialogue, and in all the four categories of time/action presented above. One important result is that the seven one-act plays, despite their naturalistic qualities, also contain components pointing towards Strindberg’s more expressionistic drama. It is possible to talk about a naturalistic or an expressionistic period in Strindberg’s authorship. It is, however, impossible to regard Strindberg as a naturalist or an expressionist in a stricter sense. Strindberg’s drama is too complex and rich to be placed in a certain theoretic doctrine.It is clear from the dissertation that the study of expository information is useful in dramaturgic analyses, and generates various discussions about for example themes, motives, and metaphors. A complete analysis of the exposition, therefore, must also consider elements such as language and imagery.
6.
  • Damkjaer, Camilla, 1978- (författare)
  • The Aesthetics of Movement
  • 2005
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections.It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts.Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.
7.
  • Lundgren, Eva, 1952- (författare)
  • Lek med lust
  • 2006
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • 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.
8.
  • Bergman Blix, Stina, 1971- (författare)
  • Emotional Participation
  • 2009
  • Ingår i: Nordic Theatre Studies. - Stockholm : Association of Nordic Theatre Scholars. - 0904-6380. ; 21, s. 29-38
  • Tidskriftsartikel (refereegranskat)abstract
    • This contribution aims to identify and clarify emotional aspects of conducting observation studies. The researcher, in most cases, does not want to interfere with or influence the phenomenon under observation, but uses her/himself as a tool to collect material. Even if the observer does not participate verbally, s/he can be emotionally participative using her/his emotions as a methodological tool, generating reflections and insights relative to the situations and persons that are the object of observation. Earlier contributions from social anthropology and psychotherapy are discussed and compared to examples from observations on the rehearsals of two theatre productions. One crucial point is that the researcher’s emotions can be more or less congruent with the situation at hand; a match as well as a mis-match can be used as information in the research process. Furthermore, the emotional expressions displayed by professional actors can be more or less emotionally anchored within them. Do the observer’s feelings correlate with the research subjects’ felt emotions or their portrayed emotions? Reflections on these issues can be used in interviews with research subjects to attain a more nuanced and tangible interpretation of the studied phenomenon.
9.
  • Olsson, Eva-Kristina, 1961- (författare)
  • Att vara någon annan
  • 2006
  • Licentiatavhandling (övrigt vetenskapligt)abstract
    • The licentiate thesis focuses on young people’s dramatisation and reflections on the reception of theatre in schools as part of aesthetic learning processes. Its main objective is to describe and analyse how theatre can be used in teaching as a means to create meaning and knowledge in practice. The theatre’s relation to the Swedish subject is discussed from different aspects.The empiric survey was conducted at three 6–9 schools in the south of Sweden, referred to in the study as Österskolan, Norrskolan and Söderskolan. The survey is designed as a multiple case study. Two cases consist of individual classes with supplementary work based on the students’ reception of A Midsummer Night’s Dream, the other two on stage productions that include acting. The material consists of video recordings of teaching processes, rehearsals and performances; notes from observations, interviews with teachers and pupils, a questionnaire regarding theatre habits, as well as documents such as theatre programmes and home pages. The cases are contrasted in order to extend the analysis, distinguish between mutual and contrasting patterns, and to some extent also to explain concepts used for description and analysis.The thesis aims to answer the following questions:• What is required in order for theatre to create meaning and knowledge in practice within a school’s framework?• How do form, content and use, and also production, reception and reflection cooperate in various media in the aesthetic learning processes and what didactical potential is the result of this cooperation?The result of the survey shows that a teacher’s patterns for verbal and physical interaction and his or her media specific competence strongly influence the terms for the aesthetic learning processes. The nature of the theatre culture’s meeting with the school culture at the individual school determines the possibilities for the participation in creation of meaning and knowledge in practice that are offered to pupils. Financial conditions, support from the school management, collaboration between subjects, functioning rooms, and the school’s gender practice are other important factors.The conditions for the theatre’s creation of meaning and knowledge differ significantly between the three schools included in this study. At Österskolan the theatre culture is a fairly unfamiliar element in the school culture. The teacher who supervises the supplementary work for A Midsummer Night’s Dream, however, possesses good media specific competence in the theatrical field and is able to generate possibilities for reflections on experience pedagogy based on the theatrical performance and actual participation in the theatrical practice for the pupils. For a number of years, the theatre culture at Norrskolan has been included in an integrated part of the school culture. A Midsummer Night’s Dream becomes the basis for verbal, dialogue-oriented discussions in the classroom. The pupils’ performance at the school strengthens the school culture and the pupils learn how to cooperate and take responsibility. The cultural profile at Söderskolan collaborates with professional cultural workers and regional cultural institutes in a theatrical project that invites both schools and the general public. In this case, all media is integrated in the creation of meaning and there is great didactical potential.In the intended doctoral thesis the analysis of the terms and the design of the aesthetic learning processes will be further discussed.
10.
  • Björkner, Eva (författare)
  • Why so different?
  • 2006
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This thesis addresses aspects of voice characteristics in operatic and musical theatre singing. The common aim of the studies was to identify respiratory, phonatory and resonatory characteristics accounting for salient voice timbre differences between singing styles.The velopharyngeal opening (VPO) was analyzed in professional operatic singers, using nasofiberscopy. Differing shapes of VPOs suggested that singers may use a VPO to fine-tune the vocal tract resonance characteristics and hence voice timbre. A listening test revealed no correlation between rated nasal quality and the presence of a VPO.The voice quality referred to as “throaty”, a term sometimes used for characterizing speech and “non-classical” vocalists, was examined with respect to subglottal pressure (Psub) and formant frequencies. Vocal tract shapes were determined by magnetic resonance imaging. The throaty versions of four vowels showed a typical narrowing of the pharynx. Throatiness was characterized by increased first formant frequency and lowering of higher formants. Also, voice source parameter analyses suggested a hyper-functional voice production.Female musical theatre singers typically use two vocal registers (chest and head). Voice source parameters, including closed-quotient, peak-to-peak pulse amplitude, maximum flow declination rate, and normalized amplitude quotient (NAQ), were analyzed at ten equally spaced subglottal pressures representing a wide range of vocal loudness. Chest register showed higher values in all glottal parameters except for NAQ. Operatic baritone singer voices were analyzed in order to explore the informative power of the amplitude quotient (AQ), and its normalized version NAQ, suggested to reflect glottal adduction. Differences in NAQ were found between fundamental frequency values while AQ was basically unaffected.Voice timbre differs between musical theatre and operatic singers. Measurements of voice source parameters as functions of subglottal pressure, covering a wide range of vocal loudness, showed that both groups varied Psub systematically. The musical theatre singers used somewhat higher pressures, produced higher sound pressure levels, and did not show the opera singers’ characteristic clustering of higher formants.Musical theatre and operatic singers show highly controlled and consistent behaviors, characteristic for each style. A common feature is the precise control of subglottal pressure, while laryngeal and vocal tract conditions differ between singing styles. In addition, opera singers tend to sing with a stronger voice source fundamental than musical theatre singers.
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