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- Hoogland, Rikard, et al.
(författare)
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A National Theatre Decentralized : Sweden's Three-and-a-half National Theatres
- 2008
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Ingår i: National Theatres in a Changing Europe. - Basingstoke : Palgrave Macmillan. - 9780230521094 ; , s. 164-172
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The founding, development and present status of Sweden's national theatres: The Royal Opera, The Royal Dramatic Theatre, The National Touring Theatre (Riksteatern) and the Children's Theatre Support Grant.
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| 2. |
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| 3. |
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| 4. |
- Hoogland, Rikard, 1959-
(författare)
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Andersson, Bibi
- 2015
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Ingår i: The Cambridge Encyclopedia of Stage Actors and Acting. - Cambridge : Cambridge University Press. - 9780521769549 - 9781316190425 ; , s. 26-26
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Bokkapitel (refereegranskat)
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| 5. |
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| 6. |
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| 7. |
- Hoogland, Rikard, 1959-
(författare)
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Attacken på Albert Ranfts teaterimperium : Fälstrider inom svensk teater 1921
- 2019
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Ingår i: I avantgardets skugga. - Göteborg : LIR.skrifter. - 9789188348920 ; , s. 243-269
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Bokkapitel (refereegranskat)abstract
- "The Attack on Albert Ranft’s theatre empire.The theatre battle field"In 1921 Swedish theatre was accused for its immorality. The central object of the critique was a production of Mikhail Petrovich Artsybashev’s play Jealousy at the private owned theatre Svenska teatern. The theatre critics had found the play lacking in its composition but praised the production and the main female actor. The accusation did instead come from Christian newspapers and was then taken up by major big city news outlets – and subsequently it discussed in the parliament. Serious proposals was put forward to establish a censorship on theatre performances. The main target was Albert Ranft, at that time the main owner of theatres in Sweden, allegedly being merely interested in gaining as high profits as possible. Also one of the fore runners of modernist theatre, Per Lindberg, engaged in the debate and accused Ranft for low quality. Nevertheless Lindberg had produced the same play in his own theatre. This chapter analyse the conflict in perspective of the changing role of youngsters in the Swedish society and the attempt to “rescue” them. Furthermore, there is focus on the conflict of how theatre should befunded. Ranft’s successful enterprise was used as an example for reducing governmental funding. In this conflict the modernist took the same position as the Christian movement even if the development of modernist staging did have immorality as one of its main components.
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| 8. |
- Hoogland, Rikard, 1959-
(författare)
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Björk, Anita
- 2015
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Ingår i: The Cambridge Encyclopedia of Stage Actors and Acting. - Cambridge : Cambridge University Press. - 9780521769549 - 9781316190425 ; , s. 69-69
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Bokkapitel (refereegranskat)
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| 9. |
- Hoogland, Rikard, 1959-
(författare)
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Bosse, Harriet
- 2015
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Ingår i: The Cambridge Encyclopedia of Stage Actors and Acting. - Cambridge : Cambridge University Press. - 9780521769549 - 9781316190425 ; , s. 78-78
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Bokkapitel (refereegranskat)
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| 10. |
- Hoogland, Rikard, 1959-
(författare)
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Brecht as a Stranger in a Postdramatic Era : Fatzer at Deutsches Theater 2016
- 2021
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Ingår i: The Brecht Yearbook / Das Brecht-Jahrbuch 46. - New York : Camden House. - 9780985195694
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Bokkapitel (refereegranskat)abstract
- According to Hans-Thies Lehmann it is impossible to think of postdramatic theater without the necessary steps that Brecht took. Given his strong emphasis on the narrative, Brecht is not postdramatic, but his theories about Verfremdung, Gestus and audience are groundbreaking steps towards postdramatic theater. Several theorists have already analyzed the relation between Brecht and postmodern/postdramatic theater (Badiou, Barnett, Fuchs, Jameson, Varney, Wirth, Wright). Barnett argues that it is impossible to combine Brecht with the postdramatic after analyzing a couple of productions that have tried this. The reason for their failure is seen in the problem of representation. In contradiction to this assumption I will argue that a postdramatic production could indeed reactivate Brecht’s theories and strengthen their possible effect. Brecht remains a stranger in the encounter with postdramatic theater (another stranger in a theater culture that is still dominated by dramatic plays and psychological realism), but the meeting between these two strangers can be fruitful. In this contribution I analyze the production of Fatzer at Deutsches Theater, Berlin directed by Tom Kühnel and Jürgen Kuttner in Berlin in 2016.
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