| 1. |
- Schneider, Magnus Tessing, 1975-
(författare)
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Contemporaneity in Historically Informed Performance
- 2023
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Ingår i: Performing the Eighteenth Century. - Stockholm : Stockholm University Press. ; , s. 81-109
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Bokkapitel (refereegranskat)abstract
- Discussing how historical acting principles might enrich today’s theatre, the author suggests that theatre scholars turn away from semiotics: a twentieth-century theory that still informs today’s views of eighteenth-century acting, largely due to Dene Barnett, an influential pioneer of Historically Informed Performance. As an alternative to semiotic representation, the author points to Jan Kott’s concept of contemporaneity, which refers to a special relationship between the text, the actor, and the spectator. This leads him to promote the finesse: a crucial but forgotten concept of eighteenth-century acting theory that was associated with the actor’s revealment of the uniqueness of the character.
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| 2. |
- Peters, Lauren Downing, 1987-
(författare)
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David Bowie Is
- 2014
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Ingår i: Journal of Curatorial Studies. - : Intellect. - 2045-5836 .- 2045-5844. ; 3:1, s. 139-143
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Recension (övrigt vetenskapligt/konstnärligt)
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| 3. |
- Jaresand, Susanne, et al.
(författare)
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Beauty/Schönheit/Skönhet : An Artistic Research Project in Music and Dance
- 2018
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Ingår i: International Journal of Music and Performing Arts. - : American Research Institute for Policy Development. - 2374-2690 .- 2374-2704. ; 6:2, s. 1-7
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Tidskriftsartikel (refereegranskat)abstract
- In an artistic project we investigated the points of contact between choreography and music composition in a listening stance, where the meeting between the artists was visible and audible. Collective creative processes arose from this attitude of listening. One way to bring forth the listening stance – and not only uni-directionally, as when a choreographer uses a through-composed piece of music – was to let a composer write music to a dance, choreographed in silence. The performance gave the opportunity to change rituals around listening that are predominantly current in an attempt to resuscitate the eyes, ears, inner and outer attention to a reflective listening; to take these thoughts where the body goes and break the patterns of embodied and cognitive ways of thinking. In a position of stillness, one can renew, breath, give and open up to new opportunities. The cognition/corporeality of the dance became a way to listen to music.
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| 4. |
- Wassrin, Maria, 1959-
(författare)
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Challenging Age Power Structures : Creating a Public Sphere in Preschool through Musicking
- 2016
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Ingår i: Action, Criticism and Theory for Music Education. - : MayDay Group. - 1545-4517. ; 15:5, s. 25-50
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Tidskriftsartikel (refereegranskat)abstract
- This article explores the possibility of conceiving preschool music activities as a way of forming spaces of participation with society’s youngest. The discussion draws on Hannah Arendt’s (1958) definition of public spheres, and the argumentation is closely linked to an empirical example from musicking events with 1–3 year olds in a non-typical, arts-focused Swedish preschool. In their promotion of equality and plurality in this preschool, the children and the music pedagogues co-construct a public sphere by using a multitude of “languages” and challenge both the hegemonic position of verbal language and other age power structures. In this promotion, other “subjects of music” come into being. Thus, it is argued that society can perceive children as legitimized citizens in the “here and now” and not only in a distant future when they have become fully educated adults. The article challenges current preschool music education and demonstrates alternative social constructions.
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| 5. |
- Wassrin, Maria, 1959-
(författare)
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Rethinking Music Activities in Preschool : Exploring links between conceptions of the child and conceptions of music
- 2016
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Ingår i: Nordisk musikkpedagogisk forskning. - 1504-5021. ; 17, s. 103-136
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Tidskriftsartikel (refereegranskat)abstract
- Music in preschool is mostly performed as singing-events in the form of circle-time, over which children do not have much influence. This article argues that research on music education in preschool often has overlooked this lack of influence. It explores how conceptions of ‘the child’ relate to different conceptions of music, and thereby impact on how music activities are staged in preschool. The primary empirical material consists of one group interview with four music pedagogues working together with 1–3 year olds in a Swedish preschool with an alternative approach. Through the use of Critical Discursive Psychology five interpretative repertoires of ‘the child’ are distinguished, among which ‘a child with rights’ is seen as encompassing the other four. Conceptions of the child as constantly learning and epistemologically equal to adults, and therefore granted the rights to explore the world without unnecessary bodily restrictions, ‘requires’ improvisational and trans-disciplinary conceptions of music, in which the child needs to have the right to bodily self-determination. The outcome of the study shows how conceptions of the child shape our conceptions of music, consequently resulting in multiple and diverse music practices.
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| 6. |
- Wassrin, Maria, 1959-
(författare)
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Towards Musicking in a Public Sphere : 1-3 year olds and music pedagogues negotiating a music didactic identity in a Swedish preschool
- 2016
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis explores alternative ways of staging music in preschool. The ‘preschool subject of music’ is approached as a social and cultural construct that is embedded in discursive negotiations. Participants in the study are 1-3 year-old children and their music pedagogues, working in the preschool on a daily basis. In three studies, the negotiation of a local music ‘didactic identity’ is examined by answering research questions related to three different discursive levels: (i) the micro-level of face-to-face interaction; (ii) the level of pedagogue’s conceptions; and (iii) the political/societal level. Study I examines the participants’ use of semiotic resources in their co-construction of musicking events. By means of micro-analyses of video-recordings it is shown that mobility in the room is essential for the children’s access to instruments and other artefacts, and for their possibility to influence music activities. Other crucial conditions concern the pedagogues’ responsive uptake and improvisatory approach, and that the activities are open to other forms of expression. Study II explores conceptions of the ‘child’ and conceptions of ‘music’ in four music pedagogues’ talk in a group interview. Different conceptions of the ‘child’ are seen to interrelate with certain ontological and functional conceptions of ‘music’ that involve diverse opportunities for children’s (bodily) agency. This analysis is made by means of discursive psychology. Study III examines the music practices from a political and philosophical perspective, using Hannah Arendt’s concept of the ‘public sphere’. This third perspective shows how this preschool’s music practices create a public sphere by seriously putting into practice equality and plurality as values and principles that increase the equality between children and adults. Age power structures are thereby challenged, and the children can be seen as citizens in the ‘here and now’, and not in some distant future when they are grown-ups. Also, the ‘preschool subject of music’ itself becomes a negotiated issue.Implications for preschool practice and preschool teacher education are discussed, and further research is suggested within other educational areas regarding how pedagogues’ interpretations of the concept of ‘children’s participation’ and ‘influence’ impact on specific preschool subjects, such as music.
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| 7. |
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August Strindberg
- 1999. - 1/99
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- August Strindberg 150 years jubilee publication with introductory by Anders Hallengren and original contributions by Björn Meidal, Egil Törnqvist, Per-Anders Hellqvist, Bure Holmbäck, Barbro Ståhle Sjönell and programme announcements.
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| 8. |
- Bork-Petersen, Franziska, 1982-
(författare)
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Authenticity and its Contemporary Challenges : On Techniques of Staging Bodies
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In this thesis I investigate what ‘authenticity’ means in a contemporary popular context and how it is used in the staging of bodies. Furthermore, I analyse works of dance and fashion from the past fifteen years with a focus on their strategies of challenging the notion of ‘bodily authenticity’. When ‘an authentic body’ is sought by participants or demanded by judges and ‘experts’ on popular makeover and casting TV shows such as The Swan (Fox 2004) or Germany’s Next Topmodel (Pro 7 2006-present) this refers to the physical visualisation of what is perceived/presented as the participants ‘inner self’. I scrutinise the staging techniques and the codes of appearance that bodies have to comply with in order to be deemed ‘authentic’ on the shows. To define them and place them in the history of the idea of ‘bodily authenticity’, I complement my study with an outline of how ‘authenticity’ was understood in the Enlightenment and what techniques were used to stage the body when the concept gained currency, for instance in the writings of Rousseau. My analysis makes clear that 'bodily authenticity' on the two TV shows is achieved by strictly following gender-normative codes of beauty and by a depiction of 'working hard'. But various techniques also mask the hard work, for example by showing a participant ‘having fun’ performing it. Contemporary works of dance and fashion challenge the problematic implications in the notion of ‘bodily authenticity’. I analyse three strategies of undermining the ‘authentic’ ideal in a total of seven pieces. These strategies are hyperbole which exaggerates the beauty code implicit in ‘authentic appearance’; multiplicity which undermines ‘authenticity’s’ essentialism and estrangement which denies the notion of individual authorship. In conclusion, I place the staging strategies used in my examples in a wider cultural context and highlight potential problems inherent in their critiques.
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| 9. |
- Hallengren, Anders, 1950-
(författare)
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Livets konst är dikt
- 1981
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Ingår i: Värld och vetande : populärvetenskaplig tidskrift. - Västra Frölunda. - 0346-4873. ; 30:5, s. 133-140
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- An encounter with the poet and artist Lars Humble, b. 1921, and a review of his life and work.
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| 10. |
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