| 1. |
- Rosenberg, Tiina
(author)
-
Zarah Leander : den queera divan
- 2007
-
In: Kvinnovetenskaplig tidskrift. - : Malmö högskola, Studentcentrum. - 0348-8365. ; :1-2, s. 67-90
-
Journal article (other academic/artistic)abstract
- På vilket sätt kan konsten vara en källa till tröst och motstånd? Tiina Rosenberg diskuterar divakulten i allmänhet liksom gaykulturen och den kultur som vuxit fram kring artisten Zarah Leander.
|
|
| 2. |
|
|
| 3. |
|
|
| 4. |
|
|
| 5. |
- Rosenberg, Tiina
(author)
-
Aesthetics of Activism and Activist Aesthetics : Contemporary Feminist Performance in Sweden
- 2010
-
Conference paper (peer-reviewed)abstract
- In the 2000s, Sweden has experienced a veritable explosion of feminist performing arts. Although feminist actions, theatre, shows and performance existed previously, feminist events with a distinct political and activist approach have emerged strongly in the current decade. Feminist culture festivals are held in rapid succession, and feminist performance, dance and theatre occasionally attract broader audiences. This popularization of feminist performing arts is related to the lively feminist activism in Sweden, but also to other social movements and community art projects openly criticising the right-wing political practices and promoting alternatives. In this paper, I will discuss a few examples of feminist activist performance in Sweden today.Current issues such as the decline of the Swedish welfare state, the aggressive neoliberal policies and its consequences, the US invasion of Iraq, globalisation, trafficking and so on, have led to a new collective political mobilisation and to new political coalitions where feminists and queer activists work together with the Swedish antiracist movement. To examine inequality in the vast field of race-related, class-based and sexuality-orientated gender and performance studies is linked to the intersectional perspective that has in recent years become a debated and, at least in theory, popular concept in Sweden. This paper connects this theoretical concept with politics and performance in contemporary Sweden.
|
|
| 6. |
- Rosenberg, Tiina
(author)
-
Aesthetics of Activism and Activist Aesthetics : Contemporary Feminist Performance in Sweden
- 2009
-
Conference paper (peer-reviewed)abstract
- In the 2000s, Sweden experienced a veritable explosion of feminist performance. Although feminist actions, theatre, shows and performance existed previously, feminist events with a distinct performance approach have emerged strongly in the current decade. Feminist culture festivals are held in rapid succession, and feminist performance, dance and theatre occasionally attract broader audiences. This popularization of feminist performing arts is related to the lively feminist activism in Sweden. In this paper, I will discuss a few examples of contemporary feminist performance in Sweden. Both thematically and in activist terms, contemporary Swedish feminist performing arts represent continuity in feminist politics and performance. They focus on direct action, mixing styles and genres in performance-inspired events, but also utilizing the more text-based traditions of theatre when required. It is unequivocal, however, that performance as a genre has had a strong impact on contemporary feminist theatre in Sweden. At feminist events feminist defense is mixed with spoken word poetry, queer theatre, music, dance, circus and elements of popular culture with various impromptu pranks and tricks thrown in. Performance is a hard-to-define live act that is a form of performing art but not necessarily linked to the skills or traditions of the stage. As a genre, performance is effective for fast, improvised and spectacular appearances, and is rooted in the early modernist events, 1960s happenings and other multi-disciplinary art forms. Performance is not necessarily tied to the skills or traditions of theatrical art. Performance is a tumbling place for encounters between political activism, autobiography, mass-culture, ritual body art and the “ordinary” commonplace. One significant trait is the multiple voices, the lack of hierarchic components in the performance. Instead, performance strives to attain simultaneousness, a concurrent effect that the audience is free to structure and evaluate for itself.
|
|
| 7. |
- Rosenberg, Tiina
(author)
-
Against Love : Nora and Hedda on the Contemporary Scandinavian Stage
- 2010
-
In: Global Ibsen. - London & New York : Routledge. - 9780415877138 - 041587713X ; , s. 89-101
-
Book chapter (peer-reviewed)abstract
- This book chapter discusses gender and sexuality in contemporary Scandinavian stagings of Henrik Ibsen's plays, with a special focus on the characters Nora (The Doll's House) and Hedda (Hedda Gabler).
|
|
| 8. |
- Rosenberg, Tiina, et al.
(author)
-
Against Love: Nora and Hedda on the Contemporary Scandinavian Stage
- 2011
-
In: Global Ibsen. Performing Multiple Modernities. - 9780415877138 ; , s. 89-101
-
Book chapter (other academic/artistic)abstract
- This book chapter discusses gender and sexuality in contemporary Scandinavian stagings of Henrik Ibsen's plays, with a special focus on the characters Nora (The Doll's House) and Hedda (Hedda Gabler).
|
|
| 9. |
|
|
| 10. |
|
|
