| 1. |
- Beech, Dave, et al.
(författare)
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Exclusion: Editorial Introduction
- 2018
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Ingår i: PARSE Journal. ; :8
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- The editorial reflects on exclusion highlighting various aspects of exclusion in education and the arts such as educational exclusion, participation as exclusion, colonisation and decolonization, indigeneity, and geographies of exclusion.
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| 2. |
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Exclusion
- 2018
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Ingår i: PARSE Journal. ; :8
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- The journal issue reflects a thematic focus on exclusion and highlighting various aspects of exclusion in education and the arts.
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| 3. |
- Hagström-Ståhl, Kristina, 1974
(författare)
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a strange new kind of inbetween thing: Antigone, philosophy, performance
- 2018
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Ingår i: Dramaturgical Investigations of Antigone: Violence and Resistance, Theatre and Performance Studies, University of Chicago.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This presentation attempts a critical reading of Sophocles' Antigone, which traverses between a ”philosophical”/textual and a “dramaturgical”/performance-oriented interpretation of elements in the play. Tracing a number of philosophical and theoretical investments in the drama to consider how such framings might influence a conceptualization and prospective staging of the play, conversely I consider the impact of practical, theatrical concerns (the materiality of embodied performance, spatio-temporal representation, the voice) on received discursive readings. Thus, I attempt to come to the play as a director, but by way of philosophical engagements. The aim is not to reinforce dichotomies of textuality/embodiment, ideas/action, or theory/practice, but rather to create encounters between different urgencies and to outline a potential critical performance practice that might describe itself, borrowing the words of Antigone, as “a strange new kind of inbetween thing.”
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| 4. |
- Hagström-Ståhl, Kristina, 1974
(författare)
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Acts of Translation in Charlotte Delbo's Theatrical Poetics
- 2018
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Ingår i: Poetry in Expanded Translation, Bangor University, Wales.
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Konferensbidrag (refereegranskat)abstract
- This presentation reflects critically and creatively on the differentiated yet intertwined ”acts of translation” constitutive of, on the one hand, the process of translating the poetic testimonial writing of French poet, playwright, and essayist Charlotte Delbo, and on the other, Delbo’s writing ”itself.” Having survived Auschwitz and Ravensbrück as a political prisoner, Delbo, who worked with theatre director Louis Jouvet before the War, became a writer, she claimed, out of necessity: ”...I felt the urge to testify. The words, the gestures, the agonies of Auschwitz needed to be told.” Delbo’s experimental, poetic testimony enacts a reciprocal, or translational, movement between experience and language, between word and gesture, between poetry and theatre. Deeply influenced by her pre-War immersion in theatre, Delbo’s writing, I would argue, carries within it something of what motivates the theatrical ”line” (parole): the urge or longing for articulation through embodied, voiced language; the tentative utterance of a position awaiting sound and corporeal agency; the recognition of the reliance of sound and the spoken on the visual-gestural, if through poetic language one is, as Delbo puts it, to ”make people see.” At stake is the seemingly impossible task of ”carrying the word” (rapporter la parole) from the concentrationary universe. Exploring Delbo’s inseparably theatrical-poetic aeshetic, and searching for ways to render her testimony in my own native language, Swedish, I will reflect on the challenges – and considerable beauty – of Delbo’s oeuvre, while considering how my own theatre practice becomes an indispensable part of the translation work I do.
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| 5. |
- Hagström-Ståhl, Kristina, 1974
(författare)
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Adjö Muffin
- 2017
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Ingår i: 27 september-8 december 2017 (ca 80 fst). Scenkonst Sörmland (Eskilstuna + turné).
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Adjö Muffin är en musikteaterföreställning för barn i åldrarna 5-9 år, med text av Ulf Nilsson (en dramatisering av hans bok Adjö herr Muffin) och nyskriven musik av Johan Ramström. Jag bearbetade texten och regisserade föreställningen för Scenkonst Sörmland hösten 2017.
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| 6. |
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| 7. |
- Hagström-Ståhl, Kristina, 1974
(författare)
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Att gestalta kön: metoder för konstnärlig utveckling
- 2016
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Ingår i: "Stereotype roller...?!".
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Inbjuden föreläsning vid symposiet "Stereotype Roller...?!", organiserat av LiktStilt/Dramatikerforbundet, Oslo, Norge, 6 nov 2016.
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| 8. |
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| 9. |
- Hagström-Ståhl, Kristina, 1974
(författare)
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Feminist Visuality and Theatrical Space
- 2017
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Ingår i: Att mötas kring forskningspraktiken - presentationsformat i konstnärlig forskning. Vetenskapsrådets symposium om konstnärlig forskning.
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Konferensbidrag (refereegranskat)abstract
- ”Performance honors the idea that a limited number of people in a specific time/space frame can have an experience of value which leaves no visible trace afterward.” Peggy Phelan’s formulation – critiquing a capitalist logic of reproduction, and arguing that if performance can be said to have an ”essence” it is its ephemerality, that it ”becomes itself” through disappearance – also addresses one of the frustations I face as a director and researcher in the field of performance. Positioned at the intersection of critical theory and artistic practice, my work typically entails staging full scale productions in collaboration with performance institutions and a creative team. Afterward and perhaps belatedly, a process of critical reflection takes place, and it is often this reflection, which poses as research ”results.” What I manage to keep, and reproduce, from my work is always something other than the work. Based in ideas I have recently begun to formulate, investigating the intersecting operations of power, visuality, and gender in text-based theatrical performance, I would therefore like to propose a presentation that confronts and embraces this frustration and the seeming discrepancy in performance research between performance and research.
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| 10. |
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