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| 2. |
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| 3. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
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Artistic Research: Being There, Explorations into the Local
- 2017
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Ingår i: Nordicum-Mediterraneum. - : The National and University Library of Iceland. - 1670-6242. ; 15:1
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- How does artistic research engage with the concept of local? In what ways can art practice be an intervention into traditional notions of history and culture? How does it engage with local and global identities? This book raises questions about transient art practices and site-specific works within communities, as well as art and research based experiences localized in urban and rural spaces, within the body and memory. Being There is a wide-ranging anthology that demonstrates the field of artistic research has never been stronger. The essays and meditations are by visual artists, writers, performers, filmmakers, historians, sound artists, and activists who have worked together in the Nordic Summer University and who share a desire to unite their creative practices with critical enquiry. Their contributions were generated within twice-yearly symposia that moved between Nordic and Baltic countries over a three year cycle of practice-based research. Some contributions are enigmatic meditations on place, whilst others, paradoxically, address the question of what is local through the notion of the nomadic. Whether describing quests of individual artists, or relating to collective endeavours, these works are engaged with the spaces in between. Each offers the reader a thoughtful encounter with the aesthetic, and the political, within a myriad of art practices across a rapidly evolving Europe. A part of the series NSU-press and the subject areas Philosophy and Art
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| 6. |
- Bowman, Jason E., 1967
(författare)
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Speaking Mandy
- 2014
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Ingår i: European Artistic Research Network Conference: Thinking on Stage, May 2 2014, National College of Art and Design, Dublin, EIRE.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I will present at the very beginning of a research process, towards the making of a new art work through which I aim to interrogate the heritage of the phonocentric Oralist tradition in the education of Deaf people. I seek to ‘read’ and deconstruct Alexander McKendrick’s film, Mandy (1952) through a co-participatory process - with Deaf people educated through Oralism and of the same generation as the child protagonist in the film - to question the advocacy of entry into the symbolic via the ‘spoken’ and ‘speech-identification’ and its relations to psychoanalytic and inter-subjective, spectator-focused film theory. Through mimetic and performative processes inherent to Oralism (such as speech-reading, lip-reading, ventriloquism, echo-practice, dubbing and lip-synchronisation) I aim to adapt Mandy - itself an adaptation of Hilda Lewis’ novel, 'The Day is Ours' (1947) – in ways that reveal the psychoanalytic dynamics of shame at play in Oralism’s delineation of Deafness as a culture and its adherence to Deafness as a disability.
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| 7. |
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Intersections PARSE JOURNAL
- 2020
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Ingår i: PARSE JOURNAL. ; Summer:11
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- This issue of PARSE journal concludes the theme of “Intersectional Engagements in Politics and Art”, first initiated as a research arc within PARSE in 2018. Under this theme, artists, scholars and students, as well as a wider public have gathered to share a critical exploration of the nexus of race, coloniality, gender and sexuality in contemporary art-making, scholarship and artistic research. Focusing on socially engaged practices related to memory, history, embodiment and alterity, the journal issue offers yet another set of considerations that brings together research by practitioners and scholars from a wide range of fields, disciplines and contexts. The theme began as a way to address and explore interest within arts research about the notion of intersectionality as a mode of creative practice, as well as a form of critical analysis. This interest, arguably following a turn towards the intersectional in feminist artistic practice and pedagogy, came as scholars in the humanities and social sciences were already debating the various appropriations and reifications that had seemingly made intersectionality into “a grand theory of everything”, to use Kimberlé Crenshaw’s words, with the effect of positioning intersectionality as a deeply contested, seemingly overdetermined concept.
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| 8. |
- Järvinen, Hanna, et al.
(författare)
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Choreographing Histories: Critical Perspectives on Dance Histories in Nordic Dance Practices and Scholarship
- 2023
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Ingår i: Nordic Journal of Dance. - 1891-6708. ; 14:1, s. 31-47
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Tidskriftsartikel (refereegranskat)abstract
- This text is based on a roundtable organised by the five authors at the 2022 NOFOD conference in Copenhagen. As scholars and practitioners invested in the research and teaching of dance history both inside and outside academia, we wanted to address the pressing issue of how ‘history’ is defined and positioned within Nordic dance scholarship and practices today. Dance, as we think of it and practise it in our everyday lives, is far more diverse than the so-called ‘contemporary dance’ that the white authors listed as scholars and practitioners in the conference call indicate. For this roundtable, we wanted to show that dance theory and practice-led work in dance go far beyond the Eurocentric idea of contemporary dance present in the conference call, and to advocate for a more inclusive understanding of the practices of making or researching dance in the future
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| 9. |
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Scripts of Kingship : Essays on Bernadotte and Dynastic Formation in an Age of Revolution
- 2008
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)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.
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| 10. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Expansion och mångfald - en relationell forskningsdatabas : Expansion and Diversity - a relational research database
- 2021
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Ingår i: Expansion och mångfald: Digital kartläggning och analys av den utominstitutionella scenkonsten i Göteborg 1965-2000.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- I svenska teaterhistorier ses perioden 1965–2000 som en tid för framväxt och etablering av en utominstitutionell scenkonst. Fältet expanderande kraftigt när institutionsteatrarna utmanades av ”fria” grupper och en ny mycket varierad scenkonstkultur växte fram. Denna nya scenkonst ifrågasatte hierarkier, sökte sig ut från de traditionella scenerna, överskred genregränser, experimenterade konstnärligt och mötte en ny publik. En mångfald angelägna föreställningar för barn, migranter, arbetare, queera personer, studenter och många andra skapades av människor med olika kulturella bakgrunder och kompetenser. Historieskrivningen har observerat detta skifte, men endast lyft fram några få grupper, verk och välkända artister. Därmed har en endimensionell bild fått fäste i historieskrivningen, men nu har det blivit dags att utmana tidigare forskning genom att se perioden på ett nytt sätt och bejaka dess mångfald. Det är dags att inkludera de många olika uttrycken och grupperna i en historieskrivning som gör det fria kulturarvet rättvisa. Forskningsprojektet Expansion och mångfald vill använda digitalt material och metoder för att analysera, lyfta fram och tillgängliggöra frikulturen som ett värdefullt kulturarv som angår och engagerar många olika människor. Den viktiga mångfalden av uttryck, grupper, relationer och spelplatser i det expanderade fältet har visat sig vara svår för att hantera för traditionell historieskrivning. Den har genom sin linjära karaktär inte kunnat ge plats för exempelvis karnevalers mångfacetterade uttryck, migranters kulturföreningar, jazzdans som folkrörelse och konstnärlig katalysator, fysisk teater, spex och populärkulturella uttryck, danskonst i offentliga rum, och scenkonst för barn. Med mångfald och skillnader som utmaning för forskningen krävs att arkivmaterial från det expanderade fältet undersöks och görs tillgängligt på nya sätt och att tidigare oanvänt källmaterial görs åtkomligt och tas i anspråk. En grupp bestående av humanistiska och urban-sociologiska forskare med stor erfarenhet av scenkonstforskning och stadsanalyser kommer att tillsammans med experter från digital humaniora undersöka och tillgängliggöra den frikulturella mångfalden.
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| 11. |
- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2016
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- For the third year, the AHA festival investigates the meeting between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture and the Department of Physics. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about exploring the world through art and science. We invite scientists (physicists, historians, astronomers, engineers), artists (dancers, musicians, painters, poets, acrobats) who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.The first year’s theme ’Embodiment’ (2014) explored the body as our anchor in the world, followed by the 2015 theme on ’Numbers’, a delightful net we cast over the world. This year's theme is ’Uni-verse,’ again a natural consequence of our interest in the relation between art and science. The elemental force that drives science as well as art is curiosity. Come be curious with us! During the festival we have chosen to divide the word universe into three: uni and "-" and verse. Uni means that something is combined into a whole. Verse means that we are turned in a direction, the origin of the word tells us that it is the plow that turns at the end of the field. And the dash "-" is all the spaces and cracks where new discoveries can grow. Art and science unfolds in the gap between what we know and what we want to know.
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| 12. |
- Velasquez Atehortua, Juan, 1963
(författare)
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Juan
- 2017
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Ingår i: Disobedience.live.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Disobedience Live var en direktsänd dokumentär om fyra aktivisterna Sigrid, Kevin, Juan och Sarakka som gav sig av på en resa för att delta i en civil olydnadsaktion för klimatet. Tillsammans med tusentals andra ville de blockera infrastruktur för uppgrävning och förbränning av brunkol i Rhineland, Tyskland. Dokumentären pågick dygnet runt 22-27 augusti 2O17 och visades i realtid. Detta konstprojekt genomfördes av Troja scenkonst, som ville belysa demokratins tillstånd idag samt olika former av engagemang som människor ägnar sig åt – med civil olydnad som utgångspunkt. Mer info om scenkonstkollektivet Troja finns på trojascenkonst.se
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| 13. |
- Florea, Ioana, 1981
(författare)
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Gazeta de Arta Politica : Political Art Gazette
- 2017
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Ingår i: Gazeta de Arta Politica. - 2559-6446. ; 5:18, 19
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Gazeta de Artă Politică discusses, analyzes and promotes the social and political dimension of the most diverse forms of cultural and artistic projects. G.A.P. aims at: • disclosing the political dimension of artistic objects, including those that do not explicitly assume it; • analyzing the potential impact of major cultural programs and public policies in the cultural sphere; • promoting artistic projects with emancipatory goals and contributing to the consolidation of an Eastern-European left-wing-oriented arts network; • elaborating a revolutionary artistic discourse and practice, from a local perspective.
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| 14. |
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Human PARSE JOURNAL
- 2020
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Ingår i: PARSE Journal. ; :12
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- The 2019 PARSE conference “HUMAN” invited contributions to “reimagine, remake, expose and expand the human vis-à-vis notions of the nonhuman, inhuman, subhuman, post-human and inhumane.This collection offers no singularly defined notion of human. Instead it offers positions and analysis, performances and speculations on variegated ideas of the human—with its multiple pre-fixes, hence *human. The contributors all search for revitalised understandings of human in the context of revised histories, uncertain present conditions and in a future when technology, algorithms and environmental concerns, biodiversity and human biology converge in an ethical and political quagmire.
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| 15. |
- Kjellmer, Viveka, 1964
(författare)
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Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915–18).
- 2019
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Ingår i: Studies in Costume & Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 4:2, s. 179-191
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Tidskriftsartikel (refereegranskat)abstract
- In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915–18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.
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| 16. |
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| 17. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Scenographic Dialogues: Staging Carl Grabow’s 1907 Designs for A Dream Play (Part 1)
- 2019
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Ingår i: Dokumenterat. - 1404-9899. ; :51, s. 4-42
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- In a series of articles we, an art historian – von Rosen – and a theatre historian – Szalczer –, set out to reassess Carl Grabow’s 1907 designs for the world premiere of August Strindberg’s A Dream Play at the Swedish Theatre (Svenska Teatern) in Stockholm. By doing so, we challenge the persistently negative narrative on Grabow’s work with the production, to be found both in Swedish and international theatre and art history. The first article in the series focuses on Grabow’s color designs for the production, kept at the Swedish Museum of Performing Arts (Scenkonstmuseet) in Stockholm, and are made digitally accessible for the first time here in Dokumenterat. Within the broader field of scenography research designs have been proven to have agency beyond their realization on stage, and can also be used to access visual, spatial and multimodal resources of past performances. Our goal is to probe into how a scenographic approach to Grabow’s designs, understood as vital parts of the performance archive, may contribute to developing new historiographic methods while yielding new insights on the production history of A Dream Play. Throughout our first scenographic journey with Grabow’s designs we tested iconography as a method to explore and experience the world created by them. As we shall see in the next article, the testimonies of reviewers and illustrators indicate that Grabow’s collaboration with the production team resulted in different solutions than the perhaps early ideas envisioned in these designs. What is significant for us, however, is that regardless of its stage realization, the design-series manifests an autonomy, a unified artistic vision, conveyed by the succession of images as a painterly and multi-sensory reflection of the world of the play. What became apparent is that far from being haphazard superficial sketches, Grabow’s designs present a consistent interpretation of A Dream Play, with strong occult-spiritual overtones and attempts at painterly dematerialization, which counteract the realism and the materialization of the dream he was accused of by critics ever since. In our next article, we will further explore Grabow’s designs, including drawn and written information on their backsides, in the context of contemporary critical and pictorial response to the actual stage production. By staging a dialogue between the designs and the performance within its cultural milieu, we not only hope to learn more about Grabow’s craft and working process, but also about the constructive use of the scenographic approach in archival research.
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| 18. |
- Belgrano, Elisabeth, 1970
(författare)
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'Lasciatemi morire' & 'Rochers vous etes sourds': interpreting Arianna's tears, sighs and pain by investigating Italian and French ornaments through vocal practice-based research
- 2009
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Ingår i: Singing Music from 1500 to 1900: style, Technique, Knowledge, Asssertion, Experiment. 7-10 juli 2009. National Early Music Association International Conference, University of York, UK.
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Konferensbidrag (refereegranskat)abstract
- ABSTRACT: In my PhD research I depart from a female singer’s perspective of interpreting 17th century opera laments , based on musicologist Mauro Calcagno’s statement signifying the voice of the female singer as a symbol of Nothing in association with the concept of aesthetics in the early 17th century opera genre . The female singer, he points out, justified the relevance of “pure voice” and “over-vocalization” referring to two recurring tropes, pronounced within a larger discourse among 17th century intellectuals in Italy and France, concerned with the concept of aesthetics: the concept of nothingness and the singing of the nightingale. In this presentation I show my perceptions of the voice of Arianna. My aim is to better understand the use of ornamentation in my performance of Italian and French 17th century vocal music. Knowledge of ornamentation can be obtained by investigating at depth the singer’s process from the first encounter with the text and musical score, to the actual performance of stage. There are two important aspects I take into consideration. First, the intellectual discourse, contemporary to the creations and performances of the two laments by Monteverdi and Lambert, carries a great deal of information significant to vocal interpretation. Second, the oriental ornamentation is reflected upon the arts and architecture in Venice during the 16th and 17th centuries, but has not yet been fully addressed in relation to vocal ornamentation in the 17th century opera repertory. I have been observing the life and career of Signora Anna Renzi Romana, one of the first opera prima donnas active in Venice during mid 17th century. Her interpretations of laments and mad scenes made a great impact on her audience as well and on the intellectual academies supporting the early operatic events in Venice. As the sounding voices of the Greek Sirens seducing Odysseus and his sailors , Anna Renzi and her female colleagues seduced their audiences in the Venetian opera theaters. Renzi’s performances are described in a volume published to her honor in 1644, “La Glorie della Signora Anna Renzi Romana”. In my research I explore and reflect upon the vocal sounds of ‘trillo’, ‘esclamazione’ and ‘coup de gosier’ by merging these vocal ornaments and my experience of PURE VOICE to theories of Nothingness, debated by Italian and French17th century intellectuals in Venice and Paris. I also combine their thoughts and theories to philosophical theories of Nothing referring to Jean-Paul Sartre and Marcia Ça Cavalcante Schuback . My personal experience of the lamenting sound is then analyzed along with the glorious description of Renzi’s performances of the laments. Finally in my search for sources of vocal ornaments, I listen to voices and vocal music from the ‘east’, following the 16th and 17th century Venetian trading routes. The Eastern throat–beating ornaments and vibratos appears similar to the ones described by 17th century composers and authors like Giulio Caccini and Benigne de Bacilly, and they inspire my research towards different possible ways of performing the sighs, tears and pains of Arianna. This research and presentation is part of my PhD research project“Passionate Women’s Voices on Stage and an Interpretation of the 17th Century Lamenti and Scene di Pazzie”. See: http://www.konst.gu.se/forskarutbildning/doktorander/Elisabeth_Belgrano/
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| 19. |
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| 22. |
- Bork Petersen, Franziska
(författare)
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Do you really feel like the outside matches the inside : Der authentische Körper im Wandel der Zeit
- 2013
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Ingår i: Medialität und Menschenbild. - : Walter de Gruyter. - 9783110275964 - 9783110276176 ; , s. 85-99
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Bokkapitel (refereegranskat)abstract
- The concept of an authentic person who makes his/her ‘true inner’ visible on the body’s surface reappears as an ideal throughout history. What has undergone significant changes, however, is what exactly constitutes authentic bodily appearance. What ‘inner’ is represented and how exactly is it made visible on the body? My article focuses on two instances in which stagings of the authentic body represent an important issue: First in the French Enlightenment and subsequently in contemporary makeover culture (which originated in the Western world, but is no longer limited to it).Images of bodies revealing their ‘true inner’ took on particular importance in the Enlightenment when writers such as Rousseau used them as counterpoints to what they rejected as the ancien regime ’s affected bodies. One might assume today –in the aftermath of late 20th century poststructuralism, postmodernism and feminism –that any notion of bodily ‘authenticity’ or for that matter ‘essential selfhood’ would be curtly dismissed. Yet, the image of an authentic body that reveals a ‘deserving’ inner self is exactly what is staged in most popular media today.18th century acting theories suggested that ‘naturally expressive’ gestures could be conveyed –indeed reveal feelings –without any mediation. What has changed since then, I will argue, is that the ideal authentic body in makeover-culture has to be thoroughly and visibly worked for.
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| 23. |
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| 25. |
- Cedergren, Mickaëlle
(författare)
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L'Idéal monastique chez Huysmans et Strindberg, entre réalité et fiction.
- 2009
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Ingår i: Revue de littérature comparée. - Paris : Klincksieck. - 0035-1466 .- 1965-0264. ; LXXXVI:2, s. 165-182
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Tidskriftsartikel (refereegranskat)abstract
- Strindberg et Huysmans appartiennent à la même période mystique de fin de siècle et partagent le même rêve religieux, celui notamment de fonder une colonie d’artistes de style monastique. Alors que Huysmans réalise une partie de ses rêves en devenant oblat bénédictin et en essayant de regrouper autour de lui quelques artistes, Strindberg échouera. L’écrivain suédois ne verra jamais son rêve prendre forme tel qu’il l’aura défini avec minutie dans sa correspondance. En revanche, au lieu de devenir moine, il mettra son écriture à contribution pour faire vivre ce rêve à travers de nombreux personnages littéraires de son théâtre. Cette étude examine les deux manières différentes par lesquelles Huysmans et Strindberg ont vécu leurs rêves.
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| 26. |
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| 27. |
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| 28. |
- Feiler, Yael, 1953-
(författare)
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Att välja och att välja bort : Rapport om ett antal svenska teatrars rutiner och kriterier gällande rekrytering av dramatiker, med särskild fokus på genus och jämställdhetsaspekten
- 2009
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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.
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| 29. |
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| 30. |
- Gindt, Dirk, 1975-
(författare)
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Anxious Nation and White Fashion : Suddenly Last Summer in the Swedish folkhem
- 2009
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Ingår i: Nordic Theatre Studies. - 0904-6380 .- 2002-3898. ; 21:1, s. 98-112
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Tidskriftsartikel (refereegranskat)abstract
- This article investigates how Tennessee Williams’ play Suddenly Last Summer, as staged in Sweden in 1959, communicated sexual and racial anxieties. It aims to tease out the importance of fashion for the articulation of the closet and the expression of the simultaneous absence and presence of the queer subject in the play. Looking at the omnipresent use of whiteness of certain key costumes, the essay further proposes the concept of white Gothic fashion and argues that this assumed a whole new meaning when staged in a social and historical context that was not only characterized by institutionalized homophobia, but also promoted white hegemony and the control of women’s bodies. Placing particular emphasis on the socio-historical context of Sweden in the 1950s, the article demonstrates how performance studies and fashion theory can engage in a critical cultural analysis and help us understand national emotions, concerns and anxieties.
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| 31. |
- Gindt, Dirk, 1975-
(författare)
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Out of the Closet, Onto the Page : A discussion of Williams’s public coming out on The David Frost Show in 1970 and his confessional writing of the ’70s, with Michael Paller, Annette Saddik and David Savran, panel debate from the 2010 Tennessee Williams Scholars Conference, New Orleans, USA
- 2011
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Ingår i: The Tennessee Williams Annual Review. ; :12, s. 107-119
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 32. |
- Gindt, Dirk, 1975-
(författare)
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Playing Activists and Dancing Anarchists : Men and Masculinities in Cultural Performances in Contemporary Sweden
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Playing Activists and Dancing Anarchists is a Ph.D. dissertation that aims to analyse men and masculinities in political demonstrations and similar manifestations by conceptualising and analytically approaching such cultural performances as theatrical events. The case studies include the large peace demonstration in Stockholm in February 2003 against the invasion of Iraq; a street theatre performance by the comedians Kesselofski and Fiske, who argue against the European Monetary Union; four Social Democratic May Day celebrations with former prime minister Göran Persson as the main speaker; two anti-racist demonstrations, one of which leads to a violent street battle between activists and a riot police squad.The dissertation proposes Performance Studies as a relevant means of examining men and masculinities in political live events. The method of study is based on participant observation and the material is complemented with additional sources. The theoretical and analytical approach is inspired by Willmar Sauter’s model of the theatrical event and Raewyn Connell’s theory of hegemonic masculinity.The different chapters identify and discuss a broad range of men and masculinities, from a cowboy-politician and a financial shark to dead political father figures and masked collectives of martyrs. A closer analysis reveals that many of them are contemporary embodiments or complicit supporters of hegemonic masculinity. Underneath the playful surface of some of the events are strong undercurrents of this ideal. The study also shows the growing resistance offered by feminist activists, performers and musicians. Cultural performances prove to be loci where hegemonic masculinity is not only reproduced, but also contested. The concept of the theatrical event helps to identify and spotlight these attempts and shows how Performance Studies can contribute to analysing men and masculinities.
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| 33. |
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| 34. |
- Hammergren, Lena, 1953-
(författare)
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The Power of Classification
- 2009
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Ingår i: Worlding Dance. - Houndmills, Basingstoke : Palgrave Macmillan. - 9780230205949 ; , s. 14-31
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 35. |
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| 36. |
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| 37. |
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| 41. |
- Holmberg, Hans, 1934-
(författare)
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Då spelades det teater!
- 1981
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Ingår i: Klippt ur Kristianstadsbladet. - Kristianstad : Kristianstadsbladet. ; , s. 206-212
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Bokkapitel (populärvet., debatt m.m.)
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- Holmberg, Hans, 1934-
(författare)
-
Från Kristianstads gamla teater II : Ibsen i Kristianstad
- 1981
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Ingår i: Kring Helge å: årsskrift för Föreningen Gamla Christianstad, S:a Annas gille, Villands härads hembygdsförening. - Kristianstad : Föreningen Gamla Christianstad. - 0280-3895. ; 1980-1981, s. 78-85
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 44. |
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| 45. |
- Holmberg, Hans, 1934-
(författare)
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Något om teaterlivet i Kristianstad under åren 1835-1837
- 1978
-
Ingår i: Kring Helge å: årsskrift för Föreningen Gamla Christianstad, S:a Annas gille, Villands härads hembygdsförening. - Kristianstad : Föreningen Gamla Christianstad. - 0280-3895. ; 1977-1978, s. 63-78
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 46. |
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| 47. |
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| 48. |
- Hoogland, Rikard, 1959-
(författare)
-
Introduction : Theatrical Emotions
- 2009
-
Ingår i: Nordic Theatre Studies. - Stockholm : Föreningen nordiska teaterforskare. - 0904-6380 .- 2002-3898. ; 21, s. 5-
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 49. |
- Hoogland, Rikard, 1959-
(författare)
-
Teaterpubliken i svensk kulturpolitik
- 2009
-
Ingår i: Peripeti - tidskrift for dramaturgiske studier. - Aarhus. - 1604-0325. ; :12, s. 19-30
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Tidskriftsartikel (refereegranskat)abstract
- Theatre audience and the Swedish cultural policy The Swedish cultural policy has since the 1930’s been engaged in distributing art on a professional level to all citizens and for its fulfilling reduced all hindrances. This article aims to analyze the way the theatre audience has been discussed in governmental cultural policy reports since 1933 years theatre report. In focus stands the failure to fulfill the goal that the theatre audience should be a cross-section of the Swedish society (social, ethnic, gender).
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| 50. |
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