| 4. |
- Holdar, Magdalena, 1970-
(författare)
-
Scenography in Action : Space, Time and Movement in Theatre Productions by Ingmar Bergman
- 2005
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Developments in technology and new aesthetic idioms in the past decades have changed the preconditions for the scenographer’s work in the theatre. Therefore, it has become problematic indeed to describe scenography as the sum of costume and set, although this continues to be the common definition of the concept. This study focuses on the interaction of different features in a theatre performance, such as scenography, actors, light and sound. The aim is to show that scenography, as opposed to set and costume, cannot be separated from the live performance, i.e. the context for which it is created.By investigating scenography from the parameters space, time, and movement, the thesis demonstrates that the art is anything but stable. On the contrary, it continuously changes shape, size, and appearance. The actors in particular play an important role in the organization of the space, thus exposing the instability of scenography in action.The analytical chapters in the thesis discuss four different movements, or transformations, in scenography, appearing in eight theatre productions staged by Swedish director Ingmar Bergman between 1984 and 1998. The first chapter, "Expansion," discusses how scenography incorporates new spaces, either through the actors’ movements or by quoting architectonic details from other parts of the theatre building. "Revolution" shows different ways of revolving scenography without the aid of technical devises such as the revolve stage. "Perforation," the third chapter, analyses the effects of a perforated set and its consequences for the spectators’ apprehension of scenography. The last chapter, "Metamorphoses," highlights actions that undermine the definition of some central concepts in performance, such as “performers,” “props,” and “spectators,” all of which are intertwined in the analysed productions.A concluding part of the dissertation elaborates on the effects of these movements and transformations in scenography, in particular as related to the physical and mental relationship between actor and audience.
|
|
| 5. |
- Sjöholm Skrubbe, Jessica, 1972-
(författare)
-
Skulptur i folkhemmet : Den offentliga skulpturens institutionalisering, referentialitet och rumsliga situationer 1940-1975
- 2007
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis focuses on public sculpture in Sweden 1940–1975. The principal aim is to present a representative picture of the phenomenon of public sculpture and to analyse its institutional prerequisites and meaning production, as well as examine how it operates in public space. From this point of departure, three fields of interest evolve: the ideological implications of public sculpture, public sculpture’s position in art history writing, and the notion of sculpture itself. The first chapter concerns the institutionalisation of public sculpture in the welfare state. The institutionalisation started as a taking over of bourgeois idealistisc cultural ideas. Complemented by demands for social reforms directed towards the artists as well as an agenda for cultural democracy concerning the public, this art ideology could be incorporated in the discourse of the welfare state. However, this process turned out to be a highly gendered power structure, as the practice of public sculpture became a male monopoly. The second chapter analyses the referentiality of public sculpture. An important issue is that the established notion of sculpture, defining modernist sculpture as the counterpoint of the traditional monument, is in need of critical revision. This argument is evolved throughout a discusison of the main tropes of public sculpture. The analyses in this chapter clearly show that ideology was invested in practice and meaning production as well as in the historiography of public sculpture. Conventional notions of gender and gender dichotomy as well as modernist art ideals have played important roles in this ideology. The third chapter discusses the importance of the spatial situation for the meaning production of sculpture. The analyses make clear that the relation between a sculpture and its spatial context is of an ambivalent character, as physical, social, and cultural aspects of site are of crucial importance to the interpretation of public sculpture.
|
|
