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  • 1.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Language Education.
    Att angripa solen: Annie Le Brun och Markis de Sade2015Other (Other (popular science, discussion, etc.))
  • 2.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Language Education.
    El Mundo sin Teatro: Estocolmo, de la apertura al cierre2020In: Artescénicas, ISSN 2605-0412, Vol. 19Article, book review (Other (popular science, discussion, etc.))
  • 3.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Ett poetiskt och imaginärt vittnesmål2024Other (Other (popular science, discussion, etc.))
  • 4.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Swedish Language and Multilingualism, Centre for Research on Bilingualism. ANNAT, specificera i kommentarfältet.
    Fransk dramatik med krigsproblematik2001In: Teatertidningen, ISSN 1101-9107, no 4, p. 33-35Article in journal (Other (popular science, discussion, etc.))
  • 5.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Swedish Language and Multilingualism, Centre for Research on Bilingualism.
    Jungfruleken av Jean Genet - en modern klassiker2008Other (Other (popular science, discussion, etc.))
  • 6.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Language Education.
    Lorcas teater: en poesi som går utanför språket2016Other (Other (popular science, discussion, etc.))
  • 7.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Language Education.
    Med orden som vapen2017Other (Other (popular science, discussion, etc.))
  • 8.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Swedish Language and Multilingualism, Centre for Research on Bilingualism.
    Molière och Tartuffe2011Other (Other (popular science, discussion, etc.))
  • 9.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Language Education.
    Samuel Beckett och språkbytets befrielse2015Other (Other (popular science, discussion, etc.))
  • 10.
    Ahmed, Ali
    et al.
    Linköping University, Department of Management and Engineering, Economics. Linköping University, Faculty of Arts and Sciences.
    Hammarstedt, Mats
    Linnaeus Univ, Sweden; Res Inst Ind Econ, Sweden.
    Customer and Worker Discrimination against Gay and Lesbian Business Owners: A Web-Based Experiment among Students in Sweden2022In: Journal of Homosexuality, ISSN 0091-8369, E-ISSN 1540-3602, Vol. 69, no 9, p. 1621-1630Article in journal (Refereed)
    Abstract [en]

    We examined customer and worker discrimination against gay and lesbian business owners using a web-based experiment conducted at a Swedish university campus. Participants (N = 1,406) were presented with a prospective restaurant establishment on the campus. They then stated whether they would be positive to such an establishment, whether they would be interested in working at the restaurant, and what their reservation wage would be if they were interested in the job. Owners sexual orientation was randomized across participants. Results showed that participants were less positive to a restaurant opening if the owners were lesbians, and they were less interested in an available job if the owners were gay. The participants had higher reservation wages if the owners were lesbians. In fact, the participants increased their wage demands when the number of women among the owners increased. Our study underlines that gay and lesbian people face various inequalities in society.

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    fulltext
  • 11.
    Alm, Mikael
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History.
    Johansson, Britt-IngerUppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Scripts of Kingship: Essays on Bernadotte and Dynastic Formation in an Age of Revolution2008Collection (editor) (Other academic)
    Abstract [en]

    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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    fulltext
  • 12.
    Andersen, Eeva
    Umeå University, Faculty of Arts, Comparative Literature and Scandinavian Languages.
    Teaterspridningen till Skellefteå 1852-19112003Report (Other academic)
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    Teaterspridningen till Skellefteå 1852-1911
  • 13.
    Andersson, Peter K.
    Örebro University, School of Humanities, Education and Social Sciences.
    The Imperturbable Seriousness of the Circus Buffoon: The Shakespearean Clown on the Threshold of Modern Comedy2022In: Journal of Victorian Culture, ISSN 1355-5502, Vol. 27, no 4, p. 595-609Article in journal (Refereed)
    Abstract [en]

    Around the middle of the nineteenth century, there arose a type of circus performer in England called ‘Shakespearean clowns’. These clowns constituted a transitory figure between the age of Georgian pantomime clowns and the establishment of the typical circus clown in the later part of the century. One of the more neglected representatives of the genre was James Clement Boswell, who enjoyed a brief period of success in England before becoming a sensation in Paris during the 1850s. Although he was universally praised, his clowning also evoked bafflement. This article studies reviews of and periodical articles on Boswell in order to get a picture of his performances and clown persona, and of how critics perceived him and turned him into an example of the melancholy clown trope. The resistance that Boswell’s act and persona offered to the writers, however, illustrates that he was part of a change in the figure of the clown from its early nineteenth century incarnation to the twentieth-century clown and comic. Boswell’s clowning prefigures the irony and deadpan comedy that would become more prevalent in modern comedy. He is also illustrative of the increasing detachment of the clown figure from representations of a social reality, and the creation of the modern circus clown as an essentially unreal character that epitomizes a separate outlook on life.

  • 14.
    Andrén, Maria
    et al.
    University of Gävle, Faculty of Education and Business Studies.
    Peterson, Elisabeth
    University of Gävle, Faculty of Education and Business Studies.
    Från ingen idé till färdig föreställning: Ett fokussamtal om den skapande processen2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Peterson, E & Andrén, M. (2010). Från ingen idé till färdig föreställning. Ett fokussamtal om den skapande processen. C-uppsats i dramapedagogik, Akademin för utbildning och ekonomi, Högskolan i Gävle.

    Syftet är att utifrån ett ledarperspektiv undersöka och beskriva den skapande processen i ett pedagogiskt föreställningsarbete. Undersökningen har en fenomenologisk utgångspunkt med fokussamtal som metod.  Fem drama-pedagoger som alla har arbetat på kulturskola med föreställningsarbete har gemensamt undersökt den skapande processen. Resultatet redovisas i kategorier utifrån den skapande processens olika faser, gruppens förutsättningar och ledarens pedagogiska överväganden. Vidare är materialet analyserat efter Pirjo Birgerstams indelning av skapande handling utifrån estetisk-intuitiv och rationell-analytisk position. I undersökningen behandlas också den tysta kunskapen och dess betydelse i det dramapedagogiska arbetet. Resultatet visar att den  skapande processen pendlar mellan olika nivåer som kan uttryckas i termer av mythos/logos, formdriften/sinnliga driften, agering/reflexion, estetisk-intuitiv/ rationell-analytisk position och att den pendlar mellan delar och helhet.

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    FULLTEXT01
  • 15.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Corroded Landscapes, Eroded Communities2021Conference paper (Refereed)
  • 16.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Creative Contexts and Crises of Care: Ella Hickson's The Writer2022In: Crisis, Representation and Resilience: Perspectives on Contemporary British Theatre / [ed] Clare Wallace, Clara Escoda, Enric Monforte, José Ramón Prado-Pérez, London: Bloomsbury Academic, 2022, p. 39-53Chapter in book (Refereed)
  • 17.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Disturbing the Binary: Country, City and Environmental Concerns in Contemporary British Theatre2021Conference paper (Refereed)
  • 18.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Ella Hickson’s ANNA (2019) and Lucy Kirkwood’s Mosquitoes (2017): Staging the Female Body Electric2023In: The New Wave of British Women Playwrights: 2008 – 2021 / [ed] Elisabeth Angel-Perez and Aloysia Rousseau, Walter de Gruyter, 2023, p. 93-110Chapter in book (Refereed)
    Abstract [en]

    In the recent period, Ella Hickson and Lucy Kirkwood have emerged as two of the most original and impactful voices of contemporary British theatre. In this essay, I shall be discussing their two plays ANNA (2019, directed by Natalie Abrahami) and Mosquitoes (2017, directed by Rufus Norris) respectively, drawing on theoretical frameworks informed by Michel Foucault and Tracy C. Davis. These will allow me to trace the processes of contingency, experiment, rehearsal and execution that both utilize and shape the human body towards the completion of tasks that extend beyond private imperative, into public mission. Such enquiries will also allow me to probe how the body's own intricacies and errancies might interject different layers of agency in high-risk procedures. All the while, my emphasis will remain on the ways in which both Hickson and Kirk-wood construct a profoundly gendered playscape, where networks between female-identifying actors are pivotal towards the conceptualization and execution of certain tasks. The electric body that the title of this piece refers to, then, is equally charged, as I go on to discuss, through a sense of duty; the feeling of being compelled to perform; and internal urges and priorities. Such factors, as will be shown, can both co-exist and antagonize one another.

  • 19.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Empathy, Environment, Embodiment: Self and Cosmos in Contemporary British Theatre2022Conference paper (Refereed)
  • 20.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Environment, Virus, Dystopia: Disruptive Spatial Representations2022In: Twenty-First Century Anxieties: Dys/Utopian Spaces and Contexts in Contemporary British Theatre / [ed] Merle Tönnies and Eckart Voigts, Walter de Gruyter, 2022, p. 43-56Chapter in book (Refereed)
  • 21.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Explore the Theme of Climate Crisis in Theatre2022Other (Other academic)
  • 22.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Martin Crimp’s Power Plays: Intertextuality, Sexuality, Desire2022Book (Refereed)
    Abstract [en]

    This book covers playwright Martin Crimp’s recent work showing how it captures the nuances in our interpersonal contemporary experience.

    Examining the bold and exciting body of writing by Crimp, the book delves into his depiction of intersections between narratives, as well as between private and public, through an honest look at power structures and shifts, marriages and relationships, sexuality, and desire.

    This book will be of great interest to students and scholars in Drama, Theatre and Performance, English Literature, and Opera Studies.

  • 23.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Reflections on a recent call for papers (Critical Stages Co-Edited Volume), a research grant (RJ Sabbatical award), and applied environmental adaptations.2021Other (Other academic)
  • 24.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Theatre, Community and Climate Consolation2023Conference paper (Refereed)
    Abstract [en]

     In the last two decades, as the climate crisis has accelerated, and as our collective vocabularies for addressing the issue have evolved from the early days of “global warming” to the more direct “climate change” and the even more literal “climate crisis” and “climate emergency”, theatre, as both text and performance, has been making considerable strides in addressing the issue. It has done so by incorporating the environment, nature and climate – and cross-combinations of these concerns – as a primary theme, as we have been noticing in the work of numerous contemporary playwrights, companies and directors. It has also developed more ways of incorporating sustainability and responsibility not only to the plot of the play, but, also, to the very staging methodologies that are increasingly often curated with the guiding principle of reducing footprint and emissions, and generally offsetting the environmental impact of performance through the tools available – as well as formulating novel ways of staging, seeing and engaging. I propose that an incentive towards such developments is not only the capturing of the emergency, but, also, the imperative to provide, for audiences who are of course also citizens experiencing shifting ecologies, arguably with a degree of complicity, a site for reflection, community and, indeed, recognition and consolation in the face of crisis.

                The paper will concentrate on a selection of Anglophone plays and performances from the past five years which have prioritised the environment, and the non-human world broadly conceived in such ways, promoting active agency amongst spectatorial communities and highlighting the interventionist role of performance. I will discuss the function of theatre in creating interspaces, which may be defined as sites of possibility that operate within the dramaturgy of the play, but, also, within the site of encounter of the audience. I will especially concentrate on plays by female-identifying authors, who have reconceptualised the eco-feminist creative framework in the twenty-first century.

  • 25.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Towards an Environmental Theatre Community: Crises, Possibilities, Pedagogies2023Conference paper (Refereed)
  • 26.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Towards an Interspatial Ecology in Contemporary Theatre: Theory, Text, Performance2023Conference paper (Refereed)
  • 27.
    Angelaki, Vicky
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Writing in the Green: Imperatives towards an Eco-n-temporary Theatre Canon2022In: Journal of Contemporary Drama in English, Vol. 10, no 1, p. 26-43Article in journal (Refereed)
    Abstract [en]

    This article reflects on the sociopolitical, cultural, and health landscape(s) of our current moment in time, addressing how intersecting crises have delivered us to an unprecedented moment for drama, theatre, and performance. As communities across the world have had to dispense with staples of everydaylife – attending live theatre performances being one of these –, so art, in all its forms, has never been more significant in its capacity to bring us together, even if modes of togetherness have shifted in their referentiality and locationality. As the article proposes, we need to take an intuitive approach to the appreciation of how our ecologies – in their broadest iteration – have been impacted and realigned by the COVID-19 pandemic in such ways that we can expect that our future scholarship(s) on plays, place, and landscape will and, indeed, ought to reflect this experience. Dialogues on theatre and environment, which are already intersectional, are now receiving yet another focusing lens through the pandemic. The article also suggests that our understandings of how our ecologies have been adapted invite a consideration of new modes of engaging with the environment in our discourses – and of the very term itself and what it might encompass –and new economies in calibrating our discourses to reflect our radically redistributed individual and collective experiences. The text offers examples of categories that emerge particularly strongly where spatial liminality is key; in so doing, it asserts that inbetweenness is a central element towards understanding our contemporary role and responsibilities: from collapsing binaries (environment/economy) to the unmoored experience of our times.

  • 28.
    Angelaki, Vicky
    et al.
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Sakellaridou, ElizabethAristotle University of Thessaloniki.
    Critical Stages / Scènes critiques. Issue No 26, 20222022Collection (editor) (Refereed)
  • 29.
    Angelaki, Vicky
    et al.
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities and Social Sciences.
    Sakellaridou, Elizabeth
    Aristotle University of Thessaloniki.
    On Theatre and Ecology at Critical Junctions: Editors’ Introduction2022In: Critical Stages / Scènes critiques, E-ISSN 2409-7411, Vol. 26Article in journal (Refereed)
  • 30.
    Asplund, T.
    et al.
    Department of Thematic Studies—Environmental Change, Centre for Climate Science and Policy Research, Linköping University, Linköping, Sweden.
    Kall, Ann-Sofi
    Jönköping University, School of Education and Communication, HLK, Sustainable Societies (SUS).
    Uhrqvist, O.
    Department of Behavioural Sciences and Learning, Linköping University, Linköping, Sweden.
    Creative arts for sustainability transformations: Exploring children’s theater for the UN Sustainable Development Goals2023In: Elementa: Science of the Anthropocene, E-ISSN 2325-1026, Vol. 11, no 1, article id 00124Article in journal (Refereed)
    Abstract [en]

    This article responds to recent calls for more creative expressions of climate and sustainability transformations. In particular, research literature argues that the formulation of new narratives of sustainable societies may function as a prominent intervention for system changes. Yet, few empirical studies exist on how creative climate and sustainability storytelling elicit varying levels of awareness and engagement. With the intention to advance scholarship in the role of narratives to create engagement with sustainability transformations, this study investigates children’s theater for the UN Sustainable Development Goals (SDGs) as one research site. By analyzing the interactive children’s theater play “Esmeralda and the Dragon—The Global Sustainability Goals,” we show that creative storytelling can offer a meaningful space for engagement with Agenda 2030 and the UN SDGs. In particular, we find that (1) children’s cognitive and emotional associations and experiences shape the meaning of and responses to the SDGs and (2) the play’s fictional elements resonate with children’s emotional frameworks. Based on the results, we argue that new stories are needed for sustainability transformations and that there is transformative power in the creative and performance arts in this respect, and we call for further exploration of various publics engagements with sustainability storytelling.

  • 31.
    Badani Zuleta, Paola
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Linguistics and Philology.
    Restoring the face of history on stage: Taking Tiger Mountain by Strategy - A model opera in revolutionary service2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis is to present identified modifications in the model opera Taking Tiger Mountain by Strategy, and to put these in perspective of its trajectory from its origins in the novel Tracks in the Snowy Forest, to its final form as the studied model opera from 1970. A semantical analysis was employed in the study of the book and the script, whereas semiotics served as a tool in identifying the existence and use of traditional elements from the theatrical form of jingju in the model opera. The contextualized analysis of the encountered alterations and their employment in relation to their history and contemporary circumstances shed a light over the importance of the identified elements’ role in using the model opera as a tool for clarifying differences between good and evil as established by the contemporary political elite. Going beyond its entertaining purpose and in accordance with the established policies regarding the arts set by the Communist Party, director Jiang Qing created a medley of Chinese and Western instruments, reformed jingju elements and rephrased lines. A medley conveying the indirect message of the right way to follow, in the disguise of a communist hero besieging Tiger Mountain in the name of revolution.

  • 32.
    Belin Larsson, Matilda
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    BLOOD AND SPERM - AND CUNTS: An analysis of the In-Yer-Face theatre genre ́s approach to female roles and characters2023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay explores the genre of In-Yer-Face theatre and its representation of women. In-Yer-Face theatre emerged in the 1990s in the UK, characterised by its confrontational style and provocative themes. While the genre is often associated with the portrayal of violence and aggression towards women, this essay explores how In-Yer-Face theatre may also offer a platform for women's stories and experiences. Through an analysis of The Censor, Blasted and the performances of Shopping and fucking and Look back in anger, the essay researches how In-Yer-Face theatre explores traditional gender roles and the ways in which women are often subjected to violence, exploitation, and objectification. The essay will use both a drama analysis and performance analysis of two plays and two performances from the genre to explore different views from the most prominent writers of the genre.Ultimately, this essay argues that In-Yer-Face theatre has an opportunity to offer a powerful and complex representation of women that demands critical engagement and interpretation but in many ways reproduces the societal norms. 

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    Blood and sperm - and cunts
  • 33.
    Bergman-Claeson, Görel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Scandinavian Languages.
    Berättaren på scenen: Monologer, avsidesrepliker och direkt publiktilltal i svensk dramatik under tre sekler2008Book (Other academic)
  • 34.
    Bergman-Claeson, Görel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Scandinavian Languages.
    Den bannlysta berättaren: monologen, avsidesrepliken och det moderna genombrottet2007In: Studier i svensk språkhistoria. 9, Det moderna genombrottet - också en språkfråga?: föredrag vid nionde sammankomsten för svenska språkets historia, i Åbo 19-20 maj 2006, Åbo: Svenska institutionen vid Åbo akademi , 2007, p. 7-Chapter in book (Other academic)
  • 35.
    Bergman-Claeson, Görel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Scandinavian Languages.
    Pigan som tystnade: Könsaspekter på episka strukturer i svensk dramatik 1725-19002007In: Språk och kön i nutida och historiskt perspektiv: studier presenterade vid Den sjätte nordiska konferensen om språk och kön, Uppsala 6-7 oktober 2006, Uppsala: Uppsala universitet , 2007, p. 145-153Chapter in book (Other academic)
    Abstract [en]

    The maid who fell silent. Epic structures and gender in Swedish drama 1725-1900

    Epic structures such as soliloquies and asides are frequently used in drama. The narrative function served by these dramatic conventions enables characters to provide a running commentary to the plot, and this in turn makes the characters using them a driving force in the drama.

    In this paper I discuss gender and social class of the dramatic figures using epic structures in Swedish drama from 1725 to 1900. The material studied consists of 25 plays.

    The main characters af interest are the servant figures. The driving force of 18th-century comedy is the cunning maid and, to a lesser extent, her male counterpart. Around 1850 these servants are replaced by other figures, such as the scheming villain, a characteristic male figure in melodrama.

    With the emergence of realism and naturalism, the use of epic structures is reduced. Female servant figures in naturalist plays have few lines, and use virtually no soliloquies or asides. They are a necessary part of the bourgeois family, but are no longer the driving force of the drama.

  • 36.
    Bergström, Gunnel
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    In search of meaning in opera: an opera singer's approach to the dialectics of words, music & myth in opera from Monteverdi to Verdi2000Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this thesis is to show that the opera singer's art is to transmit word and music into vocal action. It is assumed that opera, like all the arts, communicates myth. Of the stage arts opera is unique in that it expresses mythic metaphors through a combination of words and music.

    The point of departure is the opera singer's: confronted with the text, comprising libretto and music, how can this be used to achieve a dramatic effect? Stanislavsky's theory of acting is often applied in practice, but whatever its merits for the stage, it has shortcomings for opera. More promising, it is argued, is a form of hermeneutic approach that Ricoeur calls "backward relatedness": the composer's score is relied on to contain all essential information, but further understanding may be gained by studying any human science that gives insight into how the poet expresses his life experience.

    In this spirit, the first part of the thesis surveys the history of opera from Monteverdi to Verdi with a focus on how composers have handled the relation between words and music to give expression to human conflicts that are the stuff of myth. The second part comprises two chapters in which arias from each of the main periods studied are analysed with attention paid both to the libretto and the music and how these combine in vocal action that communicates myth. It is here that the fruitfulness of Ricoeur's insights are demonstrated. In a final part, the conditions for the present-day opera singer are discussed.

  • 37.
    Berlova, Maria
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Performing Power: The Political Masks of King Gustav III of Sweden (1771-1792)2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    King Gustav III founded the Swedish National Theater and Opera, participated in the court theater as playwright, director and actor and he was rightly called the Theater King. The King’s passion for acting was perceived in the past as a psychological weakness, which won him the appellation of wimp (fjant). However, Gustav III presents a special interest as a performer of the role of an enlightened monarch according to the philosophy of the epoch of Enlightenment, particularly that of Voltaire. This research project aims at challenging the stereotyped perception of Gustav III, and presents him as a performing king who purposely used his acting ability to achieve political gain.

    The theoretical foundation of this study of the King’s use of theater is described in Chapter I. The theory of playing by Johan Huizinga and the theory of theatricality of Nikolai Evreinov, from the point of view of culture and anthropology, respectively, explain how playing is the basis of human living. Yuri Lotman’s semiotic approach is applied to formulate the concept of theatrical playing meant to influence the spectators, which is at the core of the Pageants in court and in public, used by Gustav III to display his power. Finally, but most importantly, the theories of Josette Féral, Hans-Georg Gadamer and Willmar Sauter present theatrical playing as an interactive performative communication between the performer and the beholders that became the core of Royal Encounters, which were the most effective political tools of Gustav III.

    The ensuing chapters are devoted to the different activities of the King related to theater, understood as the sum of interactions between the performer and the spectators that can occur within the walls of a theater or outside them. Theatricalized actions transported into life and directed to the beholders (Pageants) and the interaction between the performing King and his beholding subjects (Royal Encounters) are presented and examined. Examples of Pageants are chosen from court life, such as entertaining divertissements and amateur theater; Public Pageants were held at occasions such as the birth of a royal prince and King Gustav’s departure to the war with Russia. Among the Royal Encounters the coup d’etat in 1772 and the struggle against the nobility at the Riksdag of 1789 can be mentioned.

    The conclusion establishes the concordance between the performing King and his beholding subjects leading to real achievements in politics. This investigation sheds light on the different theatrical means the King employed in crafting political tasks and choosing appropriate political masks. Gustav III was a master of acting; thus, the decisive factor in each of his theatricalized actions was not so much his art at playwriting and directing, as his ability as a performer. In addition, the King could assert his royal power by performing his own idealized social role of an enlightened monarch.

  • 38.
    Bialecka, Mirka
    Uppsala University, University Library.
    En flykt in i språkkapseln2008In: Svenska Dagbladet, ISSN 1101-2412, Vol. 14/8Article in journal (Other (popular science, discussion, etc.))
  • 39. Björck, Amelie
    Dokumentärteaterns ansvar2010In: Teatertidningen, ISSN 1101-9107, no 1, p. 39-40Article in journal (Other (popular science, discussion, etc.))
  • 40. Björck, Amelie
    Som om öronen blev smutsiga2009In: Ord och bild, ISSN 0030-4492, E-ISSN 1402-2508, no 1/2, p. 30-33Article in journal (Other (popular science, discussion, etc.))
  • 41. Björck, Amelie
    Vidga scenvärldar2010In: Teatertidningen, ISSN 1101-9107, no 4, p. 10-13Article in journal (Other (popular science, discussion, etc.))
  • 42.
    Blom, Mattias Bolkéus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English, The Swedish Institue for North American Studies.
    Om rätten att säga ifrån: Arthur Millers Häxjakten2001Other (Other (popular science, discussion, etc.))
  • 43.
    Blomgren, Anna-Maria
    et al.
    University West, Department of Studies of Work, Economics and Health.
    Blomgren, Roger
    University West, Department of Studies of Work, Economics and Health.
    Det ostyrbara pastoratet: teaterpolitikens nätverk2002Report (Other academic)
  • 44.
    Boman, Björn
    Stockholm University, Faculty of Social Sciences, Department of Education.
    Feminist themes in Hallyu 4.0 South Korean TV dramas as a reflection of a changing sociocultural landscape2022In: Asian Journal of Women's Studies, ISSN 1225-9276, E-ISSN 2377-004X, Vol. 28, no 4, p. 419-437Article in journal (Refereed)
    Abstract [en]

    While contemporary South Korea is fairly westernized but represents a lag in the spheres of culture and politics, it is expected that the current Korean wave or Hallyu 4.0 – popular cultural content, diffused as of 2016 – are cumulatively signified by feminist themes, merged with more traditional Korean and East Asian cultural elements. Five representative Hallyu 4.0 dramas are examined here, based on cultural globalization theory (e.g., hybridization), along with a review of some earlier studies of Korean dramas and relevant strands of feminist scholarship. The findings suggest that much of the moderately modern elements found in earlier waves of Korean drama are still present, while liberal or neoliberal feminist elements are manifest in all five shows, although to different degrees. This ideological shift, in part, reflects recent sociocultural changes.

  • 45.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Do you really feel like the outside matches the inside: Der authentische Körper im Wandel der Zeit2013In: Medialität und Menschenbild / [ed] Jens Eder, Universität Mannheim; Joseph Imorde, Universität Siegen; Maike Sarah Reinerth, Universität Hamburg, Walter de Gruyter, 2013, p. 85-99Chapter in book (Refereed)
    Abstract [en]

    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.

  • 46.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    "Känner du verkligen att utsidan stämmer med insidan?": Sken och vara i den samtida kroppskulturen2012In: Okonstlad konst?: Om äkthet och autenticitet i estetisk teori och praktik / [ed] Axel Englund/Anna Jörngården, Lindome: Symposion Brutus Östlings bokförlag, 2012, p. 25-35Chapter in book (Other academic)
  • 47.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. Free University of Berlin, Germany.
    On Multiple Appearances: An Analysis of the Performing Body in Kitt Johnson's Drift2012In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 24, p. 44-53Article in journal (Refereed)
    Abstract [en]

    On Multiple Appearances: An Analysis of the Performing Body in Kitt Johnson's Drift In the article, I challenge the prevalent use of phenomenology in dance scholarship, which focusses on the dancer's experience of her body when dancing. This approach often implies the problematic assumption that the dancer's experience is immediately transferred to the spectators who, in turn, are universally 'moved' by her dancing body. Instead of acknowledging that dance is a product of historically and culturally specific circumstances, such an analytical perspective ultimately tends to mystify dance. In this article I propose a different use of analytical tools in dance scholarship: I employ phenomenological reduction and epoche to focus on how dancing bodies appear in a stage context. To test the ability of these tools to explore dancing bodies from a third-person perspective, I analyze Danish choreographer Kitt Johnson's solo performance Drift (2011), focussing on her variable physical appearance. While phenomenology helps me to describe the multiple and radically different guises Johnson assumes in her piece, my analysis does not, ultimately, aim to distil a truer, more real being from her appearances, as is often the case in phenomenological analyses. Instead, I complement my analytical approach with the Deleuzian notion of becoming animal, suggesting that Johnson stages what, in Judith Butler's terms, could be called a critical contingency of bodily appearance.

  • 48.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Body as Non-Place: Utopian Potential in Philippe Decouflé’s Dance Film Codex2013In: Spaces of Utopia, ISSN 1646-4729, Vol. 2, no 2, p. 143-154Article in journal (Refereed)
    Download full text (pdf)
    FBPetersen Body as Non-Place
  • 49.
    Bork-Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Freie Universität Berlin.
    Authenticity and its Contemporary Challenges: On Techniques of Staging Bodies2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    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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    Fulltext
  • 50.
    Bornemark, Jonna
    et al.
    Södertörn University, School of Culture and Communication, Centre for Studies in Practical Knowledge.
    Ekström von Essen, Ulla
    Södertörn University, School of Culture and Communication, Centre for Studies in Practical Knowledge.
    Att bli häst och att tämja hästen: en föreställning2010In: Kentauren: om interaktion mellan häst och människa / [ed] Jonna Bornemark, Ulla Ekström von Essen, Huddinge: Södertörns högskola , 2010, p. 169-195Chapter in book (Other academic)
    Download full text (pdf)
    Att bli häst och att tämja hästen: en föreställning
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