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  • 1.
    Brinch, Rebecca
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    "All teater har en samhällsrevolutionerande potential": Ett samtal om Unga Klara med Farnaz Arbabi2022Inngår i: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 337-351Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 2.
    Brinch, Rebecca
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Gindt, DirkStockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.Rosenberg, TiinaStockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Berätta, överleva inte drunkna: Antirasism, dekolonisering och migration i svensk scenkonst2022Collection/Antologi (Annet vitenskapelig)
  • 3. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Interview with Sarah Schulman: Corporate Culture, HIV Criminalisation, Historicising AIDS and the Role of Women in ACT UP2018Inngår i: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, s. 387-404Kapittel i bok, del av antologi (Fagfellevurdert)
  • 4. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century2018Inngår i: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, s. 3-46Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    In 2004, on the final day of the Bangkok AIDS Conference, a drug com-pany packaged thousands of single antiretroviral pills into jewellery boxes and allowed one pill per delegate to be collected from their corporate booth. Many delegates at the conference came from countries where access to treat-ment medication was, and continues to be, restricted to the rich. There was a degree of confusion among sex worker activists who attended and whose background or migration status excluded them from accessing life-saving HIV treatment. After an entire week of protests, workshops, presentations, posters, activism, performance, installation, media and the experience of generally being marginalised within the broader HIV sector, we [sex worker activists] witnessed many migrant sex workers living with HIV and without access to treatment carrying their single pill away from the corporate booth.

  • 5. Campbell, Alyson
    et al.
    Gindt, DirkStockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Viral Dramaturgies:  HIV and AIDS in Performance in the Twenty-First Century2018Collection/Antologi (Fagfellevurdert)
    Abstract [en]

    This book analyses the impact of HIV and AIDS on performance in the twenty-first century from an international perspective. It marks a necessary reaffirmation of the productive power of performance to respond to a public and political health crisis and act as a mode of resistance to cultural amnesia, discrimination and stigmatisation. It sets out a number of challenges and contexts for HIV and AIDS performance in the twenty-first century, including: the financial interests of the pharmaceutical industry; the unequal access to treatment and prevention technologies in the Global North and Global South; the problematic division between dominant (white, gay, urban, cis-male) and marginalised narratives of HIV; the tension between a damaging cultural amnesia and a potentially equally damaging partner ‘AIDS nostalgia’; the criminalisation of HIV non-disclosure; and, sustaining and sustained by all of these, the ongoing stigmatisation of people living with HIV.

    This collection presents work from a vast range of contexts, grouped around four main areas: women’s voices and experiences; generations, memories and temporalities; inter/national narratives; and artistic and personal reflections and interventions.

  • 6.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap.
    Angels in America: Roy Cohn och konstruktionen av en frisk, heterosexuell  samhällskropp2002Inngår i: Lambda Nordica, ISSN 1100-2573, E-ISSN 2001-7286, nr 3-4, s. 95-107Artikkel i tidsskrift (Annet vitenskapelig)
  • 7.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Anxious Nation and White Fashion: Suddenly Last Summer in the Swedish folkhem2009Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 21, nr 1, s. 98-112Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    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.

  • 8.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Anxious Nation and White Fashion: Suddenly Last Summer in the Swedish folkhem2009Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 21, nr 1, s. 98-112Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    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.

    Fulltekst (pdf)
    fulltext
  • 9.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    “Att betrakta människor som människor oavsett hudfärg”: Ett samtal om rasifiering och vithetsnormen med Astrid Assefa2022Inngår i: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 156-172Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 10.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Bildens halva sanningar2009Inngår i: Teatertidningen, nr 2-3, s. 50-51Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 11.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Cat Without Claws: Death and Homophobia in Ingmar Bergman’s Production of Cat on a Hot Tin Roof2020Inngår i: The Tennessee Williams Annual Review, ISSN 1097-6035, Vol. 19, s. 57-85Artikkel i tidsskrift (Fagfellevurdert)
  • 12.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Coming Out of the Cabinet: Fashioning the Closet with Sweden’s Most Famous Diplomat2012Inngår i: Studies in Fashion and Beauty: Volume One / [ed] Efrat Tseëlon, Ana Marta González and Susan Kaiser, Bristol, UK & Chicago: Intellect Ltd., 2012, s. 233-254Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    This article offers a critical analysis of the media discourse surrounding the Swedish diplomat Sverker Åström’s coming out as a gay man at the age of 87. Particular interest is devoted to his striking fashion choice of wearing a pair of oddly coloured socks, which highlighted his contradictory masculinity as well as the many inherent paradoxes of the closet. Åström’s red and green socks functioned as a means to express forbidden desires, to oppose normative expectations in a playful way and to grant the gay subject a presence in a world that is still very much structured by the logics of the closet. Moreover, his contradictory body language, coupled with his repeated affirmations that his coming out was a private issue, revealed a divided masculinity that was ideologically dependent on a pre-feminist understanding of gender and sexuality as private, that is to say non-political. The article argues that there was strong evidence to suggest that his coming out was in fact a tactical move in a political game, a move aimed to denounce and ridicule the Swedish Security Police (SÄPO), who, after decades of surveillance, refused to grant the diplomat access to its classified files on him.

  • 13.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Coming Out of the Cabinet: Fashioning the Closet with Sweden’s Most Famous Diplomat2010Inngår i: Critical Studies in Fashion and Beauty, ISSN 2040-4417, Vol. 1, nr 2, s. 233-254Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This essay offers a critical analysis of the media discourse surrounding the Swedish diplomat Sverker Åström’s coming out as a gay man at the age of 87. Particular interest is devoted to his striking fashion choice of wearing a pair of oddly coloured socks, which highlighted his contradictory masculinity as well as the many inherent paradoxes of the closet. Åström’s red and green socks functioned as a means to express forbidden desires, to oppose normative expectations in a playful way and to grant the gay subject a presence in a world that is still very much structured by the logics of the closet. Moreover, his contradictory body language, coupled with his repeated affirmations that his coming out was a private issue, revealed a divided masculinity that was ideologically dependent on a pre-feminist understanding of gender and sexuality as private, that is, non-political identities. The article argues that there was strong evidence to suggest that his coming out was in fact a tactical move in a political game with the objective to denounce and ridicule the Swedish Security Police, which, after decades of surveillance, refused to grant the diplomat access to its classified files on him.

  • 14.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Creativity, Corporeality and Collaboration: Staging Fashion with Giorgio Armani and Robert Wilson2020Inngår i: Staging Fashion: The Fashion Show and Its Spaces / [ed] Tiziana Ferrero-Regis, Marissa Lindquist, London: Bloomsbury Academic, 2020, s. 162-175Kapittel i bok, del av antologi (Fagfellevurdert)
  • 15.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Den teatrala vreden: Hiv/aids och gayidentitet i Larry Kramers drama The Normal Heart2008Inngår i: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, ISSN 1100–2573, Vol. 13, nr 4, s. 74-97Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    The article offers an analysis of Larry Kramer's drama The normal heart (1985), one of the first written plays dealing with HIV/AIDS. The focus lies on how Kramer treats the question of gay male identity and the narrow understanding of gay politics dominated by white middle-class men. Four thematic areas are discussed: The main character's critique of sexual promiscuity and his demands of sexual abstinence, his encouragement to his friends to come out of the closet, the awareness of gay men's contributions to history and culture, and the rising anger and rage as driving forces for new alliances and broader forms of activism. The article argues that queer theory must be situated in the specific socio-political climate of the 1980s and reminds of the importance of the HIV/AIDS-crisis for shaping a new understanding of sexual identities.

  • 16.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    "Det är mycket du kan förändra genom en berättelse": Ett samtal om samisk scenkonst med Åsa Simma2022Inngår i: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 72-83Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 17.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    “En enda lång kulturrevolution för tornedalingarna”: Ett samtal om Tornedalsteatern med Erling Fredriksson2022Inngår i: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 84-94Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 18.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    ‘En gorillaliknande högpotent hanne som stank av kön’: Anders Ek och gestaltningen av sexualitet i Spårvagn till Lustgården2009Inngår i: Mode – en introduktion: En tvärvetenskaplig betraktelse / [ed] Dirk Gindt & Louise Wallenberg, Stockholm: Raster , 2009Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 19.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap.
    En hyllning till Gunnel Broström: Sveriges främsta Williamsaktris2011Inngår i: Teatertidningen, nr 2, s. 32-35Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 20.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    En kort introduktion till kritiska maskulinitetsstudier2008Inngår i: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, ISSN 1100–2573, Vol. 13, nr 4, s. 6-14Artikkel i tidsskrift (Annet vitenskapelig)
  • 21.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Eve Kosofsky Sedgwick in memoriam2009Inngår i: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, Vol. 4, nr 2, s. 76-90Artikkel i tidsskrift (Annet vitenskapelig)
  • 22.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Galen, kriminell och sjuk: Sprätthöken som modeoffer2012Konferansepaper (Annet vitenskapelig)
  • 23.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Heroes and Villains: Contesting Hegemonic Masculinity in a Peace Demonstration2007Inngår i: Nordic Theatre Studies, ISSN 0904-6380, Vol. 19, s. 56-67Artikkel i tidsskrift (Fagfellevurdert)
  • 24.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Heroes and Villains: Contesting Hegemonic Masculinity in a Peace Demonstration2007Inngår i: Nordic Theatre Studies, ISSN 0904-6380, Vol. 19, s. 56-67Artikkel i tidsskrift (Fagfellevurdert)
    Fulltekst (pdf)
    fulltext
  • 25.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    "I en fungerande demokrati finns scenkonsten för att visa på anomalier": Ett samtal om Riksteatern med Dritëro Kasapi2022Inngår i: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 40-50Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 26.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    I väntan på en nationalscen2022Inngår i: Teatertidningen, ISSN 1101-9107, nr 1, s. 41-44Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 27.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    In Defense of the Theatrical Event2007Inngår i: Willmar in the World: Young Scholars Exploring the Theatrical Event: A Festschrift for Willmar Sauter on his 60th Birthday / [ed] Yael Feiler, Rikard Hoogland, Kalle Westerling, Stockholm: STUTS , 2007, s. 22-28Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 28.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Inledning2009Annet (Annet vitenskapelig)
  • 29.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap.
    Inledning: Reflektioner kring mode, feminism och homosexualitet2009Inngår i: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, ISSN 1100-2573, Vol. 14, nr 3-4, s. 9-23Artikkel i tidsskrift (Annet vitenskapelig)
  • 30.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    "La plume vigoureuse et drue du cher André Obey": Controverses autour de la première adaptation française de La Chatte sur un toit brûlant de Tennessee Williams’2022Inngår i: André Obey, créateur dramatique complet: théâtre, musique et sport / [ed] Sophie Gaillard; Marie Sorel, Paris: Honoré Champion, 2022Kapittel i bok, del av antologi (Fagfellevurdert)
  • 31.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Medico-artistic complicities on Swedish stages: The boys in the band and the regulation of gay male representation in the welfare state2016Inngår i: Journal of Homosexuality, ISSN 0091-8369, E-ISSN 1540-3602, Vol. 63, nr 5, s. 633-666Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Seeking to understand the highly unfavorable conditions for the development of gay male theater in Sweden, this essay engages in a historical study of the national opening of Mart Crowley’s The Boys in the Band at Malmö City Theatre in 1970. Propelled by a Foucauldian-inspired theoretical approach, it identifies the subtle, yet highly effective, measures of control that the, at the time, social democratic welfare state exercised over representations of homosexuality on stage. State representatives, who complied with the official political and medical doctrine that homosexuality was a mental illness and posed a potential threat to social stability, interfered at various levels of the production, including the rehearsal process and post-performance talks between cast members and audiences. This alliance between Swedish theaters and members of the medical, psychological, and sexological professions constituted a medico-artistic complicity that supervised and regulated early attempts of gay representation on stage.

  • 32.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap.
    Mode – en introduktion: En tvärvetenskaplig betraktelse 2009Collection/Antologi (Annet (populærvitenskap, debatt, mm))
  • 33.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    National Performances of Crying: Neoliberal Sentimentality and the Commodification of HIV and AIDS Narratives in Sweden2018Inngår i: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, s. 235-253Kapittel i bok, del av antologi (Fagfellevurdert)
  • 34.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    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, USA2011Inngår i: The Tennessee Williams Annual Review, ISSN 1097-6053, nr 12, s. 107-119Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 35.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Performative Processes: Björk’s Creative Collaborations with the World of Fashion2011Inngår i: Fashion Theory: The Journal of Dress, Body & Culture, ISSN 1362-704X, E-ISSN 1751-7419, Vol. 15, nr 4, s. 425-450Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This essay analyzes how Icelandic singer-songwriter and actress Björk uses dress as a creative medium to enhance her musical vision, visualize her patriotic politics as well as ally herself with performance art and further strengthen her position in the avant-garde. I devote specific attention to her joining forces with British designer Alexander McQueen and British photographer Nick Knight and unpack the implications of this creative collaboration, arguing that Björk strategically uses McQueen’s and Knight’s understanding of fashion as a performative process, that is, constantly in a state of becoming and transformation, in order to create her unique style that is characterized by the shifting and unstable identity of the Icelandic geographical body. In the last part of the essay, I take Björk’s involvement with SHOWstudio as a starting point to reflect on some of the consequences when these visual and performative collaborations move into the realm of the digital.

  • 36.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap.
    Playing Activists and Dancing Anarchists: Men and Masculinities in Cultural Performances in Contemporary Sweden2008Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    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, which enables a direct experience of the theatrical communication. This material is complemented with additional sources, such as photographs, newspaper articles, magazines, video recordings, TV broadcasts, interviews, flyers and Internet websites. 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 theatrical event studies the live meeting between performers and spectators as a playful act of human communication in a concrete space. It also situates any performance in a cultural context that includes gender and gender relations. Connell suggests that, while most men benefit from the structural subordination of women, relations between different men and masculinities are dynamic and characterised by internal hierarchies. The normative and socially privileged position is given to hegemonic masculinity, a combination of cultural ideal and institutional power that is often reinforced by an underlying threat of violence.

    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. At first sight, these seem to be immensely diverse, unique and individual – but 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. At times, these create a small quake during a cultural performance. At others, they erupt forcefully. While violence is a central theme of the study, it 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 in political demonstrations and similar cultural performances.

  • 37.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Samisk scenkonst som gåva: Eeflektioner kring Giron Sámi Teáhter och dess dekoloniala arbete2022Inngår i: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 95-124Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 38.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Sky Gilbert, Daniel MacIvor, and the man in the hotel room: queer gossip, community narrative, and theatre history2013Inngår i: Theatre Research in Canada, ISSN 1196-1198, E-ISSN 1913-9101, Vol. 34, nr 2, s. 187-215Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This essay outlines how the gossip surrounding Tennessee Williams’s visit to Vancouver in 1980 has influenced the narratives of gay communities and in so doing contributed to queer theatre history in Canada. Stories of Williams inviting young men to his hotel room and asking them to read from the Bible inspired Sky Gilbert and Daniel MacIvor to each write a play based on these events. The essay argues that Gilbert and MacIvor transcend the localized specificity of the initial rumours and deploy gossip as a tool to articulate a process of sexual and cultural marginalization, thereby fostering a dialogue with the past. This dialogue marks a crucial and pedagogical task in gay and queer theatre to address the on-going needs of an ever-changing community.

  • 39.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Swedish Whiteness, German Multiculturalism, French National Identity and American Racial Profiling Transnational Perspectives on Jonas Hassen Khemiri’s Invasion!2021Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 33, nr 2, s. 36-57Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Populated by characters from the Middle East, North Africa, Southeast Asia, and Sweden, Jonas Hassen Khemiri’s debut play, Invasion! (2006), marked one of the first intercultural theatrical events on a mainstream Swedish stage. It unapologetically confronted audiences with the consequences of stereotypical representations of Muslim men as fundamentalist terrorists and further criticized the notion of “Swedishness” for not just working as a mere designation of nationality and citizenship, but also a silent, yet powerful signifier of whiteness. Moreover, Invasion! was the first play to be performed in a mainstream theatre by a cast that had an intercultural and international background and could effortlessly switch between standard Swedish (rikssvenska) and suburban Swedish (ortenspråk). Acknowledging the fifteenth anniversary of Invasion!, this article looks back upon the watershed of director Farnaz Arbabi’s original production and the play’s subsequent transnational impact. How did a play that was defiantly at odds with the hegemonic whiteness of the performing arts in Sweden, at that point in time, not only become a modern classic that found its way into the university curricula, but went on to garner an impressively transnational success? What exactly captured the interest and attention of theatre artists in Germany, France, the US, and many other countries? And how did international reviewers react to and interpret the work? What interests me specifically is to study how the play has ‘travelled’, how its characters and themes have migrated to different national and linguistic contexts, engendered new creative networks and transnational dialogues as well as unfolded multiple layers of cultural translations in the process. A genuine understanding and appreciation of Khemiri’s work, I suggest, necessitates a transnational outlook that, in turn, sheds light on Nordic theatre and performance as increasingly intercultural and motivated by concerns that are not regional but global.

  • 40.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Tennessee Williams and the Swedish Academy: Why he never won the Nobel Prize2011Inngår i: Tenn at One Hundred: The Reputation of Tennessee Williams / [ed] David Kaplan, East Brunswick, NJ: Hansen , 2011, s. 153-167Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 41.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Tennessee Williams in Sweden and France, 1945-1965: Cultural Translations, Sexual Anxieties and Sexual Fantasies2019Bok (Fagfellevurdert)
    Abstract [en]

    The immediate post-war period marks a pivotal moment in the internationalization of American theatre when Tennessee Williams' plays became some of Broadway's most critically acclaimed and financially lucrative exports. Dirk Gindt offers a detailed study of the production and reception of Williams' work on Swedish and French stages at the height of his popularity between 1945 and 1965. Analysing the national openings of seminal plays, including The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof, Orpheus Descending and Suddenly Last Summer, Gindt provides rich and nuanced insights into Williams' transnational impact. In the process, he charts a network of fascinating and influential directors, actors, designers, producers and critics, all of whom left distinctive marks on mid-twentieth-century European theatre and culture. Gindt further demonstrates how Williams' work foregrounded cultural apprehensions, racial fantasies and sexual anxieties, which resulted in heated debates in the critical and popular media.

  • 42.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    The Decolonial Labour and the Gift of Contemporary Sámi Performance2023Inngår i: Contemporary Theatre Review, ISSN 1048-6801, Vol. 33, nr 3, s. 180-202Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In February 2017, Sweden’s oldest and largest professional Sámi ensemble, Giron Sámi Teáhter, produced the politically outspoken production CO2lonialNATION – A Theatrical Truth and Reconciliation Commission, a collective documentary theatre project that assembled anonymized witness testimonies from all over Sápmi. Using CO2lonialNATION as a highly representative example of Giron Sámi Teáhter’s repertoire, this essay highlights the decolonial labour of contemporary Sámi performance. It teases out the dramaturgical implications of mounting a theatrical truth and reconciliation commission by exploring the preparation and research process, the embodied performance onstage including the script, spatial arrangement, and relationship between performers and audiences, as well as the production’s roots in Sámi visual, material, and musical culture. Indebted to the work of political sciences and Indigenous studies scholar Rauna Kuokkanen, the essay’s core argument suggests that Sámi performance constitutes a gift that foregrounds Indigenous knowledges, rehearses and enacts political change and social justice, and engenders relationships that are characterized by respect, responsibility, and reciprocity. Finally, the essay ponders some of the ethical responsibilities and methodological challenges that a non-Sámi spectator faces when witnessing a performance that outlines the manifold legacies of settler colonialism.

  • 43.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    The Diva and the Demon: Ingmar Bergman Directs The Rose Tattoo2012Inngår i: New Theatre Quarterly - NTQ, ISSN 0266-464X, E-ISSN 1474-0613, Vol. 28, nr 1, s. 56-66Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In this article Dirk Gindt discusses Ingmar Bergman’s 1951 production of Tennessee Williams’s The Rose Tattoo in the small Swedish town of Norrköping, demonstrating how Bergman methodically ignored the tragicomic nature of the play in order to develop and exaggerate its comic and grotesque elements. After extensive cuts and alterations in the script, the character Serafina delle Rose became even more overpowering than in the original text and dominated the action from beginning to end. Karin Kavli, a leading lady in Swedish post-war theatre and a frequent collaborator with Bergman, played the character not as a mourning widow but as a possessed disciple of Dionysus in an unabashedly entertaining and sexualized production which, despite reservations from critics, became a success with audiences.

  • 44.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    The Queer Future That Dared Not Be Imagined: Ageing and “Post-AIDS” Theatre’2018Inngår i: Q2Q: Queer Canadian Theatre and Performance / [ed] Peter Dickinson, CE Gatchalian, Kathleen Oliver, Dalbir Singh, Toronto: Playwrights Canada Press , 2018Kapittel i bok, del av antologi (Fagfellevurdert)
  • 45.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap.
    Torn between the ‘Swedish Sin’ and ‘homosexual freemasonry’: Tennessee Williams, sexual morals and the closet in 1950’s Sweden2010Inngår i: The Tennessee Williams Annual Review, ISSN 1097-6035, Vol. 11, s. 19-39Artikkel i tidsskrift (Fagfellevurdert)
  • 46.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Torn between the “Swedish Sin” and “homosexual freemasonry”: Tennessee Williams, sexual morals and the closet in 1950’s Sweden2017Inngår i: Twentieth-century literary criticism, Volume 334: Excerpts from Criticism of the Works of Novelists, Poets, Playwrights, Short Story Writers, & Other Creative Writers Who Died Between 1900 & 1999 / [ed] Lawrence J. Trudeau, Farmington Hills, Michigan: Gale Group, 2017, s. 287-299Kapittel i bok, del av antologi (Fagfellevurdert)
  • 47.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Concordia University, Canada.
    Transatlantic Translations and Transactions: Lars Schmidt and the Implementation of Post-War American Theatre in Europe2013Inngår i: Theatre journal (Washington, D.C.), ISSN 0192-2882, E-ISSN 1086-332X, Vol. 65, nr 1, s. 19-37Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Contributing to an intercultural understanding of American and European theatre in the post-war era, this essay explores the significance of the Swedish publisher and producer Lars Schmidt for the introduction and spread of U.S. plays and musicals on his side of the Atlantic. Schmidt’s innovative publishing strategies and production methods in addition to his skills as a cultural translator made works like The Glass Menagerie, Cat on a Hot Tin Roof and My Fair Lady commercially viable and intelligible to audiences in various national contexts. In the process, he was largely responsible for the emergence of the individual producer in Europe, a position that was perceived as foreign and at times vehemently dismissed as too commercial and too American.

  • 48.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Viral Networks: HIV and AIDS, Performance, and the Sexual Politics of the Swedish Welfare State in the 1980s2022Inngår i: Theatre journal (Washington, D.C.), ISSN 0192-2882, E-ISSN 1086-332X, Vol. 74, nr 4, s. 441-462Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This essay marks an intervention into Sweden’s international image as a beacon of civil liberties, gender equality, and progressive LGBTQ+ politics. First, it asserts that theatre and performance became strategic tools to help regulate the sexuality and national health of the Swedish population at the height of the AIDS crisis. Second, it suggests the methodological concept of “viral networks” as a means to generate new insights into the myriad forms of collaboration between theatre artists, social workers, union activists, pedagogues, political representatives, and national corporations on a local, regional, and national level. Through these two lines of argumentation, the essay demonstrates how the welfare state harnessed the stage as a forum to disperse and implement its official sexual politics, defined by normative, punitive, and moralizing standards. In contrast to many countries, where young queer communities mobilized against HIV and AIDS and deployed the arts as a means of protest and community-building, in Sweden the issue was brought to the forefront by left-wing, middle-age, heterosexual men who had been reared in the politicized cultural climate of the 1960s and 1970s. This led to a preoccupation with straight cis-gendered masculinity, to the detriment of already marginalized social constituencies.

  • 49.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    “We already carry out a national assignment”: Indigenous Performance and the Struggle for a Sámi National Theatre in Sweden2022Inngår i: Theatre research international, ISSN 0307-8833, E-ISSN 1474-0672, Vol. 47, nr 3, s. 272-293Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In recent years, the arts and culture in Sweden have taken a stand against the prevailing epistemic ignorance on the Indigenous Sámi people by confronting majoritarian society with the realities of settler colonialism. This essay suggests that theatre and performance form part of this Sámi cultural revitalization and highlights the decolonial labour of Giron Sámi Teáhter, the oldest professionally driven touring company in the Swedish part of Sápmi. Taking one specific production, Ædnan (2020), as a springboard, the essay analyses how Giron Sámi Teáhter deploys the stage as a vibrant, decolonial forum where the history of settler colonialism and the Sámi people’s struggle toward self-determination is performed, celebrated and encouraged. The company has long laboured to gain official status as a fully-subsidized national theatre and the essay outlines the financial and political impediments encountered in a decades-long struggle that remains unresolved to this day.

  • 50.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    When Broadway came to Sweden: The European premiere of Tennessee Williams’s Cat on a Hot Tin Roof2012Inngår i: Theatre Survey, ISSN 0040-5574, E-ISSN 1475-4533, Vol. 53, nr 1, s. 59-83Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This essay proposes a case-study approach to examine how the initial European production of Cat was received and, by implication, how one of the defining American playwrights of the twentieth century was discussed in Sweden. It focuses on the process of cultural translation and, more precisely, the question of how Swedish ensembles interpreted a foreign playwright who was known for breaking sexual taboos. Unpacking the cross-cultural and transnational dialogue that was established when Cat made its first appearance on a European stage, the essay teases out the cultural tensions and the negotiation of national identity that took place when Williams’s play was transposed from the Mississippi Delta to a more northern latitude. I argue that the stage and the cultural sections of the newspapers offered a forum for Sweden to negotiate some of the country’s sexual anxieties by making use of American cultural products and firmly situating them in an exoticized American context whose values were deemed to conflict with European, and more specifically Swedish, cultural identity.

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