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  • 201.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Fredrikson, Gustaf2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 205-206Chapter in book (Refereed)
  • 202.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    From Folk Tale to Photomontage: A Transformation through a Stage Performance2018In: The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection / [ed] Sonya Petersson, Christer Johansson, Magdalena Holdar, Sara Callahan, Stockholm: Stockholm University Press, 2018, p. 129-147Chapter in book (Refereed)
    Abstract [en]

    A photomontage from 1894−95 with material from the popular and successful theatre production Ljungby horn is the artefact in this chapter. The photomontage is connecting with the development of theatre photography, which was governed by the commercial market for visiting cards. The term remediation is used to describe a transformation whereby the different sources are, through the use of photography, placed on the same level in the montage. Other intermedial connections discussed here include music, literature, communications, theatre set design, and mass media.

  • 203.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Från bruksteater till Jelinek-installationer2011In: Teatertidningen, ISSN 1101-9107, no 3, p. 50-53Article in journal (Other (popular science, discussion, etc.))
  • 204.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hansson, Lars2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 239-239Chapter in book (Refereed)
  • 205.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hatar män teater?2012In: Peripeti, ISSN 1604-0325, E-ISSN 2245-893X, no 18, p. 90-100Article in journal (Refereed)
  • 206.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hjortsberg, Lars2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 249-249Chapter in book (Refereed)
  • 207.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    ‘How close is Angola to us?’ Peter Weiss’s Play Song of the Lusitanian Bogeyman in the Shadow of the Cold War2017In: Theatre, Globalization and the Cold War / [ed] Christopher B. Balme, Berenika Szymanski-Düll, London: Palgrave Macmillan, 2017, p. 293-306Chapter in book (Refereed)
    Abstract [en]

    Peter Weiss made his international breakthrough as a dramatist with the two plays Marat/Sade and Die Ermittlung. Weiss’s next work was therefore eagerly anticipated, but the play Gesang vom Lusitanischen Popanz was met with disappointment. It was a propagandistic play criticising Portugal’s colonial involvement in Africa. Weiss’s publisher, Suhrkamp, went to a lot of effort to try to stop the production. Several theatre critics from West Germany who that attended the world premiere in Stockholm pointed out that Weiss neglected the more pressing political issue: the Berlin Wall. The reviews published in East Germany underlined the political importance of the play and the criticism of West Germany’s policies towards Portugal. Some Swedish critics found that the political issue was overwhelmed by the aesthetic form. In this article I show how the assessment of the play was deeply coloured by the establishment of the Cold War home fronts in West and East Germany.

  • 208.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hur ska uppdraget fullföljas?2013In: Svenska dagbladet, ISSN 1101-2412, p. 7-Article in journal (Other (popular science, discussion, etc.))
  • 209.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hvad med teaterhistorien? (What about Theatre History?) Edited by Erik Hvidt and Per Lykke. Selskabet for Dansk Teaterhistorie, Copenhagen: Multivers, 2016, 287 p.2019In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 31, no 1, p. 155-157Article, book review (Other academic)
  • 210.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Hwasser, Elise2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 257-257Chapter in book (Refereed)
  • 211.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 19002019Collection (editor) (Refereed)
    Abstract [sv]

    Går det att sätta ljus på avantgardets skugga? Vad är det som kommer bestå i scenkonsthistorien och vilka processer är det som gör att majoriteten av scenkonsthändelserna och de uttryck som de representerar sorteras undan till förmån för en central och mer begränsad utvecklingsberättelse? Teaterhistorien gällande perioden omkring sekelskiftet 1900 är beskriven som perioden när teater blev teaterkonst och de stora (manliga) teaterregissörerna blev de centrala agenterna. Detta konstituerade teateravantgarde har förpassat den ordinarie teatern i skuggan. Detta val som en gång har etablerats tenderar att ärvas utan att i grunden ifrågasättas. […] I forskningsprojektet Brytningspunkter och kontinuitet. Scenkonsternas förändrade roller i samhället 1880–1925 har vi inte fokuserat på den brytpunkt som tidigare forskning har satt i centrum, regissörernas intåg. Istället har vi kunnat upptäcka andra brytpunkter och också se en kontinuitet i historien, att inte allt förändrades genom regissörens tilltagande makt. […] Denna bok är inte är en alternativ teaterhistoria, men exemplen visar på andra historier som kan hämtas ur arkiven. Förhoppningsvis kan vi också smitta läsaren med den upptäckarglädje som arkivforskning kan ge (och samtidigt besvikelse över försvunnet eller aldrig insamlat material).

  • 212.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Inledning2019In: I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 1900 / [ed] Rikard Hoogland, Göteborg: LIR.skrifter, 2019, p. 7-12Chapter in book (Other academic)
  • 213.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Introduction: Theatrical Emotions2009In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 21, p. 5-Article in journal (Other academic)
  • 214.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Josephson, Erland2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 287-287Chapter in book (Refereed)
  • 215.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Koffertmord på regionteatrarna?2010In: Teatertidningen, no 3, p. 34-35Article in journal (Other (popular science, discussion, etc.))
  • 216.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Kompormissernas festival2008In: Teatertidningen, ISSN 1101-9107, no 4Article in journal (Other (popular science, discussion, etc.))
  • 217.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Kungliga Dramatiska Teatern som folkteater2012In: Litteraturens arbetare: En vänbok till Per-Olof Mattsson / [ed] Christer Johansson & Per Anders Wiktorsson, Lund: Ellerströms förlag, 2012, p. 273-284Chapter in book (Other academic)
  • 218.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Mellan scen och salong: En kultursociologisk analys av ungdomsteater2008In: Teatertidningen, no 5Article, book review (Other (popular science, discussion, etc.))
  • 219.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Möte eller konflikt?: En studie över teaterpedagoger med icke-svensk teaterbakgrund på DI:s teateravdelning och Teaterhögskolan i Stockholm2008Book (Other academic)
  • 220.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Olof Theodor (Tore) Svennberg2017In: Svenskt biografiskt lexikon: Häfte 169, Svedelius-Swenson / [ed] Åsa Karlsson, Stockholm: Svenskt biografiskt lexikon , 2017, p. 567-570Chapter in book (Other academic)
  • 221.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Playing on and around the Public Square2014In: Playing Culture: Conventions and Extensions of Performance / [ed] Vicki Ann Cremona, Rikard Hoogland, Gay Morris and Willmar Sauter, Amsterdam/New York: Rodopi, 2014, p. 164-180Chapter in book (Refereed)
    Abstract [en]

    The article investigates the ways in which a public square can interact with its citythrough pre-arranged performances. The site of this study is a square in the middle ofStockholm, Sweden that was constructed in the late 1960s. Four performances thattook place during 2007 and 2009 are studied. All four connected in different wayswith the square. One of the main research questions is whether it is possible toconstruct a square designed to host public events and performances, and what theforemost problems are with a giant square such as Sergels torg. One of theconclusions is that while there is a need of open places in the city, the utilisation ofopen spaces for this purpose is threatened by increasing commercialisation of the city.These questions are discussed with the help of theories about city planning, publicopen space as well as theories of playing and the carnival.

  • 222.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Politisk och personlig teater2009In: Teatertidningen, ISSN 1101-9107, no 2-3, p. 62-65Article in journal (Other (popular science, discussion, etc.))
  • 223.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    På regeringens operationsbord2008In: Teatertidningen, ISSN 1101-9107, no 4Article in journal (Other (popular science, discussion, etc.))
  • 224.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Real Reality on Stage?: Lola Arias, Alecky Blythe, Rimini Protokoll and SheShePop Work with Reality on Stage2013In: Text in Contemporary Theatre: The Baltics within the World Experience / [ed] Guna Zeltiņa, Sanita Reinsone, Cambridge: Cambridge Scholars Publishing, 2013, p. 148-157Chapter in book (Refereed)
  • 225.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Regionala teatrar: en väg mot ökad kulturell delaktighet?2006In: Nordisk kulturpolitisk tidskrift, ISSN 1403-3216, no 2Article in journal (Refereed)
  • 226.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Scenkonst i ständig förändring2010In: Teatertidningen, no 3, p. 46-49Article in journal (Other (popular science, discussion, etc.))
  • 227.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Strindberg, August2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 556-556Chapter in book (Refereed)
  • 228.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Strindberg Visits the Suburbs: Strindberg’s Plays in Postdramatic Theatre2014In: Strindberg on International Stages/ Strindberg in Translation / [ed] Roland Lysell, Cambridge: Cambridge Scholars Publishing, 2014, p. 139-148Chapter in book (Refereed)
  • 229.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Teaterpubliken i svensk kulturpolitik2009In: Peripeti - tidskrift for dramaturgiske studier, ISSN 1604-0325, no 12, p. 19-30Article in journal (Refereed)
    Abstract [en]

    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).

  • 230.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Teje, Tora2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 575-576Chapter in book (Refereed)
  • 231.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Nordic example: sustainable theatre systems?2018In: The Development of Organisational Theatre Systems In Europe: Sustainability and Changeability / [ed] Karolina Prykowska-Michalak, Daria Skjoldager-Nielsen, Izabela Molińska, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier (STUTS), 2018, p. 77-83Chapter in book (Refereed)
  • 232.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Valuation of Popular Theatre Performances: The Forgotten Success Story of Ljungby horn2017In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, no 2, p. 6-27Article in journal (Refereed)
    Abstract [en]

    Albert Ranft started as an actor in touring theatre companies in the 1880’s, but soon became responsible for one of the most important groups. Twenty-five years later, he ran a big company with about 2500 employees, owned theatres in Stockholm and Gothen­burg as well as a couple of touring companies.

    His repertoire was based on popular entertainment plays, revues, operettas, historical plays, contemporary dramas etc. Simultaneously, his companies could offer ‘highbrow’ and ‘lowbrow’ productions. Even the actors could, during just one week, work in differ­ent genres. The way of programing was for Ranft an art form by itself, and sometimes he even acted in and directed the plays.

    In November 1893, at Stora Teatern in Gothenburg, he premiered a fairy tale play, and the staging was filled with spectacular effects. The play was, from the beginning, a stun­ning success with the production running for several hundred nights. Moreover, the pro­duction of Ljungby Hornbecame the ground stone for Ranft’s theatrical enterprise.

    The article describes how this success was established through mediatization and its base on rural oral history. The performance is analyzed and discussed as a popular theatre production (McConachie, Price, Röttger, Schecter). The author proposes that a more inclusive definition of popular theatre should be used; one which also takes into account the productions that had commercial success. Popular theatre needs to be in­cluded in theatre history writing to enable a better understanding of how the theatre system has developed.

  • 233.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Theatrical Emotions: Nordic Theatre Studies, volume 212009Collection (editor) (Other academic)
  • 234.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Threaten Masculinity?: The declining of the male theatre audience and the Swedish cultural policy.2008In: The 5th International Conference on Cultural Policy Research, 2008Conference paper (Other academic)
    Abstract [en]

    Swedish cultural policy has since the thirties have a main goal that everybody should have the possibility to participate in cultural activities. When looking at the figures, the answer is that the cultural policy has been successful. For instance nearly 50 percent visit at least one theatre performance every year. In the last years efforts have been made to change the gender representation on stage, a governmental investigation report pointed out that there is very few female stage directors, playwrights and leading parts. This problem is not directly addressed by the cultural policy, in spite of the cultural goals that aims to involve all.

    The paper discuss why a majority of male no longer finds it important to take part in culture, and especially visiting theatre performances. Is the politics of equality leading to less value in terms of cultural capital? Is the masculinity threaten by theatre, is it seen as feminizing

  • 235.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Tidblad, Inga2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 584-585Chapter in book (Refereed)
  • 236.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Traditionell teater upprör2007In: Teatertidningen, ISSN 1101-9107, no 1Article in journal (Other (popular science, discussion, etc.))
  • 237.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Troublesome visitors or contributors to a renewal of Swedsh theatre? A study of guest artists with a foreign theatre background at two Swedish national theatre schools2012In: The politics of being on stage / [ed] Anja Klöck, Hildersheim: Georg Olms Verlag AG, 2012, p. 151-165Chapter in book (Refereed)
  • 238.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    von Sydow, Max2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 606-606Chapter in book (Refereed)
  • 239.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    What Do Theatre Autobiographies Conceal?2017In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, no 1, p. 64-80Article in journal (Refereed)
    Abstract [en]

    Autobiographies by actors and directors are considered to be somewhat of an unreliable source of information where research on theatre history is concerned. Researchers have made a great deal of effort to validate facts in autobiographies, but then have often neglected other forms of information that the written source gives. In this article, four different autobiographies are analysed with a specific focus on autobiographical strategies (Gardner), the embodied act of writing (Schneider), Hegemonic processes in society (Bratton), and audiences (Singleton). The article discusses if it is possible to place autobiographies in both the repertoire and the archive in Taylor’s sense, and if they can be seen as a possible link between them.

  • 240.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Wifstrand, Naima2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 619-619Chapter in book (Refereed)
  • 241.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Hannah, Karen
    Århus universitet.
    Malmö Opera och Musikteater AB 2006/2007: utvärderad enligt ønskekvistmodellen2007Report (Other (popular science, discussion, etc.))
  • 242.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Hannah, Karen
    Århus Universitet.
    Månteatern 2007: Utvärderad enligt ønskekvistmodellen2007Report (Other (popular science, discussion, etc.))
  • 243.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Hannah, Karen
    Århus universitet.
    Teater 23, 2007: Utvärdering enligt Ønskekvistmodellen2007Report (Other (popular science, discussion, etc.))
  • 244.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    A National Theatre Decentralized: Sweden's Three-and-a-half National Theatres2008In: National Theatres in a Changing Europe / [ed] S. E. Wilmer, Basingstoke: Palgrave Macmillan, 2008, p. 164-172Chapter in book (Other academic)
    Abstract [en]

    The founding, development and present status of Sweden's national theatres: The Royal Opera, The Royal Dramatic Theatre, The National Touring Theatre (Riksteatern) and the Children's Theatre Support Grant.

  • 245.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Sauter, WillmarStockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.Cremona, Vicki AnnUniversity of Malta.Morris, GayUniversity of Cape Town.
    Playing Culture: Conventions and Extensions of Performance2014Collection (editor) (Refereed)
    Abstract [en]

    Playing Culture represents one of the corner stones in the model of the Theatrical Event, as developed by the Working Group of the International Federation for Theatre Research (IFTR). In this volume, thirteen scholars contribute to illuminate the significance and possibilities of playing within the framework of theatrical events. Playing is understood as an essential part of theatrical communication, from acting on stage to events far from theatre buildings. The playfulness characterizing academic traditions sets the tone in the introduction, illustrating the four sections of the book: Theories, Expansions, Politics and Conventions. The theoretical chapters depart from the classical Homo Ludens and offer a number of new perspectives on what play and playing implies in today’s mediatized culture. The contributions to the second section on extensions, deal with playing in non-theatrical circumstances such as market places, passports and stock holders’ meetings. The third section on the politics of playing focuses on wood-chopping women, saints and youngsters in South African townships – all demonstrating their social and political ambitions and purposes. The last section returns to the stage on which performers intend to represent, respectively, themselves, Bunraku puppets or the audience. Playing appears in many forms and in many places and constitutes a basic principle of theatre and performance. This book touches upon important theoretical implications of playing and offers a wide range of historical and contemporary examples. Playing Culture – Conventions and Extensions of Performance is the third book of the IFTR Working Group on The Theatrical Event. The first volume, entitled Theatrical Events – Borders Dynamics Frames was published in 2004, followed by Festivalising! Theatrical Events, Politics and Culture in 2007. The present volume continues to expand the vision of the Theatrical Event as a theory and model for the study of playing, theatre, performance and mediated events.

  • 246.
    Häkkinen, Annika
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Dans som ett uttryckt för identiet: Vogue och dragging2019Student paper second term, 5 credits / 7,5 HE creditsStudent thesis
  • 247.
    Iversen, Gunilla
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages.
    Psallite regi nostro, psallite: singing ’Alleluia’ in ninth–century poetry2009In: Sapientia et eloquentia: meaning and function in liturgical  poetry, music, drama and biblical commentary in the Middle Ages / [ed] Gunilla Iversen and Nicolas Bell, Turnhout: Brepols , 2009, p. 9-58Chapter in book (Other academic)
    Abstract [en]

    In a number of interrelated case studies of earlier unexplored poetic and musical material dating from the ninth through the thirteenth centuries, the scholars explore and shed further light on changes in functions and forms in poetry, particularly in liturgical poetry, and in medieval interpretations of this poetry and music.

    The present volume thrusts the reader into the intellectual turmoil of the period in medieval Europe that is often characterized by Peter Abelard and his controversies with contemporary authorities. Although the earlier part of the twelfth century remains the focus of the book, this should not be taken as a clearly delimited period. Many of the phenomena dealt with had roots in earlier times and did by no means end with the 'high Middle Ages'.

    In several articles, the poetical heritage of the Carolingian environment of the palace school of Charles the Bald is examined – a poetic before the poetics, the place and function of music in the liturgical context, to name but two subjects that are treated. With the twelfth century, the ideas developed during the preceding centuries finally took a more institutional shape; in the present book, we see this phenomenon represented in Peter Abelards hymnary for the Paraclete, ritual representations and liturgical drama, in commentaries to biblical poetry, such as the Glossa ordinaria to Lamentations. Finally, the interpretation and understanding of musical texts,  exemplified by the view on Boethius’ De Musica and the new literary genre represented by commentaries to Sequences  in the later middle ages give the volume a final touch and tie its end again to the beginning.

  • 248.
    Jai-Ung, Hong
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Creating theatrical dreams: a Taoist approach to Molander's, Bergman's and Wilson's productions of Strindberg's A dream play2003Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to explore the Tao of theater through the study of the productions of Strindberg’s A Dream Play on stage. For the purpose of understanding these dynamic relationships Taoism is used and especially I Ching, the essence of eastern philosophies. In this thesis the I Ching provides an important concept of “the Tao of theater.” The Tao of theater means a way of unity and harmony and a process of continual flow and change in the theater. Its principal characteristic is the cyclical nature of its ceaseless motion. The I Ching shows the activities of the theater world, which once expanded, reveal the endless process of universal change.

    The point of departure is Strindberg’s explanation about the dreamer’s consciousness in his foreword of this play. It is deeply related to lucid dream, which means that the dreamer is aware of his or her dreaming. During his Inferno period, Strindberg’s experience of astral projection and dreaming corresponds to the phenomenon of dream lucidity. This study explores the phenomenon of dream lucidity through the dream theories of Sigmund Freud, Carl Gustav Jung, Paul Kugler and James Hillman.

    The question of the dreamer’s identity provides the key to an understanding of the productions of Strindberg’s A Dream Play. Three kinds of dreamer in the productions of this play are presented: the author, the director and the spectator. In order to examine the three kinds of dreamer, Olof Molander’s 1935/1955, Ingmar Bergman’s 1970/1986 and Robert Wilson’s 1998 productions of A Dream Play in Stockholm were chosen. The three kinds of dreamer are characterized by two states of identification: dreamer-as-participator and dreamer-as-observer in these productions. These states are deeply related to the idea of the interplay between yin and yang. The basic and essential image, the hexagram in the I Ching shows the endless change of yin and yang in the dreamer’s existence, character and role-playing, stage and auditorium, in the productions of A Dream Play. The I Ching gives a new insight into the analysis of the productions of this play.

  • 249.
    Jensen, Claudia R.
    et al.
    University of Washington, Seattle.
    Maier, Ingrid
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Slavic Languages.
    Pickleherring Returns to the Kremlin: More New Sources on the Pre-History of the Russian Court Theatre2015In: Scando-Slavica, ISSN 0080-6765, E-ISSN 1600-082X, Vol. 61, no 1, p. 7-56Article in journal (Refereed)
    Abstract [en]

    This article, a continuation of “Orpheus and Pickleherring in the Kremlin: The ‘Ballet’ for the Tsar of February 1672” (Scando-Slavica 59:2), focuses on the second performance given for Tsar Aleksej Michajlovič by foreign residents of Moscow. This encore production, in May 1672, expanded upon the programme of the February event: it was longer, featured more characters on stage, and even included some female characters (certainly portrayed by male performers). In addition to revealing this May entertainment, we discuss the identities of the performers (largely drawn from the merchant population of Moscow’s Foreign Quarter), and we suggest that the author of the eye-witness account describing the February performance was Christoff Koch (ennobled von Kochen), a Swedish correspondent and commercial representative in Moscow.  Almost simultaneously with the May performance, the Russian court began to make plans for a more permanent theatre; we trace the court’s attempts to contact the important German acting troupe headed by the Paulsen and Velten families. Finally, we discuss the impacts these two performances may have had on the plays offered by the tsar’s court theatre beginning in October 1672, with special focus on the character Pickleherring.

  • 250.
    Joelsson, Peter
    et al.
    Örebro University, School of Music, Theatre and Art.
    Kransmo, Charlotte
    Örebro University, School of Music, Theatre and Art.
    Autistiska barn som spelar roll: möjligheter och metoder för karaktärsarbete med barn som har autismspektrumdiagnos2012Independent thesis Basic level (university diploma), 5 credits / 7,5 HE creditsStudent thesis
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