THEATRE IN SWEDEN HISTORICAL AND CONTEMPORARY PERSPECTIVES

Transcription

1 STOCKHOLM UNIVERSITY DEPARTMENT OF CULTURE AND AESTHETICS THEATRE, DANCE, AND PERFORMANCE STUDIES Prof. Tiina Rosenberg THEATRE IN SWEDEN HISTORICAL AND CONTEMPORARY PERSPECTIVES (TVERA1, 15 ECTS) PROGRAM & TIMETABLE PART I WEEK 36 1.Lecture: Introduction to Theatre in Sweden: Historical and Contemporary Perspectives, Wednesday, September 5, 13:00-16:00, Department of Culture and Aesthetics, Room 119 (Tiina Rosenberg) News from Swedish Theatre. Focus: Young Audiences. News from Swedish Theatre. Focus: Gender Equality. News from Swedish Theatre. Focus: New Plays. News from Swedish Theatre. Focus: Regional Theatres. All these booklets are available as at (Swedish ITI). Diana Taylor. (2016). Framing [Performance] and Performance Histories. In Performance. Durham & London: Duke University Press, 1 42, Lecture: Drottningholm Court Theatre, Thursday, September 6, 11:00-12:00 Meeting point: Subway station: Brommaplan at 10 am. Bus from Brommaplan to Drottningholm. A tour lecture in the court theatre (Tiina Rosenberg). The Drottningholm Court Theatre (Drottningholms slottsteater) is a theatre located at Drottningholm Royal Palace in Stockholm. It is one of the few 18th century theatres in Europe that is still used as a theatre with its original stage machinery. Frederick J. Marker & Lise-Lone Marker, The Gustavian Age. In A History of Scandinavian Theatre, Cambridge: Cambridge University Press, (available on Mondo). Willmar Sauter The Rediscovery of the Drottningholm Court Theatre and A Guided Tour of the Theatre. In Willmar Sauter & David Wiles (eds.). The Theatre of Drottningholm Then and Now. Stockholm: Acta Universitatis Stockholmiensis, 1 13, (available on Mondo). 1

2 David Wiles, A Visit to the Opera at Drottningholm: First Impressions and Eighteenth Century Acting: The Search for Authenticity. In Willmar Sauter & David Wiles (eds.). The Theatre of Drottningholm Then and Now. Stockholm: Acta Universitatis Stockholmiensis, 47 59, (available on Mondo). WEEK Lecture: Bergman Truth and Lies, Scenkonstmuseet (Swedish Museum of Performing Arts), Sibyllegatan 2 (Subway: Östermalmstorg), Wednesday, September 12, 10:00-12:00, meeting point: museum entrance. 4. Lecture: Miss Julie Refuses to Die, Wednesday, September 12, :00, Department of Culture and Aesthetics, room 119 (Tiina Rosenberg) Sara Ahmed Introduction: Feel Your Way. In The Cultural Politics of Emotion. New York: Routledge, Frederick J. Marker & Lise-Lone Marker [1975]. The Strindberg Challenge. In A History of Scandinavian Theatre, Cambridge: Cambridge University Press, (available on Mondo). Tiina Rosenberg From Here to Eternity: Miss Julie Strikes Back and Refuses to Die. In: Don t Be quiet, Start a Riot. Essays on Feminism and Performance. Stockholm: Stockholm University Press, ; available at Tiina Rosenberg AGAINST LOVE: Nora and Hedda on the Contemporary Scandinavian Stage. In: Don t Be quiet, Start a Riot. Essays on Feminism and Performance. Stockholm: Stockholm University Press, ; available at August Strindberg, Miss Julie. Full text of Miss Julie and Other Plays available at Internet Archive: 5. Lecture: The Royal Dramatic Theatre; Friday, September 14, meeting point: Dramatens trappa (the main entrance, the stairs of Dramaten is one of Stockholm s favorite meetings points) at 09:00. A guided tour of The Royal Dramatic Theatre, commonly known as Dramaten, Sweden s National Theatre. Dramaten has the assignment to perform classical theatre, contemporary Swedish and international theatre, and theatre for children and youth. The Dramaten building at Nybroplan has been the theatre s home since 1908, but the theatre itself was founded in WEEK Lecture: Performing Affects and the S.C.U.M. Manifesto, Wednesday, September 19, 13:00 16:00, Department of Culture and Aesthetics, Auditorium (Tiina Rosenberg) Sara Ahmed Feminist Attachments & Just Emotions. In The Cultural Politics of Emotion. New York: Routledge,

3 Tiina Rosenberg Still Angry After All These Years, or Valerie Solanas Under Your Skin. In Tiina Rosenberg Don t Be Quiet, Start a Riot. Essays on Feminism and Performance. Stockholm: Stockholm University Press, ; available at Diana Taylor The New Uses of Performance. In Performance. Durham and London: Duke University Press, Valerie Solanas S.C.U.M. Manifesto. Available on the Internet. Raymond Williams Structure of Feeling. In Performance Analysis. An Introductory Coursebook. London: Routledge, (on Mondo). 7. Performance: SAFE by Falk Richter, The Royal Dramatic Theatre (Dramaten), September 19, at 19:00. Tickets are available for pickup at Dramaten s ticket office (in the main building) 3 16 September. Ticket price: 75 SEK (7,50 ). About SAFE: Where do I feel safe? The European continent is slowly disintegrating. Values are in flux. The perception of safety and security is changing. Something is missing. But what? In 2018, if you were to write a novel with Europe as the protagonist, what would the story be about? In this work commissioned by Dramaten, Falk Richter investigates the complex dilemmas of contemporary human beings. As one of Germany's most prominent directors and dramatists, he pushes the limits of what theatre can be in productions that integrate video, text, dance and music in a massive tide. WEEK Lecture: Performing Race on Contemporary Swedish Stage. Wednesday, September 26, 09:00-12:00, Department of Culture and Aesthetics, room 101 (Tiina Rosenberg) Sara Ahmed Pain, Hate, Fear & Disgust. In The Cultural Politics of Emotion. New York: Routledge, 20 41, 42 61, & Richard Dyer The Matter of Whiteness. In White. London & New York: Routledge, s Fred Moten In the Break. The Aesthetics of the Black Radical Tradition, Minneapolis: University of Minnesota Press, 1 24 (available on Mondo). Tiina Rosenberg Against Tolerance. Thoughts on Contemporary Racism. In Don t Be quiet, Start a Riot. Essays on Feminism and Performance. Stockholm: Stockholm University Press, ; available at 3

4 WEEK Submission of papers, Wednesday, October 3, 17:00, upload your paper on Mondo or to When you write an academic paper, you must first try to find a topic or a question that is relevant and appropriate - not only to you, but also to the context of this course. First of all, find a topic in the context of the first part of the course Theatre in Sweden. Second, write something that helps your reader to better understand your topic, or to see it in a new way. Academic writing should present the reader with an informed argument. To construct an informed argument, you must first try to sort out what you know about a subject from what you think about a subject. Or, to put it another way, you will want to consider what is known about a subject and then to determine what you think about it. Make an outline and organize your notes. Identify the purpose of your paper, state the structure and the main points of your argument explicitly and clearly in the outset and finally in a brief summary. Don t forget your references (Chicago Manual of Style) and bibliography. The essay should be approximately 5 6 pages; double-spaced in Times New Roman: 12. PART II WEEK Lecture: Dance and Democracy, Wednesday, October 10, 13:00 16:00, Department of Culture and Aesthetics, room 119 (Lena Hammergren) Lena Hammergren Spaces of Encounter: Dancing Democracy in the Nordic Region. In Dance Spaces: Practices of Movement, edited by S. Ravn & L. Rouhiainen. Odense: University Press of Southern Denmark, WEEK Lecture: Popular entertainment: Circus, Drag, and Eurovision Song Contest, Wednesday, October 17, 13:00 16:00, Department of Culture and Aesthetics, room 119 (Tiina Rosenberg) Richard Dyer It s Being So Camp as Keeps Us Going. In Camp: Queer Aesthetics and the Performing Subject. Ann Arbor: The University of Michigan Press,

5 Richard Dyer The idea of Entertainment & Entertainment and Utopia. In Only Entertainment. London & New York: Routledge, 5-9; Holt N. Parker Toward a Definition of Popular Culture, History and Theory 50 (May 2011), (available on Mondo) WEEK Lecture: Swedish Divas: Greta Garbo & Zarah Leander, October 24, 09:00-12:00, Department of Culture and Aesthetics, 119 (Tiina Rosenberg) Sara Ahmed Shame Before Others. In The Cultural Politics of Emotion. New York: Routledge, Lauren Berlant Cruel Optimism. In The Affect Theory Reader, edited by Melissa Gregg & Gregory J. Seigworth. Durham: Duke University Press, Richard Dyer, Stars as Types. In Stars. London: British Film Institute, Wayne Koestenbaum The Codes of Diva Conduct. In The Queen s Throat. Opera, Homosexuality, and the Mystery of Desire. London: Penguin, Tiina Rosenberg Queer Feelings: Zarah Leander, Sentimentality and the Gay Diva Worship. In Don t Be Quiet, Start a Riot! Essays on Feminism and Performance, Stockholm: Stockholm University Press, ; available at WEEK Submission of papers, Wednesday, October 31, 17:00, upload your paper on Mondo or send to tiina.rosenberg@teater.su.se When you write an academic paper, you must first try to find a topic or a question that is relevant and appropriate - not only to you, but to the context of this course. First of all, find a topic in the context of the second part of the course Theatre of Sweden. Second, write something that helps your reader to better understand your topic, or to see it in a new way. Academic writing should present the reader with an informed argument. To construct an informed argument, you must first try to sort out what you know about a subject from what you think about a subject. Or, to put it another way, you will want to consider what is known about a subject and then to determine what you think about it. 5

6 Make an outline and organize your notes. Identify the purpose of your paper, state the structure and the main points of your argument explicitly and clearly in the outset and finally in a brief summary. Don t forget your references (Chicago Manual of Style) and bibliography. The essay should be approximately 5 6 pages; double-spaced in Times New Roman: 12. WEEK Returning papers, feedback and course evaluation, Thursday, November 8, 10:00-12:00, room 119. BIBLIOGRAPHY Ahmed, Sara The Cultural Politics of Emotion, New York: London. Berlant, Lauren Cruel Optimism. In The Affect Theory Reader, edited by Melissa Gregg & Gregory J. Seigworth. Durham: Duke University Press, Richard Dyer The Matter of Whiteness. In White. London & New York: Routledge, s Richard Dyer It s Being So Camp as Keeps Us Going. In Camp: Queer Aesthetics and the Performing Subject. Ann Arbor: The University of Michigan Press, Dyer, Richard Only Entertainment. London: Routledge. Hammergren, Lena Spaces of Encounter: Dancing Democracy in the Nordic Region. In Dance Spaces: Practices of Movement, edited by S. Ravn & L. Rouhiainen. Odense: University Press of Southern Denmark, Koestenbaum, Wayne The Codes of Diva Conduct. In The Queen s Throat. Opera, Homosexuality, and the Mystery of Desire. London: Penguin, Marker, Frederick J. & Lise-Lone Marker, A History of Scandinavian Theatre, Cambridge: Cambridge University Press, 76 95, (available on Mondo). Moten. Fred In the Break. The Aesthetics of the Black Radical Tradition, Minneapolis: University of Minnesota Press, 2003, 1 24 (available on Mondo). Parker, Holt N Toward a Definition of Popular Culture, History and Theory 50 (May 2011), (available on Mondo). Rosenberg, Tiina Don t Be Quiet, Start a Riot. Essays on Feminism and Performance. Stockholm: Stockholm University Press, available at: Sauter, Willmar & David Wiles The Theatre of Drottningholm Then and Now. Stockholm: Acta Universitatis Stockholmiensis. Solanas, Valerie S.C.U.M. Manifesto. (Available on the Internet). Strindberg, August Miss Julie. Full text of Miss Julie and Other Plays available at Internet Archive: 6

7 Taylor, Diana Performance. Durham & London: Duke University Press. Raymond Williams Structure of Feeling. In Performance Analysis. An Introductory Coursebook. London: Routledge, (on Mondo). BOOKLETS News from Swedish Theatre. Focus: Young Audiences. News from Swedish Theatre. Focus: Gender Equality. News from Swedish Theatre. Focus: New Plays. News from Swedish Theatre. Focus: Regional Theatres. All these booklets are available as at (Swedish ITI). ASSESSMENT CRITERIA FOR THE WRITTEN PAPER A: An outstanding performance in which the student demonstrates a superior grasp of the subject matter, and an ability to go beyond the given material in a critical and constructive manner. The student demonstrates a high degree of creative thinking, a superior ability to organize, to analyze, and to integrate ideas, and a thorough familiarity with the appropriate literature and techniques. Language and style are at an appropriate academic level. B: A more than adequate performance in which the student demonstrates a thorough grasp of the subject matter, and a convincing ability to organize and examine the material in a critical and constructive manner. The student demonstrates a good understanding of the relevant issues and a familiarity with the appropriate literature and techniques. Language and style are very good. C: An adequate performance in which the student demonstrates a generally solid grasp of the subject matter and an ability to examine the material in a critical and constructive manner. The student displays a satisfactory understanding of the relevant issues, and a general familiarity with the appropriate literature and techniques. Shortfalls in some areas. D: An acceptable performance in which the student demonstrates a familiarity with the subject matter, but the attempts to examine the material in a critical and constructive manner are only partially successful. The student displays some understanding of the relevant issues, and some familiarity with the appropriate literature, but there are shortfalls in a number of areas. Linguistic weaknesses. E: A performance at the lowest acceptable level, with little analysis and discernable weakness in multiple areas. Considerable linguistic weaknesses. Fx: The course requirements have only been partially completed and obvious shortfalls exist in knowledge and proficiency. Through completing additional requirements, the student may be able to reach the required pass level (E). F: The course requirements have not been completed and the student shows an obvious shortfall in knowledge and understanding of the subject. 7

8 8