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 Lecture: Introduction to Theatre in Sweden: Historical and Contemporary Perspectives, Tuesday, August 29, 10:00-12:00, 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: Thursday, Visit to Drottningholm Court Theatre, Thursday, August 31, 11:00-13:00 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. 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 3. Lecture: Drottningholm Court Theatre and Principles of Eighteenth Century Performance, Friday, September 1, :00, Department of Culture and Aesthetics, room 119 (Magnus Tessing Schneider) Frederick J. Marker & Lise-Lone Marker, The Gustavian Age. In A History of Scandinavian Theatre, Cambridge: Cambridge University Press, (available on Mondo). David Wiles, A Visit to the Opera at Drottningholm: First Impressions and Eigthteenth 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: Miss Julie Refuses to Die, Wednesday, September 6, 13:00 16:00, Department of Culture and Aesthetics, room 119 (Tiina Rosenberg) Frederick J. Marker & Lise-Lone Marker, 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. Studentfika with Tiina : Friday, September 8, 13:00-15:00. Studenthuset, Universitetsvägen, Universitetsvägen 2 B. Meeting point at the entrance (Rosenberg). Questions and answers to your queries. WEEK Lecture: 19 th Century Swedish Divas, Wednesday, September 13, 13:00-16:00, Department of Culture and Aesthetics, 119 (Hélène Ohlsson) Hélène Ohlsson. (Forthcoming 2017). Rivaling femininities Jenny Lind and Emélie Högqvist (in print; available on Mondo). 2

3 Tiina Rosenberg Queer Feelings: Zarah Leander, Sentimentality and the Gay Diva Worship. In Don t Be Quite, Start a Riot! Essays on Feminism and Performance, Stockholm: Stockholm University Press, ; available at Willmar Sauter Sarah Bernhardt in Phenomenological Perspective, In The Theatrical Event: Dynamics of Performance and Perception, Iowa: University of Iowa Press, Elizabeth Wilson The Body Adorned (from Adorned in Dreams). In Performance Analysis. An Introductory Coursebook, London: Routledge, (on Mondo). WEEK Lecture: Popular entertainment, Tuesday, September 19, 10:00 13:00, Department of Culture and Aesthetics, room 119 (Jonas Eklund); preparing your papers (Tiina Rosenberg) Holt N. Parker Toward a Definition of Popular Culture, History and Theory 50 (May 2011), (available on Mondo) Peta Tait, 'Ecstasy and Visceral flesh in motion', in: Tait, Peta & Lavers, Katie (red.), The Routledge Circus Studies reader, 1. ed., Routledge, Abingdon, UK, 2016, Visit to Unga Klara Theatre. Rehearsal: As You Sow (So Shall You Reap) and a talk with the director Farnaz Arbabi. Friday, September 22, 13:00 15:30, Kulturhuset (subway station: Sergels Torg). Meeting point at the entrance to Unga Klara at 12:45 (Tiina Rosenberg) News from Swedish Theatre. Focus: Young Audiences (available as at WEEK Submission of papers, Wednesday, September 27, , Mondo or 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 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. 3

4 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: Performing Affects and the S.C.U.M. Manifesto, Thursday, September 28, 14: , Department of Culture and Aesthetics, Auditorium, (Tiina Rosenberg) Sara Ahmed The Cultural Politics of Emotion. New York: Routledge, 1 19 (Introduction); (Feminist attachments & Just Emotions). 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. (2001). Structure of Feeling. In Performance Analysis. An Introductory Coursebook. London: Routledge, (on Mondo). WEEK Lecture: Introduction to Ingmar Bergman s Theatrical Oeuvre, Wednesday, October 4, 13:00 16:00, Humanistvillan, room 119 (Hélène Ohlsson). Maaret Koskinen Everything Represents, Nothing is. Some Relations Between Ingmar Bergman s Films and Theatre Productions. Canadian Journal of Film Studies, 6.1: 1-11, 4

5 available at: Maaret Koskinen Ingmar Bergman Revisited, Wallflower Press, 1-48; available at: Maaret. Koskinen Ingmar Bergman, the Biographical Legend and the Intermedialities of Memory, 1 11, available at: Videos: Ingmar Bergman The Magic flute; available at: Ingmar Bergman Wild strawberries; Ingmar Bergman The Magic Flute. Recommended videos: Ingmar Bergman Fanny and Alexander, part 1, available at: Ingmar Bergman The Silence, available at: WEEK Lecture: Dance and Democracy, Wednesday, October 11, 13:00 16:00, Department of Culture and Aesthetics, room 119 (Lena Hammergren) Lena Hammergren Spaces of Encounter: Dancing Demnocracy in the Nordic Region, IN Dance Spaces: Practices of Movement, edited by S. Ravn & L. Rouhiainen. Odense: University Press of Southern Denmark, WEEK Lecture: Performing Race in Contemporary Swedish Stage. Wednesday, October 18, 13:00-16:00, Department of Culture and Aesthetics, room 119 (Tiina Rosenberg) Sara Ahmed The Cultural Politics of Emotion. New York: Routledge, (Pain); (Hate); (Fear); (Disgust); (Shame). Fred Moten In In the Break. The Aesthetics of the Black Radical Tradition, Minneapolis: University of Minnesota Press, 2003, 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 5

6 WEEK Studentfika with Tiina: Monday, October 23, 10:00 12:00, Studenthuset, Universitetsvägen 2 B. Meeting point at the entrance (Tiina Rosenberg). Preparing your papers. Questions and answers to your queries. 15. Lecture: Artivists (Artists Activists), or, What s to Be Done? Wednesday, October, 25, 13: , Department of Culture and Aesthetics, room 119 (Tiina Rosenberg) Tiina Rosenberg My Cunt, My Rules! Feminist Sextremist Activism in Neoliberal Europe. In Performance, Feminism and Affect in Neoliberal Times, edited by Elin Diamond, Denise Varney and Candice Amich. London: Palgrave Macmillan, Diana Taylor Artivists (Artists Activists), or, What s to Be Done? and The Future(s) of Peformance. In Performance. Durham & London: Duke University Press, , WEEK Submission of papers, Tuesday, October 31, 09:45 10:00, upload 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. 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. 6

7 WEEK Returning papers and feedback ( Studentfika ), Friday, November 8, 10:00-12:00, Studenthuset, Universitetsvägen 2 B. Meeting point at the entrance. BIBLIOGRAPHY Ahmed, Sara The Cultural Politics of Emotion, New York: London. Tait, Peta, 'Ecstasy and Visceral flesh in motion', in: Tait, Peta & Lavers, Katie (red.), The Routledge Circus Studies reader, 1. ed., Routledge, Abingdon, UK, 2016, Hammergren, Lena Spaces of Encounter: Dancing Demnocracy in the Nordic Region. In Dance Spaces: Practices of Movement, edited by S. Ravn & L. Rouhiainen. Odense: University Press of Southern Denmark, Koskinen, Maaret Everything Represents, Nothing is. Some Relations Between Ingmar Bergman s Films and Theatre Productions. Canadian Journal of Film Studies, 6.1: 1 11, available at: Koskinen, Maaret Ingmar Bergman Revisited, Wallflower Press, 1 48, available at: Maaret. Koskinen Ingmar Bergman, the Biographical Legend and the Intermedialities of Memory, 1 11, available at: Marker, Frederick J. & Lise-Lone Marker, A History of Scandinavian Theatre, Cambridge: Cambridge University Press, 76 95, (available on Mondo). Moten. Fred In In the Break. The Aesthetics of the Black Radical Tradition, Minneapolis: University of Minnesota Press, 2003, 1 24 (available on Mondo). Ohlsson, Hélène. (Forthcoming 2017). Rivaling femininities Jenny Lind and Emélie Högqvist (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 Sarah Bernhardt in Phenomenological Perspective, In The Theatrical Event: Dynamics of Performance and Perception, Iowa: University of Iowa Press, Sauter, Willmar & David Wiles The Theatre of Drottningholm Then and Now. Stockholm: Acta Universitatis Stockholmiensis, 47 59, Solanas, Valerie S.C.U.M. Manifesto. (Available on the Internet). 7

8 Strindberg, August Miss Julie. Full text of Miss Julie and Other Plays available at Internet Archive: Taylor, Diana Performance. Durham & London: Duke University Press. Williams, Raymond. (2001). Structure of Feeling. In Performance Analysis. An Introductory Coursebook. London: Routledge, (on Mondo). Wilson. Elizabeth The Body Adorned (from Adorned in Dreams). In Performance Analysis. An Introductory Coursebook, London: Routledge, (available 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). PERFORMANCE As You Sow (So Shall You Reap), Unga Klara, Kulturhuset, Stockholm VIDEOS Bergman, Ingmar Wild strawberries; Bergman, Ingmar The Silence, available at: Bergman, Ingmar Persona, available at: Bergman, Ingmar The Magic flute; available at: Bergman, Ingmar Fanny and Alexander, part 1, available at: 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 8

9 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. 9