Theatre in Sweden 2019.Pdf

STOCKHOLM UNIVERSITY DEPARTMENT OF CULTURE AND AESTHETICS THEATRE, DANCE, AND PERFORMANCE STUDIES Prof. Tiina Rosenberg [email protected]

THEATRE IN SWEDEN HISTORICAL AND CONTEMPORARY PERSPECTIVES SEPTEMBER/OCTOBER 2019

(TVERA1, 15 ECTS)

PROGRAM & TIMETABLE

PART I

WEEK 36

1.Lecture: Introduction to Theatre in Sweden: Historical and Contemporary Perspectives, Friday, September 6, 10:00-13:00, Department of Culture and Aesthetics, Room 300: Library (Tiina Rosenberg)

Reading: 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 www.teaterunionen.se (Swedish ITI).

Diana Taylor. (2016). “Framing [Performance]” and “Performance Histories.” In Performance. Durham & London: Duke University Press, 1–42, 43–72.

2. Study visit: Drottningholm Court Theatre, Friday, September 6, 14:30–15:30.

Meeting point: We go together from class, but if you want to travel independently, the subway station is Brommaplan and from there you take a bus to Drottningholm. A tour lecture will be given in the court theatre.

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.

Reading: Frederick J. Marker & Lise-Lone Marker, “The Gustavian Age.” In A History of Scandinavian Theatre, Cambridge: Cambridge University Press, 76–95 (PDF available at Athena).

1 Willmar Sauter. 2014. “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, 14–46 (available on Mondo).

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, 185–214 (PDF available at Athena).

WEEK 37

3. Lecture: Miss Julie Refuses to Die, Friday, September 13, 10.00–13:00, Department of Culture and Aesthetics, room 101 (Tiina Rosenberg)

Reading:

Hélène Cixous, “Aller à la mer.” In Modern Drama, Volume 27, Number 4, Winter 1984, 546–548 (PDF available at Athena).

Frederick J. Marker & Lise-Lone Marker. 2006 [1975]. “The Strindberg Challenge.” In A History of Scandinavian Theatre, Cambridge: Cambridge University Press, 193–223 (PDF available at Athena).

Tiina Rosenberg. 2016. “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, 150– 165; available at http://dx.doi.org/10.16993/baf

Tiina Rosenberg. 2016. “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, 166–175; available at http://dx.doi.org/10.16993/baf

August Strindberg. 1988. Miss Julie. Full text of Miss Julie and Other Plays available at Internet Archive: www.archive.org

Nayoung Yang. 2016. “Counterattack of Julie: Feminist Reading of August Strindberg’s Miss Julie.” In International Journal of Humanities, Arts and Social Sciences, 2(3), 91–97 (PDF available at Athena).

4. Study visit, Friday 13, 14:00–16:00: The Strindberg Museum & Archive, The Blue Tower (Blå tornet), Drottninggatan 85; Strindberg’s Intimate Theatre (Strindbergs Intima Teater), Barnhusgatan 20. We go together from class to The Strindberg Museum & Archive.

WEEK 38

5. Workshop: Decolonizing Swedish Performance: Sami Spoken Word, Friday, September 20, 10:00– 13:00, Department of Culture and Aesthetics, room 300: Library (Timimie Märak & Anna Renée Winget)

Reading:

2 Sruti Bala. 2017. “Decolonising Theatre and Performance Studies: Tales from the classroom.” Tijdschrift voor genderstudies 20 (3): 333-345 available at https://doi.org/10.5117/TVGN2017.3.BALA

Ngugi wa Thiong’o. 1986. “Introduction” to Decolonising the Mind: The Politics of Language in African Literature. Portsmith, NH: Heinemann. Available at https://www.uibk.ac.at/anglistik/staff/davis/decolonising-the-mind.pdf

Linda Tuhiwai Smith. Introduction to Decolonizing Methodologies: Research and Indigenous Peoples. London: Zed Books Ltd. 12th edition. 2008. Available at https://nycstandswithstandingrock.files.wordpress.com/2016/10/linda-tuhiwai-smith-decolonizing- methodologies-research-and-indigenous-peoples.pdf

A brief history of Sami culture (to be announced)

Sami poetry (to be announced)

WEEK 39

6. Seminar: Oral paper draft presentations in class. Paper topic: “Swedish dance/performance/theatre in a transnational context”, Friday, September 27, 10:00–13:00, Department of Culture and Aesthetics, Room 300: Library (Tiina Rosenberg)

A five-minute class room presentation of your paper proposal. It is an exercise that allows you to share your ideas with your peers. It also invites engagement with your work, which in turn enables you to improve your writing and thinking.

WEEK 40

7. Submission of papers, Friday, October 4, 09:00, upload your paper on Athena or email to [email protected].

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.

3 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 6– 8 pages; double-spaced in Times New Roman: 12.

PART II

WEEK 40

8. Lecture: Performing race on contemporary Swedish stage, Friday 4, October 4, 10:00-13:00, Department of Culture and Aesthetics, room 300: Library (Tiina Rosenberg)

Reading: Sara Ahmed. 2004. “Pain”, “Hate”, “Fear” & “Disgust.” In The Cultural Politics of Emotion. New York: Routledge, 20–41, 42–61, 62–81 & 82–100.

Matthew Clair. 2012. ”The Art of Fear: Makode Linde’s ‘Painful Cake’.” April 24, 2012; In The DAP/2019; http://www.diverseartsproject.com/reportage/2012/4/24/the-art-of-fear-makode-lindes-painful- cake.html (PDF available at Athena).

Siv Fahlgren et al. 2014. “Having Your Cake and Eating It? The ‘Painful Cake’ Incident of 2012 Examined.” In Konsthistorisk tidskrift/Journal of Art History, 84:1, 55–70 (PDF available at Athena).

Weronika Pérez Borjas. 2016. ”Shock, Race and Fairytales: A Conversation With Makode Linde.” In Vice January 29, 2016; https://www.vice.com/sv/article/avy9yg/makode-linde-strikes-back-345 (PDF available at Athena).

Tiina Rosenberg. 2016. “Against Tolerance. Thoughts on Contemporary Racism”. In Don’t Be quiet, Start a Riot. Essays on Feminism and Performance. Stockholm: Stockholm University Press, 206–217; available at http://dx.doi.org/10.16993/baf

9. Study visit: The Museum of Performing Arts (Scenkonstmuseet), Sibyllegatan 2, Friday, October 4, 14:00–15:00. We go together from class to the Museum of the Performing Arts.

WEEK 42

10. WORKSHOP: Applied theatre in Sweden: LGBTQ asylum seekers perform their stories, Friday, October 11, 10:00–13:00, Department of Culture and Aesthetics, room 101 (Anna Renée Winget & RFSL Stockholm Newcomers)

Reading:

Enes Lukac and Hjalmar Eriksson. 2017. LGBT Asylum Seekers in Sweden: Conceptualising Queer Migration Beyond the Concept of ‘Safe Third Country’” an Oxford Research Report. Available at https://oxfordresearch.se/wp-content/uploads/2017/10/LGBT-Asylum-seekers-in-Sweden_Oxford- Research.pdf

4 Owen Paul Karcher. 2017. “Sociopolitical Oppression, Trauma, and Healing: Moving Toward a Social Justice Art Therapy Framework.” Art Therapy, 34:3, 123-128, DOI: 10.1080/07421656.2017.1358024

Monica Prendergast & Juliana Saxton. 2016. Applied Theatre: International Case Studies and Challenges for Practice. Bristol: Intellect Books, 142–146. PDF available at Athena.

Anna Renée Winget. 2019. “Introduction” to Performing Possibilities: Trans-Healing and Activist Performance a doctoral dissertation, University of California at Irvine. Available at https://escholarship.org/uc/item/2m62w5jd

WEEK 42

11.Lecture: Popular entertainment: Melodifestivalen and Eurovision Song Contest, Friday, October 18, 10:00–13:00, Department of Culture and Aesthetics, room 300: Library (Tiina Rosenberg)

Reading:

Jessica Carniel. 2015. “Skirting the Issue: Finding Queer and geopolitical Belonging at the Eurovision Song Contest.” In Contemporary Southeastern Europe. An Interdisciplinary Journal on Southeastern Europe, 2(1), s 136–154 (PDF available at Athena).

Richard Dyer. 1999. “It’s Being So Camp as Keeps Us Going.” In Camp: Queer Aesthetics and the Performing Subject. Ann Arbor: The University of Michigan Press, 110-116 (PDF available at Athena).

Richard Dyer. 2002. “The idea of Entertainment” &” Entertainment and Utopia.” In Only Entertainment. London & New York: Routledge, 5-9; 19-35 (PDF available at Athena).

Johan Fornäs. 2017. “Euro-Visions: East European Narratives in Televised Popular Music.” In Europe Faces Europe: Narratives from Its Eastern Half. Bristol: Intellect, 197–236 (PDF available at Athena).

Dean Vuletic. 2018. “Introduction: Europe’s Greatest Television Show.” In Postwar Europe and the Eurovision Song Contest. London: Bloomsbury Publishing, 1–16.

WEEK 43

12. Seminar: Oral paper draft presentations in class. Paper topic of your choice, Friday, October 25, 10:00–13:00, Department of Culture and Aesthetics, Room 300: Library (Tiina Rosenberg)

5 WEEK 44

13. Submission of papers, Friday, November 1, 16:00–17:00, upload your paper on Athena or send to [email protected]

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 6– 8 pages; double-spaced in Times New Roman: 12.

WEEK 45

14. Returning papers: Friday, November 8, 10:00-12:00, room 357 (Tiina Rosenberg’s office).

BIBLIOGRAPHY

Ahmed, Sara. 2004. The Cultural Politics of Emotion, New York: London.

Bala, Sruti. 2017. “Decolonising Theatre and Performance Studies: Tales from the classroom.” Tijdschrift voor genderstudies 20 (3): 333-345 available at https://doi.org/10.5117/TVGN2017.3.BALA

Carniel, Jessica. 2015. “Skirting the Issue: Finding Queer and geopolitical Belonging at the Eurovision Song Contest.” In Contemporary Southeastern Europe. An Interdisciplinary Journal on Southeastern Europe, 2(1), s 136–154 (PDF available at Athena).

Cixous, Hélène. 1984 [1977]. “Aller à la mer.” In Modern Drama, Volume 27, Number 4, Winter 1984, 546–548 (PDF available at Athena).

Clair, Matthew. 2012. ”The Art of Fear: Makode Linde’s ‘Painful Cake’.” April 24, 2012; In The DAP/2019; http://www.diverseartsproject.com/reportage/2012/4/24/the-art-of-fear-makode-lindes-painful- cake.html

6 Dyer, Richard. 1999. “It’s Being So Camp as Keeps Us Going.” In Camp: Queer Aesthetics and the Performing Subject. Ann Arbor: The University of Michigan Press, 110-116 (PDF available at Athena).

Dyer, Richard. 2002. Only Entertainment. London: Routledge (PDF available at Athena).

Fahlgren, Siv et al. 2014. “Having Your Cake and Eating It? The ‘Painful Cake’ Incident of 2012 Examined.” In Konsthistorisk tidskrift/Journal of art History, 84:1, 55–70 (PDF available at Athena).

Fornäs, Johan. 2017. “Euro-Visions: East European Narratives in Televised Popular Music.” In Europe Faces Europe: Narratives from Its Eastern Half. Bristol: Intellect, 197–236 (PDF available at Athena).

Karcher, Owen Paul. 2017. “Sociopolitical Oppression, Trauma, and Healing: Moving Toward a Social Justice Art Therapy Framework.” Art Therapy, 34:3, 123-128, DOI: 10.1080/07421656.2017.1358024

Lukac, Enes and Hjalmar Eriksson. 2017. LGBT Asylum Seekers in Sweden: Conceptualising Queer Migration Beyond the Concept of ‘Safe Third Country’” an Oxford Research Report. Available at https://oxfordresearch.se/wp-content/uploads/2017/10/LGBT-Asylum-seekers-in-Sweden_Oxford- Research.pdf

Marker, Frederick J. & Lise-Lone Marker, A History of Scandinavian Theatre, Cambridge: Cambridge University Press, 76–95, 193–223 (available on Mondo).

Prendergast, Monica & Juliana Saxton. 2016. Applied Theatre: International Case Studies and Challenges for Practice. Bristol: Intellect Books, 142–146. Available at Athena.

Rosenberg, Tiina. 2016. Don’t Be Quiet, Start a Riot. Essays on Feminism and Performance. Stockholm: Stockholm University Press, available at: http://dx.doi.org/10.16993/ba

Sauter, Willmar & David Wiles. 2014. The Theatre of Drottningholm – Then and Now. Stockholm: Acta Universitatis Stockholmiensis (PDF available at Athena).

Strindberg, August. 1888. Miss Julie. Full text of Miss Julie and Other Plays available at Internet Archive: www.archive.org.

Taylor, Diana. 2016. Performance. Durham & London: Duke University Press.

Tuhiwai Smith, Linda. Introduction to Decolonizing Methodologies: Research and Indigenous Peoples. London: Zed Books Ltd. 12th edition. 2008.

Vuletic, Dean. 2018. “Introduction: Europe’s Greatest Television Show.” In Postwar Europe and the Eurovision Song Contest. London: Bloomsbury Publishing, 1–16. wa Thiong’o, Ngugi. 1986. “Introduction” to Decolonising the Mind: The Politics of Language in African Literature. Portsmith, NH: Heinemann, 1986.

Renée Winget, Anna. 2019. “Introduction” to Performing Possibilities: Trans-Healing and Activist Performance a doctoral dissertation, University of California at Irvine. Available at https://escholarship.org/uc/item/2m62w5jd

Yang, Nayoung. 2016. “Counterattack of Julie: Feminist Reading of August Strindberg’s Miss Julie.” In International Journal of Humanities, Arts and Social Sciences, 2(3), 91–97 (PDF available at Athena).

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 at www.teaterunionen.se (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.