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,