Pub Date : 2023-06-20DOI: 10.7146/nts.v34i1.137925
Hedi-Liis Toome
The article focuses on the establishment and closing down of Theatre NO99 (2005-2018), one of the most nationally and internationally acclaimed theatres of Estonia. These events are analysed from two perspectives: (1) the political, because in both cases the Estonian Ministry of Culture made quite radical decisions that had a strong effect for the theatre field in general; (2) the discursive, to understand how NO99 legitimized its beginning and justified the ending. The latter is compared to the discourse of the written media to understand the dialogue between these two discourses. Pierre Bourdieu’s field theory is used to show how the external and internal forces influenced the position taking of NO99 in the Estonian theatre field and how paradoxical and even impossible it is for an avant-garde state theatre to balance between autonomous and heteronomous principals of hierarchization.
{"title":"Rise and Fall of Theatre NO99 in Estonia","authors":"Hedi-Liis Toome","doi":"10.7146/nts.v34i1.137925","DOIUrl":"https://doi.org/10.7146/nts.v34i1.137925","url":null,"abstract":"The article focuses on the establishment and closing down of Theatre NO99 (2005-2018), one of the most nationally and internationally acclaimed theatres of Estonia. These events are analysed from two perspectives: (1) the political, because in both cases the Estonian Ministry of Culture made quite radical decisions that had a strong effect for the theatre field in general; (2) the discursive, to understand how NO99 legitimized its beginning and justified the ending. The latter is compared to the discourse of the written media to understand the dialogue between these two discourses. Pierre Bourdieu’s field theory is used to show how the external and internal forces influenced the position taking of NO99 in the Estonian theatre field and how paradoxical and even impossible it is for an avant-garde state theatre to balance between autonomous and heteronomous principals of hierarchization.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"41 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78122206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-20DOI: 10.7146/nts.v34i1.137929
Kitija Balcare
Taking into account that the performing arts could play a huge role in shaping the ecological awareness of society, it is important not only to look at the econarratives of performances but also to analyse the process of their production in terms of sustainability. Reduce, reuse, and recycle – these are essential components of environmentally responsible consumer behaviour. But what about the theatre scene? What are the main challenges for theatre professionals in terms of their ecological footprint? Despite the fact that theatre has been perceived as anti-ecological per se, the first signs of a shift in the mindset of theatre makers is already visible. There has been an increase in ecotheatre performances that not only use ecodramaturgy and represent crucial econarratives pertaining to environmental conservation but also apply aspects of sustainability in the production process of the performances. Such aspects are important in regard to the conviction that ecotheatre is becoming a form of environmental activism. During the recent pandemic (2020–22), several performances in Latvia were based on ecodramaturgy and contained features of ecotheatre. This paper aims to explore the latest sustainable practices and ecological aspects in the theatre scene in Latvia.
{"title":"Reduce, Reuse, or Refuse?","authors":"Kitija Balcare","doi":"10.7146/nts.v34i1.137929","DOIUrl":"https://doi.org/10.7146/nts.v34i1.137929","url":null,"abstract":"Taking into account that the performing arts could play a huge role in shaping the ecological awareness of society, it is important not only to look at the econarratives of performances but also to analyse the process of their production in terms of sustainability. Reduce, reuse, and recycle – these are essential components of environmentally responsible consumer behaviour. But what about the theatre scene? What are the main challenges for theatre professionals in terms of their ecological footprint? Despite the fact that theatre has been perceived as anti-ecological per se, the first signs of a shift in the mindset of theatre makers is already visible. There has been an increase in ecotheatre performances that not only use ecodramaturgy and represent crucial econarratives pertaining to environmental conservation but also apply aspects of sustainability in the production process of the performances. Such aspects are important in regard to the conviction that ecotheatre is becoming a form of environmental activism. During the recent pandemic (2020–22), several performances in Latvia were based on ecodramaturgy and contained features of ecotheatre. This paper aims to explore the latest sustainable practices and ecological aspects in the theatre scene in Latvia.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"87 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88992933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-17DOI: 10.7146/nts.v33i2.132869
Tiina Rosenberg
For several years, the Black Lives Matter movement has been advocating for issues of racial justice and the representation of POC artists (people of colour)in the arts. However, it is a different kind of challenge to face up to systematic racial discrimination in Swedish society that claims itself to be both colourblindand antiracist. Contrary to the notion that if race is not mentioned, there cannot be racism, it may be argued that the performing arts in Sweden are notas open-minded and inclusive as often claimed. This article focuses on antiblackness and argues that although there are anti-racist performers and activistgroups who continually address racial injustice, the response from theatre institutions has been slow. It is suggested that the performing arts in Swedenneed to expand the representation of artists of colour, get better at detecting strategies of equality reluctance in theatre organisations, and improve a criticalunderstanding of hegemonic whiteness. They also must develop a politics of iintersectionality and accountability as an approach to new ways of thinking andacting.
{"title":"“We Are Still Not Being Heard”","authors":"Tiina Rosenberg","doi":"10.7146/nts.v33i2.132869","DOIUrl":"https://doi.org/10.7146/nts.v33i2.132869","url":null,"abstract":"For several years, the Black Lives Matter movement has been advocating for issues of racial justice and the representation of POC artists (people of colour)in the arts. However, it is a different kind of challenge to face up to systematic racial discrimination in Swedish society that claims itself to be both colourblindand antiracist. Contrary to the notion that if race is not mentioned, there cannot be racism, it may be argued that the performing arts in Sweden are notas open-minded and inclusive as often claimed. This article focuses on antiblackness and argues that although there are anti-racist performers and activistgroups who continually address racial injustice, the response from theatre institutions has been slow. It is suggested that the performing arts in Swedenneed to expand the representation of artists of colour, get better at detecting strategies of equality reluctance in theatre organisations, and improve a criticalunderstanding of hegemonic whiteness. They also must develop a politics of iintersectionality and accountability as an approach to new ways of thinking andacting.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"9 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78474104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-17DOI: 10.7146/nts.v33i2.132872
Daria Skjoldager-Nielsen
Almost each year, the pop-cultural world is buzzing with a “new” Nordic word that can bring a piece of Nordic life to every home. Lagom, fika, fredagsmys or hygge - they all refer to slowness, break, taking a moment to feel good and happy, being considerate. Those concepts are believed to be a Nordic approach to life - and a very desirable one.When I think of theatre in this context, one Nordic invention comes to my mind: theatre talks, which emerged as an audience reception research method in Sweden. They proved to be an effective audience development practice (even for non-theatregoers) in Australia (Scollen), Denmark (Hansen; Lindelof), and Poland (Rapior) because (among other things) they bring the element of pleasure, community building, and feeling safe into the theatre experience especially for non-attenders.In this article I will focus on looking at theatre as a possible “oasis of deceleration” in the constantly accelerating world, using Hartmut Rosa’s theory of social acceleration. By going through the development of theatre talks, I will demonstrate what theatres can gain from using this method - both in attendance and image. I will deliberate on how theatre can become a metaphorically “hyggelig” place for anybody during times when everybody ought to live faster and faster.
{"title":"Theatre Talks","authors":"Daria Skjoldager-Nielsen","doi":"10.7146/nts.v33i2.132872","DOIUrl":"https://doi.org/10.7146/nts.v33i2.132872","url":null,"abstract":"Almost each year, the pop-cultural world is buzzing with a “new” Nordic word that can bring a piece of Nordic life to every home. Lagom, fika, fredagsmys or hygge - they all refer to slowness, break, taking a moment to feel good and happy, being considerate. Those concepts are believed to be a Nordic approach to life - and a very desirable one.When I think of theatre in this context, one Nordic invention comes to my mind: theatre talks, which emerged as an audience reception research method in Sweden. They proved to be an effective audience development practice (even for non-theatregoers) in Australia (Scollen), Denmark (Hansen; Lindelof), and Poland (Rapior) because (among other things) they bring the element of pleasure, community building, and feeling safe into the theatre experience especially for non-attenders.In this article I will focus on looking at theatre as a possible “oasis of deceleration” in the constantly accelerating world, using Hartmut Rosa’s theory of social acceleration. By going through the development of theatre talks, I will demonstrate what theatres can gain from using this method - both in attendance and image. I will deliberate on how theatre can become a metaphorically “hyggelig” place for anybody during times when everybody ought to live faster and faster.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"26 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75061532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-17DOI: 10.7146/nts.v33i2.132871
Dirk Gindt
Populated by characters from the Middle East, North Africa, Southeast Asia, and Sweden, Jonas Hassen Khemiri’s debut play, Invasion! (2006), marked one of the first intercultural theatrical events on a mainstream Swedish stage. It unapologetically confronted audiences with the consequences of stereotypical representations of Muslim men as fundamentalist terrorists and further criticized the notion of “Swedishness” for not just working as a mere designation of nationality and citizenship, but also a silent, yet powerful signifier of whiteness. Moreover, Invasion! was the first play to be performed in a mainstream theatre by a cast that had an intercultural and international background and could effortlessly switch between standard Swedish (rikssvenska) and suburban Swedish (ortenspråk).Acknowledging the fifteenth anniversary of Invasion!, this article looks back upon the watershed of director Farnaz Arbabi’s original production and the play’s subsequent transnational impact. How did a play that was defiantly at odds with the hegemonic whiteness of the performing arts in Sweden, at that point in time, not only become a modern classic that found its way into the university curricula, but went on to garner an impressively transnational success? What exactly captured the interest and attention of theatre artists in Germany, France, the US, and many other countries? And how did international reviewers react to and interpret the work? What interests me specifically is to study how the play has ‘travelled’, how its characters and themes have migrated to different national and linguistic contexts, engendered new creative networks and transnational dialogues as well as unfolded multiple layers of cultural translations in the process. A genuine understanding and appreciation of Khemiri’s work, I suggest, necessitates a transnational outlook that, in turn, sheds light on Nordic theatre and performance as increasingly intercultural and motivated by concerns that are not regional but global.
{"title":"Swedish Whiteness, German Multiculturalism, French National Identity, and American Racial Profiling","authors":"Dirk Gindt","doi":"10.7146/nts.v33i2.132871","DOIUrl":"https://doi.org/10.7146/nts.v33i2.132871","url":null,"abstract":"Populated by characters from the Middle East, North Africa, Southeast Asia, and Sweden, Jonas Hassen Khemiri’s debut play, Invasion! (2006), marked one of the first intercultural theatrical events on a mainstream Swedish stage. It unapologetically confronted audiences with the consequences of stereotypical representations of Muslim men as fundamentalist terrorists and further criticized the notion of “Swedishness” for not just working as a mere designation of nationality and citizenship, but also a silent, yet powerful signifier of whiteness. Moreover, Invasion! was the first play to be performed in a mainstream theatre by a cast that had an intercultural and international background and could effortlessly switch between standard Swedish (rikssvenska) and suburban Swedish (ortenspråk).Acknowledging the fifteenth anniversary of Invasion!, this article looks back upon the watershed of director Farnaz Arbabi’s original production and the play’s subsequent transnational impact. How did a play that was defiantly at odds with the hegemonic whiteness of the performing arts in Sweden, at that point in time, not only become a modern classic that found its way into the university curricula, but went on to garner an impressively transnational success? What exactly captured the interest and attention of theatre artists in Germany, France, the US, and many other countries? And how did international reviewers react to and interpret the work? What interests me specifically is to study how the play has ‘travelled’, how its characters and themes have migrated to different national and linguistic contexts, engendered new creative networks and transnational dialogues as well as unfolded multiple layers of cultural translations in the process. A genuine understanding and appreciation of Khemiri’s work, I suggest, necessitates a transnational outlook that, in turn, sheds light on Nordic theatre and performance as increasingly intercultural and motivated by concerns that are not regional but global.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"197 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83099559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-17DOI: 10.7146/nts.v33i2.132873
Helena Ohlsson
{"title":"Som en vildfågel i en bur","authors":"Helena Ohlsson","doi":"10.7146/nts.v33i2.132873","DOIUrl":"https://doi.org/10.7146/nts.v33i2.132873","url":null,"abstract":"","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"135 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79535276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-17DOI: 10.7146/nts.v33i2.132870
Rikard Loman
The idea of a Nordic community, even though it was a reality in the past and is still a quite tangible idea in the present – because all Nordic countries havestriking similarities – is often obscured by the more recent idea that the nation always comes first, and for quite some time now the Nordic countries havebeen anxious to set themselves apart from their closest neighbour in particular. In this paper, I will examine a rare – and at that, an unusually bloody andmessy – Swedish-Danish theatre collaboration, Stockholms blodbad (Stockholm Bloodbath), which was staged at Malmö City Theatre, in Skåne, the southernmost of the historical provinces of Sweden, in the fall of 2016. Stockholms blodbad seemed to revive the idea of a “pure” Nordic community beneath the final coat of national varnish, but the intent was primarily to subvert and make fun of nationalistic sentiments while re-awakening a well-known, historicalevent in the intertwined pasts of these nations. When Stockholms blodbad premiered in 2016, the differences between Sweden and Denmark and the sense of Skåne being a border territory hadbeen amplified by recent events and different policies regarding what is now known as “Flyktingkrisen” (The European refugee and migrant crisis) in thespring of 2015. “Flyktingkrisen” reminded us of the fact that we now live in an increasingly globalized world. Stockholms blodbad seemed to deny it. Aslong as nationalism skews our thoughts and perceptions of the past and the present it is impossible to imagine a future that is habitable and hospitable toall humanity.
{"title":"Nordic Gore?","authors":"Rikard Loman","doi":"10.7146/nts.v33i2.132870","DOIUrl":"https://doi.org/10.7146/nts.v33i2.132870","url":null,"abstract":"The idea of a Nordic community, even though it was a reality in the past and is still a quite tangible idea in the present – because all Nordic countries havestriking similarities – is often obscured by the more recent idea that the nation always comes first, and for quite some time now the Nordic countries havebeen anxious to set themselves apart from their closest neighbour in particular. \u0000In this paper, I will examine a rare – and at that, an unusually bloody andmessy – Swedish-Danish theatre collaboration, Stockholms blodbad (Stockholm Bloodbath), which was staged at Malmö City Theatre, in Skåne, the southernmost of the historical provinces of Sweden, in the fall of 2016. Stockholms blodbad seemed to revive the idea of a “pure” Nordic community beneath the final coat of national varnish, but the intent was primarily to subvert and make fun of nationalistic sentiments while re-awakening a well-known, historicalevent in the intertwined pasts of these nations. \u0000When Stockholms blodbad premiered in 2016, the differences between Sweden and Denmark and the sense of Skåne being a border territory hadbeen amplified by recent events and different policies regarding what is now known as “Flyktingkrisen” (The European refugee and migrant crisis) in thespring of 2015. “Flyktingkrisen” reminded us of the fact that we now live in an increasingly globalized world. Stockholms blodbad seemed to deny it. Aslong as nationalism skews our thoughts and perceptions of the past and the present it is impossible to imagine a future that is habitable and hospitable toall humanity.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"101 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90070638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：