Pub Date : 2020-05-18DOI: 10.7146/nts.v31i2.120184
Caoimhe Mader McGuinness
{"title":"Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century","authors":"Caoimhe Mader McGuinness","doi":"10.7146/nts.v31i2.120184","DOIUrl":"https://doi.org/10.7146/nts.v31i2.120184","url":null,"abstract":"","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"9 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87569143","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 : 2020-05-18DOI: 10.7146/nts.v31i2.120123
J. Risum
The Soviet tour in 1935 of the eminent Chinese male interpreter of female roles, Mei Lanfang, attracted justified international attention as a pioneering instance of cultural and aesthetic exchange. This is not least due to the fact that it was the first time a traditional Chinese theatre troupe made a guest appearance in Europe and that so many prominent Russian and other European theatre innovators consequently eagerly followed the event and reacted to the traditional Chinese stage conventions according to their very different aesthetic points of view. Complementing my published research over the years into the details of this major intercultural stage event, in this article I reverse my perspective and almost exclusively focus on its foreign-policy context. I demonstrate that from the more pragmatic point of view of international politics at the time, another aspect of Mei’s tour was much more important: It was an act of cultural diplomacy which helped break a deadlock in foreign relations between the Soviet Union and the Republic of China, and in so doing helped facilitate their formation of a defensive military alliance in response to the rapidly increasing Japanese aggression against them both. War memories, as well as memory wars, formed part of this foreign policy staging of Mei Lanfang’s Soviet guest appearance and its subsequent documentation.
{"title":"The Foreign-Policy Aspect of Mei Lanfang’s Soviet Tour in 1935","authors":"J. Risum","doi":"10.7146/nts.v31i2.120123","DOIUrl":"https://doi.org/10.7146/nts.v31i2.120123","url":null,"abstract":"The Soviet tour in 1935 of the eminent Chinese male interpreter of female roles, Mei Lanfang, attracted justified international attention as a pioneering instance of cultural and aesthetic exchange. This is not least due to the fact that it was the first time a traditional Chinese theatre troupe made a guest appearance in Europe and that so many prominent Russian and other European theatre innovators consequently eagerly followed the event and reacted to the traditional Chinese stage conventions according to their very different aesthetic points of view. Complementing my published research over the years into the details of this major intercultural stage event, in this article I reverse my perspective and almost exclusively focus on its foreign-policy context. I demonstrate that from the more pragmatic point of view of international politics at the time, another aspect of Mei’s tour was much more important: It was an act of cultural diplomacy which helped break a deadlock in foreign relations between the Soviet Union and the Republic of China, and in so doing helped facilitate their formation of a defensive military alliance in response to the rapidly increasing Japanese aggression against them both. War memories, as well as memory wars, formed part of this foreign policy staging of Mei Lanfang’s Soviet guest appearance and its subsequent documentation.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"84 1","pages":"89-101"},"PeriodicalIF":0.3,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85971306","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 : 2020-05-18DOI: 10.7146/nts.v31i2.120118
K. Vedel
The article examines theatricalization and visitor participation as curatorial strategies in new museological practices. It asks: How are theatrical and participatory elements put into use and what is their effect on the visitor experience in terms of meaning-making. Based on a first-person phenomenological description, the analysis centres on the exhibition An Army of Concrete in The Tirpitz Museum on the west coast of Denmark. Looking at the processes of theatricality in the exhibition, it is argued that meaning-making ultimately relies on visitor participation and is produced self-reflexively in the engagement with the immersive environments, theaudio-narratives and the displayed objects.
{"title":"Theatricalization in the Cultural History Museum","authors":"K. Vedel","doi":"10.7146/nts.v31i2.120118","DOIUrl":"https://doi.org/10.7146/nts.v31i2.120118","url":null,"abstract":"The article examines theatricalization and visitor participation as curatorial strategies in new museological practices. It asks: How are theatrical and participatory elements put into use and what is their effect on the visitor experience in terms of meaning-making. Based on a first-person phenomenological description, the analysis centres on the exhibition An Army of Concrete in The Tirpitz Museum on the west coast of Denmark. Looking at the processes of theatricality in the exhibition, it is argued that meaning-making ultimately relies on visitor participation and is produced self-reflexively in the engagement with the immersive environments, theaudio-narratives and the displayed objects.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"96 1","pages":"23-36"},"PeriodicalIF":0.3,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86078491","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 : 2020-04-30DOI: 10.7146/nts.v32i1.120407
Kim Skjoldager-Nielsen, Daria Skjoldager-Nielsen
The Anthropocene is gaining recognition as an epoch in Earth’s history in which mankind is changing the environment and the biosphere (Steffen et.al. 2011). Hotel Pro Forma’s visual opera NeoArctic (2016) and Yggdrasil Dance’s dance meditation Siku Aapoq/ Melting Ice (2015) explore how to aesthetically shape the ecological impact on human existence. The article discusses the performances’ impact on potential responses to the climate crisis. In NeoArctic, human activities have caused “overflow feedback”: a constant flow of digital vistas of pollution, raging weather, temperature rises alternate with the planet’s eternal processes, while underscored by ambience and operatic electro-pop. The images are front-projected onto the stage backdrop to create a literal overflow of the steadfast choir-performers, in which they almost disappear or become ghostly shadows, implying their imminent demise or insignificance on a planetary scale. Siku Aapoq engages with Greenland’s melting icecap: two dancers, Norwegian and Inuit, interact with a fabric understood as the melting ice, while enveloped in evocative lights, the crackling of glaciers, Inuit chants, ambience, and jazz. The Norwegian and the Inuit take turns enacting the ice, suggesting the interconnectedness with nature of both cultures. Both performances seem to invite acceptance of inevitable disaster. Yet, human prevalence is implied in the stagings by convergence of past and future in the present, which suggests that the future is still undecided, and survival depends on an ability to respond to the materiality of the environment that we are already entangled in through a profound sense of beauty. Theoretically, the analyses mainly draw on agential realism (Karen Barad) in order to outline a “para-Anthropo(s)cene aesthetics” that may reach beyond the human and engage spectators in realizing their ethical entanglement and the call for climate action. Considering intentions and reception, and the dystopian nature of the performances, the responses to climate change that the aesthetics may instigate are discussed.
人类世被认为是地球历史上人类正在改变环境和生物圈的一个时代(Steffen等)。2011)。Hotel Pro Forma的视觉歌剧《NeoArctic》(2016)和Yggdrasil Dance的舞蹈冥想《Siku Aapoq/ Melting Ice》(2015)探讨了如何从美学上塑造生态对人类生存的影响。本文讨论了绩效对应对气候危机的潜在影响。在《新北极》中，人类活动造成了“溢出反馈”:持续不断的污染、肆虐的天气、气温上升与地球永恒的过程交替出现的数字远景，同时被氛围和歌剧般的电子流行音乐所强调。这些图像被正面投射到舞台背景上，创造出一种充满坚定的唱诗班表演者的文字，他们几乎消失或变成幽灵般的阴影，暗示他们即将死亡或在地球上微不足道。Siku Aapoq与格陵兰岛融化的冰盖进行了互动:两名舞者，挪威人和因纽特人，与被理解为融化的冰的织物互动，同时被令人回味的灯光、冰川的噼噼作响、因纽特人的吟唱、氛围和爵士乐所笼罩。挪威人和因纽特人轮流制作冰，这表明两种文化与自然的相互联系。这两场表演似乎都让人接受了不可避免的灾难。然而，人类的普遍性隐含在过去和未来在当下的融合中，这表明未来仍未确定，生存取决于我们通过深刻的美感对已经纠缠在其中的环境的物质性做出反应的能力。从理论上讲，这些分析主要借鉴了代理现实主义(Karen Barad)，以概述一种可能超越人类的“para-Anthropo(s)现场美学”，并使观众意识到他们的伦理纠缠和对气候行动的呼吁。考虑到意图和接受，以及表演的反乌托邦性质，讨论了美学可能引发的对气候变化的反应。
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Pub Date : 2019-07-01DOI: 10.7146/nts.v24i1.114927
L. Bagger
{"title":"Flirtation and Seduction as Dramaturgical Devices in Interactive Acting","authors":"L. Bagger","doi":"10.7146/nts.v24i1.114927","DOIUrl":"https://doi.org/10.7146/nts.v24i1.114927","url":null,"abstract":"","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"91 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74970756","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 : 2019-07-01DOI: 10.7146/nts.v24i1.114929
Kent T. Nielsen
{"title":"Erik Exe Christoffersen (ed.): Odin Teatret: et Dansk Verdensteater","authors":"Kent T. Nielsen","doi":"10.7146/nts.v24i1.114929","DOIUrl":"https://doi.org/10.7146/nts.v24i1.114929","url":null,"abstract":"","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"149 ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72444858","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}
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