1,970 research outputs found
Tennessee Williams in Sweden and France, 1945-1965 : Cultural Translations, Sexual Anxieties and Sexual Fantasies
No full textThe immediate post-war period marks a pivotal moment in the internationalization of American theatre when Tennessee Williams' plays became some of Broadway's most critically acclaimed and financially lucrative exports. Dirk Gindt offers a detailed study of the production and reception of Williams' work on Swedish and French stages at the height of his popularity between 1945 and 1965. Analysing the national openings of seminal plays, including The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof, Orpheus Descending and Suddenly Last Summer, Gindt provides rich and nuanced insights into Williams' transnational impact. In the process, he charts a network of fascinating and influential directors, actors, designers, producers and critics, all of whom left distinctive marks on mid-twentieth-century European theatre and culture. Gindt further demonstrates how Williams' work foregrounded cultural apprehensions, racial fantasies and sexual anxieties, which resulted in heated debates in the critical and popular media.</p
Sky Gilbert, Daniel MacIvor, and The Man In The Vancouver Hotel Room: Queer Gossip, Community Narrative, and Theatre History
No full textThis essay outlines how the gossip surrounding Tennessee Williams’s visit to Vancouver in 1980 has influenced the narratives of gay communities and in so doing contributed to queer theatre history in Canada. Stories of Williams inviting young men to his hotel room and asking them to read from the Bible inspired Sky Gilbert and Daniel MacIvor to each write a play based on these events. The essay argues that Gilbert and MacIvor transcend the localized specificity of the initial rumours and deploy gossip as a tool to articulate a process of sexual and cultural marginalization, thereby fostering a dialogue with the past. This dialogue marks a crucial and pedagogical task in gay and queer theatre to address the on-going needs of an ever-changing community.Dans cet article, Dirk Gindt montre comment les rumeurs qui ont entouré la visite de Tennessee Williams à Vancouver en 1980 ont façonné les récits des communautés gais et, ce faisant, ont contribué à l’histoire du théâtre queer au Canada. Après avoir entendu dire que Williams avait invité des jeunes hommes à monter à sa chambre d’hôtel pour ensuite leur demander de lui lire des passages de la Bible, Sky Gilbert et Daniel MacIvor ont chacun été inspirés à écrire une pièce à partir de ces événements. Gindt fait valoir que Gilbert et MacIvor transcendent l’origine spécifique des premières rumeurs et les utilisent pour exprimer un processus de marginalisation sexuelle et culturelle. Ce faisant, ils favorisent un dialogue avec le passé qui constitue une tâche essentielle et pédagogique du théâtre gai et queer qui veut adresser les besoins continus d’une communauté en constante évolution
Entertainer: Pieter-Dirk Uys
No full textThis booklet celebrates the life and work of Pieter-Dirk Uys, internationally acclaimed playwright, author, role-model and one of South Africa's living treasures
Entertainer: Pieter-Dirk Uys
No full textThis booklet celebrates the life and work of Pieter-Dirk Uys, internationally acclaimed playwright, author, role-model and one of South Africa's living treasures
Entertainer: Pieter-Dirk Uys
No full textThis booklet celebrates the life and work of Pieter-Dirk Uys, internationally acclaimed playwright, author, role-model and one of South Africa's living treasures
Formal Techniques and Self/Other Relations in the Novels of Dirk Bogarde
No full textThe thesis foregrounds the distinctive contribution Dirk Bogarde made to
contemporary writing in a second career that developed in parallel to his screen
commitments. It dispels the notion that Bogarde followed a familiar path as an actor
who wrote books. Instead it establishes his reputation as an innovative writer whose
formal technique was substantially influenced by the textual systems of cinema and
the cross-fertilisation from acting to writing.
In examining the formative factors that steered Bogarde towards authorship, the
thesis addresses the role of performance as a generative factor in the evolution of the
novels, establishing a discursive link with Bakhtinian dialogism, and specifically,
transgredience as a formal imperative. Secondly, it affords a critical insight into why
the major concerns with staging and performativity preoccupy his writing career.
The thesis claims that Bogarde was an empirically dialogical writer whose use
of camera-eye narration fostered the proliferation of competing discourses across the
fiction. This formal dynamic is centred on the relationship between stages and
dialogism, which incorporates the work of Erving Goffinan as a complementary
critique to Bakhtinian theory with its emphasis on self-presentation. The concern
with socially-constructed behaviour leads the thesis to address the associated issues of
stereotyping and 'otherness', which in terms of body politics is articulated by the
mono logic drive to confine the sexual 'other' to a fixed representation.
Bogarde's ability to draw on cinematic and performance techniques identifies
an area of expertise unavailable to most other writers. This is an unusual repository
of skills to bring to writing which is why the thesis makes the claim for his singular
achievement as a contemporary author. There are fruitful points of intersection to be
explored in this respect with the work of Christopher Isherwood, whom Bogarde read
and admired, as a basis for further research. It is hoped that the thesis will play its
part in opening up new possibilities for Bogarde's writing to be re-visited by future
critics
"The end of national models? Integration courses and citizenship trajectories in Europe"
No full textSeveral European countries have recently introduced or are planning to introduce citizenship trajectories (voluntary or obligatory inclusion programs for recent immigrants) or citizen integration tests (tests one should pass to be able and acquire permanent residence or state citizenship). Authors like Joppke claim this is an articulation of a more general shift towards the logic of assimilation (and away from a multicultural agenda) in integration policy paradigms of European States. Integration policies would even be converging in such a fashion that it would no longer make sense to think in terms of national models for immigrant integration. One cannot deny the empirical fact of diffusion of civic integration policies throughout Europe. This paper claims there is, however, still sufficient distinctiveness between immigrant integration policies in order to continue and use an analytical framework which distinguishes national models
“The Long Road of Reconciliation” : The Church of Sweden’s Performative Apology to the Sámi People
No full textGrounded in performance theories and Indigenous methodologies, this essay focuses on the 2021 solemn service in Uppsala Cathedral, when the Church of Sweden apologized for its historical complicity in the colonization of Sápmi. The essay discusses key rhetorical features of the Archbishop’s apology and analyses how the service incorporated Sámi visual, material, oral, and performance cultures. Of specific interest are five Sámi testimonies about settler colonialism and artist Anders Sunna’s redesign of the sanctuary. To tease out the contextual specificities (and limitations) of the apology and situate it as part of unfolding decolonial processes across the circumpolar North, the essay draws selective comparisons to Canada’s Truth and Reconciliation Commission and former Prime Minister Stephen Harper’s 2008 formal apology to First Nations, Inuit, and Métis Peoples.Basé sur les théories de performance et les méthodologies autochtones, cet essai se concentre sur le service solennel tenu à la cathédrale d’Uppsala en 2021, durant lequel l’Église de Suède s’est excusée publiquement pour sa complicité historique dans la colonisation du Sápmi. L’essai discute les éléments rhétoriques clés des excuses de l'archevêque et analyse la façon dont cette messe incorporait les cultures visuelles, matérielles, orales et performatives des Samis. Le réaménagement du sanctuaire par l’artiste Anders Sunna, ainsi que les cinq témoignages de Samis sur le colonialisme sont particulièrement intéressants. Afin de déterminer les spécificités (et les limitations) contextuelles de ces excuses et les situer dans les processus de décolonisation en cours dans le cercle polaire, cet essai établit des comparaisons sélectives avec la Commission de vérité et réconciliation du Canada et les excuses officielles de l’ancien Premier ministre canadien Stephen Harper aux Premières Nations, Inuits et Métis en 2008
National Performances of Crying: Neoliberal Sentimentality and the Cultural Commodification of HIV and AIDS in Sweden
No full textRe-membering AIDS, Dis-membering Form
No full textIn the context of a volume that deals with HIV and AIDS in twenty-first-century performance, this chapter considers the role and importance of the past for future works. It engages with recent ideas of queer temporalities in order to make the case that historical performances about HIV and AIDS should form part of the lexicon of twenty-first-century narratives. In order to explore the way in which the past might be attended in plays and productions dealing with HIV and AIDS, this discussion turns to a club performance in London, UK. The club or cabaret setting is a key place for queer performance (though not as thoroughly studied as productions on more formal stages) in that it engages with an audience in ways, perhaps, mainstream theatre tends not to. Consequently, this discussion moves from historical representations of HIV and AIDS that happened on stages in conventional theatre buildings to an emblematic show in a club setting. In order to deal with the past in the present, I explore the knotty problem that although narratives of HIV and AIDS carry heavy histories, they are often forgotten, or written over. With an eye on writing on queer temporalities, this chapter examines the way in which some (highly selective and along a UK/US axis) representations of HIV, AIDS, people living with HIV and people living with AIDS are constructed dramaturgically. The discussion ranges from looking at historical plays, particularly Tony Kushner’s Angels in America, and places them up against a small scale a club performance by UK drag performer Bourgeoisies, who also connects to an unsolidified lineage of AIDS and HIV narratives and discourses
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