50,026 research outputs found
The author's dream on the stage : Harald Molander as a director and writer
No full textThe thesis is a structural biography of Harald Molander (1858-1900), stage manager, author, translator and critic.The investigation is based on his literary works and the reviews of these. Articles, letters and the director's comprehensive manuscripts and other documents are analyzed. The reactions of the audience are studied.Molander's authorship and directing were artistically coherent. In accordance with the theories of Felix Vodicka and Jan Mukarovsky a model of description is formulated for the study of the period norm. The structure of Molander's literary works, the reception of them, and the modern conception of stage management are related to the changes in the norm.As an. author Molander successively associated himself with tradition, with the realism of the modern breakthrough and the interest in historical subject. His works were often shaped by literary impressions. His works as an author and stage manager were frequently religiously tinged.As a director Molander was a transitional figure. He began as an author-director and gradually took up modern stage management. In this thesis his work as a director is studied as part of the division of labour in the theatre, as staging-procedure and as an expression of principles of style and artistic viewpoint. His directing was chiefly aimed at realizing the author's vision on the stage. He wanted to transform the possibilities of the drama into scenic reality.As a stage manager Molander was influenced by the Meininger Company and Wagner. As a director he was very systematic. He distanced himself from the kind of theatre which was dominated by the actors, from Romanticism and ideal realism, and he studied naturalism. Tradition, fidelity to authors, realism, historicism, ensemble-acting and the harmonization of the means of expression of the theatre characterized his stage managing. Molander also had a didactic view of the theatre; he wanted to discuss societal and psychological problems and he wanted to amuse his audience.Molanderwas active both in Sweden and in Finland. The highlight of his early period was the staging of Goethe's Faust (1889). He shaped it into a realistic-fantastic Gesamtkunstwerk. He made pictorially attractive stagings of Strindberg's historical dramas, Mäster Olof (1897), Gustaf Vasa and Erik XIV (1899). The staging of Hauptmann's The Weavers was his masterpiece. The instruction of the masses in this strike drama was consistent. The Swedish labour movement greeted the play with enthusiasm.digitalisering@um
Författarens dröm på scenen [Elektronisk resurs] : Harald Molanders regi och författarskap
No full textThe thesis is a structural biography of Harald Molander (1858-1900), stage manager, author, translator and critic.The investigation is based on his literary works and the reviews of these. Articles, letters and the director's comprehensive manuscripts and other documents are analyzed. The reactions of the audience are studied.Molander's authorship and directing were artistically coherent. In accordance with the theories of Felix Vodicka and Jan Mukarovsky a model of description is formulated for the study of the period norm. The structure of Molander's literary works, the reception of them, and the modern conception of stage management are related to the changes in the norm.As an. author Molander successively associated himself with tradition, with the realism of the modern breakthrough and the interest in historical subject. His works were often shaped by literary impressions. His works as an author and stage manager were frequently religiously tinged.As a director Molander was a transitional figure. He began as an author-director and gradually took up modern stage management. In this thesis his work as a director is studied as part of the division of labour in the theatre, as staging-procedure and as an expression of principles of style and artistic viewpoint. His directing was chiefly aimed at realizing the author's vision on the stage. He wanted to transform the possibilities of the drama into scenic reality.As a stage manager Molander was influenced by the Meininger Company and Wagner. As a director he was very systematic. He distanced himself from the kind of theatre which was dominated by the actors, from Romanticism and ideal realism, and he studied naturalism. Tradition, fidelity to authors, realism, historicism, ensemble-acting and the harmonization of the means of expression of the theatre characterized his stage managing. Molander also had a didactic view of the theatre; he wanted to discuss societal and psychological problems and he wanted to amuse his audience.Molanderwas active both in Sweden and in Finland. The highlight of his early period was the staging of Goethe's Faust (1889). He shaped it into a realistic-fantastic Gesamtkunstwerk. He made pictorially attractive stagings of Strindberg's historical dramas, Mäster Olof (1897), Gustaf Vasa and Erik XIV (1899). The staging of Hauptmann's The Weavers was his masterpiece. The instruction of the masses in this strike drama was consistent. The Swedish labour movement greeted the play with enthusiasm.</p
Gunnar Syréhn, Mellan sanningen och lögnen. Studier i Per Olov Enquists dramatik : Almqvist & Wiksell International. Stockholm 2000
No full textMargareta Wirmark, red., Ingmar Bergman. Film och teater i växelverkan, Carlssons Bokförlag. Stockholm 1996
No full textStrindberg, Ibsen & Bergman. Essays on Scandinavian film and drama offered to Egil Törnqvist on the occasion of his 65th birthday. Red. Harry Perridon, Shaker Publishing. Maastricht 1998
No full textBirgitta Steene, red., <em>Strindbergiana</em>. Tolfte samlingen. Strindbergssällskapet, Atlantis. Stockholm 1997 [Elektronisk resurs]
No full textMargareta Wirmark, red., <em>Ingmar Bergman. Film och teater i växelverkan</em>, Carlssons Bokförlag. Stockholm 1996 [Elektronisk resurs]
No full textBirgitta Steene, red., Strindbergiana. Tolfte samlingen. Strindbergssällskapet, Atlantis. Stockholm 1997
No full textTill en berättelse om tröst : Eyvind Johnson omläst
No full textThis dissertation is devoted to the Swedish author and Nobel Laureate Eyvind Johnson. The study involves a rereading of his oeuvre and an attempt to reformulate the prevailing picture of the author and his works.The study begins by discussing the image of Johnson, as he portrays himself and as he is viewed and talked about by others: readers, critics and researchers. The discussion leads to an attempt to understand what Foucault calls the author-function, as a web of narrative, internal and external, that of the author, the readers and the critics.Something that Johnson calls “truth” is important for his oeuvre. This is linked to the author’s experience and a duty to present testimony about reality, what Johnson would call documents. This reasoning leads to a discussion of different readings and the potential of cognitive values in fiction, and to an exploration of large and small themes, the general and the particular. Autobiographical texts as well as private correspondence with colleagues and friends are discussed from this perspective.Through studies of forgotten and buried or vanished layers – a method that could be called archaeological – the dissertation examines texts in Johnson’s oeuvre that have received less attention, often neglected or ignored. Early short stories, unsuccessful novels and rejected manuscripts can allow recurrent motifs and themes to stand out more clearly and indicate new ways to read the major canonical works in his oeuvre as well. Such themes are found to be abandonment and homosociality, sexuality and misogyny. Important but hitherto often neglected motifs become keys that open the novels to new, closer interpretations.Central features in the study are analyses of the novels Krilon, Strändernas svall (Return to Ithaca, London/New York 1952) and Några steg mot tystnaden. These particularly concern betrayal and being let down, often staged in a gender context. The dissertation leads up to a discussion of what in Johnsons works is reflections on a male, and ultimately also a human predicament. Different concepts are tested: male tragedy, melancholy, but the analysis finally settles on the term male pessimism.It is not Prometheus that represents Johnson but Sisyphus. One must endure, and perhaps imagine oneself happy. </p
Sonja Åkesson
No full textSpecial feature issue with articles by Anders Hallengren, Gunilla Boëthius (2), Magnus Ringgren, Eva Lilja, Lars Elleström, Per Ringby</p
- …
