{"title":"Constructing Finno-Ugric Identity through Theatre","authors":"Luule Epner, A. Saro","doi":"10.7146/NTS.V32I2.124358","DOIUrl":"https://doi.org/10.7146/NTS.V32I2.124358","url":null,"abstract":"The article investigates the construction of transnational Finno-Ugric identity through the theatre festival Mayatul and different performative strategies. This kind of identity construction is investigated through the framework of identity politics and transnationalism. The definition of the Finno-Ugric peoples (Finns, Estonians, Hungarians, Samis, Mordvins, Komi, Udmurts and others) is based foremost on their language kinship. It is believed that similar characteristics of languages and a similar natural environment and climate have shaped the close-to-nature lifestyle and the particular perception of the world shared by the Finno-Ugric peoples. Essential platforms for constructing transnational Finno-Ugric identity are different theatre festivals, among which Mayatul (since 1992) is the most prominent. The majority of productions at the festival are performed in FinnoUgric languages and interpret the literary texts or folklore of these peoples. However, only a few productions strive for indigenous aesthetics like those of Estonian theatre director Anne Türnpu. The Finno-Ugric peoples’ identity is predominantly a minority identity because mostly they represent a small national and language group in a bigger state like Russia, and only Finland and Hungary have enjoyed one hundred years of independence. Nevertheless, all countries and nations embrace smaller ethnic or cultural minorities, thus minority identity is a universal concept. Theatre festivals are able to unite minority identities into larger transnational identites, even when it is just an imagined community.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"48 1","pages":"156-173"},"PeriodicalIF":0.3,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74681664","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}
{"title":"Theatre Against Stagnation","authors":"M. Seppälä","doi":"10.7146/NTS.V32I2.124355","DOIUrl":"https://doi.org/10.7146/NTS.V32I2.124355","url":null,"abstract":"This article explores theatrical exchanges across the Baltic Sea in the 1930s as part of the cultural diplomacy of recently independent Finland. The Finnish National Theatre visited the Estonia Theatre in Tallinn in 1931 and in 1937, and the Royal Dramatic Theatre in Stockholm in 1936. These theatre visits were different in terms of the visiting production. In Stockholm in 1936, and in Tallinn in 1937, the Finnish National Theatre showcased its work, while during the bilateral exchange with the Estonia Theatre in 1931, the main actors of two of the productions visited the other theatre and the audiences saw two hybrid performances of the two productions. Therefore, the visits are discussed in terms of international and transnational exchange.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"4 1","pages":"119-137"},"PeriodicalIF":0.3,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79482829","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}
{"title":"The Grand Tour of Europe","authors":"Whitney Byrn","doi":"10.7146/NTS.V32I2.124349","DOIUrl":"https://doi.org/10.7146/NTS.V32I2.124349","url":null,"abstract":"This article investigates the artistic Grand Tour of the nineteenth-century Danish theatre painter C.F. Christensen made between the spring of 1838 and the fall of 1839, and how it influenced his later scenographic work at the Royal Danish Theatre. Using a variety of archival sources, his Grand Tour is reconstructed. His travels through Germany, Bohemia, Moravia, Switzerland, France, Italy, and the Tyrol exposed him to some of the greatest art and most innovative theatre Europe had to offer. Through the sketches done on his trip, it is possible to see the seeds of inspiration that took root in his scenography upon his return to Copenhagen. Scenography for two August Bournonville ballets that Christensen created after his return will be analyzed: The Festival in Albano and Acts 2 and 3 of Napoli.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"9 1","pages":"71-88"},"PeriodicalIF":0.3,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81771186","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}
{"title":"Theatrical Exchanges across the Baltic Sea in the 1930s","authors":"Hanna Korsberg","doi":"10.7146/NTS.V32I2.124353","DOIUrl":"https://doi.org/10.7146/NTS.V32I2.124353","url":null,"abstract":"This article explores theatrical exchanges across the Baltic Sea in the 1930s as part of the cultural diplomacy of recently independent Finland. The Finnish National Theatre visited the Estonia Theatre in Tallinn in 1931 and in 1937, and the Royal Dramatic Theatre in Stockholm in 1936. These theatre visits were different in terms of the visiting production. In Stockholm in 1936, and in Tallinn in 1937, the Finnish National Theatre showcased its work, while during the bilateral exchange with the Estonia Theatre in 1931, the main actors of two of the productions visited the other theatre and the audiences saw two hybrid performances of the two productions. Therefore, the visits are discussed in terms of international and transnational exchange.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"19 1","pages":"106-118"},"PeriodicalIF":0.3,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87921738","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}
{"title":"The Travelling of Dramatic Texts and Memory Patterns","authors":"Piret Kruuspere","doi":"10.7146/NTS.V32I2.124347","DOIUrl":"https://doi.org/10.7146/NTS.V32I2.124347","url":null,"abstract":"The article discusses Estonian memory theatre in the 1970s–90s and at the beginning of the twenty-first century in the framework of transnational/transcultural influences. Dwelling on Jeanette R. Malkin’s definition of memory theatre as a theatre that both imitates the flow of memories and initiates the process of remembrance, and relying on the concepts of transnational and transcultural memory, I analyze the dramatic texts of Estonian playwrights Rein Saluri and Madis Koiv, likewise the works of female stage director Merle Karusoo. I focus on the phenomenon of travelling memory, introduced by scholar of literature and culture, Astrid Erll, and engage a comparative approach to the texts and stage interpretations. Through the media of texts and mnemonic forms in motion and on the basis of particular case studies, I examine how stories/narratives, memory patterns, and mnemonic practices have crossed cultural borderlines and been performed on different (Estonian, Finnish, Estonian-Russian, Austrian) stages, and how they have primarily launched hidden or blurred memories.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"140 1","pages":"40-53"},"PeriodicalIF":0.3,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72985755","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}
{"title":"Baby Becomings","authors":"L. Høvik, Elena Pérez","doi":"10.7146/nts.v32i1.120410","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120410","url":null,"abstract":"The article proposes new concepts of dramaturgical thinking for baby theatre productions. With an arts-based research approach, allowing insiderperspectives of the artmaking process to come forth, the authors, who are the director and dramaturge of the performance Baby Becomings by Teater Fot, discuss different concepts of postdramatic dramaturgical aspects in relation to the work. By adapting Donna Haraway’s theories of sympoiesis and science art worldings as a theoretical framework, the article explores how Haraway’s philosophy serves both as artistic inspiration and provides new concepts for dramaturgical reflection. The authors ask how posthumanist and sympoietic perspectives connect to postdramatic dramaturgy and wish to propose a posthumanist dramaturgy of sympoietic worlding in theatre for babies.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83004906","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}
{"title":"Doing Things With Natures","authors":"Teemu Paavolainen","doi":"10.7146/nts.v32i1.120402","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120402","url":null,"abstract":"The article expands on Lewis and Maslin’s “double two-step” historicization of the Anthropocene, with two major transitions in energy (agriculture and fossil fuels) and two in social organization (modernity and the Great Acceleration). Insofar as planetary impacts arise from “what we spend our time doing” – foraging, farming, feudal then waged labour, finally unsustainable consumption – such “doing” is understood as precisely ‘performative’ in the sense that its effects only arise from a massive social repetition that is confused with essential nature and thus concealed. Through a graphic model of such ‘plural performativity,’ four consecutive Anthropo(s)cenes are sketched: the Giving World of agriculture and state formation; the New World of colonial pillage and world trade; the Netherworld of wage labour and fossil capital; then ‘All the World’ but not with all of “us” as players. Apart from environmental changes, the paper targets performances of power and inequality: normative histories of ‘common sense’ on the one hand, concealing ‘people’s histories’ of conflict and opposition, on the other – the Anthropocene arising not simply from what the majority of people have been doing, but from what they have always beenforced to do.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"20 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78062289","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}
{"title":"Performing with Plants in the Ob-scene Anthropocene","authors":"Annette Arlander","doi":"10.7146/nts.v32i1.120411","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120411","url":null,"abstract":"Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? \u0000In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? \u0000In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"1957 1","pages":"121-142"},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91275230","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}
{"title":"Gaming as Everything","authors":"Vlad Butucea","doi":"10.7146/nts.v32i1.120413","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120413","url":null,"abstract":"In this article I will discuss David O’Reilly’s video game Everything (2017), suggesting that its unique dramaturgy portrays an ecology in which the human is seen as forging alliances and interconnections with the non-human. Set in a seemingly infinite open-world environment, the game revolves around the player exploring vast digital landscapes from the vantage point of multiple nonhuman avatars. Wondering about with no defined goal or direction, I played as animals, plants, rocks, continents, and even galaxies, shifting from one state to the next and making unexpected alliances along the way. Employing Audronė Žukauskaitė concept of “nomadic performativity” (2015), I will suggest that the game’s dramaturgy invites the player to imagine the human as deeply embedded in a wide system of interaction with non-human others, as an immanent part of an ecosystem, rather than a transcendental being outside of it. In articulating this idea, Everything puts forward a theatrical critique of thehuman domination and othering of the natural environment that underpins and drives the Anthropocene.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"29 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78212787","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}
{"title":"Who Are ‘We’ in a Nuclear Disaster?","authors":"Erik Mattsson","doi":"10.7146/nts.v32i1.120409","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120409","url":null,"abstract":"This article explores a major but largely forgotten event at the intersection of the environmental movement and the movement of independent theatre groups in Sweden. Eko-positivet, a ritualistic mass-performance about nuclear power, was performed in Stockholm in May 1977 by 300-400 participants in front of around 4 000 spectators. In contrast to the discourse on class that dominated the political theatre of the time, the mass-spectacle enacted other kinds of collective, political identities, e.g. populist and biological ones. The established independent theatre groups did not participate in the event. In the article, it is argued that this reluctance can be explained by conflicting views on the political ‘we’.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"63 1","pages":"82-98"},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85577311","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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