{"title":"Play About a Play","authors":"Pirkko Koski","doi":"10.7146/nts.v24i1.114833","DOIUrl":"https://doi.org/10.7146/nts.v24i1.114833","url":null,"abstract":"","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"48 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79981177","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 in the Postdramatic Text","authors":"Luule Epner","doi":"10.7146/nts.v24i1.114831","DOIUrl":"https://doi.org/10.7146/nts.v24i1.114831","url":null,"abstract":"","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"25 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87338414","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":"Orienting Towards the Phenomenal Woman","authors":"A. Enström","doi":"10.7146/nts.v24i1.114828","DOIUrl":"https://doi.org/10.7146/nts.v24i1.114828","url":null,"abstract":"","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"8 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74881168","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 Memoria","authors":"A. Kuhlmann","doi":"10.7146/nts.v31i2.120117","DOIUrl":"https://doi.org/10.7146/nts.v31i2.120117","url":null,"abstract":"Odin Teatret’s Memoria (1990) centres round an actor’s conflict with the act of remembering. In this article, however, one strand follows Giorgio Agamben’s presentation of “remnants of Auschwitz”, which is based on the story of Hasidic children’s experience of surviving World War II, and how for some survivors, the guilt of surviving while others perished is too great a burden to bear, so much so that suicide seems their only route to peace. A further strand builds on Rebecca Schneider’s ideas about the very act of re-enacting remembrance as a performance, which remains once all living memories of historical facts are gone. On a more specific level, Memoria brings together the narrative of the Hasidic Tales of the Holocaust (1983) with memories from philosophers such as Primo Levi and Jean Améry, with Else Marie Laukvik and Frans Winther giving voice to these speechless memories. Laukvik, who is the author of the Memoria script, also manages to embody the conflict that can arise from remembering in her performance. The article is based on watching Memoria, as well as archive materials, personal interviews, and other performances by Else Marie Laukvik, who is also the author of the Memoria script.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88331519","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":"“almost invisible until now”","authors":"Kristina Hagström-Ståhl","doi":"10.7146/NTS.V31I1.113013","DOIUrl":"https://doi.org/10.7146/NTS.V31I1.113013","url":null,"abstract":"This essay discusses Sophocles’ Antigone in relation to its Hegelian legacy, engaging with the play from a directorial perspective. Drawing on the work of Judith Butler, Anne Carson , Bonnie Honig, Peggy Phelan and Cecilia Sjöholm, I attempt to envision a contemporary mise en scène that repositions feminine subjectivity within the dramaturgy of tragedy. Centering on the relationship between Antigone and Ismene, as well as on the possibility of revaluing Ismene’s position in terms of political and dramaturgical agency, I hope to challenge dramaturgical conventions that assume binary, heteronormative relations as the primary framework of interpretation for female characters, and death and destruction as the only possible outcome for what is positioned as feminine. This resituated reading of the drama examines the function of embodied performance in processes of meaning-making, and offers dramaturgical structure as a site for strategies of resistance.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"47 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78553011","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":"A Literary (Techno)science","authors":"Wade Hollingshaus","doi":"10.7146/NTS.V31I1.113001","DOIUrl":"https://doi.org/10.7146/NTS.V31I1.113001","url":null,"abstract":"Beginning in the late 1970s, Finland’s Erkki Kurenniemi (1941-2017) actively labored to archive every possible aspect of his life. He took photos, made videos, and collected his tram tickets, receipts, body hairs, etc. Kurenniemi believed that within the next forty years, computer technoscience will have advanced sufficiently that it could be programmed to interpret the data of his archive and—on his 107th birthday, 10 July 2018—resurrect his consciousness. For Kurenniemi, this project was an experiment in the realms of neuroscience and artificial intelligence. However, it can also be seen as an experiment in aesthetics, or in what Jacques Rancière calls the “aesthetic regime” of art—an aesthetic-political historical framework imbued with the dynamics of democracy, where “everything speaks.” This article reframes Kurenniemi’s work within the aesthetic regime of art to draw attention to the “silent speech” and “aestheticunconscious” (Rancière) of the work and what is the literary nature of Kurenniemi’s experiments with (techno)science.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"67 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74611479","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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