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Conference Presentations by Kent Sjöström

Papers by Kent Sjöström

Tidskrift för litteraturvetenskap

Recensioner: JONAS ANDREASEN LYSGAARD, STEFAN BENGTSSON OCH MARTIN HAUBERG-LUND LAUGESENDARK PEDA... more Recensioner: JONAS ANDREASEN LYSGAARD, STEFAN BENGTSSON OCH MARTIN HAUBERG-LUND LAUGESENDARK PEDAGOGY: Education, Horror and the AnthropoceneBasingstoke: Palgrave Macmillan, 2019, 164 s. ALFRED SJÖDIN & JIMMIE SVENSSON (RED.)EFTER TEGNÉR: Experiment med traditionenLund: Absalon. Skrifter i litteratur vetenskap utgivna vid Språk- och litteraturcentrum i Lund, Serie: Kriterium, 2018, 238 s. ARLETTE FARGESMAKEN AV ARKIVETGöteborg: Glänta produktion, 2019 [1989], 110 s. HOOGLAND, RIKARD (RED.)I AVANTGARDETS SKUGGABrytpunkter och kontinuitet i svensk teater kring 1900Göteborg: Institutionen för litteratur, idéhistoria och religion, Göteborgs universitet (LIR), 2019, 286 s. TOMMY SANDBERGTHE DIFFERENCE APPROACH TO NARRATIVE FICTIONA Recurring Critique of Narrratology and Its implications for the Study of Novels and Short StoriesÖrebro: Örebro universitet, 2019, 129 s. (diss.) KARIN STRANDEN BOTFÄRDIG SYNDERSKAS SVANESÅNGBarnamord i skillingtryck mellan visa och verklighetMöklinta: Gidlund...

Cena, 2016

A prática do ator e o treinamento corporal durante o século XX estão especificamente relacionados... more A prática do ator e o treinamento corporal durante o século XX estão especificamente relacionados não só com diferentes técnicas corporais, mas também com linguagem, sociedade moderna e o conceito de liberdade. O nacionalismo, o anti-intelectualismo, o purismo corporal e vitalista e a distância cética do projeto moderno no início do século XX servem de ponto de partida para uma discussão sobre o corpo do ator e o treinamento corporal. De um ponto de vista crítico, fenômenos como o orientalismo, o escapismo rural e a quantidade de técnicas corporais na formação dos atores na segunda metade do século XX são justapostos com retórica sobre a liberdade corporal e um consumismo de acordo com tendências no resto da vida da sociedade. O discurso em torno do conceito de liberdade corporal pode ser visto como um projeto disciplinar e uma mercantilização do corpo no mercado atual. Uma discussão contemporânea sobre identidades - como construções, autenticidade e pós-colonialismo - pode influenc...

Bertolt Brecht – Contradictions as Method, Mar 25, 2021

The sacrifice, the copy and the critical gaze – the actor's authenticity and the commodit... more The sacrifice, the copy and the critical gaze – the actor's authenticity and the commodity value of emotions

IRedan 1990 skrev teaterkritikern Leif Zern att ”Arets kritiska klyscha har med kraft hunnit etab... more IRedan 1990 skrev teaterkritikern Leif Zern att ”Arets kritiska klyscha har med kraft hunnit etablera sig: berord. Det gar inte en dag utan att nagon recensent pastar sig vara berord eller oberord”. Nastan 30 ar senare ar termen fortfarande en kraftfull kvalitetsmarkor i teaterdiskussionen. Det intressanta ar att denna kvalitet, att beroras, ofta ses som ett sa sjalvklart kriterium pa den goda teaterupplevelsen. Att diskutera denna drabbande upplevelse, och vardet i den, kan upplevas som ett angrepp pa teaterns karna, och aven pa manniskans kansloliv och humanistiska grundvarderingar overhuvudtaget. Men jag vill snarare granska hur viljan att berora och bli berord har nagot att saga om var tid, och da speciellt om teaterns position som forstroelse, provokation och social yta.Det ar intressant att se med vilken latthet kanslor kan avskiljas fran fornuftet just nar det galler mottagandet av en teaterforestallning.I diskussioner dar berordheten lyfts fram som en teaterforestallnings fr...

Bertolt Brecht (1898–1956) ar en av 1900-talets stora teaterfornyare genom sitt radikala ifragasa... more Bertolt Brecht (1898–1956) ar en av 1900-talets stora teaterfornyare genom sitt radikala ifragasattande av konstens relation till samhallet och till skadespelarens gestaltningstradition. I den samtida teaterdiskussionen ar hans historiska och politiska overblick oumbarlig och i denna essasamling provas styrkan i hans argument i relation till nagra samtida och historiska konstnarliga fragor av hogsta aktualitet.Brechts roll i den samtida teaterns diskussionen om identitet och representation ar att fungera som provokator och partner, med hjalp av den kritiska, eftertanksamma och njutningsfulla blick han efterstravade i sin teater for rokare.

Teatern och skadespelaren har i olika sammanhang och under olika historiska epoker betraktats med... more Teatern och skadespelaren har i olika sammanhang och under olika historiska epoker betraktats med misstroende och fientlighet. Man kan rent av tala om en historisk tradition av antipatier dar teaterscenen och skadespelarens forvandlingskonst har misstankliggjorts i egenskap av moraliska instanser. I denna tradition mots filosofer och religiosa moralister, men ocksa teaterpraktiker med olika agendor. For en av de mer kanda kritikerna av teatern, filosofen Platon, ar rolltagandet eller snarare imitationen mojlig, men bara om den begransas till manniskor av samma kon, samma sociala klass och av liknande moral. Imitationen ar namligen formativ, man tenderar att bli det man imiterar. Om man gar utanfor dessa ideala karaktarskrav och om individen trader utanfor sin givna roll, riskeras anarki. Ytterst ar det alltsa staten som hotas av teaterns rolltagande, da varje rolltagande visar pa ett alternativ till det bestaende.En av de kristna kyrkofaderna, Tertullianus, varnar cirka ar 200 for a...

Innehåll Redaktionen Förord 4 Tema Maria Hellström och Bo Reimer Mellan ett si och så-Vad är det ... more Innehåll Redaktionen Förord 4 Tema Maria Hellström och Bo Reimer Mellan ett si och så-Vad är det som händer med humaniora? 6 Sven-Eric Liedman Vad är kunskap och bildning? 12 Gunnar Bergendal Ett lekperspektiv på kunskap 27 Peter Wulff Hur känns det att bli med en högskola? 40 Mikael Matteson Nytt mediehus på Universitetsholmen 47 Jan Folkesson En gymnasieskola mest för somliga? 50 Mikael Matteson Vägen har inte varit rak 57 Ola Tostrup Hjärna, slump eller ryggmärg-hur väljer du egentligen högskoleutbildning? 60 Björn Fryklund Öppna samhällsvetenskaperna för mångfald 65 Tomas Hammar Mångfald i forskning och utbildning 70 Kent Sjöström När blir skådespelare forskare? 80 Helena Smitt Vad är en akademisk nivå i högskolevärlden? 84 Debatt Karin Müntzing Är det bra att skolan ska ha kvalitet? 89 Utblick Helena Smitt Kraftsamling i Danmark för att satsa på pedagogisk forskning 97

Doctoral Studies and Research in Fine and Performing Arts, 2007

Nordic Theatre Studies, 2008

The article discusses how the practitioner’s – i. e. the actor’s − knowledge and experiences coul... more The article discusses how the practitioner’s – i. e. the actor’s − knowledge and experiences could form a base for artistic research. As an example the author uses actor Ann Petren’s Master thesis and his own PhD. The author presents how the term lore could offer a useful concept to describe the different levels of bodily experiences, knowledges and even theories present in the actor’s work. The discussion about artistic and academic research could take the form of a dispute about rationality, where theory and rationality often is seen as hostile to the artistic identity. In this discussion the author argues that the artist can not, and should not, take the powerful - and questionable - position of being objective. The practical work of the artist could instead be scrutinized from the position of the reflective practitioner, a position that touches the concept of situated knowledge. (Less)

Att Tro Pa En Omojlig Drom Studioteatern I Malmo En Minnesbok, 2001

What is the relationship between identity, representation and memory in contemporary performance ... more What is the relationship between identity, representation and memory in contemporary performance practices? Does memory function as a basic tool in artist’s work or can it also be regarded as a hindrance?In current performance art, identity is often defined as an accumulation of one’s embodied experience and memory. The artist’s body can be seen as an archive which is re-enacted in the encounter with a dramatic material. To perform means, thus, to reactivate one’s own memory and to bring it on the stage. With reference to the qualitative research that I pursued through organizing a series of workshops (“Observe! Imitate? Be yourself!”) in several European cities during the last 4 years, I will argue that the relationship between identity, memory and performer’s work is more complex. The workshops repeatedly showed, that in performer’s work personal embodied memory is interrelated with copying the gestures of others, including the capacity to transcend one’s own experience and memory...

Bertolt Brecht – Contradictions as Method, 2021

Three speakers engaged with theatre in different ways (professor, director, actor, lecturer, phil... more Three speakers engaged with theatre in different ways (professor, director, actor, lecturer, philosopher) got inspired by the dialogical structure of Brecht’s Buying Brass and staged a similarly structured conversation. This conversation imitated the way how thespians and intellectual met in Brecht’s original text, but it was thematically focused on the current socio-cultural context. The research question was: How can we today make use of Brecht´s dialectic methodology in order to re-think the institutional situation of theatre as a starting point of social transformation? Which contemporary philosophies can help in this re-thinking? Is theatre interested in them and is there any transformational potential in the opposite direction: from the theatre practice to the philosophical accounts of the contemporary world? The fragment collection under the title Buying Brass, unfinished and unedited by Brecht himself, anyhow belongs among the most extensive and sophisticated of Brecht’s tre...

Performing The Other. Report on workshops on observing and imitatingThe lecture will present the ... more Performing The Other. Report on workshops on observing and imitatingThe lecture will present the experience, results and challenges arising within a series of workshops that were investigating the role of observation, copying and imitation in the actor’s work, activities close to Brecht’s aesthetic focus. Claiming that “people will observe you, in order to investigate how well you have observed”, Brecht acknowledges the central role of observation in his acting techniques. However, the act of copying another person actualizes power relations and can be considered cultural appropriation, a challenging and ethical aspect to which Brecht himself did not pay any attention. One of the workshop addressed the foreign body, and was aiming at investigating to what degree the bodily behaviour of e. g. a refugee can be imitated or copied, and the ethical stakes that are present in such an act. Some discussions were raised: what can we learn through observing another human’s social behaviour, n...

Tidskrift för litteraturvetenskap

Recensioner: JONAS ANDREASEN LYSGAARD, STEFAN BENGTSSON OCH MARTIN HAUBERG-LUND LAUGESENDARK PEDA... more Recensioner: JONAS ANDREASEN LYSGAARD, STEFAN BENGTSSON OCH MARTIN HAUBERG-LUND LAUGESENDARK PEDAGOGY: Education, Horror and the AnthropoceneBasingstoke: Palgrave Macmillan, 2019, 164 s. ALFRED SJÖDIN & JIMMIE SVENSSON (RED.)EFTER TEGNÉR: Experiment med traditionenLund: Absalon. Skrifter i litteratur vetenskap utgivna vid Språk- och litteraturcentrum i Lund, Serie: Kriterium, 2018, 238 s. ARLETTE FARGESMAKEN AV ARKIVETGöteborg: Glänta produktion, 2019 [1989], 110 s. HOOGLAND, RIKARD (RED.)I AVANTGARDETS SKUGGABrytpunkter och kontinuitet i svensk teater kring 1900Göteborg: Institutionen för litteratur, idéhistoria och religion, Göteborgs universitet (LIR), 2019, 286 s. TOMMY SANDBERGTHE DIFFERENCE APPROACH TO NARRATIVE FICTIONA Recurring Critique of Narrratology and Its implications for the Study of Novels and Short StoriesÖrebro: Örebro universitet, 2019, 129 s. (diss.) KARIN STRANDEN BOTFÄRDIG SYNDERSKAS SVANESÅNGBarnamord i skillingtryck mellan visa och verklighetMöklinta: Gidlund...

Cena, 2016

A prática do ator e o treinamento corporal durante o século XX estão especificamente relacionados... more A prática do ator e o treinamento corporal durante o século XX estão especificamente relacionados não só com diferentes técnicas corporais, mas também com linguagem, sociedade moderna e o conceito de liberdade. O nacionalismo, o anti-intelectualismo, o purismo corporal e vitalista e a distância cética do projeto moderno no início do século XX servem de ponto de partida para uma discussão sobre o corpo do ator e o treinamento corporal. De um ponto de vista crítico, fenômenos como o orientalismo, o escapismo rural e a quantidade de técnicas corporais na formação dos atores na segunda metade do século XX são justapostos com retórica sobre a liberdade corporal e um consumismo de acordo com tendências no resto da vida da sociedade. O discurso em torno do conceito de liberdade corporal pode ser visto como um projeto disciplinar e uma mercantilização do corpo no mercado atual. Uma discussão contemporânea sobre identidades - como construções, autenticidade e pós-colonialismo - pode influenc...

Bertolt Brecht – Contradictions as Method, Mar 25, 2021

The sacrifice, the copy and the critical gaze – the actor's authenticity and the commodit... more The sacrifice, the copy and the critical gaze – the actor's authenticity and the commodity value of emotions

IRedan 1990 skrev teaterkritikern Leif Zern att ”Arets kritiska klyscha har med kraft hunnit etab... more IRedan 1990 skrev teaterkritikern Leif Zern att ”Arets kritiska klyscha har med kraft hunnit etablera sig: berord. Det gar inte en dag utan att nagon recensent pastar sig vara berord eller oberord”. Nastan 30 ar senare ar termen fortfarande en kraftfull kvalitetsmarkor i teaterdiskussionen. Det intressanta ar att denna kvalitet, att beroras, ofta ses som ett sa sjalvklart kriterium pa den goda teaterupplevelsen. Att diskutera denna drabbande upplevelse, och vardet i den, kan upplevas som ett angrepp pa teaterns karna, och aven pa manniskans kansloliv och humanistiska grundvarderingar overhuvudtaget. Men jag vill snarare granska hur viljan att berora och bli berord har nagot att saga om var tid, och da speciellt om teaterns position som forstroelse, provokation och social yta.Det ar intressant att se med vilken latthet kanslor kan avskiljas fran fornuftet just nar det galler mottagandet av en teaterforestallning.I diskussioner dar berordheten lyfts fram som en teaterforestallnings fr...

Bertolt Brecht (1898–1956) ar en av 1900-talets stora teaterfornyare genom sitt radikala ifragasa... more Bertolt Brecht (1898–1956) ar en av 1900-talets stora teaterfornyare genom sitt radikala ifragasattande av konstens relation till samhallet och till skadespelarens gestaltningstradition. I den samtida teaterdiskussionen ar hans historiska och politiska overblick oumbarlig och i denna essasamling provas styrkan i hans argument i relation till nagra samtida och historiska konstnarliga fragor av hogsta aktualitet.Brechts roll i den samtida teaterns diskussionen om identitet och representation ar att fungera som provokator och partner, med hjalp av den kritiska, eftertanksamma och njutningsfulla blick han efterstravade i sin teater for rokare.

Teatern och skadespelaren har i olika sammanhang och under olika historiska epoker betraktats med... more Teatern och skadespelaren har i olika sammanhang och under olika historiska epoker betraktats med misstroende och fientlighet. Man kan rent av tala om en historisk tradition av antipatier dar teaterscenen och skadespelarens forvandlingskonst har misstankliggjorts i egenskap av moraliska instanser. I denna tradition mots filosofer och religiosa moralister, men ocksa teaterpraktiker med olika agendor. For en av de mer kanda kritikerna av teatern, filosofen Platon, ar rolltagandet eller snarare imitationen mojlig, men bara om den begransas till manniskor av samma kon, samma sociala klass och av liknande moral. Imitationen ar namligen formativ, man tenderar att bli det man imiterar. Om man gar utanfor dessa ideala karaktarskrav och om individen trader utanfor sin givna roll, riskeras anarki. Ytterst ar det alltsa staten som hotas av teaterns rolltagande, da varje rolltagande visar pa ett alternativ till det bestaende.En av de kristna kyrkofaderna, Tertullianus, varnar cirka ar 200 for a...

Innehåll Redaktionen Förord 4 Tema Maria Hellström och Bo Reimer Mellan ett si och så-Vad är det ... more Innehåll Redaktionen Förord 4 Tema Maria Hellström och Bo Reimer Mellan ett si och så-Vad är det som händer med humaniora? 6 Sven-Eric Liedman Vad är kunskap och bildning? 12 Gunnar Bergendal Ett lekperspektiv på kunskap 27 Peter Wulff Hur känns det att bli med en högskola? 40 Mikael Matteson Nytt mediehus på Universitetsholmen 47 Jan Folkesson En gymnasieskola mest för somliga? 50 Mikael Matteson Vägen har inte varit rak 57 Ola Tostrup Hjärna, slump eller ryggmärg-hur väljer du egentligen högskoleutbildning? 60 Björn Fryklund Öppna samhällsvetenskaperna för mångfald 65 Tomas Hammar Mångfald i forskning och utbildning 70 Kent Sjöström När blir skådespelare forskare? 80 Helena Smitt Vad är en akademisk nivå i högskolevärlden? 84 Debatt Karin Müntzing Är det bra att skolan ska ha kvalitet? 89 Utblick Helena Smitt Kraftsamling i Danmark för att satsa på pedagogisk forskning 97

Doctoral Studies and Research in Fine and Performing Arts, 2007

Nordic Theatre Studies, 2008

The article discusses how the practitioner’s – i. e. the actor’s − knowledge and experiences coul... more The article discusses how the practitioner’s – i. e. the actor’s − knowledge and experiences could form a base for artistic research. As an example the author uses actor Ann Petren’s Master thesis and his own PhD. The author presents how the term lore could offer a useful concept to describe the different levels of bodily experiences, knowledges and even theories present in the actor’s work. The discussion about artistic and academic research could take the form of a dispute about rationality, where theory and rationality often is seen as hostile to the artistic identity. In this discussion the author argues that the artist can not, and should not, take the powerful - and questionable - position of being objective. The practical work of the artist could instead be scrutinized from the position of the reflective practitioner, a position that touches the concept of situated knowledge. (Less)

Att Tro Pa En Omojlig Drom Studioteatern I Malmo En Minnesbok, 2001

What is the relationship between identity, representation and memory in contemporary performance ... more What is the relationship between identity, representation and memory in contemporary performance practices? Does memory function as a basic tool in artist’s work or can it also be regarded as a hindrance?In current performance art, identity is often defined as an accumulation of one’s embodied experience and memory. The artist’s body can be seen as an archive which is re-enacted in the encounter with a dramatic material. To perform means, thus, to reactivate one’s own memory and to bring it on the stage. With reference to the qualitative research that I pursued through organizing a series of workshops (“Observe! Imitate? Be yourself!”) in several European cities during the last 4 years, I will argue that the relationship between identity, memory and performer’s work is more complex. The workshops repeatedly showed, that in performer’s work personal embodied memory is interrelated with copying the gestures of others, including the capacity to transcend one’s own experience and memory...

Bertolt Brecht – Contradictions as Method, 2021

Three speakers engaged with theatre in different ways (professor, director, actor, lecturer, phil... more Three speakers engaged with theatre in different ways (professor, director, actor, lecturer, philosopher) got inspired by the dialogical structure of Brecht’s Buying Brass and staged a similarly structured conversation. This conversation imitated the way how thespians and intellectual met in Brecht’s original text, but it was thematically focused on the current socio-cultural context. The research question was: How can we today make use of Brecht´s dialectic methodology in order to re-think the institutional situation of theatre as a starting point of social transformation? Which contemporary philosophies can help in this re-thinking? Is theatre interested in them and is there any transformational potential in the opposite direction: from the theatre practice to the philosophical accounts of the contemporary world? The fragment collection under the title Buying Brass, unfinished and unedited by Brecht himself, anyhow belongs among the most extensive and sophisticated of Brecht’s tre...

Performing The Other. Report on workshops on observing and imitatingThe lecture will present the ... more Performing The Other. Report on workshops on observing and imitatingThe lecture will present the experience, results and challenges arising within a series of workshops that were investigating the role of observation, copying and imitation in the actor’s work, activities close to Brecht’s aesthetic focus. Claiming that “people will observe you, in order to investigate how well you have observed”, Brecht acknowledges the central role of observation in his acting techniques. However, the act of copying another person actualizes power relations and can be considered cultural appropriation, a challenging and ethical aspect to which Brecht himself did not pay any attention. One of the workshop addressed the foreign body, and was aiming at investigating to what degree the bodily behaviour of e. g. a refugee can be imitated or copied, and the ethical stakes that are present in such an act. Some discussions were raised: what can we learn through observing another human’s social behaviour, n...