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Attentatet på Dramaten. En studie av Alf Sjöbergs uppsättning av Marika Stiernstedts drama. The Outrage at the Royal Dramatic Theatre in Stockholm. A studie of Alf Sjöberg's stageing of Marika Stiernstedt's drama.

Martinsson, Eva LU (2000)
Abstract (Swedish)
Popular Abstract in Swedish

Avhandlingen behandlar den svenska författarinnan Marika Stiernstedts drama Attentatet och regissören Alf Sjöbergs uppsättning av det på Dramaten 1944. Produktionsprocessen följs från dramats tillkomst till uppsättningens möte med publiken. Avhandlingen undersöker vad dramat och uppsättningen berättar om tidens oro och om politiska och etiska motsättningar. Fokus ligger på i hur hög grad den svenska neutralitetspolitiken begränsade vad som kunde uttryckas från nationalscenen. Framställningen inleds med en redogörelse för den yttre censurens kontext. Den svenska neutralitetspolitiken presenteras liksom dess konsekvenser i form av begränsningar av det fria ordet. Därefter presenteras Marika... (More)
Popular Abstract in Swedish

Avhandlingen behandlar den svenska författarinnan Marika Stiernstedts drama Attentatet och regissören Alf Sjöbergs uppsättning av det på Dramaten 1944. Produktionsprocessen följs från dramats tillkomst till uppsättningens möte med publiken. Avhandlingen undersöker vad dramat och uppsättningen berättar om tidens oro och om politiska och etiska motsättningar. Fokus ligger på i hur hög grad den svenska neutralitetspolitiken begränsade vad som kunde uttryckas från nationalscenen. Framställningen inleds med en redogörelse för den yttre censurens kontext. Den svenska neutralitetspolitiken presenteras liksom dess konsekvenser i form av begränsningar av det fria ordet. Därefter presenteras Marika Stiernstedt som offentlig person och fokus lägges på hennes politiska och etiska engagemang, sådant det kommer fram i artiklar, rapportböcker och föredrag. Två kapitel koncentrerar sig på dramat Attentatet och Alf Sjöbergs uppsättning av det. Marika Stiernstedt arbetar fram dramat med regissören Olof Molander som rådgivare. Samarbetet resulterar främst i dramaturgiska förändringar av ursprungstexten. Dialogen blir mera realistisk och får bättre flyt. Det sker emellertid även en neutralisering av dramat med hänsyn till tid och plats och slutligen en förskjutning i ideologisk riktning. Ett erotiskt triangeldrama förvandlas till ett ideologiskt sådant. Genom analys av scenbilderna och jämförelse mellan Sjöbergs regimanus och Stiernstedts dramatext, visas hur Alf Sjöberg genom scenografi, musik och ljudeffekter åter tydliggör att dramat utspelar sig i Paris och att ockupationsmakten är tysk. Dessutom förstärkts såväl motstånds- som frihetstemat. Recensenternas reception av uppsättningen studeras också och det framgår att budskapet uppfattats som dagsaktuellt. Teman som motsättningen mellan fascism och humanism och individens ställningstagande mot ett yttre förtryck har också uppmärksammats. I recensionerna diskuteras även Dramatens neutrala profil. I slutkapitlet granskas Dramatens repertoarpolitik under andra världskriget med avseende på i vad mån teatern varit benägen att anpassa sig till den svenska regeringens neutralitetsplitik. Undersökningen visar att teaterchefen Pauline Brunius följt gällande stadgar. Dock finner man tecken på såväl yttre som inre censur, då en del pjäser inte tagits upp till spelning och andra förhandsgranskats. Även uppsättningen av Attentatet sätts in i denna kontext och det visar sig att när den yttre censuren förvandlats till inre har främst dialogen och tydliga symboler berörts medan det som burits fram av visuella eller auditiva teckensystem fått passera. (Less)
Abstract
The thesis deals with the Swedish author Marika Stiernstedt's drama The Outrage and Alf Sjöberg's production of it at the Royal Dramatic Theatre in 1944. The production process is followed from the birth of the drama to the production's encounter with the audience. The thesis examines what the drama and the production tell about the unrest of those times and about political and ethical antagonisms. The focus is on the extent to which the Swedish policy of neutrality limited what could be said on the national stage. The presentation begins with an account of the context of external censorship. The Swedish neutrality policy is presented as are its consequences in the form of restrictions on free speech. Subsequently Marika Stiernstedt is... (More)
The thesis deals with the Swedish author Marika Stiernstedt's drama The Outrage and Alf Sjöberg's production of it at the Royal Dramatic Theatre in 1944. The production process is followed from the birth of the drama to the production's encounter with the audience. The thesis examines what the drama and the production tell about the unrest of those times and about political and ethical antagonisms. The focus is on the extent to which the Swedish policy of neutrality limited what could be said on the national stage. The presentation begins with an account of the context of external censorship. The Swedish neutrality policy is presented as are its consequences in the form of restrictions on free speech. Subsequently Marika Stiernstedt is presented as a public figure and here the focus is on her political and ethical involvement as it appears in articles, books of reports and lectures. The chapters concentrate on the drama The Outrage and Alf Sjöberg's production of it. Marika Stiernstedt works on the drama with the director Olof Molander as her adviser. This collaboration results chiefly in dramaturgical alterations to the original text. The dialogue becomes more realistic and runs more smoothly. A "neutralisation" of the drama with regard to time and place is also effected and finally there is a shift to an ideological direction. An erotic eternal triangle drama is changed into an ideological one. Through an analysis of the sets and a comparison between Sjöberg's director's script and the text of Stiernstedt's drama it is shown how, by using set designs, music and sound effects, Alf Sjöberg again makes it clear that the drama takes place in Paris and that the occupation power is Germany. In addition the themes of resistance and freedom are both intensified. The reviewers' reception of the performance is also studied and it is apparent that the message is regarded as topical. Themes such as the antagonism between Fascism and humanism and the individual's stand against oppression from outside are also pointed out. In the reviews the neutral profile of the Royal Dramatic Theatre is also discussed. The final chapter discusses the Royal Dramatic Theatre's repertoire policy during the Second World War respecting the extent to which the theatre was willing to conform with the neutrality policy of the Swedish government. The scrutiny shows that the then theatre manager, Pauline Brunius, followed the existing regulations. However, there are signs of both external and internal censorship since some plays were not accepted for performance and others were vetted in advance. The production of The Outrage is also put into this context and it proves that when external censorship was changed to internal censorship it was primarily the dialogue and obvious symbols that were affected, whereas that which was conveyed by visual or auditive systems of signs was allowed to pass. (Less)
Please use this url to cite or link to this publication:
author
opponent
  • Helander, Karin
organization
publishing date
type
Thesis
publication status
published
subject
keywords
ethical questions., antfascism, censorship, Swedish neutrality, The Second World War, The Royal Dramatic Theatre, Theatre, directing, Dramatic art, Teatervetenskap
pages
224 pages
publisher
Martinssons förlag, Hunneberga skola 1, S - 240 35 Harlösa,
defense location
Kulturanatomen sal 201, Biskopsg 7
defense date
2000-10-21 10:15
ISBN
91-631-0083-5
language
Swedish
LU publication?
yes
id
8dcec0b8-2d70-465c-8215-f4a03c12ff51 (old id 19834)
date added to LUP
2007-05-25 14:35:59
date last changed
2016-09-19 08:45:06
@misc{8dcec0b8-2d70-465c-8215-f4a03c12ff51,
  abstract     = {The thesis deals with the Swedish author Marika Stiernstedt's drama The Outrage and Alf Sjöberg's production of it at the Royal Dramatic Theatre in 1944. The production process is followed from the birth of the drama to the production's encounter with the audience. The thesis examines what the drama and the production tell about the unrest of those times and about political and ethical antagonisms. The focus is on the extent to which the Swedish policy of neutrality limited what could be said on the national stage. The presentation begins with an account of the context of external censorship. The Swedish neutrality policy is presented as are its consequences in the form of restrictions on free speech. Subsequently Marika Stiernstedt is presented as a public figure and here the focus is on her political and ethical involvement as it appears in articles, books of reports and lectures. The chapters concentrate on the drama The Outrage and Alf Sjöberg's production of it. Marika Stiernstedt works on the drama with the director Olof Molander as her adviser. This collaboration results chiefly in dramaturgical alterations to the original text. The dialogue becomes more realistic and runs more smoothly. A "neutralisation" of the drama with regard to time and place is also effected and finally there is a shift to an ideological direction. An erotic eternal triangle drama is changed into an ideological one. Through an analysis of the sets and a comparison between Sjöberg's director's script and the text of Stiernstedt's drama it is shown how, by using set designs, music and sound effects, Alf Sjöberg again makes it clear that the drama takes place in Paris and that the occupation power is Germany. In addition the themes of resistance and freedom are both intensified. The reviewers' reception of the performance is also studied and it is apparent that the message is regarded as topical. Themes such as the antagonism between Fascism and humanism and the individual's stand against oppression from outside are also pointed out. In the reviews the neutral profile of the Royal Dramatic Theatre is also discussed. The final chapter discusses the Royal Dramatic Theatre's repertoire policy during the Second World War respecting the extent to which the theatre was willing to conform with the neutrality policy of the Swedish government. The scrutiny shows that the then theatre manager, Pauline Brunius, followed the existing regulations. However, there are signs of both external and internal censorship since some plays were not accepted for performance and others were vetted in advance. The production of The Outrage is also put into this context and it proves that when external censorship was changed to internal censorship it was primarily the dialogue and obvious symbols that were affected, whereas that which was conveyed by visual or auditive systems of signs was allowed to pass.},
  author       = {Martinsson, Eva},
  isbn         = {91-631-0083-5},
  keyword      = {ethical questions.,antfascism,censorship,Swedish neutrality,The Second World War,The Royal Dramatic Theatre,Theatre,directing,Dramatic art,Teatervetenskap},
  language     = {swe},
  pages        = {224},
  publisher    = {ARRAY(0x7740b48)},
  title        = {Attentatet på Dramaten. En studie av Alf Sjöbergs uppsättning av Marika Stiernstedts drama. The Outrage at the Royal Dramatic Theatre in Stockholm. A studie of Alf Sjöberg's stageing of Marika Stiernstedt's drama.},
  year         = {2000},
}