What Do Theatre Autobiographies Conceal?

  • Rikard Hoogland Department of Culture and Aesthetics, Stockholm University
Keywords: Repertoire, archive, autobiography, embodiment, self-representation, Ranft

Abstract

Autobiographies by actors and directors are considered to be somewhat of an unreliable source of information where research on theatre history is concerned. Researchers have made a great deal of effort to validate facts in autobiographies, but then have often neglected other forms of information that the written source gives. In this article, four different autobiographies are analysed with a specific focus on autobiographical strategies (Gardner), the embodied act of writing (Schneider), Hegemonic processes in society (Bratton), and audiences (Singleton). The article discusses if it is possible to place autobiographies in both the repertoire and the archive in Taylor’s sense, and if they can be seen as a possible link between them.

Author Biography

Rikard Hoogland, Department of Culture and Aesthetics, Stockholm University

Rikard Hoogland is senior lecturer in Theatre studies at Stockholm University. He received his PhD in 2005. He also teaches the subject Cultural Policy. He has published in peer reviewed journals – Peripeti, the Nordic Journal of Culture Policy – and in anthologies published by Cambridge Scholars, Cambridge University Press, Ohlms, Palgrave, and Rodopi. He has been a visiting scholar at Freie Universität, Berlin. He is also part of the research project Turning Points and Continuity: The Changing Roles of Performance in Society 1880- 1925, financed by the Swedish Research Council.

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Published
2018-01-27
How to Cite
Hoogland, R. (2018). What Do Theatre Autobiographies Conceal?. Nordic Theatre Studies, 29(1), 64-80. https://doi.org/10.7146/nts.v29i1.103309