THEATRON-serien Stiftelsen för utgivning av teatervetenskapliga studier

316 Pages·2010·6.79 MB·Swedish

THEATRON-serien

Stiftelsen för utgivning av teatervetenskapliga studier

1
2
Eva Lundgren

Lek med lust

Balettuppsättningar på stockholmsoperan 1931-1938:
Theatertanz, genusaspekter och historieskrivning

Stockholm 2006

3
Akademisk avhandling för filosofie doktorsexamen
vid Stockholms universitet 2006
Teatervetenskapliga institutionen
106 91 Stockholm

Abstract
This dissertation treats the choreographic works of Julian Algo (1899-1955), a ballet master in
the Royal Opera house in Stockholm 1931-1952, whose experience and education were from
Theatertanz, and Swedish dance history about his works. Theoretically it is inspired by post-
modern historiography (Jenkins, Munslow, White), queer theory (Sedgwick, Doty,
Rosenberg) and research about masculinities in dance (Burt). The empirical materials are
from archives in Germany, England, France and Sweden.
The first chapter is an introductory survey of Algo’s career in Germany. It shows that in
Duisburg Algo was recognized as a choreographer with ballet skills, and like other
choreographers within German “Theatertanz” he tried to establish new styles through mixing
old ballet and modern dance. The chapter also answers question about reception and about
whom Algo cooperated with.
The second chapter consists of seven analyses in which the author deals with the
“gusto” and “playfulness” of Algo’s works in Stockholm 1931-1938. These ballet productions
are analysed with focus on the concept of queer and gender, also pointing out their good
reception and that they in Stockholm were described as modern. Some of the male characters
are suggested to be related to dandyism. The chapter also shows that anti-Semitism and
scepticism against foreign influences were expressed in the theatre magazine Scenen [The
Stage] and that it is relevant to assume that these articles influenced the development in the
Opera house.
The third chapter shows that Algo’s ballet productions in the book The Swedish ballet
(Rootzén1945) was described from a view of classical ballet’s preferences. Now, in 1945,
Algo's choreographies from the 1930 were dismissed as being of mixed-genre and lacking
ballet skills. Although this chapter in the book was criticised by contemporary critics, it is
obvious that it has been of great influence for authors of ballet history in the 2.nd half of the
century.

Key-word: Julian Algo, danshistoria, svensk-tyska kulturrelationer, genus, modernism,
antisemitism, historiografi

© Eva Lundgren
Layout: Christer Cervin, Eva Lundgren
2:a rättade tryckningen
Tryck: US-AB Stockholm 2006
ISBN 91 86434 28 4

Omslagsbild: Julian Algo, Maria Sylvan, Carl-Gustav Kruuse och redaktör Gustavsson. I
gruppen står kvinnan i centrum, samtidigt som det i bakgrunden finns ett samspel mellan
männen. En massmedial blick betraktar dem alla. KTA

4
Till
Dani, Nils,
Sandra och Tor–

för Er uppmuntran
och för att ni finns.
5
6
INNEHÅLL

FÖRORD.................................................................................................................................11
INLEDNING...........................................................................................................................13
Frågeställningar..................................................................................................................................................18
Teori.....................................................................................................................................................................22
Disposition...........................................................................................................................................................41
Material................................................................................................................................................................46
I FÖRUTSÄTTNINGAR – UTBILDNING, REPERTOAR, PERSONLIGA
KONTAKTER OCH KARRIÄR..........................................................................................50
Innan Duisburg...................................................................................................................................................50
Berlin................................................................................................................................................................53
Gera..................................................................................................................................................................54
Hannover..........................................................................................................................................................55
Kongresser........................................................................................................................................................57
Duisburg...............................................................................................................................................................59
Repertoar och reception i Duisburg fram till Essenkongressen 1928...............................................................61
Kongressen i Essen 1928..................................................................................................................................66
Repertoar och reception Duisburg 1928/29......................................................................................................68
Salambo............................................................................................................................................................71
Puppenfee.........................................................................................................................................................72
Kongressen i München 1930 och Das Prisma.................................................................................................73
Repertoar 1930/31............................................................................................................................................76
Rokoko, Der Schleier der Pierrette..................................................................................................................77
Sammanfattning Förutsättningar......................................................................................................................80
II ÅTERUPPRÄTTELSE......................................................................................................83
En glad upptakt – analys av uppsättningar och mottagande 1931–1934.......................................................83
Den trekantiga hatten.......................................................................................................................................86
Handling och scenbild.................................................................................................................................87
Dansare och rollfigurer................................................................................................................................88
Akt I Äktenskapet hotas..............................................................................................................................89
Akt II Midsommarnatt.................................................................................................................................92
Maktskifte/kvinnobyte.................................................................................................................................93
Mottagande..................................................................................................................................................93
Petrusjka..........................................................................................................................................................96
Handling och scenbild.................................................................................................................................97
7
Dansare och rollfigurer................................................................................................................................99
Mottagande................................................................................................................................................102
Förtrollade butiken........................................................................................................................................104
Handling och scenbild...............................................................................................................................104
Dansare och rollfigurer..............................................................................................................................105
Mottagande................................................................................................................................................109
Tidskriften Scenen 1934–35.............................................................................................................................114
”Intervju med en tysk statskommissarie”.................................................................................................115
Opera- eller revybalett...............................................................................................................................118
”Utländsk invasion”...................................................................................................................................120
Framgång – Analys av uppsättningar och mottagande 1934–1937..............................................................123
Blå tåget.........................................................................................................................................................126
Scenbilder..................................................................................................................................................127
Handling och rollfigurer............................................................................................................................128
Sida vid sida – heterosexuella par.............................................................................................................130
Sida vid sida – homosociala par................................................................................................................132
Singlar.......................................................................................................................................................134
Mottagande................................................................................................................................................135
Prima ballerina..............................................................................................................................................137
Handling....................................................................................................................................................137
Prima ballerina Brita Appelgren................................................................................................................139
Prima ballerinas entré................................................................................................................................141
Männen speglar sig....................................................................................................................................143
Sida vid sida – baletthabituéen och Prima ballerina..................................................................................144
Sida vid sida – Marcel och Prima ballerina...............................................................................................145
Balettmästaren...........................................................................................................................................147
Studenten...................................................................................................................................................148
Mexikanen.................................................................................................................................................148
Publiken speglas........................................................................................................................................149
Prima ballerina speglar sig........................................................................................................................151
Heterosexuell monism...............................................................................................................................154
Mottagande................................................................................................................................................154
Fruar på vift...................................................................................................................................................157
Handling och scenbild...............................................................................................................................159
Genusambivalens och homosocialitet........................................................................................................161
Kvinnlig homosocialitet............................................................................................................................167
Mottagande................................................................................................................................................169
Optimism – Artiklar 1935–37..........................................................................................................................172
Innovativ scenografi..................................................................................................................................173
Framtidstro................................................................................................................................................175
Orfeus i sta’n.....................................................................................................................................................179
På Hötorget................................................................................................................................................182
Intermezzo.................................................................................................................................................188
På Kärleksudden........................................................................................................................................190
Fredrika Bremer.........................................................................................................................................191
Framför Nationalmuseum..........................................................................................................................192
Utanför Operan..........................................................................................................................................195
Exkurs - Det ursprungliga librettot............................................................................................................197
Baren på Grand hotell................................................................................................................................198
Morgonnyheter!.........................................................................................................................................200
På Hötorget................................................................................................................................................201
Mottagande................................................................................................................................................204
Tidskriften Scenen 1938–39.............................................................................................................................212
”Der Ewige Jude”......................................................................................................................................212
Kritik mot utländska medarbetare.............................................................................................................214
8
Krav på Forsells avgång............................................................................................................................220
Efter Orfeus i sta’n...........................................................................................................................................226
Sammanfattning Återupprättelse....................................................................................................................238
III HISTORIESKRIVNING...............................................................................................243
”Nutida balettkonst på operascenen” – retorik och dikotomier...................................................................245
Den svenska baletten – mottagande.................................................................................................................262
Historieskrivning efter Den svenska baletten.................................................................................................265
Sammanfattning Historieskrivning.................................................................................................................277
SLUTDISKUSSION.............................................................................................................279
SUMMARY...........................................................................................................................287
KÄLL- OCH LITTERATURFÖRTECKNING...............................................................294
BILDFÖRTECKNING........................................................................................................306
INDEX – PERSONER OCH VERK...................................................................................308

9
10