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European Journal of Scandinavian Studies

Ed. by Böldl, Klaus / Rühling, Lutz / van der Liet, Henk


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2191-9402
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Into the Blind Spots – Theatrical Approaches to the Terror Attacks in Norway 22 July 2011

Siemke Böhnisch
Published Online: 2016-06-03 | DOI: https://doi.org/10.1515/ejss-2016-0010

Abstract

This article discusses theatrical approaches to the Norwegian terror attacks on 22 July 2011, in the context of a global digital screen culture. By engaging in a close reading of two of the earliest theatrical articulations on the 22 July emergency, the author examines how specific aesthetic strategies relate to the on-going cultural trauma process. The article shows how the stage-blog-project Ikkje direkte råka by Maria Tryti Vennerød (Oslo 2012) and the theatre performance Manifest 2083 by CaféTeatret (Copenhagen 2012) explore some of the blind spots in this process. The analyses focus on how the self-reflexive work of verbal articulation in Ikkje direkte råka and the embodying and staging in Manifest 2083 illuminate inherent ambivalences, paradoxes, and ambiguities in the cultural processes, as well as the complex relationship between the collective and the individual under the conditions of a digital online media world.

Sources

    Theatre Performance

    • CaféTeatret 2012a: Manifest 2083. [Theatre performance]. Directed by: Christian Lollike; conception: Christian Lollike / Olaf Højgaard; dramaturgy: Tanja Diers; light: Morten Kolbak; sound: Rasmus Kreiner; costumes: Hanne Mørup; cast: Olaf Højgaard.Google Scholar

    Primary literature

    • CaféTeatret 2012b: Manifest 2083. Final cut 15. 10. 2012. [Unpublished manuscript].Google Scholar

    • Seierstad, Åsne 2013: En av oss. En fortelling om Norge. Oslo.Google Scholar

    • Vennerød, Maria Tryti 2012a: IKKJE DIREKTE RÅKA. Dagbok 16 / 4–22 / 6 2012. Her er alt i ein post, kronologisk. [Weblog]. [http://www.forlagsliv.no/ikkjedirekteraaka/] 09. 06. 2015.

    • Vennerød, Maria Tryti 2012b: Ikkje direkte råka. Dagbok 16 / 4–22 / 6 2012. Oslo.Google Scholar

    Secondary literature

    • Alexander, Jeffrey C. et al. 2004: Cultural Trauma and Collective Identity. Berkeley, California.Google Scholar

    • Balme, Christopher B. 2014: The Theatrical Public Sphere. Cambridge.Google Scholar

    • Boenisch, Peter M. 2002: “Der Darsteller auf der Bühne. Klangkörper vs. Zeichenkörper. Zur Problematik der Korporealität (nicht nur) im Musiktheater.” In: Bayerdörfer, Hans-Peter (Ed.): Stimmen, Klänge, Töne. Synergien im szenischen Spiel. Tübingen, 139–152.Google Scholar

    • Böhnisch, Siemke 2014a: “Soydans ikke-Breivik og Højgaards ikke-ikke-Breivik. 22. juli i et dokumentarteaterperspektiv.” In: Peripeti. Tidsskrift for dramaturgiske studier 21 (Dokumentarisme). 36–48.Google Scholar

    • Böhnisch, Siemke 2014b: “Å gi Breivik en scene? – Scenekunst etter 22. juli. Med en næranalyse av Milo Raus ‘Breiviks Erklärung’.” In: Ekfrase. Nordisk tidsskrift for visuell kultur 5(1). 17–33.Google Scholar

    • Crownshaw, Richard 2011: “Perpetrator Fictions and Transcultural Memory.” In: Parallax 17(4). 75–89. [http://dx.doi.org/10.1080/13534645.2011.605582] 09. 06. 2015.Web of ScienceCrossref

    • Gibbs, Alan 2014: Contemporary American Trauma Narratives. Edinburgh.Google Scholar

    • Lehmann, Hans-Thies 2002: “Ästhetik des Risikos. Notizen über Theater und Tabu.” In: Lehmann, Hans-Thies: Das Politische Schreiben. (= Recherchen 12) Berlin. 93–101.Google Scholar

    • Lödén, Hans 2014: “Peace, love, depoliticisation and the domestic alien. National identity in the memorial messages collected after the terror attacks in Norway 22 July 2011.” In: National Identities 16(2). 157–176. [http://www.tandfonline.com/doi/abs/10.1080/14608944.2014.918593] 09. 06. 2015.Crossref

    • Statsministerens kontor (Ed.) 2011: “Statsminister Jens Stoltenbergs tale på Rådhusplassen i Oslo.” In: Historisk arkiv. [https://www.regjeringen.no/no/aktuelt/statsminister-jens-stoltenbergs-tale-pa-/id651840/] 09. 06. 2015.

    • Szatkowski, Janek 2005: “Kompleks dramaturgi. Studie in Christian Lollikes dramatik.” In: Peripeti. Tidsskrift for dramaturgiske studier 3. 41–80.Google Scholar

    • Tanner, Laura E. 2012: “Holding On to 9 / 11. The Shifting Grounds of Materiality.” In: PMLA 127(1). 58–76.Web of ScienceCrossrefGoogle Scholar

    • Aagedal, Olaf et al. (Eds.) 2013: Den offentlige sorgen. Markeringer, ritualer og religion etter 22. juli. Oslo.Google Scholar

    Others

Theatre Performance

  • CaféTeatret 2012a: Manifest 2083. [Theatre performance]. Directed by: Christian Lollike; conception: Christian Lollike / Olaf Højgaard; dramaturgy: Tanja Diers; light: Morten Kolbak; sound: Rasmus Kreiner; costumes: Hanne Mørup; cast: Olaf Højgaard.Google Scholar

Primary literature

  • CaféTeatret 2012b: Manifest 2083. Final cut 15. 10. 2012. [Unpublished manuscript].Google Scholar

  • Seierstad, Åsne 2013: En av oss. En fortelling om Norge. Oslo.Google Scholar

  • Vennerød, Maria Tryti 2012a: IKKJE DIREKTE RÅKA. Dagbok 16 / 4–22 / 6 2012. Her er alt i ein post, kronologisk. [Weblog]. [http://www.forlagsliv.no/ikkjedirekteraaka/] 09. 06. 2015.

  • Vennerød, Maria Tryti 2012b: Ikkje direkte råka. Dagbok 16 / 4–22 / 6 2012. Oslo.Google Scholar

Secondary literature

  • Alexander, Jeffrey C. et al. 2004: Cultural Trauma and Collective Identity. Berkeley, California.Google Scholar

  • Balme, Christopher B. 2014: The Theatrical Public Sphere. Cambridge.Google Scholar

  • Boenisch, Peter M. 2002: “Der Darsteller auf der Bühne. Klangkörper vs. Zeichenkörper. Zur Problematik der Korporealität (nicht nur) im Musiktheater.” In: Bayerdörfer, Hans-Peter (Ed.): Stimmen, Klänge, Töne. Synergien im szenischen Spiel. Tübingen, 139–152.Google Scholar

  • Böhnisch, Siemke 2014a: “Soydans ikke-Breivik og Højgaards ikke-ikke-Breivik. 22. juli i et dokumentarteaterperspektiv.” In: Peripeti. Tidsskrift for dramaturgiske studier 21 (Dokumentarisme). 36–48.Google Scholar

  • Böhnisch, Siemke 2014b: “Å gi Breivik en scene? – Scenekunst etter 22. juli. Med en næranalyse av Milo Raus ‘Breiviks Erklärung’.” In: Ekfrase. Nordisk tidsskrift for visuell kultur 5(1). 17–33.Google Scholar

  • Crownshaw, Richard 2011: “Perpetrator Fictions and Transcultural Memory.” In: Parallax 17(4). 75–89. [http://dx.doi.org/10.1080/13534645.2011.605582] 09. 06. 2015.Web of ScienceCrossref

  • Gibbs, Alan 2014: Contemporary American Trauma Narratives. Edinburgh.Google Scholar

  • Lehmann, Hans-Thies 2002: “Ästhetik des Risikos. Notizen über Theater und Tabu.” In: Lehmann, Hans-Thies: Das Politische Schreiben. (= Recherchen 12) Berlin. 93–101.Google Scholar

  • Lödén, Hans 2014: “Peace, love, depoliticisation and the domestic alien. National identity in the memorial messages collected after the terror attacks in Norway 22 July 2011.” In: National Identities 16(2). 157–176. [http://www.tandfonline.com/doi/abs/10.1080/14608944.2014.918593] 09. 06. 2015.Crossref

  • Statsministerens kontor (Ed.) 2011: “Statsminister Jens Stoltenbergs tale på Rådhusplassen i Oslo.” In: Historisk arkiv. [https://www.regjeringen.no/no/aktuelt/statsminister-jens-stoltenbergs-tale-pa-/id651840/] 09. 06. 2015.

  • Szatkowski, Janek 2005: “Kompleks dramaturgi. Studie in Christian Lollikes dramatik.” In: Peripeti. Tidsskrift for dramaturgiske studier 3. 41–80.Google Scholar

  • Tanner, Laura E. 2012: “Holding On to 9 / 11. The Shifting Grounds of Materiality.” In: PMLA 127(1). 58–76.Web of ScienceCrossrefGoogle Scholar

  • Aagedal, Olaf et al. (Eds.) 2013: Den offentlige sorgen. Markeringer, ritualer og religion etter 22. juli. Oslo.Google Scholar

Others

About the article

Published Online: 2016-06-03

Published in Print: 2016-06-01


Citation Information: European Journal of Scandinavian Studies, Volume 46, Issue 1, Pages 157–179, ISSN (Online) 2191-9402, ISSN (Print) 2191-9399, DOI: https://doi.org/10.1515/ejss-2016-0010.

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