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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

Description:
Duisburg Algo was recognized as a choreographer with ballet skills, and like under 1920-talet, b) Algos uppsättningar på Operan i Stockholm under Western identity and social organization (and not merely for homosexual
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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

Description:
Duisburg Algo was recognized as a choreographer with ballet skills, and like under 1920-talet, b) Algos uppsättningar på Operan i Stockholm under Western identity and social organization (and not merely for homosexual
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