Profiles

Gindt

Dirk Gindt

Universitetslektor, docent

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Works at Department of Culture and Aesthetics
Telephone 08-674 70 98
Email dirk.gindt@teater.su.se
Visiting address Frescativägen 24 E
Room 258
Postal address Institutionen för kultur och estetik 106 91 Stockholm

About me

Dirk Gindt holds a Ph.D. in Theatre Studies from Stockholm University (2007) and is an Associate Professor (docent) in the Department of Culture and Aesthetics. He has previously been employed at the Department of Theatre at Concordia University in Montreal, the Centre for Fashion Studies at Stockholm University and the Department of Gender, History and Culture at Södertörn University College. He is currently serving as Head of Research in Theatre Studies.

Dr Gindt’s research attends to post-war and contemporary queer theatre and performance from an international and intercultural perspective. He is the author of the forthcoming academic monograph, Tennessee Williams in Sweden and France, 1945-1965 (Bloomsbury Methuen Drama, 2019), which unpacks the sexual anxieties and racial fantasies that the American playwright’s works provoked in post-war Europe. His second research project, ‘Lest We Forget’ critically analyses the impact of HIV and AIDS on queer theatre and performance in Canada and Sweden. As part of this project, he has co-edited, with Dr Alyson Campbell, the volume Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century (Palgrave Macmillan, 2018).

To date, Dr Gindt has presented c. fifty conference papers and published over fifteen referred journal articles and book chapters, including essays in Theatre Journal, Theatre Survey, Nordic Theatre Studies, Journal of Canadian Studies, Theatre Research in Canada, The Tennessee Williams Annual Review and Fashion Theory. He is co-editor of Mode: en tvärvetenskaplig betraktelse (Raster, 2009), a volume on fashion studies as an interdisciplinary discipline. As former editor-in-chief of lambda nordica: Journal for LGBT-Studies he edited special issues on masculinities and queer fashion. He has also served as book review editor for Nordic Theatre Studies and as associate editor for alt.theatre: cultural diversity and the stage.

Teaching

Dr Gindt has taught numerous courses in theatre history, cultural representations, gender theory and queer studies, performance activism, feminist and LGBT theatre, sexual representations in the performing arts, fashion theory, performance theory, Tennessee Williams, and contemporary theatre and performance in Canada. In the fall 2018 he is teaching four seminar courses at the graduate level:

- Cultural Theory and Transnational Performance 1

- Cultural Theory and Transnational Performance 2

- Performance Theories and Methodologies

- Performance, Activism and Social Movements

He is also offering a seminar course at the doctoral level: Performance Studies Seminar Series III. Dr Gindt is supervising student theses at all academic levels and actively involved in the department's Master's Programme in Critical Studies, including as co-instructor of the course 'Contemporary Criticism/Critique' (Spring 2019).

                                                                                             (photo by D. Ward)

Research

Tennessee Williams in Sweden and France, 1945-1965

Cultural Translations, Sexual Anxieties and Racial Fantasies

Bloomsbury Methuen Drama, forthcoming 2019

The immediate post-war period marks a pivotal moment in the internationalisation of American theatre when Tennessee Williams’ plays became some of Broadway’s most critically acclaimed and financially lucrative exports. Dirk Gindt offers a detailed study of the production and reception of Williams’ work on Swedish and French stages at the height of his popularity between 1945 and 1965. Analysing the national openings of seminal plays, including The Glass MenagerieA Streetcar Named DesireCat on a Hot Tin Roof,Orpheus Descendingand Suddenly Last Summer,Gindt provides rich and nuanced insights into Williams’ transnational impact. In the process, he charts a network of fascinating and influential directors, actors, designers, producers and critics, all of whom left distinctive marks on mid-twentieth-century European theatre and culture. Gindt further demonstrates how Williams’ work foregrounded cultural apprehensions, racial fantasies and sexual anxieties, which resulted in heated debates in the critical and popular media.

 

Lest We Forget

HIV and AIDS in Performance in Sweden and Canada

The project ‘Lest We Forget’ has two core objectives—a research component and an intercontinental network—which are intrinsically linked and designed to have an international outreach and impact. The first objective is to write the first comprehensive critical history of HIV and AIDS and queer theatre and performance in Sweden and Canada. The second objective is to implement an intercontinental working group of scholars working on HIV and AIDS in theatre and performance.

As part of this project, I have co-edited a volume with Dr Alyson Campbell (University of Melbourne), Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century (Palgrave Macmillan, 2018). The volume is the first study that analyses the impact of HIV and AIDS on theatre and performance in the twenty-first century from an international perspective and includes contributions from Australia, Brazil, Canada, China, Papua New Guinea, Puerto Rico, South Africa, Sweden, Tanzania, the United Kingdom and United States. It serves as a necessary reaffirmation of the productive power of theatre and performance, as both a social process and creative practice, to respond to a public health crisis and act as modes of resistance against cultural amnesia and discrimination. The book reflects the current intellectual and methodological state of the discipline of theatre and performance studies by incorporating a wide range of theatrical expressions that range from traditional plays and spoken drama, dance, performance and installation art, documentary and community-based theatre to cultural performances in the public sphere.

Last updated: September 17, 2018

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