Rikard Hoogland

Rikard Hoogland

Docent, Universitetslektor

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Arbetar vid Institutionen för kultur och estetik
Telefon 08-674 74 88
Postadress Institutionen för kultur och estetik 106 91 Stockholm

Om mig

Docent i teatervetenskap vid Institutionen för kultur och estetik.



Rikard Hoogland undervisar bl.a. om teaterkritik, kulturpolitik och teaterhistoria.


Rikard Hoogland (född 1959) disputerade 2005 på avhandlingen Spelet om teaterpolitiken – Det svenska regionteatersystemet från statligt initiativ till lokal realitet. Därefter har han som universitetslektor undervisat på grundnivån (bl.a. Teaterhistoria, Svenska teater, Kulturpolitik, pro-seminarier) på Teatervetenskapen och handlett kandidat och masteruppsater. Han var stf prefekt 2010-2011 och prefekt 2011-2014 för institutionen för musik- och teatervetenskap. Sedan 2015-01-01 är han biträdande prefekt vid instituionen för kultur och estetik.

Under våren 2017 var han Visiting Scholar vid Freie Universität i Berlin.

Han är aktiv i den internationella organisationen för teatervetare (FIRT/IFTR) och dess arbetsgrupp Theatrical event. Hoogland deltar ofta i debatter och håller föreläsningar kring kultur- och teaterpolitik. Han har varit redaktör för Nordic Theatre Studies och har varit medlem i styrelsen för Nordiska teaterforskare.

Han har medverkat i flera utredningar, senast tre kvalitetsutvärderingar enligt önskekvistmodellen för Kultur Skåne. Tidigare har Rikard Hoogland arbetat som dramaturg på Radioteater, redaktör för Teatertidningen samt projektsekreterare för Stiftelsen framtidens kultur.

2014-2017 var han del av det VR-finansierade projektet Brytningspunkter och kontinuitet - Scenkonsternas förändrade roller i samhället 1880-1925.



I urval från Stockholms universitets publikationsdatabas
  • 2017. Rikard Hoogland. Theatre, Globalization and the Cold War, 293-306

    Peter Weiss made his international breakthrough as a dramatist with the two plays Marat/Sade and Die Ermittlung. Weiss’s next work was therefore eagerly anticipated, but the play Gesang vom Lusitanischen Popanz was met with disappointment. It was a propagandistic play criticising Portugal’s colonial involvement in Africa. Weiss’s publisher, Suhrkamp, went to a lot of effort to try to stop the production. Several theatre critics from West Germany who that attended the world premiere in Stockholm pointed out that Weiss neglected the more pressing political issue: the Berlin Wall. The reviews published in East Germany underlined the political importance of the play and the criticism of West Germany’s policies towards Portugal. Some Swedish critics found that the political issue was overwhelmed by the aesthetic form. In this article I show how the assessment of the play was deeply coloured by the establishment of the Cold War home fronts in West and East Germany.

  • 2017. Rikard Hoogland. Nordic Theatre Studies 29 (2), 6-27

    Albert Ranft started as an actor in touring theatre companies in the 1880’s, but soon became responsible for one of the most important groups. Twenty-five years later, he ran a big company with about 2500 employees, owned theatres in Stockholm and Gothen­burg as well as a couple of touring companies.

    His repertoire was based on popular entertainment plays, revues, operettas, historical plays, contemporary dramas etc. Simultaneously, his companies could offer ‘highbrow’ and ‘lowbrow’ productions. Even the actors could, during just one week, work in differ­ent genres. The way of programing was for Ranft an art form by itself, and sometimes he even acted in and directed the plays.

    In November 1893, at Stora Teatern in Gothenburg, he premiered a fairy tale play, and the staging was filled with spectacular effects. The play was, from the beginning, a stun­ning success with the production running for several hundred nights. Moreover, the pro­duction of Ljungby Hornbecame the ground stone for Ranft’s theatrical enterprise.

    The article describes how this success was established through mediatization and its base on rural oral history. The performance is analyzed and discussed as a popular theatre production (McConachie, Price, Röttger, Schecter). The author proposes that a more inclusive definition of popular theatre should be used; one which also takes into account the productions that had commercial success. Popular theatre needs to be in­cluded in theatre history writing to enable a better understanding of how the theatre system has developed.

  • 2017. Rikard Hoogland. Nordic Theatre Studies 29 (1), 64-80

    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.

  • 2017. Rikard Hoogland. Svenskt biografiskt lexikon, 567-570
  • 2016. Rikard Hoogland. Dokumenterat (48), 61-71
  • 2014. Rikard Hoogland. Playing Culture, 164-180

    The article investigates the ways in which a public square can interact with its citythrough pre-arranged performances. The site of this study is a square in the middle ofStockholm, Sweden that was constructed in the late 1960s. Four performances thattook place during 2007 and 2009 are studied. All four connected in different wayswith the square. One of the main research questions is whether it is possible toconstruct a square designed to host public events and performances, and what theforemost problems are with a giant square such as Sergels torg. One of theconclusions is that while there is a need of open places in the city, the utilisation ofopen spaces for this purpose is threatened by increasing commercialisation of the city.These questions are discussed with the help of theories about city planning, publicopen space as well as theories of playing and the carnival.

  • 2014. Rikard Hoogland. Strindberg on International Stages/ Strindberg in Translation, 139-148
  • 2013. Rikard Hoogland. Text in Contemporary Theatre, 148-157
  • 2012. Rikard Hoogland. Peripeti (18), 90-100
  • 2012. Rikard Hoogland. Litteraturens arbetare, 273-284
  • 2012. Rikard Hoogland. The politics of being on stage, 151-165
Visa alla publikationer av Rikard Hoogland vid Stockholms universitet

Senast uppdaterad: 21 september 2018

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