Rikard Hoogland

Rikard Hoogland

Docent, universitetslektor, st.f. prefekt

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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 (född 1959) är docent i teaervetenskap och undervisat på grundnivån (bl.a. Samtida scenkonst, Teaterhistoria, Svensk teater, Kulturpolitik) på Teatervetenskapen och handleder 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.


Han disputerade 2005 på avhandlingen Spelet om teaterpolitiken – Det svenska regionteatersystemet från statligt initiativ till lokal realitet.

Aktuella forskningsområden är fria teatergrupper, svensk teater under inledningen av 1900-talet, svensk samtida teater, Brecht och nutida teaterregi.

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.

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


I urval från Stockholms universitets publikationsdatabas
  • 2020. Rikard Hoogland. Contemporary European Playwrights

    Lars Noren and Jon Fosse are frequently described as the most important Scandinavian playwrights since August Strindberg and Henrik Ibsen. In this chapter, the author argues that in the field of European theatre, there are theatres, festivals, magazines, directors and actors that are particularly important in achieving visibility. He highlights what has been written about Noren and Fosse in the German publication Theater Heute, which has a key position when it comes to introducing new trends and playwrights in continental Europe. 

  • 2019. Rikard Hoogland. I avantgardets skugga, 243-269

    "The Attack on Albert Ranft’s theatre empire.The theatre battle field"

    In 1921 Swedish theatre was accused for its immorality. The central object of the critique was a production of Mikhail Petrovich Artsybashev’s play Jealousy at the private owned theatre Svenska teatern. The theatre critics had found the play lacking in its composition but praised the production and the main female actor. The accusation did instead come from Christian newspapers and was then taken up by major big city news outlets – and subsequently it discussed in the parliament. Serious proposals was put forward to establish a censorship on theatre performances. The main target was Albert Ranft, at that time the main owner of theatres in Sweden, allegedly being merely interested in gaining as high profits as possible. Also one of the fore runners of modernist theatre, Per Lindberg, engaged in the debate and accused Ranft for low quality. Nevertheless Lindberg had produced the same play in his own theatre. This chapter analyse the conflict in perspective of the changing role of youngsters in the Swedish society and the attempt to “rescue” them. Furthermore, there is focus on the conflict of how theatre should befunded. Ranft’s successful enterprise was used as an example for reducing governmental funding. In this conflict the modernist took the same position as the Christian movement even if the development of modernist staging did have immorality as one of its main components.

  • 2018. Rikard Hoogland. The Power of the In-Between, 129-147

    A photomontage from 1894−95 with material from the popular and successful theatre production Ljungby horn is the artefact in this chapter. The photomontage is connecting with the development of theatre photography, which was governed by the commercial market for visiting cards. The term remediation is used to describe a transformation whereby the different sources are, through the use of photography, placed on the same level in the montage. Other intermedial connections discussed here include music, literature, communications, theatre set design, and mass media.

  • 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. The Development of Organisational Theatre Systems In Europe, 77-83
  • 2017. Daria Skjoldager-Nielsen, Rikard Hoogland. The Development of Organisational Theatre Systems In Europe, 116-130
  • 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
  • 2019. Rikard Hoogland. Nordic Theatre Studies 31 (1), 155-157
Visa alla publikationer av Rikard Hoogland vid Stockholms universitet

Senast uppdaterad: 28 september 2020

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