Polishing Reykjavík: The Third Space between Poland and Iceland
After noticing the great interest of the Polish migrants in Polish cultural events in Reykjavík, Ólafur Ásgeirsson saw a niche for his artistic explorations. He created PólíS, a theatre group comprised of Poles and Icelanders, professional and amateur actors. Polish actors to create performances aim...
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Föreningen Nordiska Teaterforskare / Association of Nordic Theatre Scholars
2024
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ftsbaarhusojs:oai:ojs.tidsskrift.dk:article/145376 2024-06-23T07:54:03+00:00 Polishing Reykjavík: The Third Space between Poland and Iceland Skjoldager-Nielsen , Daria 2024-06-09 application/pdf https://tidsskrift.dk/nts/article/view/145376 eng eng Föreningen Nordiska Teaterforskare / Association of Nordic Theatre Scholars https://tidsskrift.dk/nts/article/view/145376/189788 https://tidsskrift.dk/nts/article/view/145376 Copyright (c) 2024 Nordic Theatre Studies Nordic Theatre Studies; Vol. 35 No. 1 (2023): Performativity and Transgression; 92-105 Nordic Theatre Studies; Årg. 35 Nr. 1 (2023): Performativity and Transgression; 92-105 2002-3898 0904-6380 PólíS Ólafur Ásgeirsson migrant theatre Polish migrant theatre third space in theatre transmigration Icelandic theatre Borgarleikhúsið info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion 2024 ftsbaarhusojs 2024-06-11T04:22:52Z After noticing the great interest of the Polish migrants in Polish cultural events in Reykjavík, Ólafur Ásgeirsson saw a niche for his artistic explorations. He created PólíS, a theatre group comprised of Poles and Icelanders, professional and amateur actors. Polish actors to create performances aimed at the Polish minority. PólíS’s second production, Tu jest za drogo (It’s too expensive here), was staged at the Reykjavík City Theatre, a prestigious location for Reykjavík’s cultural life in 2022. This move transgressed social and political boundaries, perhaps even challenging the city’s cultural life and beliefs about the immigrant’s place in the fabric of the city.In my article, firstly, I position Tu jest za drogo among other strategies for staging performances in foreign languages. Secondly, I place it in a transmigrant context (Glick Schiller 1995), which studies embeddedness in two or more cultures, to explain to whom and why the PólíS’ strategy might appeal. Thirdly, I refer to the concept of third space in theatre (Woodson 2015) to explain the power relations in the creation and reception processes.My material comes from semi-structured interviews with the PólíS’ members and a City Theatre representative, as well as qualitative analysis of the social media texts and analysis of the PólíS’ play Tu jest za drogo. Article in Journal/Newspaper Iceland Reykjavík Reykjavík Aarhus University: OJS at The State and University Library Reykjavík |
institution |
Open Polar |
collection |
Aarhus University: OJS at The State and University Library |
op_collection_id |
ftsbaarhusojs |
language |
English |
topic |
PólíS Ólafur Ásgeirsson migrant theatre Polish migrant theatre third space in theatre transmigration Icelandic theatre Borgarleikhúsið |
spellingShingle |
PólíS Ólafur Ásgeirsson migrant theatre Polish migrant theatre third space in theatre transmigration Icelandic theatre Borgarleikhúsið Skjoldager-Nielsen , Daria Polishing Reykjavík: The Third Space between Poland and Iceland |
topic_facet |
PólíS Ólafur Ásgeirsson migrant theatre Polish migrant theatre third space in theatre transmigration Icelandic theatre Borgarleikhúsið |
description |
After noticing the great interest of the Polish migrants in Polish cultural events in Reykjavík, Ólafur Ásgeirsson saw a niche for his artistic explorations. He created PólíS, a theatre group comprised of Poles and Icelanders, professional and amateur actors. Polish actors to create performances aimed at the Polish minority. PólíS’s second production, Tu jest za drogo (It’s too expensive here), was staged at the Reykjavík City Theatre, a prestigious location for Reykjavík’s cultural life in 2022. This move transgressed social and political boundaries, perhaps even challenging the city’s cultural life and beliefs about the immigrant’s place in the fabric of the city.In my article, firstly, I position Tu jest za drogo among other strategies for staging performances in foreign languages. Secondly, I place it in a transmigrant context (Glick Schiller 1995), which studies embeddedness in two or more cultures, to explain to whom and why the PólíS’ strategy might appeal. Thirdly, I refer to the concept of third space in theatre (Woodson 2015) to explain the power relations in the creation and reception processes.My material comes from semi-structured interviews with the PólíS’ members and a City Theatre representative, as well as qualitative analysis of the social media texts and analysis of the PólíS’ play Tu jest za drogo. |
format |
Article in Journal/Newspaper |
author |
Skjoldager-Nielsen , Daria |
author_facet |
Skjoldager-Nielsen , Daria |
author_sort |
Skjoldager-Nielsen , Daria |
title |
Polishing Reykjavík: The Third Space between Poland and Iceland |
title_short |
Polishing Reykjavík: The Third Space between Poland and Iceland |
title_full |
Polishing Reykjavík: The Third Space between Poland and Iceland |
title_fullStr |
Polishing Reykjavík: The Third Space between Poland and Iceland |
title_full_unstemmed |
Polishing Reykjavík: The Third Space between Poland and Iceland |
title_sort |
polishing reykjavík: the third space between poland and iceland |
publisher |
Föreningen Nordiska Teaterforskare / Association of Nordic Theatre Scholars |
publishDate |
2024 |
url |
https://tidsskrift.dk/nts/article/view/145376 |
geographic |
Reykjavík |
geographic_facet |
Reykjavík |
genre |
Iceland Reykjavík Reykjavík |
genre_facet |
Iceland Reykjavík Reykjavík |
op_source |
Nordic Theatre Studies; Vol. 35 No. 1 (2023): Performativity and Transgression; 92-105 Nordic Theatre Studies; Årg. 35 Nr. 1 (2023): Performativity and Transgression; 92-105 2002-3898 0904-6380 |
op_relation |
https://tidsskrift.dk/nts/article/view/145376/189788 https://tidsskrift.dk/nts/article/view/145376 |
op_rights |
Copyright (c) 2024 Nordic Theatre Studies |
_version_ |
1802645999047409664 |