Abstract:

This essay marks an intervention into Sweden's international image as a beacon of civil liberties, gender equality, and progressive LGBTQ+ politics. First, it asserts that theatre and performance became strategic tools to help regulate the sexuality and national health of the Swedish population at the height of the AIDS crisis. Second, it suggests the methodological concept of "viral networks" as a means to generate new insights into the myriad forms of collaboration among theatre artists, social workers, union activists, pedagogues, political representatives, and national corporations on the local, regional, and national levels. Through these two lines of argumentation, the essay demonstrates how the Social Democratic welfare state harnessed the stage as a forum to disperse and implement its official sexual politics, defined by normative, punitive, and moralizing standards. In contrast to many countries, where young queer communities mobilized against HIV and AIDS and deployed the arts as a means of protest and community-building, in Sweden the issue was brought to the forefront by left-wing, middle-age, heterosexual men who had been reared in the politicized cultural climate of the 1960s and '70s. This led to a preoccupation with straight cisgendered masculinity, to the detriment of already marginalized social constituencies.

摘要：

这篇文章标志着对瑞典作为公民自由、性别平等和进步的 LGBTQ+ 政治灯塔的国际形象的干预。首先，它断言戏剧和表演成为战略工具，在艾滋病危机最严重的时候帮助调节瑞典人口的性行为和国民健康。其次，它提出了“病毒网络”的方法论概念，作为一种手段，可以对戏剧艺术家、社会工作者、工会活动家、教育家、政治代表和国家公司之间在地方、区域和地方的无数合作形式产生新的见解。国家层面。通过这两条论据，本文展示了社会民主党福利国家如何利用舞台作为分散和实施其官方性政治的论坛，由规范性、惩罚性和道德化标准定义。在许多国家，年轻的酷儿社区动员起来抗击艾滋病毒和艾滋病并将艺术作为抗议和社区建设的手段，与此相反，在瑞典，这个问题被左翼、中年、异性恋男性带到了最前沿，他们在 1960 年代和 70 年代的政治化文化氛围中长大。这导致了对异性恋男性气质的关注，损害了已经边缘化的社会支持者。在 1960 年代和 70 年代的政治化文化氛围中长大的异性恋男性。这导致了对异性恋男性气质的关注，损害了已经边缘化的社会支持者。在 1960 年代和 70 年代的政治化文化氛围中长大的异性恋男性。这导致了对异性恋男性气质的关注，损害了已经边缘化的社会支持者。