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  • 1.
    Blåsjö, Mona
    Stockholms universitet, Humanistiska fakulteten, Institutionen för svenska och flerspråkighet, Svenska/Nordiska språk.
    Porträtt: Röörigt språk2015Ingår i: Språktidningen, ISSN 1654-5028, , s. 6s. 34-39Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
    Abstract [sv]

    Skådespelaren och regissören Gunilla Röör tar i så hon spricker. Hon kan välja bort vardagsspråk, för det är inte vardag. Det är teater.

  • 2.
    Bodin, Per-Arne
    Stockholms universitet, Humanistiska fakulteten, Institutionen för slaviska och baltiska språk, finska, nederländska och tyska, Slaviska språk.
    Prima ballerina2017Ingår i: Axess, ISSN 1651-0941, nr 9, s. 66-67Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 3.
    Bork Petersen, Franziska
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    ”Movement never lies”: How assumptions of authenticity mystify dance2014Ingår i: Terpsichore, ISSN 1901-6743Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 4.
    Claeson, Karin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Kroppens Kultur: Fysisk teater som begrepp, dess diskurs och status på teaterfältet.2011Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This master’s thesis discusses the term physical theatre from a discourse point of view. It also focuses on aspects of power from a field theory perspective. The main theory used is Pierre Bourdieu’s field theory, and I try to apply this onto critical discourse analysis, mainly taken from Michel Foucault. The forms of physical theatre I focus on are mainly commedia dell’arte, theatre forms inspiredby Grotowski and Artaud, as well as mime, performance and contemporary circus. These are all theatre forms that focus especially on the body. My aim is to explore the status and discourse of physical theatre in Sweden today.

    The thesis is divided into two main parts. First, I present research concerning empirical data, where I search for the term physical theatre, as well as other forms of describing these theatre forms, in magazines, theatre playlists, texts about theatre troups etc. The term physical theatre is not very common in these texts, it is often described as dance-theatre for example. It is also prominent that the view on what physical theatre is has changed, theatre forms which focus on the body and its expression have been incorporated into the major theatre field, and are no longer considered odd or different. Physical comedy, however, still stands out. Although it seems that it has become increasingly popular, it has somewhat moved away from the serious forms of physical theatre.

    The second part of the thesis approaches the subject from a more theorising point of view, where the discussion itself is the main focus. I start off by discussing the term physical theatre and its aesthetics – how its meaning has changed from being something avant-garde to something that is considered “normal”. Thereafter I discuss the status of the physical theatre forms, and apply them onto Bourdieu’s field theory. Physical comedy has not yet acquired the status of ”high culture”, whereas the serious, more “arty” forms of physical theatre are on different positions in the theatre field, and even on the physical theatre field. I also discuss how this can be transferred to theories about popular culture, and the interesting things that happens when the once very popular, low-status theatre form commedia dell’arte is situated in a high culture theatre house, Kungliga Dramatiska Teatern, in Sweden. I continue to discuss marginalised forms of theatre from a sub-culturalperspective, fighting both against and inside the dominant culture to gain status in the theatre field. After this, I discuss how the physical theatre’s new discourse has changed because of the newly found interest in contemporary circus, research projects in universities as well as higher education in physical art forms. The conclusion is that the term physical theatre still can be useful to describe different forms of theatre, although it is quite vague and has changed significally.

  • 5.
    Fopp, David
    Stockholms universitet, Humanistiska fakulteten, Centrum för de humanistiska ämnenas didaktik (CeHum).
    Regi med barn och unga: En studie av hur personregi används i barn- och ungdomsteaterverksamhet2013Självständigt arbete på avancerad nivå (yrkesexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Hur arbetar regissörer och dramapedagoger med barn med ”personregi” - alltså med feedbacken som hjälper till att ett barn hittar ett uttryckssätt som är trovärdigt, ett sätt att spela som är livligt. Hur gör man och varför? Vad är det för en typ av handling, interaktion? Syftet med arbetet är att förstå och tydliggöra en ganska dold och mystisk verksamhet; att inspirera alla intresserade till utvecklat egen verksamhet; att lyfta fram en interaktion där barnen blir hjälpt till och värdesatt i deras spontana tillvaro.

    Arbetets metodik är inspirerad av ”grundad teori” och närmar sig den konkreta sociala interaktionen genom att föra öppen strukturerade samtal med regissörer och dramapedagoger som är verksamma i stora mest kommunala barn/ungdomsteater: Vår Teater/Kulturskolan, Enskedespelet, Sagateatern Lidingö, Ung teater Täby, Skara Skolscen samt Stockholms Stadsteater och Dramaten. Utifrån det material föreslås en systematisering av de olika metoder hur man arbetar som regissör med just personregi. Teoribakgrunden är Daniel Stern och Anders Brobergs utvecklingspsykologi å ena sidan; och de implicita teorierna i internationella skådespeleri/regihandböcker å andra.

    Resultatet visar att det finns en skillnad i regiarbetet när det gäller 7-12-åringar respektive 12-20-åringar. Med de yngre arbetar man utan text. Däremot bygger verksamheten i alla åldrar på stolpmanus som regissören arbetar fram med barnen utifrån improvisationer i en ömsesidig inspirerande process av att hitta-på och ta-upp. I nästa steg är huvuduppgiften för personregissörerna att hjälpa till att försätta barnen i den specifika stämningsfulla situationen som scenen kräver. Som personregins metoder (i alla åldrar) för finarbetet dyker många olika ”verktyg” upp: kognitiva (1) som att prata om ”varför” någon gör något (a), vad någon ”vill” med en handling eller mening (b) eller om hur man ska ”tänka” medan man spelar en mening (c); kroppsliga (2) som att hitta nya rörelsemönster och uttryckssätt (a) eller agera ”som-om” man vore själv rollfiguren (b); samspelsmässiga (3) som att ta upp impulser från den andres blick eller situationen själv. Hur sceneriet exakt ska se ut bestämmer man sent i repetitionsarbetet. Alla är överens om att personregins arbete utgör en unik och värdefull situation där en vuxen hjälper ett barn att hitta sin fantasi och att våga gestalta en annan varelse.

  • 6.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Coming Out of the Cabinet: Fashioning the Closet with Sweden’s Most Famous Diplomat2012Ingår i: Studies in Fashion and Beauty: Volume One / [ed] Efrat Tseëlon, Ana Marta González and Susan Kaiser, Bristol, UK & Chicago: Intellect Ltd., 2012, s. 233-254Kapitel i bok, del av antologi (Refereegranskat)
    Abstract [en]

    This article offers a critical analysis of the media discourse surrounding the Swedish diplomat Sverker Åström’s coming out as a gay man at the age of 87. Particular interest is devoted to his striking fashion choice of wearing a pair of oddly coloured socks, which highlighted his contradictory masculinity as well as the many inherent paradoxes of the closet. Åström’s red and green socks functioned as a means to express forbidden desires, to oppose normative expectations in a playful way and to grant the gay subject a presence in a world that is still very much structured by the logics of the closet. Moreover, his contradictory body language, coupled with his repeated affirmations that his coming out was a private issue, revealed a divided masculinity that was ideologically dependent on a pre-feminist understanding of gender and sexuality as private, that is to say non-political. The article argues that there was strong evidence to suggest that his coming out was in fact a tactical move in a political game, a move aimed to denounce and ridicule the Swedish Security Police (SÄPO), who, after decades of surveillance, refused to grant the diplomat access to its classified files on him.

  • 7.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap.
    En hyllning till Gunnel Broström: Sveriges främsta Williamsaktris2011Ingår i: Teatertidningen, nr 2, s. 32-35Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 8.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Galen, kriminell och sjuk: Sprätthöken som modeoffer2012Övrigt (Övrigt vetenskapligt)
  • 9.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Sky Gilbert, Daniel MacIvor, and the man in the hotel room: queer gossip, community narrative, and theatre history2013Ingår i: Theatre Research in Canada, ISSN 1196-1198, E-ISSN 1913-9101, Vol. 34, nr 2, s. 187-215Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This essay outlines how the gossip surrounding Tennessee Williams’s visit to Vancouver in 1980 has influenced the narratives of gay communities and in so doing contributed to queer theatre history in Canada. Stories of Williams inviting young men to his hotel room and asking them to read from the Bible inspired Sky Gilbert and Daniel MacIvor to each write a play based on these events. The essay argues that Gilbert and MacIvor transcend the localized specificity of the initial rumours and deploy gossip as a tool to articulate a process of sexual and cultural marginalization, thereby fostering a dialogue with the past. This dialogue marks a crucial and pedagogical task in gay and queer theatre to address the on-going needs of an ever-changing community.

  • 10.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    The Diva and the Demon: Ingmar Bergman Directs The Rose Tattoo2012Ingår i: New Theatre Quarterly - NTQ, ISSN 0266-464X, E-ISSN 1474-0613, Vol. 28, nr 1, s. 56-66Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    In this article Dirk Gindt discusses Ingmar Bergman’s 1951 production of Tennessee Williams’s The Rose Tattoo in the small Swedish town of Norrköping, demonstrating how Bergman methodically ignored the tragicomic nature of the play in order to develop and exaggerate its comic and grotesque elements. After extensive cuts and alterations in the script, the character Serafina delle Rose became even more overpowering than in the original text and dominated the action from beginning to end. Karin Kavli, a leading lady in Swedish post-war theatre and a frequent collaborator with Bergman, played the character not as a mourning widow but as a possessed disciple of Dionysus in an unabashedly entertaining and sexualized production which, despite reservations from critics, became a success with audiences.

  • 11.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap.
    Torn between the ‘Swedish Sin’ and ‘homosexual freemasonry’: Tennessee Williams, sexual morals and the closet in 1950’s Sweden2010Ingår i: The Tennessee Williams Annual Review, ISSN 1097-6035, Vol. 11, s. 19-39Artikel i tidskrift (Refereegranskat)
  • 12.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Concordia University, Canada.
    Transatlantic Translations and Transactions: Lars Schmidt and the Implementation of Post-War American Theatre in Europe2013Ingår i: Theatre journal (Washington, D.C.), ISSN 0192-2882, E-ISSN 1086-332X, Vol. 65, nr 1, s. 19-37Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Contributing to an intercultural understanding of American and European theatre in the post-war era, this essay explores the significance of the Swedish publisher and producer Lars Schmidt for the introduction and spread of U.S. plays and musicals on his side of the Atlantic. Schmidt’s innovative publishing strategies and production methods in addition to his skills as a cultural translator made works like The Glass Menagerie, Cat on a Hot Tin Roof and My Fair Lady commercially viable and intelligible to audiences in various national contexts. In the process, he was largely responsible for the emergence of the individual producer in Europe, a position that was perceived as foreign and at times vehemently dismissed as too commercial and too American.

  • 13.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    When Broadway came to Sweden: The European premiere of Tennessee Williams’s Cat on a Hot Tin Roof2012Ingår i: Theatre Survey, ISSN 0040-5574, E-ISSN 1475-4533, Vol. 53, nr 1, s. 59-83Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This essay proposes a case-study approach to examine how the initial European production of Cat was received and, by implication, how one of the defining American playwrights of the twentieth century was discussed in Sweden. It focuses on the process of cultural translation and, more precisely, the question of how Swedish ensembles interpreted a foreign playwright who was known for breaking sexual taboos. Unpacking the cross-cultural and transnational dialogue that was established when Cat made its first appearance on a European stage, the essay teases out the cultural tensions and the negotiation of national identity that took place when Williams’s play was transposed from the Mississippi Delta to a more northern latitude. I argue that the stage and the cultural sections of the newspapers offered a forum for Sweden to negotiate some of the country’s sexual anxieties by making use of American cultural products and firmly situating them in an exoticized American context whose values were deemed to conflict with European, and more specifically Swedish, cultural identity.

  • 14.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Williams and Bergman, Lust and Death: Culturally Translating A Streetcar Named Desire in Post-War Sweden2013Ingår i: Tennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges / [ed] John S. Bak, Amsterdam & New York: Rodopi, 2013, s. 135-168Kapitel i bok, del av antologi (Refereegranskat)
  • 15.
    Gindt, Dirk
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Potvin, John
    Concordia University, Montreal, QC.
    Creativity, Corporeality and Collaboration: Staging Fashion with Giorgio Armani and Robert Wilson2013Ingår i: Studies in Theatre & Performance, ISSN 1468-2761, E-ISSN 2040-0616, Vol. 33, nr 1, s. 3-28Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This essay analyzes the creative and economic relationship between and the intersections of theatre, performance and fashion by exploring the notion of collaboration through the work of Italian designer Giorgio Armani and American theatre director Robert Wilson. It addresses three case studies derived from different performance spaces: a performance art installation in a once derelict, purposefully redesigned train station; a modernist play staged in a traditional proscenium arched theatre; and a retrospective exhibition held in a fine art museum that invited the visitors to ‘walk the catwalk’. The objective of the essay is twofold. First, it focuses on the concrete results of the collaboration, that is, the actual events, the mutual artistic and economic benefits for both parties as well as the sometimes controversial critical reception and discourse surrounding them. Second, it queries the meaning and potency of the status of the auteur in a long-term creative collaboration between two equally influential artists from the related, yet distinct fields of theatre and fashion.

  • 16.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Dancing African-American Jazz in the Nordic Region2014Ingår i: Nordic Dance Spaces: Practicing and Imagining a Region / [ed] Karen Vedel, Petri Hoppu, Farnham: Ashgate, 2014, s. 101-127Kapitel i bok, del av antologi (Refereegranskat)
  • 17.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Many sources, many voices2018Ingår i: Rethinking Dance History: Issues and Methodologies / [ed] Geraldine Morris, Larraine Nicholas, London: Routledge, 2018, 2, s. 136-147Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 18.
    Helander, Karin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Artistic development on the frontline2013Ingår i: News from Swedish Theatre, ISSN 1653-7637, s. 6-7Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 19.
    Hiort af Ornäs, Ingrid
    Stockholms universitet, Humanistiska fakulteten, Tyska institutionen.
    "In meinem Lottchen ist doch halt ein Junge verloren": Charlotte Birch-Pfeiffer als Dramatikerin : eine Studie zu Erfolgs- und Trivialdrama des 19 Jahrhunderts1997Doktorsavhandling, monografi (Övrigt vetenskapligt)
  • 20.
    Hron-Öberg, Irina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för baltiska språk, finska och tyska, Avdelningen för tyska.
    Ungeheuerliche Schönheit und lasterhafte Süße: Sabine Coelsch-Foisners und Michaela Schwarzbauers Tagungsakte zu ›Leidenschaft und Laster‹2010Ingår i: literaturkritik.de, ISSN 1437-9309, E-ISSN 1437-9317, Vol. 12Artikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 21.
    Högström, Karin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusvetenskap, Etnologi.
    How do women in Sweden learn Middle Eastern dance?2013Ingår i: Close encounters : contemporary dance didactics: exploration in theory and practice, Stockholm: Dans och cirkushögskolan , 2013, s. 130-140Konferensbidrag (Övrigt vetenskapligt)
  • 22.
    Kaikkonen, Marja
    Stockholms universitet, Humanistiska fakulteten, Institutionen för orientaliska språk, Avdelningen för kinesiska.
    “Ballads and Storytelling - A Withering Tradition in Taiwan”1994Ingår i: Orientaliska Studier, s. 131-141Artikel i tidskrift (Övrigt vetenskapligt)
  • 23.
    Kaikkonen, Marja
    Stockholms universitet, Humanistiska fakulteten, Institutionen för Asien-, Mellanöstern- och Turkietstudier, Avdelningen för kinesiska.
    Kiinan näyttämötaide1978Ingår i: Otavan suuri ensyklopedia: 4, Juusten - Kreikka, Helsinki: Otava , 1978, s. 2983-2984Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 24.
    Kaikkonen, Marja
    Stockholms universitet, Humanistiska fakulteten, Institutionen för orientaliska språk.
    Laughable Propaganda: Modern Xiangsheng as Didactic Entertainment1990Doktorsavhandling, monografi (Övrigt vetenskapligt)
  • 25.
    Kaikkonen, Marja
    Stockholms universitet, Humanistiska fakulteten, Institutionen för Asien-, Mellanöstern- och Turkietstudier, Avdelningen för kinesiska.
    Quyi - allmogenöjen med mersmak1983Ingår i: Grisens år: Årsbok om Kina, Stockholm: Svensk-kinesiska vänskapsförbundet , 1983, s. 84-87Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
  • 26.
    Kaikkonen, Marja
    Stockholms universitet, Humanistiska fakulteten, Institutionen för Asien-, Mellanöstern- och Turkietstudier, Avdelningen för kinesiska.
    Tan Fengyuan - ett artistliv1988Ingår i: Drakens år: Årsbok om Kina, Svensk-kinesiska vänskapsförbundet , 1988, 1, s. 99-107Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
  • 27.
    Kleberg, Lars
    Stockholms universitet, Humanistiska fakulteten, Slaviska institutionen.
    Teatern som handling: Sovjetisk avantgardeestetik 1917-19271977Doktorsavhandling, monografi (Övrigt vetenskapligt)
  • 28.
    Lidén, Ellinor
    Barn- och ungdomsvetenskapliga institutionen, Stockholms universitet, Samhällsvetenskapliga fakulteten, Institutionen för barn- och ungdomsvetenskap, Centrum för barnkulturforskning. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    "Jalla, vi ville kolla på teater!": Barns utsagor om och värderingar av teater vid Stockholms stadsteater Skärholmen2014Ingår i: Mycket väl godkänd: Vad är kvalitet i barnkulturen? / [ed] Karin Helander, Centrum för barnkulturforskning/Stockholms universitet , 2014, s. 32-43Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 29.
    Ljungdahl, Camilla
    Barn- och ungdomsvetenskapliga institutionen, Stockholms universitet, Samhällsvetenskapliga fakulteten, Institutionen för barn- och ungdomsvetenskap, Centrum för barnkulturforskning.
    GO BEBIS!, Ah hallo bebis och Prassel: Om danskonst för den allra yngsta barnpubliken2015Självständigt arbete på avancerad nivå (magisterexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    The overall aim of this thesis is to explore how the art of dance for the youngest children can be understood as a Children´s Culture phenomenon. The empirical data mainly consists of observations of the project GO BEBIS! and the dance performances Ah hallo bebis and Prassel. In addition, the study includes a dance analysis of the performances and a text analysis of advertising and reviews of the performances. The view of the child is discussed from childhood sociological, phenomenological and aesthetic performative perspectives. The texts present a view of a curious, calm and creative child and the dance analysis shows that recognition from the child’s life-world, mixed strategies of focus and a still and quiet form is recurrent in the performances. Focus (both visual, bodily and spatial) is used to control the child’s attention and it is likely that the choice of movement can inhabit the child and affect the experience. In the observations it is clear that the dancers and the audiences have a bodily dialogue that could be understood as a never ending feedback loop. However, co-presence or the way of turning to the other is crucial for a successful feedback loop to occur. The dancers’ staging strategies affect the co-presence and if it is supported by a general view of the child that doesn´t comprehend with the actual child in front of them, the feedback loop can fail. For example, the study argues that children´s lively movements can be understood as strong contributions which, if not comprehensive with the ideal image of the child, may pose a threat to the performer and the performance. The adult´s bodily advantage can then be used as a way to regain control over the situation. The adult can lift the child, stand up so that the child can´t reach or verbally control the child’s attention. The result shows that how the dancers and accompanied adults handle the child’s contribution can be affected by the view of the child, theatre-norms, the child’s rhythm, the staging of the performances, instructions, the dancers’ strategy and the accompanied adults’ wishes.

  • 30.
    Mattsson, Erik
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Domslut och förhoppningar2014Ingår i: Gaudeamus, ISSN 0016-5247, Vol. 90, nr 5, s. 12-13Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 31.
    Nygren, Christina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för Asien-, Mellanöstern- och Turkietstudier.
    Performing Life and Live Theatre: Fiction in Popular Performances2014Ingår i: True Lies Worldwide: Fictionality in Global Contexts / [ed] Anders Cullhed, Lena Rydholm, Walter de Gruyter, 2014, s. 137-150Kapitel i bok, del av antologi (Refereegranskat)
  • 32.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Don't be quiet, start a riot: anarchy, affect, and activism in Pussy Riot's performance2013Ingår i: International Federation for Theatre Research (FIRT/IFTR) conference, "Re-Routing Peformance/Re-caminant l'escena", Barcelona, Spain, July 22-26, 2013, 2013Konferensbidrag (Refereegranskat)
    Abstract [en]

    The relationship between art and politics emerges again and again. In connection with the Russian parliamentary elections in December 2011 a protest movement appeared calling for free elections and democratic rights. It was in this context the punk group Pussy Riot conducted their now world famous “prayer” to Virgin Mary to dislodge Vladimir Putin from power. The question is whether this was an artistic action with a political purpose or a political action with an artistic method?

        The present paper focuses on the links between the classical avant-garde and anarchism exemplified by the actions of the group Pussy Riot in Moscow. The term anarchy comes from the Greek arche and in its original meaning aims at neither to chaos nor order, but joins both elements. A constant movement between construction and deconstruction of established existing systems characterizes anarchism.

      The classical avant-garde wished to integrate art and life. Art would be understood as a flow with no specific goals and no definite answers to the question “why”? Provocation was seen as an instrument for producing shocking effects using unexpected breaks in the flow of words, images or tones, and forcing the viewer to make new associations. The artists of the avant-garde were socially, rather than politically engaged. Unlike the politically organized revolutionaries they were anti-utopians, politically as well as aesthetically. They did not create a school or style, and did not let that art was under any social or political constraints. 

  • 33.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Solidarité perdue, solidarité trouvée: Réflexion sur la performance féministe contemporaine2012Ingår i: Utopie et pensée critique dans les processus de création / [ed] Hanna Suutela, Besancon: Les solitaires intempestifs , 2012, 1, s. 103-136Kapitel i bok, del av antologi (Refereegranskat)
  • 34.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    The Soundtrack of Revolution: Memory, Affect, and the Power of Protest Songs2013Ingår i: Culture Unbound. Journal of Current Cultural Research, ISSN 2000-1525, E-ISSN 2000-1525, Culture, ISSN 2000-1525, Vol. 5, nr 1, s. 175-188Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    All cultural representations in the form of songs, pictures, literature, theater, film, television shows, and other media are deeply emotional and ideological, often difficult to define or analyze. Emotions are embedded as a cultural and social soundtrack of memories and minds, whether we like it or not. Feminist scholarship has emphasized over the past decade that affects and emotions are a foundation of human interaction. The cognitive understanding of the world has been replaced by a critical analysis in which questions about emotions and how we relate to the world as human beings is central (Ahmed 2004: 5-12).

        It is in this memory-related instance that this article discusses the unexpected reappearance of a long forgotten song, Hasta siempre, as a part of my personal musical memory. It is a personal reflection on the complex interaction between memory, affect and the genre of protest songs as experiences in life and music. What does it mean when a melody intrudes in the middle of unrelated thoughts, when one’s mind is occupied with rational and purposive considerations? These memories are no coincidences,I argue, they are our forgotten self singing to us.

     

     

  • 35.
    Sauter, Willmar
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Devising - en historisk sidoblick2013Ingår i: Samtal om Devising: en antologi från Barnteaterakademin / [ed] Anna Berg, Lisa Lindén, Kristina Ros, Göteborg: Barnteaterakademin , 2013, s. 66-72Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 36.
    Sauter, Willmar
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Playing Is Not Pretending2014Ingår i: Playing Culture: Conventions and Extensions of Performance / [ed] V. A. Cremona, R. Hoogland, G. Morries, W. Sauter, Amsterdam: Rodopi, 2014, s. 63-82Kapitel i bok, del av antologi (Refereegranskat)
    Abstract [en]

    As the title of this chapter indicates, the issues raised here concern the kinds of pretence that are thought to characterize playing and acting. Contrary to Michael Kirby's statement that 'to act means to feign', I will show that an actor neither can, nor wants, to pretend anything on stage. Fiction is not provided on stage but is established in the communicative act between Agent (A) and Beholder (B). Critically analyzing two texts by Bertolt Brecht on non-theatrical playing, I will argue that a number of circumstances have to be taken into consideration. The process of performing is theoretically and empirically seen as a form of playing, which allows for the distinction and communicative specification of various agents in their relation to equally specific forms of beholding. Each relationship in the public sphere between A and B constitutes a public event. This chapter searches for common ground amongst multifarious manifestations of playful behaviour, beyond various aesthetic forms and irrespective of more or less useful functions. In conclusion, playing is described as a reality-related experience: playing is always related to an event and events are never pretended.

  • 37.
    Sauter, Willmar
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    [The Influence of August Strindberg on Contemporary Swedish Theatre]2013Ingår i: August Strindberg and Contemporary Swedish Theatre / 斯特林堡与瑞典当代戏剧 /Si te lin bao yu rui dian dang dai xi ju / [ed] Gong bao rong, Shanghai: Shanghai Theatre Academy , 2013, s. 3-19Kapitel i bok, del av antologi (Övrigt vetenskapligt)
    Abstract [sv]

    En överblick över Strindbergs betydelse för den svenska teatern under 1900-talet. Särskilt beaktas uppsättningar av Ett drömspel och av Fröken Julie samt nyare svenska författares förhållande till Strindberg.

  • 38.
    Schneider, Magnus Tessing
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Apollo og Daphnes kærlighed2014Ingår i: Apollo og Daphnes kærlighed: et operadrømmespil fra 1640 af Francesco Cavalli / [ed] Bjørn Ross, Magnus Tessing Schneider, Benjamin Bayl, Copenhagen: Teatermuseet i Hofteatret , 2014, , s. 26s. 49-74Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
    Abstract [en]

    A singing translation into Danish of Busenello's libretto "Gli amori d'Apollo e di Dafne" (1640), music by Cavalli.

  • 39.
    Schneider, Magnus Tessing
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    El viaje de un esposo con su alma de luto2016Ingår i: Orfeo & Euridice de Christoph W. Gluck / [ed] Gustavo Passerino, Buenos Aires: Juventus Lyrica , 2016Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
  • 40.
    Schneider, Magnus Tessing
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    På spaning efter den sentimentala hjältinnan2016Ingår i: "Kär och galen" eller "Pazzìe d'amore" / [ed] Eleonor Hjorth, Bo Ludvigsson, Vadstena-Akademien , 2016, s. 17-19Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
  • 41.
    Schult, Tanja
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Raoul Wallenberg on Stage - or at Stake?: Guilt and Shame as Obstacle in the Swedish Commemoration of their Holocaust Hero2015Ingår i: History, Memory, Performance / [ed] David Dean, Yana Meerzon, Kathryn Prince, New York: Palgrave Macmillan, 2015, s. 135-152Kapitel i bok, del av antologi (Refereegranskat)
  • 42.
    Steinrud, Marie
    Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusvetenskap, Etnologi.
    Perfoming Women: The life and work of actresses in Stockholm, c. 1780-18502018Ingår i: Early professional women in Northern Europe, c. 1650-1850 / [ed] Johanna Ilmakunnas, Marjatta Rahikainen, Kirsi Vainio-Korhonen, Abingdon: Routledge, 2018, s. 115-134Kapitel i bok, del av antologi (Refereegranskat)
  • 43.
    Thorgersen, Ketil
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik. University College of Music Education in Stockholm (SMI), Sweden.
    Possibilism and Expectations in Arts Education2016Ingår i: The European Journal of Philosophy in Arts Education, E-ISSN 2002-4665, Vol. 1, nr 1, s. 96-108Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This article is an attempt to explore some thoughts regarding how different kinds and levels of expectation might (re)construct being in music education. The philosophical lenses through which this is analysed consist of a combination of a Deweyan pragmatism, the possibilistic parts of the philosophy of the Norwegian philosopher Arne Næss who draws on Spinoza and finally parts of the philosophy of Deleuze & Guettari. A claim made in the article is that it is important in arts educationto challenge the expected and for the world to be created in an eternally wide, and at the same time claustrophobically narrow set of pathways to experience. To learn a communicative art could in other words imply to learn how to consciously adapt to conventions and expectations of musical parameters and at the same time break with them in ways which are functional in aesthetic communication. An important task in arts education must therefore be to train and develop the skill to imagine as rich a web of possible outcomes to any musical situation at the same time as being aware of the conventions that are at stake and their expected uses in order to understand as well as to play with them. That way music education can help pupils become interesting musicians, composers and listeners who are also critical, creative and happy. As an added benefit, these kinds of possibilistic skills, attitudes and modes might actually be beneficial for both learner and society in most parts of life.

  • 44.
    Tofighian, Nadi
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Mapping 'the whirligig of amusements' in colonial Southeast Asia2018Ingår i: Journal of Southeast Asian Studies, ISSN 0022-4634, E-ISSN 1474-0680, Vol. 49, nr 2, s. 277-296Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This article assesses the interconnected nature of Southeast Asia around 1900, the transnational entertainment scene in Southeast Asia, and the role of Singapore as a hub for commerce, shipping, and entertainment. The global and regional development of transportation and communications technology and networks facilitated the movement of people, goods, ideas, and amusement forms. The article is based primarily on archival research from colonial newspapers in the region. It surveys and maps more than one hundred itinerant entertainment companies that travelled throughout Southeast Asia around the turn of the century, thereby creating and visualising a circuit of entertainment.

  • 45.
    von Schantz, Ulrika
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Thorgersen, Ketil
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    (an)aesthetic experience and performative space2018Ingår i: Journal of Artistic and Creative Education, E-ISSN 1832-0465, Vol. 12, nr 1, s. 41-50Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The rise of information and communication technology goes hand in hand with what might be considered a democratic revolution of the teaching profession. The teacher and the school are no longer defining what can be considered valuable knowledge. Basic didactic issues in teaching (what, how, and why) change fundamentally as students express that they 'just do' and 'find' through social media, online resources and software for creation, reflection and presentation. Learning theories and proven teaching models suddenly become superfluous, so concepts such as truth and values must be considered in a new light.

    Drama in education involves processing issues through evocative and emotionally engaging design. This fundamental purpose is often formulated as an intention to stimulate critical thinking. However, despite this explicitly democratic intent, drama activities are always site-specific insofar as issues of portrayal, reflection and discussion are staged within the framework of a pedagogical idea. A thought is never free, leaving us with the question of to what extent thinking through drama can be called ‘emancipated’. Additionally, drama is still ruled by contextual and physical laws so much so that bodies and voices are limited, gender specific and spatially located. Therefore, emotions are at play and pedagogical setting are carefully prepared and managed by the teacher.

    The aim of this article is to make a Deleuzian investigation of into the possibilities and challenges of how best to extend aesthetic bodily communicative and performative spaces in relation to digital technology in drama education. Hence, we are trying to navigate the rhizomatic experience of believing that we know in which direction we need to go, given that whilst we educate drama students they are also educating us.

    Groups of children and youngsters seem to be rhizomatic ‘by nature’, subversively searching for adventures on their own, finding leaks, exploring ‘forbidden’ areas, conquering cyber space, creating their own drama, while at the same time playing the game of the machine. Virtual life can in these circumstances be both phantasmagoric and uncontrollable.

  • 46.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Der Sound des Protests: Performance, Klang und Politik in der Revolution von 18482015Ingår i: Sound und performance positionen: positionen, methoden, analysen / [ed] Wolf-Dieter Ernst, Nora Niethammer, Berenika Szymanski-Düll, Anno Mungen, Würzburg: Verlag Königshausen & Neumann, 2015, s. 217-228Kapitel i bok, del av antologi (Refereegranskat)
  • 47.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Elfriede Jelinek als intermediale Apparatur2015Ingår i: 'Postdramatik': Reflexion und Revision / [ed] Pia Janke, Teresa Kovacs, Wien: Praesens Verlag, 2015, s. 255-262Kapitel i bok, del av antologi (Refereegranskat)
  • 48.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Emanzipation im Netz: Theaterzuschauer und die 'Agency' des Netzwerkens2015Ingår i: Mapowanie publiczności = Publikums-Mapping / [ed] Anna R Burzyńska, Szczecin: Teatr Lalek "Pleciuga" , 2015, s. 227-244Kapitel i bok, del av antologi (Refereegranskat)
  • 49.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    The Sound of the Street: Performance, Sound, and Revolution in 18482014Ingår i: Intermediality, Performance, and the Public Sphere: Selected papers from recent meetings of the Tangier International Conferences / [ed] Khalid Amine and George F. Roberson, Amherst, MA, USA: Collaborative Media International , 2014, s. 96-104Kapitel i bok, del av antologi (Refereegranskat)
    Abstract [en]

    Slogans, rallies, shouting and wailing sirens – this is the sound of protest, the sound of the so far silenced voices in the streets. Even though we do not have any sound recordings of the European revolutions of 1848/49 many sources (news paper articles, reports, caricatures) give a vivid impression of the noisy political demonstrations and powerful street fights provoking political change. Drawing on Jacques Rancières concept of phone vs. logos and his idea of politics as a mean of becoming visible (or audible), I will show how the cultural practice of callithump parades (Charivari, ‚Katzenmusik’) was used as a specific tool in the political fight of 1848 and how these street performances entered the theatre to win over the stage, the pit and the galleries. 

  • 50.
    Zaccarini, John-Paul
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Circoanalysis: Circus, Therapy and Psychoanalysis2013Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    There is an object/artefact of circus and a subject/process that makes it. This research considers the subject of the circus-making in order to bring it to the foreground of future discussions about pedagogy, practice and production.  If the shift from Traditional to New Circus brought with it changes in education – the incorporation of theatre and dance – then the emerging Contemporary Circus may need a more refined set of tools to facilitate its creative growth. This thesis sets out how psychoanalytic theories can be adapted and its key practices adopted to bring about this shift from New to Contemporary Circus in pedagogic practice.

                                 The practice tends to the subject that is traditionally mute in the face of the demands of circus, to which it complies becoming an object with minimal agency. Psychoanalytic praxis is adapted to give the subject a voice in order to develop a methodology specific to circus; circoanalysis. Following Freud it starts with the analogy of the circus act and the dream, the proposition that both are productions of the unconscious and contain hidden meanings and desires disguised by the formal content. It continues with the analogy of the symptom, which must be repeated for the partial and ambiguous satisfaction of unconscious desire and is at the threshold of the somatic and the psychic. Winnicott's theory of play is utilised to examine how artists explore and work through certain aspects of anxiety provoking psychic content in their work. Anxiety, in its Lacanian formulation, present in both circus and the consulting room, provides the key to understanding the importance of the Other in the act. Circus, like psychoanalysis, needs its other to recount its story to. Over one hundred research participants, students and professionals, engaged in the practices of questionnaires, focus groups, consultations, interviews and extended periods of circotherapy.

                                 The thesis describes the development of a technique of talking through the manifest, formal content of the circus act in order to get to the unconscious desires that create it. The act is then seen as a symbolic compromise formation enveloping a kernel of real jouissance. In a series of case studies hysteria, obsessive neurosis, masochism, paranoid fantasy and melancholia are seen both as a series of subject positions with regard to circus and its spectator and as ways of managing an excessive enjoyment. Circus is put into a new context as a healing practice for its practitioners, whether in the form of repetition compulsion that turns bad objects into good ones or as a homeopathic self-immunisation against pain, anxiety and the relation to the Other. It casts new light on the problematic the circus has with the theatrical performance tropes of character and narrative which emerge as disavowals of this latent content and relation to the Other and suggests that a move forward, beyond this Other of the circus, implies a certain form of mourning.

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