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  • 1.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Language Education.
    Att angripa solen: Annie Le Brun och Markis de Sade2015Other (Other (popular science, discussion, etc.))
  • 2.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Language Education.
    El Mundo sin Teatro: Estocolmo, de la apertura al cierre2020In: Artescénicas, ISSN 2605-0412, Vol. 19Article, book review (Other (popular science, discussion, etc.))
  • 3.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Swedish Language and Multilingualism, Centre for Research on Bilingualism. ANNAT, specificera i kommentarfältet.
    Fransk dramatik med krigsproblematik2001In: Teatertidningen, ISSN 1101-9107, no 4, p. 33-35Article in journal (Other (popular science, discussion, etc.))
  • 4.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Swedish Language and Multilingualism, Centre for Research on Bilingualism.
    Jungfruleken av Jean Genet - en modern klassiker2008Other (Other (popular science, discussion, etc.))
  • 5.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Language Education.
    Lorcas teater: en poesi som går utanför språket2016Other (Other (popular science, discussion, etc.))
  • 6.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Language Education.
    Med orden som vapen2017Other (Other (popular science, discussion, etc.))
  • 7.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Swedish Language and Multilingualism, Centre for Research on Bilingualism.
    Molière och Tartuffe2011Other (Other (popular science, discussion, etc.))
  • 8.
    Ahlgren, Katrin
    Stockholm University, Faculty of Humanities, Department of Language Education.
    Samuel Beckett och språkbytets befrielse2015Other (Other (popular science, discussion, etc.))
  • 9.
    Belin Larsson, Matilda
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    BLOOD AND SPERM - AND CUNTS: An analysis of the In-Yer-Face theatre genre ́s approach to female roles and characters2023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay explores the genre of In-Yer-Face theatre and its representation of women. In-Yer-Face theatre emerged in the 1990s in the UK, characterised by its confrontational style and provocative themes. While the genre is often associated with the portrayal of violence and aggression towards women, this essay explores how In-Yer-Face theatre may also offer a platform for women's stories and experiences. Through an analysis of The Censor, Blasted and the performances of Shopping and fucking and Look back in anger, the essay researches how In-Yer-Face theatre explores traditional gender roles and the ways in which women are often subjected to violence, exploitation, and objectification. The essay will use both a drama analysis and performance analysis of two plays and two performances from the genre to explore different views from the most prominent writers of the genre.Ultimately, this essay argues that In-Yer-Face theatre has an opportunity to offer a powerful and complex representation of women that demands critical engagement and interpretation but in many ways reproduces the societal norms. 

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    Blood and sperm - and cunts
  • 10.
    Bergström, Gunnel
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    In search of meaning in opera: an opera singer's approach to the dialectics of words, music & myth in opera from Monteverdi to Verdi2000Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this thesis is to show that the opera singer's art is to transmit word and music into vocal action. It is assumed that opera, like all the arts, communicates myth. Of the stage arts opera is unique in that it expresses mythic metaphors through a combination of words and music.

    The point of departure is the opera singer's: confronted with the text, comprising libretto and music, how can this be used to achieve a dramatic effect? Stanislavsky's theory of acting is often applied in practice, but whatever its merits for the stage, it has shortcomings for opera. More promising, it is argued, is a form of hermeneutic approach that Ricoeur calls "backward relatedness": the composer's score is relied on to contain all essential information, but further understanding may be gained by studying any human science that gives insight into how the poet expresses his life experience.

    In this spirit, the first part of the thesis surveys the history of opera from Monteverdi to Verdi with a focus on how composers have handled the relation between words and music to give expression to human conflicts that are the stuff of myth. The second part comprises two chapters in which arias from each of the main periods studied are analysed with attention paid both to the libretto and the music and how these combine in vocal action that communicates myth. It is here that the fruitfulness of Ricoeur's insights are demonstrated. In a final part, the conditions for the present-day opera singer are discussed.

  • 11.
    Berlova, Maria
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Performing Power: The Political Masks of King Gustav III of Sweden (1771-1792)2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    King Gustav III founded the Swedish National Theater and Opera, participated in the court theater as playwright, director and actor and he was rightly called the Theater King. The King’s passion for acting was perceived in the past as a psychological weakness, which won him the appellation of wimp (fjant). However, Gustav III presents a special interest as a performer of the role of an enlightened monarch according to the philosophy of the epoch of Enlightenment, particularly that of Voltaire. This research project aims at challenging the stereotyped perception of Gustav III, and presents him as a performing king who purposely used his acting ability to achieve political gain.

    The theoretical foundation of this study of the King’s use of theater is described in Chapter I. The theory of playing by Johan Huizinga and the theory of theatricality of Nikolai Evreinov, from the point of view of culture and anthropology, respectively, explain how playing is the basis of human living. Yuri Lotman’s semiotic approach is applied to formulate the concept of theatrical playing meant to influence the spectators, which is at the core of the Pageants in court and in public, used by Gustav III to display his power. Finally, but most importantly, the theories of Josette Féral, Hans-Georg Gadamer and Willmar Sauter present theatrical playing as an interactive performative communication between the performer and the beholders that became the core of Royal Encounters, which were the most effective political tools of Gustav III.

    The ensuing chapters are devoted to the different activities of the King related to theater, understood as the sum of interactions between the performer and the spectators that can occur within the walls of a theater or outside them. Theatricalized actions transported into life and directed to the beholders (Pageants) and the interaction between the performing King and his beholding subjects (Royal Encounters) are presented and examined. Examples of Pageants are chosen from court life, such as entertaining divertissements and amateur theater; Public Pageants were held at occasions such as the birth of a royal prince and King Gustav’s departure to the war with Russia. Among the Royal Encounters the coup d’etat in 1772 and the struggle against the nobility at the Riksdag of 1789 can be mentioned.

    The conclusion establishes the concordance between the performing King and his beholding subjects leading to real achievements in politics. This investigation sheds light on the different theatrical means the King employed in crafting political tasks and choosing appropriate political masks. Gustav III was a master of acting; thus, the decisive factor in each of his theatricalized actions was not so much his art at playwriting and directing, as his ability as a performer. In addition, the King could assert his royal power by performing his own idealized social role of an enlightened monarch.

  • 12.
    Boman, Björn
    Stockholm University, Faculty of Social Sciences, Department of Education.
    Feminist themes in Hallyu 4.0 South Korean TV dramas as a reflection of a changing sociocultural landscape2022In: Asian Journal of Women's Studies, ISSN 1225-9276, E-ISSN 2377-004X, Vol. 28, no 4, p. 419-437Article in journal (Refereed)
    Abstract [en]

    While contemporary South Korea is fairly westernized but represents a lag in the spheres of culture and politics, it is expected that the current Korean wave or Hallyu 4.0 – popular cultural content, diffused as of 2016 – are cumulatively signified by feminist themes, merged with more traditional Korean and East Asian cultural elements. Five representative Hallyu 4.0 dramas are examined here, based on cultural globalization theory (e.g., hybridization), along with a review of some earlier studies of Korean dramas and relevant strands of feminist scholarship. The findings suggest that much of the moderately modern elements found in earlier waves of Korean drama are still present, while liberal or neoliberal feminist elements are manifest in all five shows, although to different degrees. This ideological shift, in part, reflects recent sociocultural changes.

  • 13.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Do you really feel like the outside matches the inside: Der authentische Körper im Wandel der Zeit2013In: Medialität und Menschenbild / [ed] Jens Eder, Universität Mannheim; Joseph Imorde, Universität Siegen; Maike Sarah Reinerth, Universität Hamburg, Walter de Gruyter, 2013, p. 85-99Chapter in book (Refereed)
    Abstract [en]

    The concept of an authentic person who makes his/her ‘true inner’ visible on the body’s surface reappears as an ideal throughout history. What has undergone significant changes, however, is what exactly constitutes authentic bodily appearance. What ‘inner’ is represented and how exactly is it made visible on the body? My article focuses on two instances in which stagings of the authentic body represent an important issue: First in the French Enlightenment and subsequently in contemporary makeover culture (which originated in the Western world, but is no longer limited to it).

    Images of bodies revealing their ‘true inner’ took on particular importance in the Enlightenment when writers such as Rousseau used them as counterpoints to what they rejected as the ancien regime ’s affected bodies. One might assume today –in the aftermath of late 20th century poststructuralism, postmodernism and feminism –that any notion of bodily ‘authenticity’ or for that matter ‘essential selfhood’ would be curtly dismissed. Yet, the image of an authentic body that reveals a ‘deserving’ inner self is exactly what is staged in most popular media today.

    18th century acting theories suggested that ‘naturally expressive’ gestures could be conveyed –indeed reveal feelings –without any mediation. What has changed since then, I will argue, is that the ideal authentic body in makeover-culture has to be thoroughly and visibly worked for.

  • 14.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    "Känner du verkligen att utsidan stämmer med insidan?": Sken och vara i den samtida kroppskulturen2012In: Okonstlad konst?: Om äkthet och autenticitet i estetisk teori och praktik / [ed] Axel Englund/Anna Jörngården, Lindome: Symposion Brutus Östlings bokförlag, 2012, p. 25-35Chapter in book (Other academic)
  • 15.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. Free University of Berlin, Germany.
    On Multiple Appearances: An Analysis of the Performing Body in Kitt Johnson's Drift2012In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 24, p. 44-53Article in journal (Refereed)
    Abstract [en]

    On Multiple Appearances: An Analysis of the Performing Body in Kitt Johnson's Drift In the article, I challenge the prevalent use of phenomenology in dance scholarship, which focusses on the dancer's experience of her body when dancing. This approach often implies the problematic assumption that the dancer's experience is immediately transferred to the spectators who, in turn, are universally 'moved' by her dancing body. Instead of acknowledging that dance is a product of historically and culturally specific circumstances, such an analytical perspective ultimately tends to mystify dance. In this article I propose a different use of analytical tools in dance scholarship: I employ phenomenological reduction and epoche to focus on how dancing bodies appear in a stage context. To test the ability of these tools to explore dancing bodies from a third-person perspective, I analyze Danish choreographer Kitt Johnson's solo performance Drift (2011), focussing on her variable physical appearance. While phenomenology helps me to describe the multiple and radically different guises Johnson assumes in her piece, my analysis does not, ultimately, aim to distil a truer, more real being from her appearances, as is often the case in phenomenological analyses. Instead, I complement my analytical approach with the Deleuzian notion of becoming animal, suggesting that Johnson stages what, in Judith Butler's terms, could be called a critical contingency of bodily appearance.

  • 16.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Body as Non-Place: Utopian Potential in Philippe Decouflé’s Dance Film Codex2013In: Spaces of Utopia, ISSN 1646-4729, Vol. 2, no 2, p. 143-154Article in journal (Refereed)
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    FBPetersen Body as Non-Place
  • 17.
    Bork-Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Freie Universität Berlin.
    Authenticity and its Contemporary Challenges: On Techniques of Staging Bodies2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this thesis I investigate what ‘authenticity’ means in a contemporary popular context and how it is used in the staging of bodies. Furthermore, I analyse works of dance and fashion from the past fifteen years with a focus on their strategies of challenging the notion of ‘bodily authenticity’.

     

    When ‘an authentic body’ is sought by participants or demanded by judges and ‘experts’ on popular makeover and casting TV shows such as The Swan (Fox 2004) or Germany’s Next Topmodel (Pro 7 2006-present) this refers to the physical visualisation of what is perceived/presented as the participants ‘inner self’. I scrutinise the staging techniques and the codes of appearance that bodies have to comply with in order to be deemed ‘authentic’ on the shows. To define them and place them in the history of the idea of ‘bodily authenticity’, I complement my study with an outline of how ‘authenticity’ was understood in the Enlightenment and what techniques were used to stage the body when the concept gained currency, for instance in the writings of Rousseau. My analysis makes clear that 'bodily authenticity' on the two TV shows is achieved by strictly following gender-normative codes of beauty and by a depiction of 'working hard'. But various techniques also mask the hard work, for example by showing a participant ‘having fun’ performing it.

     

    Contemporary works of dance and fashion challenge the problematic implications in the notion of ‘bodily authenticity’. I analyse three strategies of undermining the ‘authentic’ ideal in a total of seven pieces. These strategies are hyperbole which exaggerates the beauty code implicit in ‘authentic appearance’; multiplicity which undermines ‘authenticity’s’ essentialism and estrangement which denies the notion of individual authorship. In conclusion, I place the staging strategies used in my examples in a wider cultural context and highlight potential problems inherent in their critiques.

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    Fulltext
  • 18.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Att växa sidledes: Tematik, barnsyn och konstnärlig gestaltning i Suzanne Ostens scenkonst för unga2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this thesis is to highlight and discuss the artistic force, potential and significance of performing arts for children and young audiences through the example of the work by Suzanne Osten. The focus of this research is on themes, notions of the child and artistic expressions and strategies. The dissertation discusses both the aesthetic and the political aspects of Osten’s theatre for young audiences and takes an interdisciplinary approach, combining theatre and performance studies and childhood studies. A fundamental assumption is that childhood is not a fixed or stable phase that manifests itself in one particular way for all children during all times. Another assumption is that theatre is more than what is visually apparent on stage. What is staged does not take place inside a vacuum, but is closely connected to the surrounding society and culture. To study theatre for young audiences as a cultural expression is therefore, to a great extent, also about analysing notions of the child.

    Five performances have been selected, all for young audiences: Paddakvariet (The Toad Aquarium, 1988, for ages 10 and over), Delfinen (The Dolphin, 1992, for ages 3 and over), Irinias nya liv (Irina’s New Life, 1996, for ages 9 and over), Flickan, mamman och soporna (The Girl, the Mother and the rubbish, 1998, for ages 7 and over), and Lammungarnas fest (The Baa-lambs Holiday, 2014, for ages 13 and over). A model for performance analysis has been constructed, based on hermeneutics and semiotics, complemented by three key theoretical concepts. Firstly focalization, as used by theatre scholar Maaike Bleeker, in order to understand the interaction between the spectator and the visions produced by the apparatus of performance. The reasoning of theatre scholar Gay McAuley about space in performance is used to examine how space is utilized and retained in the performances, while the notion of utopian performative by theatre scholar Jill Dolan provides tools to discuss how moments of ‘feeling utopia’ are a significant part of the selected works which raises questions of the transformative and affective power of theatre. In order to contextualize and historicise the analyses, the response of the performances is also taken into account drawing mainly on theatre reviews.

    As a whole the analyses show Osten’s theatre for young audiences as an ongoing research project problematizing the situation and position of children in society, as well as the view of art for children. Ostens performances for young audiences exhibit and make possible notions of a child outside of the norm in late 20th and early 21st century childhood discourses both within research and society as a whole. Osten’s theatre and artistry are identified as growing sideways, developing in unexpected directions while disrupting ideas about childhood and adulthood, and also what can be viewed as theatre for children and theatre for adults. The dissertation states that Osten’s theatre for young audiences can be seen as pioneering, not only in the field of children’s theatre, but also for the development and renewal of Swedish theatre in general.

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    Att växa sidledes: Tematik, barnsyn och konstnärlig gestaltning i Suzanne Ostens scenkonst för unga
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    Omslagsframsida
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    errata
  • 19.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Barns rätt till konst och kultur: en rätt med undantag?2020In: En sten i magen: Rättigheter för barn utan undantag / [ed] Rebecca Brinch; Rebecca Örtman; Margareta Aspán; Karin Helander; Pernilla Leviner; Malena Janzon, Stockholm: Styx förlag , 2020, p. 45-61Chapter in book (Other academic)
  • 20.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Historiska narrativ och samtidens Sverige i teater för ung publik: Ögonvittnen som trauma-drama2023In: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, Vol. 53, no 1, p. 25-42Article in journal (Refereed)
    Abstract [en]

    Historical Narratives and Contemporary Sweden in Theatre for Young Audiences. Eyewitnesses as Trauma-Drama. Children’s theatre in Sweden has a tradition of working with various political, social and existential issues. The purpose of the article is to explore the potential of children’s theater to stage an inclusive Sweden, with an empirical starting point in the theatre production Eyewitnesses. In Eyewitnesses, Young Malmö City Theatre wanted to bring to life testimonies from the Holocaust, in a city that is known for having extended problems with contemporary anti-Semitism. Eyewitnesses is based on true life stories and aimed at a young audience aged 13-18. The article examines wether Eyewitnesses has the potential to contribute to increased intercultural understanding and respect for human rights, focusing on the emotions that the performance evokes. In the article, I employ theories about cultural trauma and trauma-drama, and focus on the dramaturgical choices that are made, and the young audience’s reception. The article’s empricial basis consists of performance observations, audience observations, and interviews with the young audience. The article shows that Eyewitnesses not only has the potential to function as a historical narrative, but reflections are also awakened about contemporary social traumas and sufferings. At the same time, a discrepancy in the image of contemporary Sweden is revealed. Some informants highlight Sweden as an equal country characterized by freedom, while others identify issues of racism and segregation. From this perspective, three different images emerge: one where racism is seen as something that primarily happens outside Sweden's borders, one that highlights segregation and that we live in a racist society, and finally a third, which is also the dominant one, where critical reflection on current issues of inequality is sparked from the encounter with the theatre performance. In this way, Eyewitnesses has the potential to function as a trauma-drama, depending on the emotions that the performance evokes.

  • 21.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Teater på arabiska för alla: reflektioner från ett samtal om Arabiska Teatern2022In: Berätta, överleva inte drunkna: Antirasism, dekolonisering och migration i svensk teater. / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 306-315Chapter in book (Other academic)
  • 22.
    Brinch, Rebecca
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Lorentzon, Ylva
    Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies.
    Lund, Anna
    Stockholm University, Faculty of Social Sciences, Department of Sociology. Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies.
    Empati och erkännande i teater som gestaltar migration för barn och unga2023In: Konsten att beröra: Känslor i barnkulturen / [ed] Margareta Aspán; Mats Börjesson, Stockholm: Centrum för barnkulturforskning, Stockholms universitet , 2023, p. 133-155Chapter in book (Other academic)
  • 23.
    Brinch, Rebecka
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Martin Hellström, Pippi på scen: Astrid Lindgren och teatern2016In: Barnboken, ISSN 0347-772X, E-ISSN 2000-4389, Vol. 39Article, book review (Other academic)
  • 24.
    Bystedt, Britt-Marie
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Krigaren på scen: Krigarens makt och maktens krigare sedda genom scenkonstens prisma2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The warrior has played an important role in most societies, often representing power. The military/ defence system is founded more or less on the ideal of the good and noble warrior. The aim of the thesis is to examine how the warrior's power has been expressed on stage in different times and different contexts. Three perspectives are discussed: 1) The warrior in society, 2) The warrior's self-image (ethos and warrior virtues), 3) The warrior in drama and on stage. In society, warriors in uniform are one means to increase dignity and give credibility to ceremonies. Society uses the same actions as theatre – music, choreography and costumes (parade uniforms). In the thesis there are some examples from the cultural history of the warrior (uniforms, gestures, music etc.). The principal part of the thesis is a study of the warrior as theatrical motif and a discussion of a series of warrior figures in literature and drama on stage. These figures are analysed from the perspectives of masculinity, play and historiography.

    The warrior in literature and drama is rarely a hero. The thesis gives examples under the following headings. The submissive warrior: Catherine de Medici used the warrior as a pliable tool to reduce internal court quarrels, when they were commanded to participate in the court ballets. A different kind of docility in warriors is found in the nineteenth century English melodrama. The false and coward warrior: Ancient writers often used satire in their plays, and warrior figures were easy prey for this. Miles Gloriosus and the Capitain in Commedia dell’arte are two examples. The weak warrior: Anthony, in Anthony and Cleopatra by Shakespeare, is a warrior hero who abandons his wife and family to live with the Egyptian queen, attracted by the luxury and refined lifestyles at her court. The oppressed warrior: The Good Soldier Schweik, created by Bertolt Brecht after a story by Jaroslav Hasek, is an oppressed ordinary soldier in the Czech army, who faces oppression by doing exactly as he is told, and consequently is creating confusion. Georg Büchner’s drama Woyzeck contains an altogether deeper darkness. The outmanoeuvred warrior: The captains in August Strindberg’s two plays The Father and The Dance of Death are both in conflict with their wives but lose their fights. The optimistic warrior: Chekhov introduces in the play Three Sisters two warriors with bright visions of the future but also tells the audience that life can be a tragedy.

    To portray the good and noble warrior is of course possible but it is seldom dramatic, whilst weak and lovesick, false and treacherous warriors are dramatically effective. The theatre's tradition of subversion is a variety of the ancient custom of 'turning society upside-down' during Lent, analysed by Michail Bakhtin in Rabelais and his World. The theatre is also a microcosm. The performing arts make use of the individual to criticize the whole. In drama, it is the individual warrior who bears the responsibility without the need to say anything about the armed forces. Sometimes this is done through the mirror of laughter. When the warrior is seen through the theatre's lens, the picture is enlarged and – according to physical principles, at a certain distance – shows the warrior as part of the upside-down world.

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    Krigaren på scen
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    Omslagsframsida
  • 25.
    Bárnány, Ann-Sofie
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Babydrama2008Book (Other (popular science, discussion, etc.))
  • 26.
    Bäckström, Anders
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Spelrum gatan: Strategier, gränser och motsättningar i spelhändelser genomförda på 2010-talets Södermalm i Stockholm2023Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of the thesis is to shed light on the processes produced when collective performances, here conceptualized as playing events, are performed in urban space in a specific city area, Södermalm in Stockholm between 2012 and 2017. By analyzing urban space as a changing and contradictory space, the study shows how playing events transform everyday space into a playing space. The transformation is decoded through the observation of playing strategies, embodied in the visual and auditory markings of the participating bodies. The study proposes the use of terms based on the verb playing. The term playing event is used in the thesis to refer to collective performances outside a regular theatre context. The use of the term broadens the understanding of what can be included in the concept of theatre. A theoretical pillar is formed by the theatre scholar Willmar Sauter's theory of the theatrical event, developed in the thesis through the concept of playing event. The second framework is provided by sociologist Henri Lefebvre's theories of social space and the right to the city. The study discusses the question of intervention, legality and civil disobedience and how embodied collectivity can emerge as an alternative to the gentrified lifestyle, which is growing strong, in terms of individualization and commodification, in Södermalm in the 21st century. The material of the thesis consists of four mobile playing events: The Supporter´s March, which is a football supporter´s event, secondly, a Catholic procession called Lord of the Miracles of Nazarenas, thirdly, the bicycle manifestation Critical Mass and finally The Pride Parade, a well-known street parade celebrating the hbtqi-community. These four events occupy the urban street with different strategies, thereby producing a variety of border crossings and contradictions. The thesis decodes communication processes between players and spectators and uncovers the dynamic processes between everyday life and playfulness that is produced during performances. The study is the first in the Swedish language to consistently use designations based on the verb playing for collective performances. It is the first study in the Swedish language to analyze, from a perspective of theatre studies, strategies, boundaries and contradictions in urban space when playing events are performed. 

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    Spelrum gatan
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    presentationsbild
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    errata
  • 27. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Interview with Sarah Schulman: Corporate Culture, HIV Criminalisation, Historicising AIDS and the Role of Women in ACT UP2018In: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, p. 387-404Chapter in book (Refereed)
  • 28. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century2018In: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, p. 3-46Chapter in book (Refereed)
    Abstract [en]

    In 2004, on the final day of the Bangkok AIDS Conference, a drug com-pany packaged thousands of single antiretroviral pills into jewellery boxes and allowed one pill per delegate to be collected from their corporate booth. Many delegates at the conference came from countries where access to treat-ment medication was, and continues to be, restricted to the rich. There was a degree of confusion among sex worker activists who attended and whose background or migration status excluded them from accessing life-saving HIV treatment. After an entire week of protests, workshops, presentations, posters, activism, performance, installation, media and the experience of generally being marginalised within the broader HIV sector, we [sex worker activists] witnessed many migrant sex workers living with HIV and without access to treatment carrying their single pill away from the corporate booth.

  • 29. Campbell, Alyson
    et al.
    Gindt, DirkStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Viral Dramaturgies:  HIV and AIDS in Performance in the Twenty-First Century2018Collection (editor) (Refereed)
    Abstract [en]

    This book analyses the impact of HIV and AIDS on performance in the twenty-first century from an international perspective. It marks a necessary reaffirmation of the productive power of performance to respond to a public and political health crisis and act as a mode of resistance to cultural amnesia, discrimination and stigmatisation. It sets out a number of challenges and contexts for HIV and AIDS performance in the twenty-first century, including: the financial interests of the pharmaceutical industry; the unequal access to treatment and prevention technologies in the Global North and Global South; the problematic division between dominant (white, gay, urban, cis-male) and marginalised narratives of HIV; the tension between a damaging cultural amnesia and a potentially equally damaging partner ‘AIDS nostalgia’; the criminalisation of HIV non-disclosure; and, sustaining and sustained by all of these, the ongoing stigmatisation of people living with HIV.

    This collection presents work from a vast range of contexts, grouped around four main areas: women’s voices and experiences; generations, memories and temporalities; inter/national narratives; and artistic and personal reflections and interventions.

  • 30.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of Romance Studies and Classics.
    La conquête à tout prix et le salut coûte que coûte! La réécriture du religieux dans Avent et Crime et Crime de Strindberg2016In: Revoir la fin: dénouements remaniés au théatre (XVIIIe-XIXe siècles) / [ed] Sylviane Robardey-Eppstein, Florence Naugrette, Paris: Classiques Garnier, 2016, p. 139-156Chapter in book (Refereed)
  • 31.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages. franska.
    La spiritualité du théâtre strindbergien dans la mouvance de Péladan : L’idéal féminin dans Le Chemin de Damas2007In: Romanitas, lenguas y literaturas romances., ISSN 1937-5697, Vol. 2, no 1, p. 33-Article in journal (Refereed)
    Abstract [en]

    Si la vocation de la femme, et du couple en général, est un sujet de préoccupation dans la littérature française fin de siècle, cet aspect apparaît comme un élément fondamental dans le théâtre de Strindberg et de son confrère français, Péladan. Contemporains l’un de l’autre, Strindberg a toujours admiré l’œuvre de son maître. Aux yeux de l’écrivain Suédois, Péladan est le porte-parole du catholicisme et est à la tête d’un mouvement de conversion qui saisit la France de l’époque. Le projet de cet article est de montrer comment l’idéal féminin se développe chez les deux auteurs en prenant pour objet d’analyse l’étude comparée de leurs pièces, Le Chemin de Damas (1898-1901), La Prométhéide (1895) et Le Prince de Byzance (1896). À l’issue de cet examen, nous dégagerons comment le motif de la chasteté se dessine à travers l’idéal féminin tout en soulevant les divergences d’interprétation chez les deux auteurs. Si Péladan s’inspire de la mythologie grecque en réactualisant notamment le mythe de Pandore, Strindberg réinvestit de son côté ce mythe mais exploite, à la différence de ce premier, la figure mariale de la Vierge Marie, la deuxième Ève, icône de la femme pure, chaste et médiatrice du salut. Au-delà de leurs interprétations théâtrales, qui semblent présenter des issues différentes, un même idéal de virginité semble habiter les personnages.

  • 32.
    Cedergren, Mickaëlle
    Stockholm University.
    « L’Amour platonique dans la littérature fin de siècle. Parcours croisé de textes de Péladan et de Strindberg »2010In: Actes du XVIIe Congrès des romanistes scandinaves / [ed] Jukka Havu, Carita Klippi, Soili Hakulinen, Philippe Jacob, José Santisteban Fernanez, Tampere: Tampere University Press , 2010, p. 182-198Conference paper (Other academic)
  • 33.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages.
    L'héritage catholique dans le théâtre de Strindberg 2009In: Inter-lignes, ISSN 1959-6995, no n° spécial (2008), p. 101-109Article in journal (Refereed)
  • 34.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages.
    L'Idéal monastique chez Huysmans et Strindberg, entre réalité et fiction.2009In: Revue de littérature comparée, ISSN 0035-1466, E-ISSN 1965-0264, ISSN 0035-1466, Vol. LXXXVI, no 2, p. 165-182Article in journal (Refereed)
    Abstract [en]

    Strindberg and Huysmans belong to the same fin de siècle mysticism period and deal with the same religious dream, more specifically one concerning the setting up of a “monastically inspired artistic community”. Whereas Huysmans realized a part of this dream and became a Benedictine oblate while at the same time trying to found a “colony of artists” of his own and to some extent succeeded, Strindberg did not. The Swedish writer could never materialize his plan, several aspects of which were extensively described in his letters. Instead of becoming a monk, he used his own literary writing and incarnated his dream in a number of theatrical pieces. This study investigates the two different modes in which Huysmans and Strindberg respectively lived his own particular dream.

  • 35.
    Cedervall, Sofia
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Szatek, Elsa
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Arts-based research: drama som forskningsmetod2017Conference paper (Other academic)
  • 36. Cremona, Vicki Ann
    et al.
    Morris, GayHoogland, RikardStockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.Sauter, WillmarStockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Playing Culture: Conventions and Extensions of Performance2014Collection (editor) (Refereed)
    Abstract [en]

    Playing Culture represents one of the corner stones in the model of the Theatrical Event, as developed by the Working Group of the International Federation for Theatre Research (IFTR). In this volume, thirteen scholars contribute to illuminate the significance and possibilities of playing within the framework of theatrical events. Playing is understood as an essential part of theatrical communication, from acting on stage to events far from theatre buildings. The playfulness characterizing academic traditions sets the tone in the introduction, illustrating the four sections of the book: Theories, Expansions, Politics and Conventions. The theoretical chapters depart from the classical Homo Ludens and offer a number of new perspectives on what play and playing implies in today’s mediatized culture. The contributions to the second section on extensions, deal with playing in non-theatrical circumstances such as market places, passports and stock holders’ meetings. The third section on the politics of playing focuses on wood-chopping women, saints and youngsters in South African townships – all demonstrating their social and political ambitions and purposes. The last section returns to the stage on which performers intend to represent, respectively, themselves, Bunraku puppets or the audience. Playing appears in many forms and in many places and constitutes a basic principle of theatre and performance. This book touches upon important theoretical implications of playing and offers a wide range of historical and contemporary examples. Playing Culture – Conventions and Extensions of Performance is the third book of the IFTR Working Group on The Theatrical Event. The first volume, entitled Theatrical Events – Borders Dynamics Frames was published in 2004, followed by Festivalising! Theatrical Events, Politics and Culture in 2007. The present volume continues to expand the vision of the Theatrical Event as a theory and model for the study of playing, theatre, performance and mediated events.

  • 37.
    Cullhed, Anders
    Stockholm University, Faculty of Humanities, Department of History of Literature and History of Ideas. Litteraturvetenskap.
    Från klassiker till imperialist2008In: Axess Magasin, no 6, p. 60-62Article, book review (Other (popular science, discussion, etc.))
  • 38.
    Cullhed, Anders
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas.
    Förord2011In: Aminta: Ett herdedrama, Stockholm: Natur och Kultur , 2011, p. 7-19Chapter in book (Other (popular science, discussion, etc.))
  • 39.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Deleuze och Guattari leker: Anti-psykoanalys och anti-teater?2010In: Den inre scenen: Psykoanalys & teater / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, p. 9-16Chapter in book (Other academic)
  • 40.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    The Aesthetics of Movement: Variations on Gilles Deleuze and Merce Cunningham2005Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections.

    It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts.

    Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.

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  • 41.
    Derkert, Kerstin
    Stockholm University.
    Repertoaren på Mindre teatern under Edvard Stjernströms chefstid 1854-631979Doctoral thesis, monograph (Other academic)
  • 42.
    Didong, Paola
    Stockholm University.
    Incarnation des idées: le jeu de l'acteur dans le théâtre français contemporain2003Doctoral thesis, monograph (Other academic)
  • 43.
    Dotlacilova, Petra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Picturing the Horror: Costumes for Furies on the French stage from 1650 to 17662017In: Terpsichore and her Sisters: the Relationship between Dance and other Arts / [ed] Georgina Boyes, Cambridge: Early Dance Circle , 2017, p. 51-66Conference paper (Other academic)
  • 44.
    Dotlacilová, Petra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Introduction: Terms, Questions, Perspectives2019In: Dance Body Costume, Leipzig: Leipziger Universitätsverlag, 2019, p. 11-20Chapter in book (Other academic)
  • 45.
    Dotlacilová, Petra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Louis-René Boquet’s Work for Opera and Ballet in the Second Half of the Eighteenth Century2019In: Dance Body Costume / [ed] Petra Dotlačilová, Hanna Walsdorf, Leipzig: Leipziger Universitätsverlag, 2019Chapter in book (Refereed)
  • 46.
    Dotlacilová, Petra
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Walsdorf, Hanna
    Dance Body Costume2019Collection (editor) (Refereed)
  • 47.
    Dotlačilová, Petra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    In the Costume Workshops of Menus Plaisirs du Roi2023In: European Drama and Performance Studies, ISSN 2266-9035, E-ISSN 2045-8541, Vol. 1, no 20, p. 257-297Article in journal (Refereed)
    Abstract [en]

    During the 18th century, the French court employed considerable number of people and resources in order create the most brilliant performances, which reflected the monarchs’ power. But who made the costumes for the spectacles, how these people worked, where, how were the costumes distributed and used? And how much did this all cost? Through study of the inventories, costume programs, working sheets and contracts I uncover the actual work on and economy of the costume for court stage.

  • 48.
    Dotlačilová, Petra
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Visible and Invisible Hands: Costume-Making Practices of Italian  Music Theatre in the Early Modern Era2021In: Performing Arts and Technical Issues / [ed] Roberto Illiano, Turnhout: Brepols, 2021, p. 309-340Chapter in book (Refereed)
  • 49.
    Ekenberg, Love
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Forsberg, Rebecca
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Sauter, Willmar
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Antigone’s Diary – A Model for Democratic Decision Making in Suburban Stockholm2016In: Contemporary theatre review (Hardback), ISSN 1026-7166, Vol. 26, no 2, p. 227-240Article in journal (Refereed)
    Abstract [en]

    ”Antigone has disappeared, but we found her diary. Join us in the search of her traces.” Sophocles’ drama has been transferred to a suburb of Stockholm. Students in a local highschool have recreated the classical tale in their own environment, guided by director Rebecca Forsberg from the RATS Theatre. RATS stands for “Research in Artistic TechnologieS”, a section of the Department of Computer and System Science at Stockholm University. Cellular phones are not prohibited in this theatrical enterprise, on the contrary, they constitute the particular means of communication in this event. Whether you download an app into your own phone or lend a phone from the organizers – what you will hear are the fragments of Antigone’s diary. You will find sculptures, parks, kiosks and other places through the GPS and every time you come close to the next site of performance, your phone knows when you are there. And every time you leave the place, Antigone will ask you a question: “What makes you angry?” – “When can one break the rules?” Etc. You can answer the questions by means of text messages and once you have done so, you can see what other participants have answered before you. How does it end? Haimon, Antigone’s friend and lover, whispers into your ear: “What does freedom mean to you?” It is up to us, the participants, to find appropriate responses to this eternal question. This theatrical event, highly technified and reversing the relationship between agents and beholders, gives rise to a number of intricate questions. The problems at stake concern the creative process of this mobile drama, the technical challenges to make it work, the theoretical implications of this multimedia performance, and, finally, the outcome in terms of civic engagement and its potentials of public decision making.

  • 50.
    Eklund, Jonas
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Fenomenet Poppe, mellan scen och skratt: En studie av Nils Poppes komiska skådespeleri utifrån en fenomenologisk utgångspunkt2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Scholarly research on comical popular theatre is rare in the Swedish context even though the genre has attracted large audiences throughout the 20th century. Nils Poppe is one of the greatest Swedish actors in the comical genre and he is famous for his playful acting style. With my Master’s dissertation I aim to shed some light on both the genre and this great actor. Another aim of this Master’s dissertation is to gain understanding of what causes the audience’s laughter experiencing Nils Poppe’s comical acting. To understand the audience response to the comical acting I need to study the communication between the actor and the beholders.  

    In doing this I use Bert O. States phenomenological approach, in which he divides the communication into three modes in which the beholder experiences the action. In each of these modes I then use complementary concepts and theories to analyze the audience’s laughter.

    My analysis starts with the Representational mode in which the focus is on the fiction of the play. Using semiotics, I discuss Poppe’s characters as a stock character related to the Commedia dell’arte character Harlequin and other clown characters, which are imbedded in the audience’s memory. With examples from a play I show why the audience laugh in different scenes. 

    In the next chapter, I analyze the Self-expressive mode in which the artist at stage is in focus. While experiencing the fiction of the play the audience simultaneously experiences the reality on stage. The actor is present and Poppe’s real face, body and voice is affecting the audience’s response.

    The final mode is the Collaborative mode in which the collaboration between the actor and beholder is analyzed. The direction of the play and how Poppe interacts with the audience is increasing the impression of presence among the audience. In his acting, Poppe breaks the theatrical conventions of the separation between fiction and reality, and in improvisations, he challenges both the audience and fellow actor’s notion of theatre.

    The result of the study implies that some laughter can’t be explained just by studying each of these modes separately. When the character leaves the fictional play and acts within the audience reality, or when the actor on stage is understood as part of the fiction an incongruity is created that tends to make the audience laugh. 

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    Fenomenet Poppe, mellan scen och skratt
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