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  • 1.
    Ahlgren, Katrin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för språkdidaktik.
    Att angripa solen: Annie Le Brun och Markis de Sade2015Annet (Annet (populærvitenskap, debatt, mm))
  • 2.
    Ahlgren, Katrin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för språkdidaktik.
    El Mundo sin Teatro: Estocolmo, de la apertura al cierre2020Inngår i: Artescénicas, ISSN 2605-0412, Vol. 19Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 3.
    Ahlgren, Katrin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för ämnesdidaktik.
    Ett poetiskt och imaginärt vittnesmål2024Annet (Annet (populærvitenskap, debatt, mm))
  • 4.
    Ahlgren, Katrin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för svenska och flerspråkighet, Centrum för tvåspråkighetsforskning. ANNAT, specificera i kommentarfältet.
    Fransk dramatik med krigsproblematik2001Inngår i: Teatertidningen, ISSN 1101-9107, nr 4, s. 33-35Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 5.
    Ahlgren, Katrin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för svenska och flerspråkighet, Centrum för tvåspråkighetsforskning.
    Jungfruleken av Jean Genet - en modern klassiker2008Annet (Annet (populærvitenskap, debatt, mm))
  • 6.
    Ahlgren, Katrin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för språkdidaktik.
    Lorcas teater: en poesi som går utanför språket2016Annet (Annet (populærvitenskap, debatt, mm))
  • 7.
    Ahlgren, Katrin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för språkdidaktik.
    Med orden som vapen2017Annet (Annet (populærvitenskap, debatt, mm))
  • 8.
    Ahlgren, Katrin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för svenska och flerspråkighet, Centrum för tvåspråkighetsforskning.
    Molière och Tartuffe2011Annet (Annet (populærvitenskap, debatt, mm))
  • 9.
    Ahlgren, Katrin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för språkdidaktik.
    Samuel Beckett och språkbytets befrielse2015Annet (Annet (populærvitenskap, debatt, mm))
  • 10.
    Belin Larsson, Matilda
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    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 poäng / 15 hpOppgave
    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. 

    Fulltekst (pdf)
    Blood and sperm - and cunts
  • 11.
    Bergström, Gunnel
    Stockholms universitet, Humanistiska fakulteten, 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 Verdi2000Doktoravhandling, monografi (Annet vitenskapelig)
    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.

  • 12.
    Berlova, Maria
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Performing Power: The Political Masks of King Gustav III of Sweden (1771-1792)2013Doktoravhandling, monografi (Annet vitenskapelig)
    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.

  • 13.
    Boman, Björn
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Institutionen för pedagogik och didaktik.
    Feminist themes in Hallyu 4.0 South Korean TV dramas as a reflection of a changing sociocultural landscape2022Inngår i: Asian Journal of Women's Studies, ISSN 1225-9276, E-ISSN 2377-004X, Vol. 28, nr 4, s. 419-437Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 14.
    Bork Petersen, Franziska
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Do you really feel like the outside matches the inside: Der authentische Körper im Wandel der Zeit2013Inngår i: Medialität und Menschenbild / [ed] Jens Eder, Universität Mannheim; Joseph Imorde, Universität Siegen; Maike Sarah Reinerth, Universität Hamburg, Walter de Gruyter, 2013, s. 85-99Kapittel i bok, del av antologi (Fagfellevurdert)
    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.

  • 15.
    Bork Petersen, Franziska
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    "Känner du verkligen att utsidan stämmer med insidan?": Sken och vara i den samtida kroppskulturen2012Inngår i: Okonstlad konst?: Om äkthet och autenticitet i estetisk teori och praktik / [ed] Axel Englund/Anna Jörngården, Lindome: Symposion Brutus Östlings bokförlag, 2012, s. 25-35Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 16.
    Bork Petersen, Franziska
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Free University of Berlin, Germany.
    On Multiple Appearances: An Analysis of the Performing Body in Kitt Johnson's Drift2012Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 24, s. 44-53Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 17.
    Bork Petersen, Franziska
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    The Body as Non-Place: Utopian Potential in Philippe Decouflé’s Dance Film Codex2013Inngår i: Spaces of Utopia, ISSN 1646-4729, Vol. 2, nr 2, s. 143-154Artikkel i tidsskrift (Fagfellevurdert)
    Fulltekst (pdf)
    FBPetersen Body as Non-Place
  • 18.
    Bork-Petersen, Franziska
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Freie Universität Berlin.
    Authenticity and its Contemporary Challenges: On Techniques of Staging Bodies2013Doktoravhandling, monografi (Annet vitenskapelig)
    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.

    Fulltekst (pdf)
    Fulltext
  • 19.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Att växa sidledes: Tematik, barnsyn och konstnärlig gestaltning i Suzanne Ostens scenkonst för unga2018Doktoravhandling, monografi (Annet vitenskapelig)
    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.

    Fulltekst (pdf)
    Att växa sidledes: Tematik, barnsyn och konstnärlig gestaltning i Suzanne Ostens scenkonst för unga
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    Omslagsframsida
    Download (pdf)
    errata
  • 20.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Barns rätt till konst och kultur: en rätt med undantag?2020Inngår i: 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, s. 45-61Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 21.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Historiska narrativ och samtidens Sverige i teater för ung publik: Ögonvittnen som trauma-drama2023Inngår i: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, Vol. 53, nr 1, s. 25-42Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 22.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Inledning: antirasism, dekolonisering och migration i svensk teater2022Inngår i: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 14-39Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 23.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Suzanne Osten and Swedish Theatre for Young Audiences2019Inngår i: Theatre for Young Audience Journal GEKI, nr 21Artikkel i tidsskrift (Annet vitenskapelig)
  • 24.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Teater på arabiska för alla: reflektioner från ett samtal om Arabiska Teatern2022Inngår i: Berätta, överleva inte drunkna: Antirasism, dekolonisering och migration i svensk teater. / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 306-315Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 25.
    Brinch, Rebecca
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    "All teater har en samhällsrevolutionerande potential": Ett samtal om Unga Klara med Farnaz Arbabi2022Inngår i: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 337-351Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 26.
    Brinch, Rebecca
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Gindt, DirkStockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.Rosenberg, TiinaStockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Berätta, överleva inte drunkna: Antirasism, dekolonisering och migration i svensk scenkonst2022Collection/Antologi (Annet vitenskapelig)
  • 27.
    Brinch, Rebecca
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Lorentzon, Ylva
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Barn- och ungdomsvetenskapliga institutionen.
    Lund, Anna
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Sociologiska institutionen. Stockholms universitet, Samhällsvetenskapliga fakulteten, Barn- och ungdomsvetenskapliga institutionen.
    Empati och erkännande i teater som gestaltar migration för barn och unga2023Inngår i: Konsten att beröra: Känslor i barnkulturen / [ed] Margareta Aspán; Mats Börjesson, Stockholm: Centrum för barnkulturforskning, Stockholms universitet , 2023, s. 133-155Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 28.
    Brinch, Rebecka
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Martin Hellström, Pippi på scen: Astrid Lindgren och teatern2016Inngår i: Barnboken, ISSN 0347-772X, E-ISSN 2000-4389, Vol. 39Artikkel, omtale (Annet vitenskapelig)
  • 29.
    Bystedt, Britt-Marie
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Krigaren på scen: Krigarens makt och maktens krigare sedda genom scenkonstens prisma2016Doktoravhandling, monografi (Annet vitenskapelig)
    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.

    Fulltekst (pdf)
    Krigaren på scen
    Download (jpg)
    Omslagsframsida
  • 30.
    Bárnány, Ann-Sofie
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Teater- och dansvetenskap.
    Babydrama2008Bok (Annet (populærvitenskap, debatt, mm))
  • 31.
    Bäckström, Anders
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Spelrum gatan: Strategier, gränser och motsättningar i spelhändelser genomförda på 2010-talets Södermalm i Stockholm2023Doktoravhandling, monografi (Annet vitenskapelig)
    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. 

    Fulltekst (pdf)
    Spelrum gatan
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    presentationsbild
    Download (pdf)
    errata
  • 32. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Interview with Sarah Schulman: Corporate Culture, HIV Criminalisation, Historicising AIDS and the Role of Women in ACT UP2018Inngår i: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, s. 387-404Kapittel i bok, del av antologi (Fagfellevurdert)
  • 33. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century2018Inngår i: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, s. 3-46Kapittel i bok, del av antologi (Fagfellevurdert)
    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.

  • 34. Campbell, Alyson
    et al.
    Gindt, DirkStockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Viral Dramaturgies:  HIV and AIDS in Performance in the Twenty-First Century2018Collection/Antologi (Fagfellevurdert)
    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.

  • 35.
    Cedergren, Mickaëlle
    Stockholms universitet, Humanistiska fakulteten, Romanska och klassiska institutionen.
    La conquête à tout prix et le salut coûte que coûte! La réécriture du religieux dans Avent et Crime et Crime de Strindberg2016Inngår i: Revoir la fin: dénouements remaniés au théatre (XVIIIe-XIXe siècles) / [ed] Sylviane Robardey-Eppstein, Florence Naugrette, Paris: Classiques Garnier, 2016, s. 139-156Kapittel i bok, del av antologi (Fagfellevurdert)
  • 36.
    Cedergren, Mickaëlle
    Stockholms universitet, Humanistiska fakulteten, Institutionen för franska, italienska och klassiska språk. franska.
    La spiritualité du théâtre strindbergien dans la mouvance de Péladan : L’idéal féminin dans Le Chemin de Damas2007Inngår i: Romanitas, lenguas y literaturas romances., ISSN 1937-5697, Vol. 2, nr 1, s. 33-Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 37.
    Cedergren, Mickaëlle
    Stockholms universitet.
    « L’Amour platonique dans la littérature fin de siècle. Parcours croisé de textes de Péladan et de Strindberg »2010Inngår i: Actes du XVIIe Congrès des romanistes scandinaves / [ed] Jukka Havu, Carita Klippi, Soili Hakulinen, Philippe Jacob, José Santisteban Fernanez, Tampere: Tampere University Press , 2010, s. 182-198Konferansepaper (Annet vitenskapelig)
  • 38.
    Cedergren, Mickaëlle
    Stockholms universitet, Humanistiska fakulteten, Institutionen för franska, italienska och klassiska språk.
    L'héritage catholique dans le théâtre de Strindberg 2009Inngår i: Inter-lignes, ISSN 1959-6995, nr n° spécial (2008), s. 101-109Artikkel i tidsskrift (Fagfellevurdert)
  • 39.
    Cedergren, Mickaëlle
    Stockholms universitet, Humanistiska fakulteten, Institutionen för franska, italienska och klassiska språk.
    L'Idéal monastique chez Huysmans et Strindberg, entre réalité et fiction.2009Inngår i: Revue de littérature comparée, ISSN 0035-1466, E-ISSN 1965-0264, ISSN 0035-1466, Vol. LXXXVI, nr 2, s. 165-182Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [fr]

    Strindberg et Huysmans appartiennent à la même période mystique de fin de siècle et partagent le même rêve religieux, celui notamment de fonder une colonie d’artistes de style monastique. Alors que Huysmans réalise une partie de ses rêves en devenant oblat bénédictin et en essayant de regrouper autour de lui quelques artistes, Strindberg échouera. L’écrivain suédois ne verra jamais son rêve prendre forme tel qu’il l’aura défini avec minutie dans sa correspondance. En revanche, au lieu de devenir moine, il mettra son écriture à contribution pour faire vivre ce rêve à travers de nombreux personnages littéraires de son théâtre. Cette étude examine les deux manières différentes par lesquelles Huysmans et Strindberg ont vécu leurs rêves.

  • 40.
    Cedervall, Sofia
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Szatek, Elsa
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Arts-based research: drama som forskningsmetod2017Konferansepaper (Annet vitenskapelig)
  • 41. Cremona, Vicki Ann
    et al.
    Morris, GayHoogland, RikardStockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.Sauter, WillmarStockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Playing Culture: Conventions and Extensions of Performance2014Collection/Antologi (Fagfellevurdert)
    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.

  • 42.
    Cullhed, Anders
    Stockholms universitet, Humanistiska fakulteten, Institutionen för litteraturvetenskap och idéhistoria. Litteraturvetenskap.
    Från klassiker till imperialist2008Inngår i: Axess Magasin, nr 6, s. 60-62Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 43.
    Cullhed, Anders
    Stockholms universitet, Humanistiska fakulteten, Institutionen för litteraturvetenskap och idéhistoria.
    Förord2011Inngår i: Aminta: Ett herdedrama, Stockholm: Natur och Kultur , 2011, s. 7-19Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 44.
    Damkjaer, Camilla
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Deleuze och Guattari leker: Anti-psykoanalys och anti-teater?2010Inngår i: Den inre scenen: Psykoanalys & teater / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, s. 9-16Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 45.
    Damkjaer, Camilla
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    The Aesthetics of Movement: Variations on Gilles Deleuze and Merce Cunningham2005Doktoravhandling, monografi (Annet vitenskapelig)
    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.

    Fulltekst (pdf)
    FULLTEXT01
  • 46.
    Derkert, Kerstin
    Stockholms universitet.
    Repertoaren på Mindre teatern under Edvard Stjernströms chefstid 1854-631979Doktoravhandling, monografi (Annet vitenskapelig)
  • 47.
    Didong, Paola
    Stockholms universitet.
    Incarnation des idées: le jeu de l'acteur dans le théâtre français contemporain2003Doktoravhandling, monografi (Annet vitenskapelig)
  • 48.
    Dotlacilova, Petra
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Picturing the Horror: Costumes for Furies on the French stage from 1650 to 17662017Inngår i: Terpsichore and her Sisters: the Relationship between Dance and other Arts / [ed] Georgina Boyes, Cambridge: Early Dance Circle , 2017, s. 51-66Konferansepaper (Annet vitenskapelig)
  • 49.
    Dotlacilová, Petra
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Introduction: Terms, Questions, Perspectives2019Inngår i: Dance Body Costume, Leipzig: Leipziger Universitätsverlag, 2019, s. 11-20Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 50.
    Dotlacilová, Petra
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Louis-René Boquet’s Work for Opera and Ballet in the Second Half of the Eighteenth Century2019Inngår i: Dance Body Costume / [ed] Petra Dotlačilová, Hanna Walsdorf, Leipzig: Leipziger Universitätsverlag, 2019Kapittel i bok, del av antologi (Fagfellevurdert)
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