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  • 251.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    von Sydow, Max2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 606-606Chapter in book (Refereed)
  • 252.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    What Do Theatre Autobiographies Conceal?2017In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, no 1, p. 64-80Article in journal (Refereed)
    Abstract [en]

    Autobiographies by actors and directors are considered to be somewhat of an unreliable source of information where research on theatre history is concerned. Researchers have made a great deal of effort to validate facts in autobiographies, but then have often neglected other forms of information that the written source gives. In this article, four different autobiographies are analysed with a specific focus on autobiographical strategies (Gardner), the embodied act of writing (Schneider), Hegemonic processes in society (Bratton), and audiences (Singleton). The article discusses if it is possible to place autobiographies in both the repertoire and the archive in Taylor’s sense, and if they can be seen as a possible link between them.

  • 253.
    Hoogland, Rikard
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Wifstrand, Naima2015In: The Cambridge Encyclopedia of Stage Actors and Acting / [ed] Simon Williams, Cambridge: Cambridge University Press, 2015, p. 619-619Chapter in book (Refereed)
  • 254.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Hannah, Karen
    Århus universitet.
    Malmö Opera och Musikteater AB 2006/2007: utvärderad enligt ønskekvistmodellen2007Report (Other (popular science, discussion, etc.))
  • 255.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Hannah, Karen
    Århus Universitet.
    Månteatern 2007: Utvärderad enligt ønskekvistmodellen2007Report (Other (popular science, discussion, etc.))
  • 256.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Hannah, Karen
    Århus universitet.
    Teater 23, 2007: Utvärdering enligt Ønskekvistmodellen2007Report (Other (popular science, discussion, etc.))
  • 257.
    Hoogland, Rikard
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    A National Theatre Decentralized: Sweden's Three-and-a-half National Theatres2008In: National Theatres in a Changing Europe / [ed] S. E. Wilmer, Basingstoke: Palgrave Macmillan, 2008, p. 164-172Chapter in book (Other academic)
    Abstract [en]

    The founding, development and present status of Sweden's national theatres: The Royal Opera, The Royal Dramatic Theatre, The National Touring Theatre (Riksteatern) and the Children's Theatre Support Grant.

  • 258.
    Hultgren, Clara
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Creating Character: Romeo, Juliet and didactic challenges with improvised modern scenes2020Independent thesis Advanced level (degree of Master (One Year)), 40 credits / 60 HE creditsStudent thesis
    Abstract [en]

    This essay describes an action research project conducted twice in the same high school with second year students within the subject English.

    Students are often unwilling or unable to relate to Shakespeare and his language. It is boring, they say. It is difficult, inaccessible and has nothing to do with us, they say. But how is falling in love unrelatable and boring? How are gangs and families far away from today's society? Romeo and Juliet is relatable and as current today as it was 400 years ago. 

    The subject English in the Swedish curriculum requires different literary time periods and dramatic text as well as living conditions, attitudes, values, traditions, social issues as well as history, politics and culture from the world where English is used should be integrated into the teaching. Which means that Shakespeare is perfect. 

    Teaching English using drama is a challenge with students who do not see themselves as ‘actors’, the didactic challenges themselves being of interest in this essay. Students are asked to create a modern devised version of William Shakespeare’s Romeo and Juliet where they work on character using for example Stanislavsky’s methods and improvisation. The aim is to see which didactic changes need to be made for character work and performance to be effective, run smoothly and be fun. The aim is also to better understand how it feels for the students to take on a character.

    The results show the importance of relevance for the students, leading them slowly into using drama as a method. The play has to be relatable and have a connection to the students own lives. In conclusion, in-depth character work linked to improvisation and devising is important for the development of character.  

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    fulltext
  • 259.
    Häkkinen, Annika
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Dans som ett uttryckt för identiet: Vogue och dragging2019Student paper second term, 5 credits / 7,5 HE creditsStudent thesis
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    fulltext
  • 260.
    Håkanson, Hanna
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Teater/drama - en del av kulturskolan?: En diskursanalytisk studie2020Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Studiens övergripande syfte är att undersöka förutsättningarna för ämnet teater/drama inom kulturskolan.

    Till grund för uppsatsen ligger tre fokusgruppsamtal med lärare i teater/drama i kulturskolan i en svensk stad samt ett stödjande dokument för kulturskolorna i samma stad och ett styrdokument för Norges kulturskola. Allt material har bearbetats och granskats utifrån en socialkonstruktivistisk ansats genom diskursanalytiska glasögon. 

    Informanterna är eniga om att ämnet teater/drama i kulturskolan i Staden inte betraktas som en konstform, utan huvudsakligen som verktyg och metod. De beskriver en verksamhet som har knappa resurser att nå konstnärlig höjd och beskriver ett ämne som på grund av okunskap kring praktikens tidskrävande processer är marginaliserat i kulturskolans verksamhet. Det framgår att ämnet är i stort behov av att formuleras verbalt. Det tycks nödvändigt att skapa en gemensam terminologi för att möjliggöra en konstruktiv kommunikation mellan lärare i teater/drama och chefer i syfte att utveckla en hållbar verksamhet. 

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    Teater/drama - en del av kulturskolan? magisteruppsats av Hanna Håkanson
  • 261.
    Isaksson, Curt
    Stockholm University.
    Pressen på teatern: teaterkritik i Stockholms dagspress 1890-19411987Doctoral thesis, monograph (Other academic)
  • 262.
    Iversen, Gunilla
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages.
    Psallite regi nostro, psallite: singing ’Alleluia’ in ninth–century poetry2009In: Sapientia et eloquentia: meaning and function in liturgical  poetry, music, drama and biblical commentary in the Middle Ages / [ed] Gunilla Iversen and Nicolas Bell, Turnhout: Brepols , 2009, p. 9-58Chapter in book (Other academic)
    Abstract [en]

    In a number of interrelated case studies of earlier unexplored poetic and musical material dating from the ninth through the thirteenth centuries, the scholars explore and shed further light on changes in functions and forms in poetry, particularly in liturgical poetry, and in medieval interpretations of this poetry and music.

    The present volume thrusts the reader into the intellectual turmoil of the period in medieval Europe that is often characterized by Peter Abelard and his controversies with contemporary authorities. Although the earlier part of the twelfth century remains the focus of the book, this should not be taken as a clearly delimited period. Many of the phenomena dealt with had roots in earlier times and did by no means end with the 'high Middle Ages'.

    In several articles, the poetical heritage of the Carolingian environment of the palace school of Charles the Bald is examined – a poetic before the poetics, the place and function of music in the liturgical context, to name but two subjects that are treated. With the twelfth century, the ideas developed during the preceding centuries finally took a more institutional shape; in the present book, we see this phenomenon represented in Peter Abelards hymnary for the Paraclete, ritual representations and liturgical drama, in commentaries to biblical poetry, such as the Glossa ordinaria to Lamentations. Finally, the interpretation and understanding of musical texts,  exemplified by the view on Boethius’ De Musica and the new literary genre represented by commentaries to Sequences  in the later middle ages give the volume a final touch and tie its end again to the beginning.

  • 263.
    Jai-Ung, Hong
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Creating theatrical dreams: a Taoist approach to Molander's, Bergman's and Wilson's productions of Strindberg's A dream play2003Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to explore the Tao of theater through the study of the productions of Strindberg’s A Dream Play on stage. For the purpose of understanding these dynamic relationships Taoism is used and especially I Ching, the essence of eastern philosophies. In this thesis the I Ching provides an important concept of “the Tao of theater.” The Tao of theater means a way of unity and harmony and a process of continual flow and change in the theater. Its principal characteristic is the cyclical nature of its ceaseless motion. The I Ching shows the activities of the theater world, which once expanded, reveal the endless process of universal change.

    The point of departure is Strindberg’s explanation about the dreamer’s consciousness in his foreword of this play. It is deeply related to lucid dream, which means that the dreamer is aware of his or her dreaming. During his Inferno period, Strindberg’s experience of astral projection and dreaming corresponds to the phenomenon of dream lucidity. This study explores the phenomenon of dream lucidity through the dream theories of Sigmund Freud, Carl Gustav Jung, Paul Kugler and James Hillman.

    The question of the dreamer’s identity provides the key to an understanding of the productions of Strindberg’s A Dream Play. Three kinds of dreamer in the productions of this play are presented: the author, the director and the spectator. In order to examine the three kinds of dreamer, Olof Molander’s 1935/1955, Ingmar Bergman’s 1970/1986 and Robert Wilson’s 1998 productions of A Dream Play in Stockholm were chosen. The three kinds of dreamer are characterized by two states of identification: dreamer-as-participator and dreamer-as-observer in these productions. These states are deeply related to the idea of the interplay between yin and yang. The basic and essential image, the hexagram in the I Ching shows the endless change of yin and yang in the dreamer’s existence, character and role-playing, stage and auditorium, in the productions of A Dream Play. The I Ching gives a new insight into the analysis of the productions of this play.

  • 264.
    Jerselius, Kjell
    Stockholm University.
    Hotade reservat: spelfilmerna med Edvard Persson1987Doctoral thesis, monograph (Other academic)
  • 265.
    Johansson, Anna
    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.
    Towards a connoisseurship in drama: dimensioner av tyst kunskap i förhållande till kreativitet i en dramakontext2017Conference paper (Other academic)
    Abstract [sv]

    Vi hävdar att dramafältet behöver ett utökat vokabulär för att belysa och beskriva det ämnesspecifika kunnandet inom såväl praktik som forskning. Bristen på vokabulär försvårar såväl summativ bedömning som formativ konstruktiv feedback till våra deltagare. Vi söker efter vokabulär för att beskriva det ämnesspecifika inom drama. Dramaämnet innehåller flera hörnstenar såsom rolltagande, förflyttning i tid och rum och skapande. I detta paper kommer vårt fokus att ligga på det som vi anser är en grundläggande förmåga i ett dramaarbete; nämligen kreativitet. Konsten att tolka ett kreativt kaos är ett praktiskt tyst kunnande hos pedagoger som vi saknar vokabulär för.

    Utifrån Eisner begrepp Connoisseurship utforskar vi i detta paper hur vi kan tala om och synliggöra kvalitéer inom drama. Eisner definierar Connoisseurship som "konsten att uppskatta" vilket i sin tur ligger till grund för att ge konstruktiv kritik eller feedback inom ett specifikt ämnesområde. Connoisseurship är oftast en tyst kunskap som bygger på en gedigen ämneskunskap och erfarenhet. I detta paper vill vi försöka sätta ord på och synliggöra utvecklandet av ett Connoisseurship för drama.

    Eisner menar att konstruktiv kritik är en nyckel till att ge konstruktiv bedömning (2017;3) "Critisism is an art of saying useful things about complex and subtle objects and events so that others less sophisticated, or sophisticated in different ways, can see and understand what they did not see and understand before" (2017;3). Vi behöver lära oss att känna igen kvalitet som kan ligga till grund för en konstruktiv kritik vilket i sin tur kan fungera som konstruktiv bedömning.

    Frågan är dock om det går att hitta ett gemensamt språk för drama? Försvåras verbalisering i drama av att dramafältet är tvärvetenskapligt i den meningen att vi står på flera ben från t.ex. teater, pedagogik, socialt lärande, och psykologi? Hur kan ett Connoisseurship i drama i så fall se ut?

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    abstract
  • 266.
    Johansson, Ola
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Eschatological Field Notes: Coommunity Theatre, AIDS, and the Fate of informant D.in Ilemera, Tanzania2007In: Nordic Theatre Studies, ISSN 0904-6380, Vol. 19Article in journal (Refereed)
  • 267.
    Johansson, Ola
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    The Lives and Deaths of Zakia: How AIDS Changed African Community Theatre and Vice Versa2007In: Theatre Research International, ISSN 0307-8833, Vol. 32, no 1Article in journal (Refereed)
  • 268.
    Johansson, Ola
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    The room's need of a name: a philosophical study of performance2000Doctoral thesis, monograph (Other academic)
  • 269.
    Järleby, Anders
    Stockholm University.
    Från lärling till skådespelarstudent: skådespelarens grundutbildning2001Doctoral thesis, monograph (Other academic)
  • 270. Järvinen, Hanna
    et al.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Svarstad, Elizabeth
    Hoppu, Petri
    von Rosen, Astrid
    Choreographing Histories: Critical Perspectives on Dance Histories in Nordic Dance Practices and Scholarship2023In: Nordic Journal of Dance, ISSN 1891-6708, Vol. 14, no 1, p. 31-47Article in journal (Refereed)
    Abstract [en]

    This text is based on a roundtable organised bythe five authors at the 2022 NOFOD conference inCopenhagen. As scholars and practitioners investedin the research and teaching of dance history bothinside and outside academia, we wanted to addressthe pressing issue of how ‘history’ is defined andpositioned within Nordic dance scholarship andpractices today. Dance, as we think of it and practiseit in our everyday lives, is far more diverse than theso-called ‘contemporary dance’ that the white authorslisted as scholars and practitioners in the conferencecall indicate.1 For this roundtable, we wanted to showthat dance theory and practice-led work in dance gofar beyond the Eurocentric idea of contemporarydance present in the conference call, and to advocatefor a more inclusive understanding of the practices ofmaking or researching dance in the future.

  • 271.
    Jónsson, Jón Viðar
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    Geniet och vägvisaren: om den isländska skådespelerskan Stefanía Guðmundsdóttir (1876-1926) och författaren och regissören Einar H. Kvaran (1859-1938) = [The genius and its guide] : [on the Icelandic actress Stefanía Guðmundsdóttir (1876-1926) and the writer and director Einar H. Kvaran (1859-1938)]1995Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The principal aim of this dissertation is to investigate the artistic career of lceland’s leading actress during the first half of this century, Mrs. Stefania Gudmundsdottir. Mrs. Stefam'a was unanimously hailed as an extraordinarily gifted artist by her contemporaries who never tired of praising her, particularly for her embodiment of dramatic roles like Magda in Die Heimat by Hermann Sudermann, Marguérite Gautier in La dame aux camélias by Dumas fils and Ulrikka in The Sisters at Kinnekullen by the Danish playwright Carsten Hauch.

    When read today these ovations are bound to seem somewhat naive, not least because the quality of Icelandic theatrical criticism was generally rather low during these years. One also has to remember that Mrs. Stefania and her co-actors were amateurs without any formal training. The author of the dissertation therefore maintains that in order to make the contemporary evaluation of her art convincing, one has to understand the premises from which she worked and set her into a correct historical context. His main thesis is that the secret of her appeal resided in a combination of her charismatic personality, her genuine pathos, her precise control of the physical means of expression and, most importantly, a certain spiritual perspective from which she approached her figures. One of the foundations of this perspective was an optimistic view of human nature, which has a close counterpart in the philosophy of the writer Einar H. Kvaran, who as artistic director of Mrs. Stefania’s theatre, Reykjavik Acting Company, RAC, made a very important contribution to theatrical progress. Kvaran, a gifted and popular writer, was deeply concerned with social, ethical and spiritual issues, a convinced spiritualist and an untiring spokesman for human rights against corruption and the abuse of power. In a way similar to his Mrs. Stefania made a strong impact upon her audiences by her portraits of suffering women, although her most outstanding creation seems to have been the greedy Ulrikka, whom she managed to invest with something of a tragic grandeur.

    The dissertation also describes the general development of RAC, the first serious theatrical venture in Iceland and a forerunner of its National Theatre, during its first twenty-five years. The careers and artistic profiles of Mrs. Stefania’s co-actors are given extensive treatment. The main conclusion is, however, that both as an artist and a resolute and innovative theatre leader Mrs. Stefania Gudmundsdottir is up to this date a unique figure in Icelandic theatre history.

  • 272. Kallenbach, Ulla
    et al.
    Schneider, Magnus Tessing
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Kim Skjoldager-Nielsen 1971-20222022In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 33, no 2, p. 80-82Article in journal (Other (popular science, discussion, etc.))
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    In memoriam Kim Skjoldager-Nielsen 1971-2022
  • 273.
    Karadottir, Emma
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "Som den tragedi det kan vara": Postkoloniala teman i den samtida konstnärliga barnteatern2023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this thesis is to see how the contemporary artistic theater for children handles the subjects concerning migration and representation, both artistically and practically. To respond to questions about how these subjects are thematized as well as contextualizing the development of the genre, a post-colonial intersectional perspective is used as a theoretical basis. Production analysis is used as a methodological basis for two productions that were staged at Unga Klara in 2018. Previous research shows that different views of children have dominated throughout the ages, which have represented themselves in the artistic culture for children. The artistic children's theater, or children's tragedy (barntragedi), has its roots in the political children's theater of the 1960- 1970’s and is based on the belief that children have the right to see their inner lives portrayed in an artistically qualitative way. This essay concludes that these two children’s tragedies thematize these topics through a combination of representing interculturality via multilingualism, and through contextualizing how children’s feelings are related to the political injustices that affect their lives.

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    fulltext
  • 274. Karlsson, Fredrik
    et al.
    Szatek, Elsa
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Helandet i sårbarheten2017In: DRAMA: Nordisk dramapedagogisk tidsskrift, ISSN 0332-5296, no 1, p. 6p. 12-17Article in journal (Other (popular science, discussion, etc.))
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    fulltext
  • 275.
    Kleberg, Lars
    Stockholm University, Faculty of Humanities, Department of Slavic Languages and Literatures.
    Teatern som handling: Sovjetisk avantgardeestetik 1917-19271977Doctoral thesis, monograph (Other academic)
  • 276.
    Kronlund, Dag
    Stockholm University.
    "Musiken låten ljuda, mina vänner!": musiken i talpjäserna på Kungliga teatern vid 1800-talets mitt1989Doctoral thesis, monograph (Other academic)
  • 277.
    Kubiak, Daria
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Organizacja szwedzkiego systemu teatralnego2016In: System organizacji teatrów w Europie / [ed] Karolina Prykowska-Michalak, Warszawa: Instytut Teatralny im. Zbigniewa Raszewskiego , 2016, p. 161-184Chapter in book (Refereed)
  • 278.
    Kubiak, Daria
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Skjoldager-Nielsen, Kim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Museum as a Repository for Local Identity and Social Capital: Audience development in performing the exhibition – two cases from Łódź2015In: Sztuka i Dokumentacja / Art and Documentation, ISSN 2080-413X, no 12, p. 87-94Article in journal (Refereed)
    Abstract [en]

    Drawing on the theoretical perspective of performance studies, Daria Kubiak and Kim Skjoldager-Nielsen look at two attempts at deliberate audience emancipation through exhibition design. They analyze the performative ‘scripts’ inscribed in the way the Film Museum in Łódź shows its collection and in the exhibition Atlas of Modernity at the Muzeum Sztuki in Łódź, and provide a critical assessment of their potential to act as repositories for local identity and generators of social and cultural capital. As several shortcomings are identified in the analysis, certain ideas and postulates are put forward to remedy them and contribute to designing exhibitions that would perform archives as “theaters for development”.

  • 279.
    Lagercrantz, Marika V.
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    Den andra rollen: ett fältarbete bland skådespelare, regissörer och roller1995Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This book is about the actors in The Sun and The Moon , two plays staged at Stockholm City Theatre. It is about role-play in the fictive story developed during rehearsals and in the social drama that kept unfolding in the production groups. My aim has been to describe the actors' work as a specific social process within a dual reality. This study is based mainly on participant observation at the two productions, from first reading to final performance.

    Compared to the director the actors played a subordinate role. At the same time, between director and actors, there was competition for power and influence, as well as for artistic merits. In relation to one another, both partner could be viewed as support personell or as artist.

    Each production group functioned as a temporary free zone, or anti-structure, in relation to the overall institutional structure. The director was expected to initiate the artistic process in the group, as well as supporting, but not interfering with, the actor's inner process as they developed their roles.

    In both productions, interaction was rather informal, with a wide spread of information about personal relationships. While working with the roles, the actors systematically exploited their own experiences.

    From an interactionist perspective, the actors' work may be described as role taking on several levels, toward director, stage character, audience and fellow actors. In the intensive process of role taking during a performance, the actors portrayed not only other people but the very essence of being human.

  • 280.
    Lagerström, Cecilia
    Stockholm University.
    Former för liv och teater: Institutet för scenkonst och tyst kunnande2003Doctoral thesis, monograph (Other academic)
    Abstract [sv]

    Innehåller längre avsnitt om Ingemar Lindh, Etienne Decroux och Jerzy Grotowski

  • 281.
    Levander, Björn
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Faust och Mefisto: Vadets dramaturgiska funktion i Goethes Faust I och II2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this dissertation I have studied the relationship between Faust and Mephisto and the influence of the wager in Goethe’s Faust I and II. Decisive for its coming into being is the lack of a thorough study over the influence of the wager throughout the play.

    The starting point is the analysis of the acting situations, of two individuals’ togetherness and struggle. Through close reading and with the wager as a center of Faust’s and Mephisto’s relationship, the tangible content of the dramatic action is explored.

    Faust’s and Mephisto’s lines and actions are investigated from their respective point of view of the action, with the aim to discover the idea of the play through its characters. This approach is directly influenced by the teachings of Konstantin Stanislavskij and conducted using his tools for dialogue and action analysis.

    I have no particular imaginary interpretation or performance in mind, but different problems which an actor has to consider when working with a role. In what could be characterized as hermeneutic circular movements, I argue the inevitability of certain interpretations, showing that lines are “living matter” and therefore subject to change depending on the given context and the treatment of it.

    In a continuous discussion with other Faust scholars, general problems and positions as well as distinctions between dramaturgical and literary interpretation are presented. While, in most cases, my interpretations emerge in opposition to what has previously been written, they sometimes are confirmed by Goethe specialists, who, while using other methods, have arrived at similar conclusions. Moreover, several references are made to Peter Stein’s staging of Faust I and II (2000/2001).

  • 282.
    Lewenhaupt, Inga
    Stockholm University.
    Signe Hebbe (1837-1925): skådespelerska, operasångerska, pedagog1988Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Diss.

  • 283.
    Lidén, Ellinor
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Barnteater som händelse: Barnpublik och vuxenvärldar vid Kulturhuset Stadsteaterns scen i Skärholmen2022Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Professional theatre for children is entirely conditioned by adults, though children are its primary audience. Adults at the theatre produce and perform theatre for child audiences, whereas other adults make the arrangements and escort children to the theatre. Thus, a distinctive feature of children’s theatre, in comparison to its adult counterpart, is that child audiences rarely go to the theatre on their own initiatives. All adults might have the child audiences in mind, though often in different ways and with varying expectations, hence manifesting itself in what I have chosen to call the scenario of children’s theatre, inspired by the American performance studies scholar Diana Taylor (2003). The scenario of children’s theatre forms rather predictable patterns of communicating, thinking and meaning-making, by which the adults and the children within the scenario act and orient themselves, although it holds openings for change.

    The theoretical framework of this dissertation draws on theories from both theatre/performance studies and childhood studies. Based on the concept of children's theater as event, that is, a notion that a theatre performance can extend far beyond the time and space that the theater performance itself constitutes, this doctoral thesis aims to study child audiences’ experiences of going to the theatre related to five productions at the Stockholm House of Culture & City Theatre’s stage in Skärholmen. Furthermore, this thesis examines how generation is constructed within these children’s theatre events, by adults and children both, as well as how the scenario of children’s theatre is repeated and/or changed.

    The research material was generated in two rounds, in 2011 and 2013, both in an early phase in the history of the Skärholmen stage. The material emanated from the child audiences (ranging from 6 to13 years of age) consists of logbooks, audio recorded group discussions, notes from audience- and performance observations and children’s drawings. Additionally, a written teacher survey was carried out as well as interviews with adults at the theatre and decision makers at municipal offices nearby.

    This thesis contributes to the field of children's theater research by further placing children's theater in a wider context, as event. Another contribution is the distinguishing of the scenario of children's theater in itself, highlighting its repeated patterns, but also its shifts and nuances. These changes become strains and displacements within the scenario, which this dissertation shows a number of examples of. The material and psychical milieu at the Skärholmen stage seem to contribute with such possibilities for change, as do sometimes the performances themselves. However, many positionings within the scenario is shown to remain as mere repetitions. The child audiences express themselves in broad terms when it comes to their experiences of a theater performances, many times exceeding the theater performance itself. They show awareness of how they are expected to behave according to the scenario of children's theatre, though they sometimes challenge it. Child audiences carry thoughts that they want the theater to confirm and/or challenge. Furthermore, the child audiences want to be treated by the adults on their own terms and in meaningful ways, that is through horizontal relationships that seem to be beneficial to the whole of the children’s theatre event.

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  • 284.
    Lidén, Ellinor
    Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, The Centre for the Studies of Children's Culture. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    "Jalla, vi ville kolla på teater!": Barns utsagor om och värderingar av teater vid Stockholms stadsteater Skärholmen2014In: Mycket väl godkänd: Vad är kvalitet i barnkulturen? / [ed] Karin Helander, Centrum för barnkulturforskning/Stockholms universitet , 2014, p. 32-43Chapter in book (Other academic)
  • 285.
    Lidén, Ellinor
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Rörlighet och rörelser i en barnteater2014In: On the Move: ACSIS conference 11–13 June, Norrköping, Sweden 2013 / [ed] Johanna Dahlin, Tove Andersson, 2014, p. 59-67Conference paper (Other academic)
    Abstract [sv]

    Som ett samarbetsprojekt mellan Centrum för barnkulturforskning vid Stockholms universitet och Stockholms stadsteater Skärholmen genomfördes, med stöd av Statens Kulturråd, en studie av verksamheten vid den nyinvigda scenen för barn och unga i stadsdelen Skärholmen, Stockholm. Huvudfokus låg på den unga publikens upplevelser, tolkningar och meningsskapande av föreställningsbesöken. Avstamp togs i Skärholmsscenens uttalade ambitioner gällande tillgänglighet, delaktighet och närområdesförankring, likt s.k. community-teater där den specifika platsens betydelse för berättelse, tilltal och form undersöks konstnärligt. Skärholmsscenens strävan var, och är fortfarande, att närområdet ska färga av sig på hela verksamheten – inte bara arbetsprocesserna och föreställningsproduktionerna utan hela den fysiska byggnaden i sig. Studien utgör grund för mitt fortsatta doktorsavhandlingsarbete, i vilket jag ämnar undersöka en barnkultur som rör sig mellan vuxnas definierade ramar och barns meningsskapande, mellan scen och salong samt mellan en teater och dess närområde.

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  • 286.
    Lidén, Ellinor
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, The Centre for the Studies of Children's Culture.
    Helander, Karin
    Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, The Centre for the Studies of Children's Culture.
    Slutrapport till Statens kulturråd ”Interkulturella perspektiv på scenkonst för barn och unga”: Teatern som arena för interkulturella möten? Om den lokala förankringens betydelse för scenkonstens tillgänglighet. En studie av verksamheten vid Stockholms stadsteater Skärholmen2012Report (Other academic)
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  • 287.
    Liljequist, Ann-Margret
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    Sandro Malmquist och hans verksamhet som scenograf1985Doctoral thesis, monograph (Other academic)
  • 288.
    Lion, Katarina
    Stockholm University.
    Les sacres: en socio-kulturell analys av tio versioner av ett Våroffer2000Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The purpose of the dissertation is to bring to light and focus upon, through a number of disparate investigations, the socio-cultural ideology and practices expressed in some of the dance events which constitute an echo of the cry implied by the most canonized ballet of the 1900s, Le Sacre du Printemps choreographed in 1913 by Vaslav Nijinsky. The study commences with a discussion, which aims to define key concepts such as "reconstruction" and "original".

    The main part of the text in Part 1 is devoted to the problems relating to Millicent Hod-son's and Kenneth Archer's reconstruction in 1987 of the "forgotten" milestone in western dance, Le Sacre du Printemps. The choice of methods by the reconstuctionists raises questions of scientific legitimacy in western historiography.

    Key concepts for Hodson and Archer are "lost" and "found". What is it that the recon-structionists have found in their effort to fill a void in the history of dance? Through the study of the Hodson's and Archer's method of reconstruction and other reconstructions in contrast with a few newly created versions of Le Sacre du Printemps the importance of the dance being perpetuated is confirmed. But that also leads to the insight that a dance event is not isolated from a contemporary context.

    Part 2 deals with relations to "the primitive" in dance history. Here we touch on questions concerning alienation or our view of what can be regarded as "the other", but also our need for hierarchies. This division of "we" and "them" functions as a dramatic formula through hundreds of years of western dance and at the same time describes an aspect of colonialism. Our relationship to this "the primitive", the other, shifts over the years and in the world of dance these questions constitute a reflection of our diffuse or repressed inner self or, more simply, an expression of our dreams and fantasies.

    In Part 3 Le Sacre du Printemps is placed in contexts and is summarised under the hea-ding "the New Spirituality." The ritual theme of the dances constitutes the foundation of an analysis of the new "scientific" relationship to religion, philosophy and psychology in the early 1900s.

    The view of the artist as a genius is related to Nietzsche's thesis "god is dead" and to the contemporary need for creating new divisions between "we" and "them". In this phase we are dealing with the human subconscious. The rite, and the spiritual power it suggests, are the springboard for a kind of "mass psychosis" which enables Le Sacre du Printemps to be described as a conceptual entity for various political statements. This possibility has been exploited not least by the female choreographers, primarily by their further development of the tradition within modern dance that had already begun with the first female pioneers of the dance.

  • 289.
    Ludawska, Janina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    "Emellan oss": om de svenska uppsättningarna av Witold Gombrowicz Vigseln1991Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The title ”Between Ourselves” alludes to one of the most important problems in Witold Gombrowicz's writings which finds full expression in his drama ”The Wedding” - that our thoughts and actions arise between us without our knowing where they will lead us. My study is concerned with productions of this drama in Sweden. They were three in number, and all staged between the years 1966 and 1969, during a time rich in political activities and tensions. Gombrowicz's drama is full of nuances and can be interpreted in many different ways. However, it is not a political drama, just as Gombrowicz's writings cannot be regarded as political. This study is concerned with the scenic interpretations of the drama: that which the theatres conveyed to their public; with which artistic means they took place and how the theatre critics received and commented on the performances of ”The Wedding”. In addition, the director's intentions are examined and endeavours are made to determine if the stage presentations have supported or opposed them. The political climate of the time has in different ways set its stamp on the three productions, directed by Alf Sjöberg, Ulf Gran and Ulf Fredriksson, which among themselves were very different from each other, both from the point of view of their content and form. The most nuance rich was the production at the Royal Dramatic Theatre directed by Alf Sjöberg. That production became a ”theatrum mundi”, where all the means of theatrical art were brought into play.

  • 290.
    Lundborg, Nina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Dansvetenskap.
    News Paper Reviews of Black Dancers in Sweden before 1970: - the Tradition2006In: The North in a Global Context: Proceedings 8th International NOFOD Conference January 12-15 2006 Stockholm Sweden, 2006, p. 4-Conference paper (Other academic)
    Abstract [en]

    Dance criticism is shaped by society, politics, economics, gender, and it is shaped by race. The tradition of whiteness constructs the texts written about black dancers performing in a Swedish context. In the reviews from 1950-1970 that is studied in this paper, there is a constant look at "the Other" performing and words like primitive, exotic and original are dominating the outcome. The papers studied are Dagens Nyheter, Svenska Dagbladet and Expressen.

  • 291.
    Lundgren, Eva
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Lek med lust: 'Theatertanz', genusaspekter och historieskrivning2006Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation treats the choreographic works of Julian Algo (1899-1955), a ballet master in the Royal Opera house in Stockholm 1931-1952, whose experience and education were from Theatertanz, and Swedish dance history about his works. Theoretically it is inspired by post-modern historiography (Jenkins, Munslow, White), queer theory (Sedgwick, Doty, Rosenberg) and research about masculinities in dance (Burt).

    The first chapter is an introductory survey of Algo’s career in Germany. It shows that in Duisburg Algo was recognized as a choreographer with ballet skills, and like other choreographers within German “Theatertanz” he tried to establish new styles through mixing old ballet and modern dance. The chapter also answers question about reception and about whom Algo cooperated with.

    The second chapter consists of seven analyses in which I deal with the “gusto” and “playfulness” of Algo’s works in Stockholm 1931-1938. These ballet productions are analysed with focus on the concept of queer and gender, also pointing out their good reception and that they in Stockholm were described as modern. Some of the male characters are suggested to be related to dandyism. The chapter also shows that anti-Semitism and scepticism against foreign influences were expressed in the theatre magazine Scenen [The Stage] and that it is relevant to assume that these articles influenced the development in the Opera house.

    The third chapter shows that Algo’s ballet productions in the book The Swedish ballet (Rootzén1945) was described from a view of classical ballet’s preferences. Now, in 1945, Algo's choreographies from the 1930 were dismissed as being of mixed-genre and lacking ballet skills. Although this chapter in the book was criticised by contemporary critics, it is obvious that it has been of great influence for authors of ballet history in the 2.nd half of the century.

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  • 292.
    Lundqvist, Anne
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    Anamorphic Theatre: Two Interpretations of Strindberg's Plays2009In: North-West Passage, ISSN 1826-641X, E-ISSN 2036-5632, no 6, p. 115-119Article in journal (Other academic)
    Abstract [en]

    The article discusses how the theories of the French psychoanalyst Jacques Lacan might influence the interpretation of August Strindberg's characters on stage. The point of departure for illuminating and locating the reflexive potential between the psychoanalytic thesis and the plays is the function of anamorphosis, understood as a drawing presenting a distorted image that appears in natural form under certain conditions.

  • 293.
    Lundqvist, Anne
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Da myten om Hamlet ble en myte2010In: Den inre scenen: Psykoanalys och teater / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, p. 17-38Chapter in book (Other academic)
  • 294.
    Lundqvist, Anne
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    I begjærets tjeneste: Strindberg og Lacan på scenen2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In the Service of Desire is an interdisciplinary study that combines psychoanalysis with aesthetic materials. The dissertation aims to analyze five of August Strindberg’s dramas within a theoretical frame provided mainly by the French psychoanalyst Jacques Lacan. The interpretations are, however, also supplemented with some specific philosophical perspectives. The Father, Miss Julie, Playing with Fire and The Dance of Death are studied as theatrical performances. The Father and Playing with Fire were directed by Staffan Valdemar Holm and staged at The Royal Dramatic Theatre Dramaten in Stockholm in 1997 and respectively 2002. Mademoiselle Julie was performed at the Comédie de Genève in Switzerland in 1988 and La Danse de mort was staged at the Comédie-Française in Paris in 1996. The stage director Matthias Langhoff was responsible for the two French-speaking productions. Creditors (1888) is analyzed as drama text.

    The method of study is to establish a reciprocal connection between Strindberg’s texts and Lacan’s theories, which makes it possible to demonstrate their multiple points of intersection. The different chapters expose certain Lacanian concepts in relation to the fictive protagonists. Through this procedure Strindberg’s characters, on as well as off-stage, are unmasked as typical Lacanian subjects; they owe their being to a certain nonbeing.  As a consequence, the traditional stories about the characters are inverted, in particular the women’s narratives. Because they are working in the service of desire, they are also opposing the patriarchy as a social system; transgressing the rules of decorum. Rejecting hegemonic ideals and the oedipal taboo as the final point, the women search for a personal truth of their own. Thus, the dissertation proposes the Lacanian psychoanalysis as a relevant and effective means of examining cultural and social structures, whether the characters are acting on a stage or wandering between the covers of a book. 

  • 295.
    Lundqvist, Anne
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Redbark-Wallander, Ingrid
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Strömberg, Mikael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Westerling, Kalle
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Kroppsspråk och tankesprång: Vetenskap i rörelse2009 (ed. 1)Book (Other (popular science, discussion, etc.))
  • 296.
    Lysell, Roland
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    From Peer Gynt to The Master Builder: Ibsen transformed by Peter Stein and Peter Zadek2009In: Ibsen in the Theatre / [ed] Sven Åke Heed & Roland Lysell, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier, STUTS , 2009, p. 33-44Chapter in book (Other (popular science, discussion, etc.))
  • 297.
    Lysell, Roland
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    Tre Ibsendramer i Ludvig Josephsons regi på Nya Teatern i Stockholm2005In: "Bunden af en takskyld uden lige": om svenskspråklig Ibsen-formidling 1857-1906 / [ed] Vigdis Ystad, Knut Brynhildsvoll, Roland Lysell, Oslo: Senter for Ibsenstudier og Aschehoug , 2005, p. 173-200Chapter in book (Other academic)
  • 298.
    Lysell, Roland
    et al.
    Stockholm University, Faculty of Humanities, Department of History of Literature and History of Ideas, Department of History of Literature.
    Heed, Sven ÅkeStockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Ibsen in the Theatre2009Collection (editor) (Other (popular science, discussion, etc.))
  • 299.
    Lysell, Roland
    et al.
    Stockholm University, Faculty of Humanities, Department of History of Literature and History of Ideas.
    Ystad, Vigdis
    Brynhildsvold, Knut
    Bunden af en takskyld uden lige: Om svenskspråklig Ibsen-formidling 1857-19062005Book (Refereed)
  • 300.
    Macotinsky, Oscar Hugo
    Stockholm University.
    Teater i Buenos Aires: Teatergruppen Los Volatineros (1976-1989): En kontextrelaterad uppsättnings- och receptionsstudie1999Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The primary purpose of the present study is to analyse the aesthetics, theory and practice of Los Volatineros, an independent theatre group, in the socio-political and cultural context of Buenos Aires in 1976-1989. Role interpretation and receptiongo hand in hand and comprise a unit in my combined staging and reception analyses, which are further related to contextual aspects. My analysis also includes various theatre genres and aesthetic orientations that have existed in the theatre of Buenos Aires since the beginning of the 20th century in order to establish their traces in Los Volatineros' work and aesthetics and in their contributions to theatre. My study addresses the social and ideological context in which Los Volatineros worked and its impact on the theatre group's activities and goals as well as on its public. Finally, I discuss the prerequisites for Argentina's cultural integration with other countries in Latin America and the legitimation of Argentinian cultural products on a regional and global level. The dissertation is divided into four overlapping parts: 1. Argentina's structural and contextual preconditions; 2. Los Volatineros - Staging; 3. The Theatre in Buenos Aires -a diachronic perspective, and a digression: A view of theatre in Latin America; 4. Ideology, culture and society. I have been mainly inspired by the social and cultural points of departure of Jürgen Habermas and Pierre Bourdieu and I have applied a hermeneutic view and semiotic principles in my analyses.

    Since 1976 Los Volatineros has pragmatically contributed to bridging the gaps between experimental and traditional orientations in the theatre. In practice, it has become a sort of representative example of - even synonymous with - a non-realistic approach, combining intensive physical acting, maximum use of the spatial possibilities of the performance space, emphasis on the metonymical function of lighting, and interactive communication with the public. Their productions took up Argentinian and Latin American themes and contained subtle social criticism. Their aesthetics became established in the 1980s and they became a model for new theatre groups in Buenos Aires. All this occurred within the context of an historically tense relationship between the cosmopolitan civil society of Buenos Aires and the state, and within the framework of the Argentinian state's constitutional ruptures, which engendered feelings of uncertainty, insecurity and impermanence as regards societal development in general and culture in particular. The cultural field in Buenos Aires has a central regional role, but at the the same time, a peripheral position vis a vis cities in Europe and the US when it comes to legitimising cultural products.

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