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  • 501.
    Strömberg, Mikael
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Exod(e)us2009Inngår i: Kroppsspråk och tankesprång: Vetenskap i rörelse, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2009, 1, s. 110-127Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 502.
    Strömberg, Mikael
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Fenomenet röst: En parallellställning av röstpedagogik för skådespelare och Jacques Derrida2011Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The dissertation aims at being a documentation, through written descriptions, of some parts of the teaching of voice and speech at the Stockholm Academy of Dramatic Arts. Three different classes or subjects are analyzed; the training of voice and resonance for Peter Teubner, speech, song and text interpretation for Pia Olby and Karin Rudfeldt and a stage production led by director Ellen Lamm. Part of the overall aim is to reflect upon and to describe some key factors of how the documentation is made. For this a theoretical framework built from a reading of some of Jacques Derrida’s philosophical concepts are used. The work at the Academy is related to Derrida’s work in a juxtaposed manner. I use the two different areas; maintains a border between them, transferring descriptions from one area to the other in a repetitive fashion. This repetitive way of working generates the results – the documentation. The cornerstone of the dissertation, its result, as well as its foundation is distance. It is through distance that the documentation works. A close reading, a phenomenological endeavor of giving detailed descriptions, relies on an originary distance.

    The thesis examines what the educational situation is based on and how this foundation is involved in shaping the education. More specifically, it challenges the notion that the meeting between student and pedagogue rests on a presence, a meeting here and now, by emphasizing differences and traces in time and space. The pedagogical situation, as well as Derrida’s philosophical project, is described as something based on differences, traces, an ongoing repetition, borders and constant shifts in an interweaving or juxtaposing movement.

  • 503.
    Strömberg, Mikael
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Härmed kröner jag dig till drottning - ett oralt nöje2009Inngår i: Kroppsspråk och tankesprång: Vetenskap i rörelse, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2009, 1, s. 56-67Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 504.
    Szatek, Elsa
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Att leda teater, motstånd och dialog2020Inngår i: Livet Bitch! metod / [ed] Anna Lundberg, Riksteatern , 2020, s. 106-119Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 505.
    Szatek, Elsa
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Dramarummet som heterotopi2019Inngår i: Dramaforskning i Sverige 2019, 2019, s. 24-24Konferansepaper (Annet vitenskapelig)
    Abstract [sv]

    Dramarummet som heterotopiI detta paper utforskar och konceptualiserar jag dramarummet tillhörande enteatergrupp för tjejer. Empirin i detta paper kommer från samtal med tjejer iåldrarna 13-24 år som är deltagare i community-teatergruppen och derastankar om meningsskapande genom drama och teater. Jag utgår frånFoucaults tankar om heterotopi för att utforska hur lärandet som sker idramarummet är både separat och sammankopplat med lokal kultur, historiaoch normer. Foucault använde sig av heterotopi-begreppet för att visa på hurvissa platser fungerar som arenor för motstånd genom att vara bådesammankopplat men också utanför samhällskroppen. Heterotopin är, för attanvända Foucaults egna ord,“in relation with all other sites, but in such a wayas to suspect, neutralize or invert the set of relations that they happen todesignate, mirror, or reflect”. Genom att vara en heterotopi i relation tilltjejernas vardagsplatser så som hem och skola diskuteras hur dramarummetkan bli en central arena för såväl motstånd som dialog.

  • 506.
    Szatek, Elsa
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Moving Spaces: Mapping the Drama Room as Heterotopia2020Inngår i: Education Sciences, E-ISSN 2227-7102, Vol. 10, nr 3, artikkel-id 67Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article is aimed at exploring the political characteristics of the drama space, which reflects, juxtaposes, and opposes particular sites in a participant’s everyday life, such as the school. By putting spatial theories to work, this article investigates the drama space belonging to an all-girls community group in Sweden, participation in which is voluntary and where the artistic work produced relies on a democratic process, with the girls’ input being vital. I conceptualise the drama room as a heterotopia that functions as an exclusive and excluding space as a well as a space of resistance. Based on interviews with the girls, this ethnographic study challenges the conventional notion that applied drama is only an interrelational matter between the drama participants. By examining the drama room’s role as the ‘other place’ in the girls’ everyday lives while being connected to ‘everyday’ places, this article demonstrates the drama room as an important space for the girls to have agency, there and elsewhere. When placing space and place in the foreground, a ‘dramaspaceknowledge’ emerges, the influence of which stretches beyond the drama room. This article argues that the girls’ dramaspaceknowledge is utilised when creating a performance and while challenging structures and norms elsewhere, such as in their schools and communities.

  • 507.
    Tessing Schneider, Magnus
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Bent Holm: Djævelens billede. Maskens magt – fra karneval til Dario Fo2018Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 30, nr 2, s. 133-135Artikkel, omtale (Annet vitenskapelig)
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  • 508.
    Tessing Schneider, Magnus
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Tatlow, Ruth
    Mozart's La clemenza di Tito: a reappraisal2018Collection/Antologi (Fagfellevurdert)
  • 509.
    Trolle, Constance af
    Stockholms universitet, Humanistiska fakulteten.
    Teaterkonst signerad Per Verner-Carlsson1995Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [sv]

    Behandlar bl.a. Per Verner-Carlssons uppsättningar av Strindbergs "Pelikanen" (s. 99-123)

  • 510.
    Umerkajeff, Marie
    Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusvetenskap.
    Neva Boyd, en lekteoretiker för dramapedagogik: En historisk fallstudie2014Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    This is a historical documentary research study across Neva Leona Boyd (1876-1963). The theoretical perspective is based on the historical perspective of knowledge from ancient Greece to the approach of modern symbolic interactionism. The study shows that Boyd, who was Viola Spolins teacher, was a proponent of the modern view of group play theory. 1909 she founded Chicago School for Playground Workers, later transformed to the Recreation Training School. Until 1927, the school entered in Hull-House initiated by Jane Addams. The school was incorporated with Northwestern University. Boyd also worked at other schools and the Illinois Department of Public Welfare, where she designed a recreational program for the mentally ill. Contemporary with Boyd was George H. Mead and John Dewey. Boyd's previous work turns out to have some connection to Sweden when Boyd collected and systematized games from different geographical regions of the world. Boyd’s group play theory are identified and described. Boyd’s group play theory highlights the importance of leadership and the intimacy leaders manage to create in group work.

     

    Fulltekst (pdf)
    fulltext
  • 511.
    von Schantz, Ulrika
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Drama på afveje?: Om dramafagets omflakken og tillbagevenden2018Inngår i: Æstetik og pædagogik / [ed] Martin Blok Johansen, Köpenhamn: Akademisk Forlag, 2018, s. 165-191Kapittel i bok, del av antologi (Fagfellevurdert)
  • 512.
    von Schantz, Ulrika
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Dramapedagog på drift2011Inngår i: Drama: ledarskap som spelar roll / [ed] Österlind, Eva, Lund: Studentlitteratur AB, 2011, 1, s. 185-207Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 513.
    von Schantz, Ulrika
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Ett rotsystem på spåret: om scenkost och kön2007Inngår i: Tidskrift för genusvetenskap, nr 1-2Artikkel i tidsskrift (Annet vitenskapelig)
  • 514.
    von Schantz, Ulrika
    Stockholms universitet, Naturvetenskapliga fakulteten, Institutionen för utbildningsvetenskap med inriktning mot tekniska, estetiska och praktiska kunskapstraditioner.
    From Circus Princess to Gender Aunt – A Story about Construction of Identities2002Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 15, s. 28-43Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article concerning constructions of identities among stucents and teachers at a Swedish University College of Acting, written during a time of fieldwork, treats the delicate role of being 'the participant observer'. Setting out from the concepts of 'anthropology as biography' and 'authority in ethnography' through a brief outline of certain feminist ideas to a double-acting use of Brechtian thought, the discussion ends up stressing the value of narrativity as a form of alternative argumentation. A heading like Acting-Life strikingly points to the blurred borders between life and acting in the every day life of a person involved in actor  education. Identities are, at least partly, constructed in interaction; and at a place like this, the immediate resources available in identitywork, are the features of fictive, dramatic characters. Masks and role-playing are at stake everywhere in every day life of society, but here the use of them is as congenial as of urgent necessity- surely displayed by the text. In this  context, the notions of sex and gender, tightly interwoven in traditional, artistic and historical thought, mixed with old myhs and rebellion ideas, will be as complicated as it is challenging to elaborate.

  • 515.
    von Schantz, Ulrika
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Myt, makt och möte: Om ett genuskulturellt rotsystem betraktat genom en skådespelarutbildning2007Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This dissertation concerns a certain experienced (sub)reality, a reality which emerged from something “in between”, from a confluence of factors - the project Gender on Stage, a particular actor education programme and myself in the role of observer. The project Gender on Stage started as an interdisciplinary study between the National Academy of Mime and Acting in Stockholm and the Department of Theatre Studies and the Department of Nordic Languages at Stockholm University. It was supported by the Swedish Research Council, and its purpose was to investigate gender in actor education. Actor education is situated between traditional theatre history and trends about the future, between aesthetic ideals and a commercial market. In addition, as was described in the outline of the project, actor education must deal with a long history of male dominance. Actor education could be visualised as the epitome of a cultural production of gender, a site where one has to explicitly deal with discourses of body and language, male and female, self and other, memories and emotions, pleasure and desire. I have stressed gender in actor education as being deeply interrelated with the notion of cultural hegemony, historical discourses of acting as well as gender, myths, and unconscious themes. Beside theories of Simone de Beauvoir, Judith Butler, Sue Ellen Case and Julia Kristeva, the study invokes post-structural notions of “present absence” as well as Freud’s ideas on repression in terms of “the uncanny”. Stanislavsky’s theories of fantasy emotion and the Brechtian concepts of Verfremdung and Gestus were likewise taken into consideration. To resolve problems of confidentiality and ethics, I discuss certain significant observations, considering them to be unique situations, but also representative and symbolic acts. In discussing the gender construction, I put myself into play in the role of observer as a certain persona – a kind of converse representative and a “faceted mirror of the invisible”.

    Fulltekst (pdf)
    fulltext
  • 516.
    von Schantz, Ulrika
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Vandrare mellan scener2014Inngår i: DRAMA: Nordisk dramapedagogisk tidsskrift, ISSN 0332-5296, nr 2, s. 16-23Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 517.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Agenten der Öffentlichkeit: Einführende Bemerkungen zu Theater und Medien im frühen 19. Jahrhundert2014Inngår i: Agenten der Öffentlichkeit: Theater und Medien im frühen 19. Jahrhundert / [ed] Meike Wagner, Bielefeld: Aisthesis Verlag, 2014, s. 7-25Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 518.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Agenten der Öffentlichkeit: Theater und Medien im frühen 19. Jahrhundert2014Collection/Antologi (Annet vitenskapelig)
    Abstract [de]

    "Agenten der Öffentlichkeit" eröffnet interdisziplinäre Perspektiven auf die theatralen, literarischen und publizistischen Transformationen von Kommunikationsfeldern des frühen 19. Jahrhunderts. In dieser historischen Phase des gesellschaftlichen und politischen Umbruchs blieben auch die künstlerischen und publizistischen Medien nicht unberührt von dem Drang nach politischer Gestaltung. Die Konzeption der ‚Agenten der Öffentlichkeit‘ bietet sich an, um transformative Triebkräfte des ‚Tuns‘, des ‚Verhandelns‘ in der öffentlichen Sphäre zu bestimmen. In einer Doppelperspektive werden sowohl historische Figuren als auch Institutionen, Diskurse, Konstellationen und Systeme in den Blick genommen, die in der ‚Experimentalphase des Öffentlichen‘ spezifische Aktionspotentiale entfalten. Der Band eröffnet so eine Diskussion um Theater, Presse und Literatur als ‚neue Medien‘ einer historischen ‚Moderne‘.

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  • 519.
    Wagner, Meike
    Ludwig-Maximilians-Universität, Munich, Germany.
    De-Monopolizing the Public Sphere: Politics and Theatre in Nineteenth-Century Germany2012Inngår i: Theatre research international, ISSN 0307-8833, E-ISSN 1474-0672, nr 2, s. 148-162Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article traces the theatre's desire to access the political public sphere in the early nineteenth century. By investigating a case study of a severe incident of censorship and police intervention at the Königstädtische Theater in Berlin in 1828, the aim is to show that the playwright Gotthilf August von Maltitz and his actors were driven by the desire to represent political topics on stage and to act as performative players in the public sphere. The theatre thus became a rival forum to the absolutist power still claiming a monopoly on public action and public speech in Prussia at the time.

  • 520.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Der Auftritt des politischen Subjekts: Robert Prutz und die Theater-Öffentlichkeit im Vormärz2012Inngår i: Theater und Subjektkonstitution: Theatrale Praktiken zwischen Affirmation und Subversion / [ed] Friedemann Kreuder, Michael Bachmann, Julia Pfahl, Dorothea Volz, Bielefeld: Transcript Verlag, 2012, s. 561-574Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 521.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Die vorgestellte Nation: Kronprinz Ludwig und Teutschlands Errettung2017Inngår i: Theater-Wissen quer denken: Facetten szenischer Künste aus drei Jahrzehnten / [ed] Nic Leonhardt, Berlin: Neofelis , 2017, s. 261-276Kapittel i bok, del av antologi (Fagfellevurdert)
  • 522.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Expanding the Canon, Creating Alternative Knowledge, Marketing the Field?: Performance Practices in Theatre Studies2016Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 28, nr 1, s. 4-14Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Departing from examples of German theatre study programs (University of Giessen, University of Hildesheim, University of Bochum), which include performance practice, my contribution discusses specific roles and functions of practical experience in the academic context. I will present and discuss three discursive fields in relation to performance practice as part of academic education: 1) Performance practice as a way of taking a political stance with the aim of changing academic education and to promote alternative forms of theatre. 2) Performance practice as a marketable good within humanities to promote study programs. 3) Performance practice as a means of acquiring alternative knowledge for theatre education and research.

  • 523.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Kiss me, I'm German2018Inngår i: Theater der Zeit, ISSN 0040-5418, Vol. 15, nr 4, s. 6-8Artikkel i tidsskrift (Annet vitenskapelig)
  • 524.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Körper-Störung : Mediale Thesen zum Puppentheater2016Inngår i: Theater der Dinge: Puppen-, Figuren- und Objekttheater / [ed] Jörg Lehmann, Markus Joss, Berlin: Theater der Zeit , 2016, s. 201-205Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 525.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Medialer Agon und Kunsturteil: Die Theaterpolemik des Moritz Saphir2019Inngår i: Geschmack und Öffentlichkeit / [ed] Matthias Grottkopp, Hermann Kappelhoff, Benjamin Wihstutz, Zurich: Diaphanes Verlag, 2019, s. 121-138Kapittel i bok, del av antologi (Fagfellevurdert)
  • 526.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Out of Time, into Time: Spatio-temporal Dramaturgies in Zacharias Werner's Der vierundzwanzigste Februar2018Inngår i: European Romantic Review, ISSN 1050-9585, E-ISSN 1740-4657, Vol. 29, nr 1, s. 13-23Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Zacharias Werner's romantic play Der vierundzwanzigste Februar was enormously successful with audiences even as critics devalued it to the extent that it later became almost a synonym for bad taste in literary discourse. Nevertheless, after its premiere in 1810, it became the prototype for the popular but short-lived Schicksalsdrama. Werner's play is almost forgotten today. This essay elaborates on Werner's temporal dramaturgy in respect to its overall stage atmosphere and scenography, its symbolization of temporal objects, and its timing. Additionally, Werner's carefully constructed parallel scenes effectively stage the dynamics of time and temporal tension. My objective here is to investigate the theatrical and performative potential of Werner's Schicksalsdrama, giving more consideration to Werner's outstanding stage crafty mind and his talent as a theatrical dramatist than to his rather obvious literary shortcomings. Consequently, this article looks into the reasons for his stage success rather than judging his play from modern standards of literary quality and canon.

  • 527.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Professionelle Amateure? Einige einleitende Gedanken zum Thema2016Inngår i: Double. Das Magazin für Puppen-, Figuren- und Objekttheater, ISSN 0040-5418, Vol. 11, nr 34, s. 6-8Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 528.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Soll-Bruchstellen im Menschen-Bild: Aristoteles nach Craig2016Inngår i: Psyche - Technik - Darstellung: Beiträge zur Schauspieltheorie als Wissensgeschichte / [ed] Wolf-Dieter Ernst, Anja Klöck, Meike Wagner, Munich: Epodium , 2016, s. 167-186Kapittel i bok, del av antologi (Fagfellevurdert)
  • 529.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Theater und Öffentlichkeit im Vormärz: Berlin, München und Wien als Schauplätze bürgerlicher Medienpraxis2013 (oppl. 1)Bok (Annet vitenskapelig)
    Abstract [en]

    In the first half of the nineteenth century the European continent underwent massive socio-graphical and political change. The study positions nineteenth-century theatre as a medium in the historical field of an emerging public sphere. It investigates the social and cultural function of theatre in the ‘Vormaerz’ against the backdrop of an influential media development and a growing institutionalization of art and theatre. The cultural studies and media historiographical approach of research combines political theory and philosophy, media theory, and performance theory. Thorough case studies concerning theatre and media in Berlin, Munich and Vienna are based on the extensive analysis and evaluation of unpublished sources.

  • 530.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Theater-Objekte/Objekt-Theater: Was Dinge auf der Bühne tun und lassen2015Inngår i: Schultheater, ISSN 1869-9758, nr 21, s. 36-38Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 531.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Zeitungskrieg und Theaterskandal: Konkurrierende Öffentlichkeiten im Berlin der 1820er Jahre2014Inngår i: Agenten der Öffentlichkeit: Theater und Medien im frühen 19. Jahrhundert / [ed] Meike Wagner, Bielefeld: Aisthesis Verlag, 2014, s. 217-241Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 532.
    Wagner, Meike
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Zwischen Hof und Stadt: Die Etablierung bürgerlicher Sekundär-Theater in Berlin und München2016Inngår i: Bühne und Bürgertum: Das Hamburger Stadttheater (1770-1850) / [ed] Bernhard Jahn, Claudia Maurer Zenck, Frankfurt: Peter Lang Publishing Group, 2016, s. 81-106Kapittel i bok, del av antologi (Fagfellevurdert)
  • 533.
    Wagner, Meike
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Erbelding, Mascha
    Stumpp, Thomas
    Eigentlich arbeiten wir an der kulturellen Entropie2018Inngår i: Theater der Zeit, ISSN 0040-5418, Vol. 15, nr 4, s. 18-21Artikkel i tidsskrift (Annet vitenskapelig)
  • 534.
    Wagner, Meike
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Ernst, Wolf-Dieter
    Erneuerbare Energien: Energetische Prozesse in der Probenarbeit2015Inngår i: Double. Magazin für Puppen-, Figuren- und Objekttheater, ISSN 0040-5418, nr 2, s. 18-20Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 535.
    Wagner, Meike
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Klöck, Anja
    Niethammer, Nora
    Ernst, Wolf-Dieter
    Schmidt, Yvonne
    Bolte-Picker, Petra
    Kunst – Nicht-Kunst – Andere Kuns: Verhandlungen des Theaters zwischen professionellem und dilettantischem Dispositiv2016Inngår i: Episteme des Theaters: Aktuelle Kontexte von Wissenschaft, Kunst und Öffentlichkeit / [ed] Milena Cairo, Moritz Hannemann, Ulrike Haß, Judith Schäfer, Bielfeld: Transcript Verlag, 2016, s. 551-574Kapittel i bok, del av antologi (Fagfellevurdert)
  • 536.
    Walecka-Garbalinska, Maria
    Stockholms universitet, Humanistiska fakulteten, Institutionen för franska, italienska och klassiska språk.
    Gustave Vasa et Christine, deux héros suédois dans le théâtre français de la première moitié du XIXe siècle2012Inngår i: Le spectacle de l'histoire: actes du colloque tenu à l'IMEC, Institut Mémoires de l'édition contemporaine, Abbaye d'Ardenne, Saint-Germain-la-Blanche-Herbe, 22-24 septembre 2010 / [ed] Stéphane Haffemayer, Benoit Marpeau, Julie Verlaine, Rennes: Presses Universitaires de Rennes , 2012, s. 39-54Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [fr]

    Gustave Vasa et la reine Christine comptent sans doute parmi les personnages historiques suédois les plus représentés par les théâtres étrangers. En France, ce sont les scènes populaires surtout qui, pendant la première moitié du XIXe siècle, exploitent les potentialités idéologiques aussi bien que scéniques offertes par deux personnages royaux exceptionnels, autant par leur impact politique que par leur destin : Gustave, fondateur de la dynastie de Vasa qui se fait « roi des mines » et Christine, reine transfuge qui abdique et assassine. Une dizaine de pièces consacrées à chacun des deux souverains suédois, créées au Théâtre du Marais, à la Gaîté ou au Cirque Olympique (pour Christine à la Comédie Française également), proposent au public français des héros, historiques et mythiques, étrangers et anachroniques à la fois, qui participent à la construction de l’identité nationale.

    Bien que deux siècles séparent les personnages historiques en question, leur construction dramatique parallèle sur les scènes françaises, qui coïncide avec le renouveau de l'art dramatique et des conceptions théâtrales, permet de s’interroger sur un certain nombre de modalités de leur mise en spectacle. Les deux séries de pièces articulent différemment la thématique de l’individu exceptionnel. L’idéal d’une monarchie populaire et les aspirations égalitaires du socialisme utopique s’incarnent dans la figure messianique de Gustave, alors que Christine, figure de la transgression, représente la double incapacité de la femme à assumer le pouvoir et la féminité.

  • 537.
    Westerling, Kalle
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Drugornas underbara värld2009Inngår i: Kroppsspråk och Tankesprång: Vetenskap i rörelse / [ed] Anne Lundqvist, Ingrid Redbark-Wallander, Mikael Strömberg, Kalle Westerling, Stockholm: STUTS , 2009, 1, s. 68-93Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    I denna artikel kommer olika aspekter av dragshow och drag som politisk attityd att fokuseras - inte som något som enbart finns idag, är "accepterat" idag och inte heller något som vuxit fram med homosexuella kampen, queeraktivism, eller queerteori. Det rör sig snarare om vad man kanske skulle kunna kalla en "transkronistisk queer förståelse": Kanske var drag mer "queert" på 1920-talet än under 1980-talets första år? Artikeln gör ett par nedslag i svensk homofil-, gay- och queerhistoria för att visa på hur dragkroppen (och "den homosexuella kroppen") varierat, men alltid formulerat något sorts motstånd mot både hegemonisk heteronormativ kultur, men också mot den egna rörelsens konformitet i enlighet med denna.

  • 538.
    Wulff, Bo
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen.
    Perukmakarna på Kungliga teatern 1773-1923: konstnärlig och social status1991Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The aim of this study is to contribute knowledge about the wig-makers' artistic and social status at The Royal Theatre between 1773 and 1923. The period, during which the development from a guild system to an industrialized society took place in Sweden, was mainly chosen because documents in the archives revealed that the wig-makers' workshop at the theatre was carried on by contractors.

    Income and the circumstances under which it is earned, as well as the publicity surrounding the handicraft in relation to ideals, values and general currents in the prevailing society, are assumed to be expressions of a person's status. This relationship formed the starting point for the study and accordingly influenced the way in which to bring about the result.

    The study starts by describing The Wig-makers' Office and The Wig-makers' Association, which shows that the abolition of the guild system in 1846 didn't have any important conscquenses for the practice of the wig-makers' trade. Although the introduction of the communal laws in 1862 and The Declaration of Free Trade in 1864 meant some changes for the town's ruling burgesses, the wig-making business continued as earlier. This was true also after 1876 because The Wig-makers' Association took over the education system and organisation from The Wig-makers' Office.

    The theatre wig-maker's work consists of three distinct elements of the handicraft: wigmaking, hairstyling and make-up. Although a certain refinement of the handicraft took place in the Swedish theatre between the 1820's and the 1860's, it didn't change the technique, which was developed and known by the wig-makers even before 1773.

    The professional background, conditions of appointments and incomes of the wig-makers, contractors and their employees at The Royal Theatre are dealt with. These conditions differed somewhat from those of the wig-makers working outside the theatre but they didn't change during the period concerned.

    Knowledge from the above mentioned fields leads to a concluding discussion about the artistic and social status, arguing that it was relatively high for the wig-makers at The Royal Theatre, though it probably didn't differ very much from that of wig-makers in general.

  • 539.
    Wulff, Helena
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Socialantropologiska institutionen.
    Dancing at the Crossroads: Memory and Mobility in Ireland2009Bok (Fagfellevurdert)
    Abstract [en]

    ´Dancing at the crossroads´used to be an opportunity for young people to meet and enjoy themselves on mild summer evenings in the Irish countryside until this practice was banned by the Public Dance Halls Act of 1935. Now a key metaphor in Irish cultural and political life, ´dancing at the crossorads´also crystallizes the argument of this book: Irish dance, from Riverdance (the commerical show) to competitive dancing, and dance theatre, conveys that Ireland is in a crossroads situation. Irish dance, with a firm base in a distinctly Irish tradition, is becoming a permanent part of European modernity. While this book highlights the captivating tensions and ties surrounding debates on Irish dance, it also aims to extend broader understandings of place, mobility and rooted cosmpolitanism.

  • 540.
    Wulff, Helena
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Socialantropologiska institutionen.
    Dancing at the Crossroads: Memory and Mobility in Ireland2007Bok (Fagfellevurdert)
    Abstract [en]

    "Dancing at the crossroads" used to be an opportunity for young people to meet and enjoy themselves on mild summer evenings in the Irish countryside until this practice was banned by the Public Dance Halls Act of 1935. Now a key metaphor in Irish cultural and political life, "dancing at the crossroads" also crystallizes the argument of this book: Irish dance, from Riverdance (the commericial show) to competitive dancing and dance theatre, conveys that Ireland is in a crossroads situations. Irish dance, with a firm base in a distinctly Irish tradition, is becoming a prominent part of European modernity. While this book highlights the captivating tensions and ties surrounding debates on Irish dance, it also aims to extend broader understandings of place, mobility and rooted cosmopolitanism.

  • 541.
    Wulff, Helena
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Socialantropologiska institutionen.
    Perspectives towards Ballet Performance: Exploring, Repairing and Maintaining Frames1998Inngår i: Ritual, Performance, Media, Routledge, London , 1998, s. 104-120Kapittel i bok, del av antologi (Fagfellevurdert)
  • 542.
    Ystad, Vigdis
    et al.
    Oslo universitet.
    Brynhildsvoll, KnutOslo universitet.Lysell, RolandStockholms universitet, Humanistiska fakulteten, Institutionen för litteraturvetenskap och idéhistoria, Avdelningen för litteraturvetenskap.
    "Bunden af en takskyld uden lige": om svenskspråklig Ibsenformidling 1857-19062005Collection/Antologi (Annet (populærvitenskap, debatt, mm))
  • 543.
    Zaccarini, John-Paul
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Fragments of a Circoanalysis2010Inngår i: Den inre scenen: Teater & psykoanalys / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, s. 105-121Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 544.
    Österlind, Eva
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Drama into the curriculum: Sisyphus’ work2015Inngår i: NJ (Drama Australia journal), ISSN 1445-2294, Vol. 39, nr 1, s. 3-18Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The conditions for drama in compulsory education vary from country to country. The situation in Queensland, Australia, is interesting as Drama was introduced as an arts subject in the compulsory school curriculum (P-10) in 2002. This paper uses a case study approach, to describe and analyses the context and conditions for this specific curriculum development project. Findings suggest that curriculum development is unlikely to be a predictable and linear process, and to some extent, curriculum documents are reflecting changes that have already occurred. The author proposes a list of considerations which may be of benefit to drama educators in a range of curriculum contexts.

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