Endre søk
Begrens søket
1234567 51 - 100 of 540
RefereraExporteraLink til resultatlisten
Permanent link
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annet format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annet språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf
Treff pr side
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sortering
  • Standard (Relevans)
  • Forfatter A-Ø
  • Forfatter Ø-A
  • Tittel A-Ø
  • Tittel Ø-A
  • Type publikasjon A-Ø
  • Type publikasjon Ø-A
  • Eldste først
  • Nyeste først
  • Skapad (Eldste først)
  • Skapad (Nyeste først)
  • Senast uppdaterad (Eldste først)
  • Senast uppdaterad (Nyeste først)
  • Disputationsdatum (tidligste først)
  • Disputationsdatum (siste først)
  • Standard (Relevans)
  • Forfatter A-Ø
  • Forfatter Ø-A
  • Tittel A-Ø
  • Tittel Ø-A
  • Type publikasjon A-Ø
  • Type publikasjon Ø-A
  • Eldste først
  • Nyeste først
  • Skapad (Eldste først)
  • Skapad (Nyeste først)
  • Senast uppdaterad (Eldste først)
  • Senast uppdaterad (Nyeste først)
  • Disputationsdatum (tidligste først)
  • Disputationsdatum (siste først)
Merk
Maxantalet träffar du kan exportera från sökgränssnittet är 250. Vid större uttag använd dig av utsökningar.
  • 51.
    Gademan, Göran
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Borgerlig salongsdramatik2007Inngår i: Teater i Sverige 2: 1800-talets teater, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 52.
    Gademan, Göran
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Grand opéra i Stockholm2007Inngår i: Ny svensk teaterhistoria 2: 1800-talets teater, Gidlunds Hedemora Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 53.
    Gademan, Göran
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Manlig homosexualitet på scen2007Inngår i: Ny svensk teaterhistoria 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 54.
    Gademan, Göran
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Operan går sin egen väg2007Inngår i: Ny svensk teaterhistoria 2: 1800-talets teater, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 55.
    Gademan, Göran
    Stockholms universitet, Humanistiska fakulteten.
    Realismen på Operan: regi, spelstil och iscensättningsprinciper på Kungliga teatern 1860-821996Doktoravhandling, monografi (Annet vitenskapelig)
  • 56.
    Gademan, Göran
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Lagerroth, Ulla-Britta
    Lunds universitet.
    Skådespelare på ny kunglig spelplats2007Inngår i: Ny svensk teaterhistoria 2: 1800-talets teater, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 57.
    Gademan, Göran
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Stenström, Johan
    Lunds universitet.
    Regiopera och folkopera2007Inngår i: Ny svensk teaterhistoria 3: 1900-talets teater, 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 58.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap.
    Angels in America: Roy Cohn och konstruktionen av en frisk, heterosexuell  samhällskropp2002Inngår i: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, nr 3-4, s. 95-107Artikkel i tidsskrift (Annet vitenskapelig)
  • 59.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Anxious Nation and White Fashion: Suddenly Last Summer in the Swedish folkhem2009Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 21, nr 1, s. 98-112Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article investigates how Tennessee Williams’ play Suddenly Last Summer, as staged in Sweden in 1959, communicated sexual and racial anxieties. It aims to tease out the importance of fashion for the articulation of the closet and the expression of the simultaneous absence and presence of the queer subject in the play. Looking at the omnipresent use of whiteness of certain key costumes, the essay further proposes the concept of white Gothic fashion and argues that this assumed a whole new meaning when staged in a social and historical context that was not only characterized by institutionalized homophobia, but also promoted white hegemony and the control of women’s bodies. Placing particular emphasis on the socio-historical context of Sweden in the 1950s, the article demonstrates how performance studies and fashion theory can engage in a critical cultural analysis and help us understand national emotions, concerns and anxieties.

  • 60.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Den teatrala vreden: Hiv/aids och gayidentitet i Larry Kramers drama The Normal Heart2008Inngår i: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, ISSN 1100–2573, Vol. 13, nr 4, s. 74-97Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    The article offers an analysis of Larry Kramer's drama The normal heart (1985), one of the first written plays dealing with HIV/AIDS. The focus lies on how Kramer treats the question of gay male identity and the narrow understanding of gay politics dominated by white middle-class men. Four thematic areas are discussed: The main character's critique of sexual promiscuity and his demands of sexual abstinence, his encouragement to his friends to come out of the closet, the awareness of gay men's contributions to history and culture, and the rising anger and rage as driving forces for new alliances and broader forms of activism. The article argues that queer theory must be situated in the specific socio-political climate of the 1980s and reminds of the importance of the HIV/AIDS-crisis for shaping a new understanding of sexual identities.

  • 61.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Galen, kriminell och sjuk: Sprätthöken som modeoffer2012Konferansepaper (Annet vitenskapelig)
  • 62.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Heroes and Villains: Contesting Hegemonic Masculinity in a Peace Demonstration2007Inngår i: Nordic Theatre Studies, ISSN 0904-6380, Vol. 19, s. 56-67Artikkel i tidsskrift (Fagfellevurdert)
  • 63.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    In Defense of the Theatrical Event2007Inngår i: Willmar in the World: Young Scholars Exploring the Theatrical Event: A Festschrift for Willmar Sauter on his 60th Birthday / [ed] Yael Feiler, Rikard Hoogland, Kalle Westerling, Stockholm: STUTS , 2007, s. 22-28Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 64.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Medico-artistic complicities on Swedish stages: The boys in the band and the regulation of gay male representation in the welfare state2016Inngår i: Journal of Homosexuality, ISSN 0091-8369, E-ISSN 1540-3602, Vol. 63, nr 5, s. 633-666Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Seeking to understand the highly unfavorable conditions for the development of gay male theater in Sweden, this essay engages in a historical study of the national opening of Mart Crowley’s The Boys in the Band at Malmö City Theatre in 1970. Propelled by a Foucauldian-inspired theoretical approach, it identifies the subtle, yet highly effective, measures of control that the, at the time, social democratic welfare state exercised over representations of homosexuality on stage. State representatives, who complied with the official political and medical doctrine that homosexuality was a mental illness and posed a potential threat to social stability, interfered at various levels of the production, including the rehearsal process and post-performance talks between cast members and audiences. This alliance between Swedish theaters and members of the medical, psychological, and sexological professions constituted a medico-artistic complicity that supervised and regulated early attempts of gay representation on stage.

  • 65.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    National Performances of Crying: Neoliberal Sentimentality and the Commodification of HIV and AIDS Narratives in Sweden2018Inngår i: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, s. 235-253Kapittel i bok, del av antologi (Fagfellevurdert)
  • 66.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Out of the Closet, Onto the Page: A discussion of  Williams’s public coming out on The David Frost Show in 1970 and his confessional writing of the ’70s, with Michael Paller, Annette Saddik and David Savran, panel debate from the 2010 Tennessee Williams Scholars Conference, New Orleans, USA2011Inngår i: The Tennessee Williams Annual Review, ISSN 1097-6053, nr 12, s. 107-119Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 67.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Performative Processes: Björk’s Creative Collaborations with the World of Fashion2011Inngår i: Fashion Theory: The Journal of Dress, Body and Culture, ISSN 1362-704X, E-ISSN 1751-7419, Vol. 15, nr 4, s. 425-450Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This essay analyzes how Icelandic singer-songwriter and actress Björk uses dress as a creative medium to enhance her musical vision, visualize her patriotic politics as well as ally herself with performance art and further strengthen her position in the avant-garde. I devote specific attention to her joining forces with British designer Alexander McQueen and British photographer Nick Knight and unpack the implications of this creative collaboration, arguing that Björk strategically uses McQueen’s and Knight’s understanding of fashion as a performative process, that is, constantly in a state of becoming and transformation, in order to create her unique style that is characterized by the shifting and unstable identity of the Icelandic geographical body. In the last part of the essay, I take Björk’s involvement with SHOWstudio as a starting point to reflect on some of the consequences when these visual and performative collaborations move into the realm of the digital.

  • 68.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Playing Activists and Dancing Anarchists : Men and Masculinities in Cultural Performances in Contemporary Sweden2007Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    Playing Activists and Dancing Anarchists is a Ph.D. dissertation that aims to analyse men and masculinities in political demonstrations and similar manifestations by conceptualising and analytically approaching such cultural performances as theatrical events. The case studies include the large peace demonstration in Stockholm in February 2003 against the invasion of Iraq; a street theatre performance by the comedians Kesselofski and Fiske, who argue against the European Monetary Union; four Social Democratic May Day celebrations with former prime minister Göran Persson as the main speaker; two anti-racist demonstrations, one of which leads to a violent street battle between activists and a riot police squad.

    The dissertation proposes Performance Studies as a relevant means of examining men and masculinities in political live events. The method of study is based on participant observation and the material is complemented with additional sources. The theoretical and analytical approach is inspired by Willmar Sauter’s model of the theatrical event and Raewyn Connell’s theory of hegemonic masculinity.

    The different chapters identify and discuss a broad range of men and masculinities, from a cowboy-politician and a financial shark to dead political father figures and masked collectives of martyrs. A closer analysis reveals that many of them are contemporary embodiments or complicit supporters of hegemonic masculinity. Underneath the playful surface of some of the events are strong undercurrents of this ideal. The study also shows the growing resistance offered by feminist activists, performers and musicians. Cultural performances prove to be loci where hegemonic masculinity is not only reproduced, but also contested. The concept of the theatrical event helps to identify and spotlight these attempts and shows how Performance Studies can contribute to analysing men and masculinities.

  • 69.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap.
    Playing Activists and Dancing Anarchists: Men and Masculinities in Cultural Performances in Contemporary Sweden2008Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    Playing Activists and Dancing Anarchists is a Ph.D. dissertation that aims to analyse men and masculinities in political demonstrations and similar manifestations by conceptualising and analytically approaching such cultural performances as theatrical events. The case studies include: the large peace demonstration in Stockholm in February 2003 against the invasion of Iraq; a street theatre performance by the comedians Kesselofski and Fiske, who argue against the European Monetary Union; four Social Democratic May Day celebrations with former prime minister Göran Persson as the main speaker; two anti-racist demonstrations, one of which leads to a violent street battle between activists and a riot police squad.

    The dissertation proposes Performance Studies as a relevant means of examining men and masculinities in political live events. The method of study is based on participant observation, which enables a direct experience of the theatrical communication. This material is complemented with additional sources, such as photographs, newspaper articles, magazines, video recordings, TV broadcasts, interviews, flyers and Internet websites. The theoretical and analytical approach is inspired by Willmar Sauter’s model of the theatrical event and Raewyn Connell’s theory of hegemonic masculinity. The theatrical event studies the live meeting between performers and spectators as a playful act of human communication in a concrete space. It also situates any performance in a cultural context that includes gender and gender relations. Connell suggests that, while most men benefit from the structural subordination of women, relations between different men and masculinities are dynamic and characterised by internal hierarchies. The normative and socially privileged position is given to hegemonic masculinity, a combination of cultural ideal and institutional power that is often reinforced by an underlying threat of violence.

    The different chapters identify and discuss a broad range of men and masculinities, from a cowboy-politician and a financial shark to dead political father figures and masked collectives of martyrs. At first sight, these seem to be immensely diverse, unique and individual – but a closer analysis reveals that many of them are contemporary embodiments or complicit supporters of hegemonic masculinity. Underneath the playful surface of some of the events are strong undercurrents of this ideal. At times, these create a small quake during a cultural performance. At others, they erupt forcefully. While violence is a central theme of the study, it also shows the growing resistance offered by feminist activists, performers and musicians. Cultural performances prove to be loci where hegemonic masculinity is not only reproduced, but also contested. The concept of the theatrical event helps to identify and spotlight these attempts and shows how Performance Studies can contribute to analysing men and masculinities in political demonstrations and similar cultural performances.

  • 70.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Centrum för modevetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Tennessee Williams and the Swedish Academy: Why he never won the Nobel Prize2011Inngår i: Tenn at One Hundred: The Reputation of Tennessee Williams / [ed] David Kaplan, East Brunswick, NJ: Hansen , 2011, s. 153-167Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 71.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Tennessee Williams in Sweden and France, 1945-1965: Cultural Translations, Sexual Anxieties and Sexual Fantasies2019Bok (Fagfellevurdert)
    Abstract [en]

    The immediate post-war period marks a pivotal moment in the internationalization of American theatre when Tennessee Williams' plays became some of Broadway's most critically acclaimed and financially lucrative exports. Dirk Gindt offers a detailed study of the production and reception of Williams' work on Swedish and French stages at the height of his popularity between 1945 and 1965. Analysing the national openings of seminal plays, including The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof, Orpheus Descending and Suddenly Last Summer, Gindt provides rich and nuanced insights into Williams' transnational impact. In the process, he charts a network of fascinating and influential directors, actors, designers, producers and critics, all of whom left distinctive marks on mid-twentieth-century European theatre and culture. Gindt further demonstrates how Williams' work foregrounded cultural apprehensions, racial fantasies and sexual anxieties, which resulted in heated debates in the critical and popular media.

  • 72.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    The Queer Future That Dared Not Be Imagined: Ageing and “Post-AIDS” Theatre’2018Inngår i: Q2Q: Queer Canadian Theatre and Performance / [ed] Peter Dickinson, CE Gatchalian, Kathleen Oliver, Dalbir Singh, Toronto: Playwrights Canada Press , 2018Kapittel i bok, del av antologi (Fagfellevurdert)
  • 73.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Torn between the “Swedish Sin” and “homosexual freemasonry”: Tennessee Williams, sexual morals and the closet in 1950’s Sweden2017Inngår i: Twentieth-century literary criticism, Volume 334: Excerpts from Criticism of the Works of Novelists, Poets, Playwrights, Short Story Writers, & Other Creative Writers Who Died Between 1900 & 1999 / [ed] Lawrence J. Trudeau, Farmington Hills, Michigan: Gale Group, 2017, s. 287-299Kapittel i bok, del av antologi (Fagfellevurdert)
  • 74.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Williams and Bergman, Lust and Death: Culturally Translating A Streetcar Named Desire in Post-War Sweden2013Inngår i: Tennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges / [ed] John S. Bak, Amsterdam & New York: Rodopi, 2013, s. 135-168Kapittel i bok, del av antologi (Fagfellevurdert)
  • 75.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    ‘Your asshole is hanging outside of your body?': excess, AIDS, and shame in the theatre of Sky Gilbert2014Inngår i: The uses of excess in visual and material culture, 1600-2010 / [ed] Julia Skelly, Burlington: Ashgate, 2014, s. 249-276Kapittel i bok, del av antologi (Fagfellevurdert)
  • 76.
    Granath, Sara
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen.
    Käket & moralen: Teatersällskapet Profeus/Mercurius från studentteater till länsteater1997Doktoravhandling, monografi (Annet vitenskapelig)
  • 77.
    Gullstam, Maria
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Från nationalscen till passionsmusik: Rousseau och teatern i 1700-talets Sverige2017Inngår i: Kritik och beundran: Jean-Jacques Rousseau och Sverige 1750-1850 / [ed] Jennie Nell, Alfred Sjödin, Lund: Ellerströms förlag, 2017Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [sv]

    Under 1700-talets mitt var Jean-Jacques Rousseau och hans idéer kring musik och teater ytterst kontroversiella i såväl Sverige som övriga Europa. Tidigare forskning har påpekat ett flertal exempel på hur Rousseaus tankar om musik och teater mottogs i Sverige. Avsikten med denna artikel är att samla dessa och andra exempel, i syfte att visa hur den dualistiska receptionen av Rousseaus idéer om musik och teater tog sig uttryck och växlade under den andra hälften av 1700-talet i Sverige. Studien ämnar visa på hur Rousseaus kritik av den parisiska teatern delvis var starkt ogillad i svensk offentlig debatt, samtidigt som hans skrifter om musik, estetik och dramatik varligt letade sig in bland den svenska kultureliten, och åtminstone i periferin fanns närvarande när Gustav III:s storslagna projekt att bilda en svensk nationalscen utvecklades. Svenskarnas förståelse för och bruk av Rousseaus idéer kring musik och teater illustreras genom fyra exempel: publicisten Per Jusléns tal om en nationalteater hållet i Utile Dulci 1769; debatten om teaterns inflytande på sederna i Sverige under andra hälften av 1700-talet i samtida tidskrifter och skrivtävlingar anordnade av ett flertal litterära akademier; Johan Wellanders tal om musik (troligen framfört i Utile Dulci någon gång mellan 1766–1776); samt det första svenska musiklexikonet, Svenskt musikaliskt lexikon, efter grekiska, latinska, italienska och franska språken, författat av Carl Envallsson och publicerat 1802.

  • 78.
    Gullstam, Maria
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Pygmalion’s power struggles: Rousseau, Rameau and Galathée2017Inngår i: Rousseau on stage: Playwright, musician, spectator / [ed] Maria Gullstam, Michael O’Dea, Oxford: Voltaire Foundation, 2017Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    Rousseau’s Pygmalion can be seen as the theoretical culmination and the practical result of his lifelong thinking around and experimentation with theatre and music. But why did Rousseau choose the Pygmalion myth to tie all these ideas together? This chapter examines in what ways Rousseau’s Pygmalion can be seen as a direct response to his arch-enemy Jean-Philippe Rameau’s opera-ballet Pigmalion, written in 1748. It discusses why Rousseau would chose to reply so directly to Rameau’s Pigmalion, and how Rousseau’s Pygmalion communicates with Rameau’s opera-ballet, drawing on the two thinkers’ theoretical discussions. 

  • 79.
    Halén, Veronica
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Konsten att regissera barn: Att arbeta med barnskådespelare i professionella teaterproduktioner2016Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    Since there is very little scientific research about directing children and foremost about directingchildren in professional productions, like Stockholm stadsteater, was my purpose with this bacheloressay to find work methods that directors use when they work with child actors in professionalproductions. With this bachelor essay I wanted to give practitioners in the world of theater tools forhow to work with children in professional theater, as well as increase the interest for furtherresearch in this subject.

    To accomplish this purpose I have gathered material from the production of Billy Elliot at MalmöOpera, made observations of the same production at Stockholms stadsteater and interviewed thedirector of the production, Ronny Danielsson and director and children ambassador Suzanne Osten.The study is made from a perspective of the post modern child and also from a so called child perspective on the art of directing and working with children in theater.

    My conclusions from my studies are that when working as a director with child actors you need tothink about motivation and stimulating the children in their development, and support them in theirwork with analyzing the play, as well as give them tools to help them find their emotionalconnection. If the children loose their interest in acting the director need to be there to give thechildren new challenges. It is important to give positive feedback and use a language that thechildren understand and use body language and image work to clarify the directions as well asletting the children have some time for rest and play.

    This is only one example of how directors work with child actors in professional productions. Frommy interviews, observations and the previous research that I have studied, have I discovered thatdirectors sometimes are in agreement and sometimes not. To further answer my questions moreresearch into the director’s way of working with children would be needed. I therefor hope that Ithrough this essay have contributed with increasing the interest of further research into this subject.

  • 80.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Att tala - att dansa: om metaforens betydelse inom danspedagogik2016Inngår i: Nordic Journal of Dance, ISSN 1891-6708, Vol. 7, nr 1, s. 18-27Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [sv]

    Artikeln fokuserar hur danspedagoger beskriver sitt sätt att använda verbal kommunikation i dansstudion och baseras på intervjuer och observationer av dansundervisning. Som teoretisk bas används idéer om kropp samt teorier om metaforers betydelse för kroppsligt baserad kommunikation. Dessutom argumenteras för att pedagog och dansstudent är engagerade i en förkroppsligad version av kritisk tänkande, inom vilket talet är en av flera centrala delar.

    De fyra pedagoger som intervjuas representerar olika dansgenrer och det visar sig påverka hur språkanvändningen uppfattas. En dominerande tendens är dock att man anser att bruket av metaforer har genomgått en historisk förändring. Från ett tidigare metaforrikt språk med referenser till bl a naturfenomen används nu allt oftare ett mer konkret, funktionsinriktat språk. Det kan vara påverkat av de olika danstekniker som tränas men också av dagens estetiska, koreografiska trender.

  • 81.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Dance and Politics edited by Alexandra Kolb2013Inngår i: Dance Research Journal, ISSN 0149-7677, E-ISSN 1940-509X, Vol. 45, nr 3, s. 160-163Artikkel, omtale (Annet vitenskapelig)
  • 82.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Dancing Naturally: Nature, Neo-classicism and Modernity in Early Twentieth-Century Dance. Edited by Alexandra Carter and Rachel Fensham2014Inngår i: Theatre research international, ISSN 0307-8833, E-ISSN 1474-0672, Vol. 39, nr 01, s. 57-58Artikkel, omtale (Annet vitenskapelig)
  • 83.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Dans och historiografiska reflektioner2009Bok (Annet vitenskapelig)
  • 84.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Dansens "språklighet" systematiserad: modeller för analys2017Inngår i: Språket och dansen / [ed] Birgitta Sandström, Stockholm: Carlsson Bokförlag, 2017, s. 195-211Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 85.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Embodied Curriculum Theory and Research in Arts Education: A Dance Scholar's Search for Meaning. Author: Susan W. Stinson. Springer, 2016.2016Inngår i: Nordic Journal of Dance, ISSN 1891-6708, Vol. 7, nr 1, s. 62-64Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 86.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Embodied Spectatorship? Interpreting dance reviews around 19002017Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, nr 1, s. 8-24Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The article intertwines historiographical analyses with research methods focusing on embodied responses to performances. It argues that dance reviews can be interpreted from a sensorial viewpoint, analyzing ways in which language articulates so-called kinaesthetic, or affective responses. The argument is based on theories of agency and embodiment (Noland). Swedish reviews from performances by Isadora Duncan (Stockholm, 1906), Artemis Colonna (Stockholm, 1903), and Loïe Fuller (Gothenburg, 1907) are investigated, and it is concluded that these kinaesthetic sensations are visible mainly in the language of female writers and spectators. Moreover, in arguing that an embodied spectatorship is important in order to understand the view of the period as a turning point in dance aesthetics, an emphasis is put on the importance of including the practice of dancing by both professionals and amateurs in this historical narrative. Besides embracing the emergence of the professional dance avant-garde, the interpretation focuses on the importance of a corporeal education of the audience. In particular, female audience members seem to, via a dance performance, identify with forms of sensory experience in tandem with visually evaluated objects of art. It is argued that the change in the female viewers’ perceptions had a potential political effect in that it gave voice to both corporeal sensations and women’s experiences in ways new to the public arena. Thus, it is in these experiences the important turning point in dance history emerges, rather than merely in the performances themselves.

  • 87.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Från balettkår till danspionjär: dansaryrkets förändringar kring sekelskiftet2019Inngår i: I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 1900 / [ed] Rikard Hoogland, Göteborg: Göteborgs universitet, 2019, s. 91-114Kapittel i bok, del av antologi (Fagfellevurdert)
  • 88.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Spaces of Encounter: Dancing Democracy in the Nordic Region2013Inngår i: Dance Spaces: Practices of Movement / [ed] Susanne Ravn & Leena Rouhiainen, Odense: Odense Universitetsforlag, 2013Kapittel i bok, del av antologi (Fagfellevurdert)
  • 89.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    The Field of Dance Didactics: The Use of Analytical Terminology in the Studio2014Inngår i: (Re)Searching the Field: Festschrift in Honour of Egil Bakka / [ed] Anne Margrete Fiskvik, Marit Stranden, Bergen: Fagbokforlaget, 2014, s. 243-253Kapittel i bok, del av antologi (Fagfellevurdert)
  • 90.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    The Power of Classification2009Inngår i: Worlding Dance / [ed] Susan Foster, Houndmills, Basingstoke: Palgrave Macmillan , 2009, s. 14-31Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 91.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Åkesson, Birgit Anna Ida (1908-2001)2016Inngår i: Routledge Encyclopedia of Modernism, Routledge, 2016Kapittel i bok, del av antologi (Fagfellevurdert)
  • 92.
    Hammergren, Lena
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Foster, Susan L.
    Dancing the Political2016Inngår i: Choreography and Corporeality: Relay in Motion / [ed] Thomas F. DeFrantz, Philipa Rothfield, Palgrave Macmillan, 2016, s. 291-305Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    In this collaborative essay, we propose to examine what the adjective ‘political’ can mean and fail to mean when it is used to describe dance. We intend to analyse how different geographical and cultural regions have implemented the term, such as the very strong emphasis and nuanced discussions about identity politics in the USA versus a more ‘a-political’ idea in Europe, leading to notions about politics as immanent in the practice of dancing. Using diverse examples including the work of Faye Driscoll , Frédéric Gies , and Deborah Hay ’s Solo Performance Commissioning Project, we hope to create a dialogue about performance from different viewpoints, a kind of process geography of the political in dance. Such a dialogue reflects on the conversations we have had in our Working Group over the years as scholars and the very different methodological and theoretical orientations we have shared with one another.

  • 93.
    Heed, Sven
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    The Imaginary Illness in Dramaten: Moliere's comedy between farce and tragedy2008Inngår i: Degrés, ISSN 0770-8378, nr 134-35, s. i1-I15Artikkel i tidsskrift (Fagfellevurdert)
  • 94.
    Heed, Sven
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    The Oresteia. Transmission and actuality of the myth2017Inngår i: Degrés, ISSN 0376-8163, E-ISSN 1664-5464, nr 169Artikkel i tidsskrift (Fagfellevurdert)
  • 95.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Beyond the Snowslide.: Ibsen and Postdramatic Theatre2009Inngår i: Ibsen in the Theatre / [ed] Sven Åke Heed & Roland Lysell, Stockholm: STUTS , 2009, s. 27-31Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 96.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Efter maskeraden2007Inngår i: Ny svensk teaterhistoria 1: Teater före 1800, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 97.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Folkligt och profant2007Inngår i: Ny svensk teaterhistoria 1: Teater före 1800, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 98.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Impulser utifrån2007Inngår i: Teater i Sverige 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 99.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Ny svensk teaterhistoria 1: Teater före 18002007Collection/Antologi (Annet vitenskapelig)
  • 100.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Operett och musikal2007Inngår i: Teater i Sverige 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
1234567 51 - 100 of 540
RefereraExporteraLink til resultatlisten
Permanent link
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annet format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annet språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf