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  • 651.
    Szatek, Elsa
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Troubling aesthetics2022Conference paper (Refereed)
    Abstract [en]

    In this presentation the risks and potentials of staging vulnerability in a community theatre practice with teenage girls will be explored. This presentation will explore vulnerability as a potentially generative matter that enables resistance in line with Judith Butler (Butler, 2016). The empirical material in this presentation comes from a one year ethnographic study following the theatre-groups’ work creating a performance based on girls’ stories and experiences of becoming woman in a particular Swedish town (Szatek, 2021).  Exploring how vulnerability becomes a generative, or restrictive force in the performance work, the tensions produced in the process are discussed with the aim to highlight the multitude of ethical dilemmas that arise when staging the everyday through participatory methods. One such dilemma is how aesthetic spaces emerge when interwoven with spaces of vulnerability. By drawing on post-constructionist (Lykke, 2010) and spatial theories (Massey, 2005) this presentations also intend to discuss is the embeddedness of the drama practice as it merges with, and challenges, the local context and the participants’ everyday life. 

  • 652.
    Szatek, Elsa
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Troubling aesthetics: mapping vulnerability as a generative force in community theatre2022In: Research in Drama Education, ISSN 1356-9783, E-ISSN 1470-112X, Vol. 27, no 1, p. 40-56Article in journal (Refereed)
    Abstract [en]

    This article explores the risks and potentials of staging vulnerabilityin community theatre with teenage girls. By drawing on postconstructionist and spatial theories, the article elaborates on how aesthetic spaces emerge when interwoven with spaces of vulnerability. Exploring how vulnerability becomes a generative, or restrictive force, the article debates tensions produced in the process in terms of potentia and potestas. It examines the embeddedness of the drama practice as it both challenges and merges with the local context and the participants’ everyday. The article argues that this embeddedness is a prerequisite to turn vulnerability into potentia.

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  • 653.
    Szatek, Elsa
    et al.
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Gunnarsson, Karin
    Stockholm University, Faculty of Social Sciences, Department of Education.
    Spaces for ambiguities: playing with hair in community theatre for teenage girls2023In: Research in Drama Education, ISSN 1356-9783, E-ISSN 1470-112X, Vol. 28, no 4, p. 678-693Article in journal (Refereed)
    Abstract [en]

    This article concerns how the normative matter of body hair is playfully encountered within a theatre practice for teenage girls. By working with Deleuzian-inspired theories, playfulness is understood as embodied doings, interwoven with the local context. The article explores how playfulness is enacted in relation to the everyday, in particular body hair removal. The analysis shows how playfulness is an ambiguous feature enacted together with bodies, affects and materialities. Moreover, playfulness became both a restricting and a transformative force reproducing the already known while also opening up a critical approach of playing with the violent aspects of hair removal. 

  • 654.
    Tessing Schneider, Magnus
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Bent Holm: Djævelens billede. Maskens magt – fra karneval til Dario Fo2018In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 30, no 2, p. 133-135Article, book review (Other academic)
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  • 655.
    Tessing Schneider, Magnus
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Tatlow, Ruth
    Mozart's La clemenza di Tito: a reappraisal2018Collection (editor) (Refereed)
  • 656.
    Trolle, Constance af
    Stockholm University, Faculty of Humanities.
    Teaterkonst signerad Per Verner-Carlsson1995Doctoral thesis, monograph (Other academic)
    Abstract [sv]

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

  • 657.
    Umerkajeff, Marie
    Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies.
    Neva Boyd, en lekteoretiker för dramapedagogik: En historisk fallstudie2014Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    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.

     

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  • 658.
    Vogel, Anette
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "lif och eld": Carolina Müller, som fenomen på Kungliga teatern2022Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    ”vivid and fiery”
 

    Carolina Müller as phenomenon at the Royal Theatre

    Carolina Müller is identical with the Royal Theatre and she was the first professional female opera singer in Sweden. The audience’s perception of her stage personality and her agency in her portrayal of the title role in C. W. Gluck’s opera Alceste at the Stockholm opera in 1781 will throw light on her quality; her singing and acting style according to the affect she created on stage linked to the age of sensibility. Carolina Müller’s agency constitutes a gap in Swedish theatre history which will be examined in order to reach a better understanding of the structures behind her position. Willmar Sauter’s concept of the theatrical event, but with a feministic perspective on the role of the actress, is used to analyze her performativity, which I characterize as both passionate and sentimental. I use historical descriptive sources to understand her stage personality, and I will look into her performance of Alceste from the perspective of late eighteenth century acting. Secondly, I look into the prescriptive sources linked to Alceste, to examine how her stage personality affected the production, she had a great impact on the creation of the opera characters written for her after her Alceste. Finally, I highlight how the European exchange allowed her to emerge as a phenomenon. Telling her story is a contribution to the history of the prima donnas of the north, and thereby to the field of feminist historiography. 

    Carolina Müller, Gluck, Alceste, actress, Royal Theatre, phenomenon, stage personality, agency, theatrical event, performativity, sensibility, gaze 

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  • 659.
    von Schantz, Ulrika
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Drama på afveje?: Om dramafagets omflakken og tillbagevenden2018In: Æstetik og pædagogik / [ed] Martin Blok Johansen, Köpenhamn: Akademisk Forlag, 2018, p. 165-191Chapter in book (Refereed)
  • 660.
    von Schantz, Ulrika
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Dramapedagog på drift2011In: Drama: ledarskap som spelar roll / [ed] Österlind, Eva, Lund: Studentlitteratur AB, 2011, 1, p. 185-207Chapter in book (Other academic)
  • 661.
    von Schantz, Ulrika
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Ett rotsystem på spåret: om scenkost och kön2007In: Tidskrift för genusvetenskap, no 1-2Article in journal (Other academic)
  • 662.
    von Schantz, Ulrika
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    From Circus Princess to Gender Aunt – A Story about Construction of Identities2002In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 15, p. 28-43Article in journal (Refereed)
    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.

  • 663.
    von Schantz, Ulrika
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Myt, makt och möte: Om ett genuskulturellt rotsystem betraktat genom en skådespelarutbildning2007Doctoral thesis, monograph (Other academic)
    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”.

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  • 664.
    von Schantz, Ulrika
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Vandrare mellan scener2014In: DRAMA: Nordisk dramapedagogisk tidsskrift, ISSN 0332-5296, no 2, p. 16-23Article in journal (Other (popular science, discussion, etc.))
  • 665.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Agenten der Öffentlichkeit: Einführende Bemerkungen zu Theater und Medien im frühen 19. Jahrhundert2014In: Agenten der Öffentlichkeit: Theater und Medien im frühen 19. Jahrhundert / [ed] Meike Wagner, Bielefeld: Aisthesis Verlag, 2014, p. 7-25Chapter in book (Other academic)
  • 666.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Agenten der Öffentlichkeit: Theater und Medien im frühen 19. Jahrhundert2014Collection (editor) (Other academic)
    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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  • 667.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Das Spiel der Liebhaber: Ästhetische Bildung im bürgerlichen Amateur-Schauspiel2020In: Forum modernes Theater, ISSN 0930-5874, E-ISSN 2196-3517, Vol. 31, no 1-2, p. 7-25Article in journal (Refereed)
  • 668.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Der Auftritt des politischen Subjekts: Robert Prutz und die Theater-Öffentlichkeit im Vormärz2012In: Theater und Subjektkonstitution: Theatrale Praktiken zwischen Affirmation und Subversion / [ed] Friedemann Kreuder, Michael Bachmann, Julia Pfahl, Dorothea Volz, Bielefeld: Transcript Verlag, 2012, p. 561-574Chapter in book (Other academic)
  • 669.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Die vorgestellte Nation: Kronprinz Ludwig und Teutschlands Errettung2017In: Theater-Wissen quer denken: Facetten szenischer Künste aus drei Jahrzehnten / [ed] Nic Leonhardt, Berlin: Neofelis , 2017, p. 261-276Chapter in book (Refereed)
  • 670.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Expanding the Canon, Creating Alternative Knowledge, Marketing the Field?: Performance Practices in Theatre Studies2016In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 28, no 1, p. 4-14Article in journal (Refereed)
    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.

  • 671.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Kiss me, I'm German2018In: Theater der Zeit, ISSN 0040-5418, Vol. 15, no 4, p. 6-8Article in journal (Other academic)
  • 672.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Körper-Störung : Mediale Thesen zum Puppentheater2016In: Theater der Dinge: Puppen-, Figuren- und Objekttheater / [ed] Jörg Lehmann, Markus Joss, Berlin: Theater der Zeit , 2016, p. 201-205Chapter in book (Other academic)
  • 673.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Medialer Agon und Kunsturteil: Die Theaterpolemik des Moritz Saphir2019In: Geschmack und Öffentlichkeit / [ed] Matthias Grottkopp, Hermann Kappelhoff, Benjamin Wihstutz, Zurich: Diaphanes Verlag, 2019, p. 121-138Chapter in book (Refereed)
  • 674.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Out of Time, into Time: Spatio-temporal Dramaturgies in Zacharias Werner's Der vierundzwanzigste Februar2018In: European Romantic Review, ISSN 1050-9585, E-ISSN 1740-4657, Vol. 29, no 1, p. 13-23Article in journal (Refereed)
    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.

  • 675.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Professionelle Amateure? Einige einleitende Gedanken zum Thema2016In: Double. Das Magazin für Puppen-, Figuren- und Objekttheater, ISSN 0040-5418, Vol. 11, no 34, p. 6-8Article in journal (Other (popular science, discussion, etc.))
  • 676.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Soll-Bruchstellen im Menschen-Bild: Aristoteles nach Craig2016In: Psyche - Technik - Darstellung: Beiträge zur Schauspieltheorie als Wissensgeschichte / [ed] Wolf-Dieter Ernst, Anja Klöck, Meike Wagner, Munich: Epodium , 2016, p. 167-186Chapter in book (Refereed)
  • 677.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Theater - Kritik - Agon: Die erweiterte Denkungsart der medialen Öffentlichkeit2018In: Theater als Kritik: Theorie, Geschichte und Praktiken der Ent-Unterwerfung / [ed] Olivia Ebert, Eva Holling, Nikolaus Müller-Schöll, Philipp Schulte, Bernhard Siebert and Gerald Siegmund, Bielefeld: Transcript Verlag, 2018, p. 365-374Chapter in book (Refereed)
  • 678.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Theater-Objekte/Objekt-Theater: Was Dinge auf der Bühne tun und lassen2015In: Schultheater, ISSN 1869-9758, no 21, p. 36-38Article in journal (Other (popular science, discussion, etc.))
  • 679.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Zeitungskrieg und Theaterskandal: Konkurrierende Öffentlichkeiten im Berlin der 1820er Jahre2014In: Agenten der Öffentlichkeit: Theater und Medien im frühen 19. Jahrhundert / [ed] Meike Wagner, Bielefeld: Aisthesis Verlag, 2014, p. 217-241Chapter in book (Other academic)
  • 680.
    Wagner, Meike
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Zwischen Hof und Stadt: Die Etablierung bürgerlicher Sekundär-Theater in Berlin und München2016In: Bühne und Bürgertum: Das Hamburger Stadttheater (1770-1850) / [ed] Bernhard Jahn, Claudia Maurer Zenck, Frankfurt: Peter Lang Publishing Group, 2016, p. 81-106Chapter in book (Refereed)
  • 681.
    Wagner, Meike
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Erbelding, Mascha
    Stumpp, Thomas
    Eigentlich arbeiten wir an der kulturellen Entropie2018In: Theater der Zeit, ISSN 0040-5418, Vol. 15, no 4, p. 18-21Article in journal (Other academic)
  • 682.
    Wagner, Meike
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Ernst, Wolf-Dieter
    Erneuerbare Energien: Energetische Prozesse in der Probenarbeit2015In: Double. Magazin für Puppen-, Figuren- und Objekttheater, ISSN 0040-5418, Vol. 32, no 2, p. 18-20Article in journal (Other (popular science, discussion, etc.))
  • 683.
    Wagner, Meike
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Klöck, Anja
    Niethammer, Nora
    Ernst, Wolf-Dieter
    Schmidt, Yvonne
    Bolte-Picker, Petra
    Kunst – Nicht-Kunst – Andere Kunst: Verhandlungen des Theaters zwischen professionellem und dilettantischem Dispositiv2016In: Episteme des Theaters: Aktuelle Kontexte von Wissenschaft, Kunst und Öffentlichkeit / [ed] Milena Cairo, Moritz Hannemann, Ulrike Haß, Judith Schäfer, Bielfeld: Transcript Verlag, 2016, p. 551-574Chapter in book (Refereed)
  • 684.
    Walecka-Garbalinska, Maria
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages.
    Gustave Vasa et Christine, deux héros suédois dans le théâtre français de la première moitié du XIXe siècle2012In: 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, p. 39-54Chapter in book (Refereed)
    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.

  • 685.
    Welton, Emma
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Welcome to The Jungle: Performing Borders and Belonging in Contemporary British Migration Theatre2020In: Theatre research international, ISSN 0307-8833, E-ISSN 1474-0672, Vol. 45, no 3, p. 230-244Article in journal (Refereed)
    Abstract [en]

    This article explores the political and ethical implications of performance representing the ongoing realities of migration in contemporary Britain. Using Good Chance Theatre's The Jungle (2018) as its point of departure, the article problematizes the use of dramaturgies of proximity to confect simplistic notions of empathy as tantamount to political change. In a Brechtian vein, the article argues for modes of distanciation to foster critical engagement among audiences at the site of contemporary performance on migration. Focusing upon the production's West End transfer, its use of immersive strategies and its use of a comedic model to address ongoing issues in migration, this article finds that such strategies are not as politically transgressive as marketing and critical reception often contend them to be, with the onus of responsibility placed solely upon the individual spectator.

  • 686.
    Westerling, Kalle
    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.
    Drugornas underbara värld2009In: Kroppsspråk och Tankesprång: Vetenskap i rörelse / [ed] Anne Lundqvist, Ingrid Redbark-Wallander, Mikael Strömberg, Kalle Westerling, Stockholm: STUTS , 2009, 1, p. 68-93Chapter in book (Other (popular science, discussion, etc.))
    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.

  • 687.
    Wulff, Bo
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    Perukmakarna på Kungliga teatern 1773-1923: konstnärlig och social status1991Doctoral thesis, monograph (Other academic)
    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.

  • 688.
    Wulff, Helena
    Stockholm University, Faculty of Social Sciences, Department of Social Anthropology.
    Dancing at the Crossroads: Memory and Mobility in Ireland2009Book (Refereed)
    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.

  • 689.
    Wulff, Helena
    Stockholm University, Faculty of Social Sciences, Department of Social Anthropology.
    Dancing at the Crossroads: Memory and Mobility in Ireland2007Book (Refereed)
    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.

  • 690.
    Wulff, Helena
    Stockholm University, Faculty of Social Sciences, Department of Social Anthropology.
    Perspectives towards Ballet Performance: Exploring, Repairing and Maintaining Frames1998In: Ritual, Performance, Media, Routledge, London , 1998, p. 104-120Chapter in book (Refereed)
  • 691.
    Wäisänen, Linnéa
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Barndomsrevolution på Unga Klara: En föreställningsanalys av För att jag säger det utifrån ett genusperspektiv2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    CHILDHOOD REVOLUTION AT UNGA KLARA

    - A performance analysis of ’För att jag säger det’ from a gender perspective

    LINNÉA WÄISÄNEN

    Abstract

    The Swedish professional theatre for children and young audiences is in a constant change, development and renewal due to adulthoods shifting view and understanding of the child and childhood through the ages. The shifting discourse of childhood can be seen both in the various theatre performances for children and young audiences throughout the 20th century, but also in the constant shifting discussions and debates about what sort of performances are appropriate for children.

    The base of this thesis is a performance analysis of a recorded version of Unga Klara’s För att jag säger det from a gender perspective, with a focus on the stage setting and the mise-en-scène, along with the actors’ performative actions. The purpose is to examine if and how these theatrical signs counteracts or correlates with gender and hetero norms, but also investigate if the complex relationship between childhood and adulthood can be seen in the performance. To do this, I use a combination of hermeneutics, theatre semiotics and phenomenology as my main methodological starting point. Theories about gender performativity and discourse analysis in childhood studies serve as perspectives to the analysis and interpretation of the performance.

    The analysis starts with a brief introduction to the performance along with a discussion about the dramaturgical structure and the course of events and situations taking place in För att jag säger det. The analysis continues with a discussion about the theatrical space, in particular the stage space in relation to the starting point of the performance, along with the theatrical communication between the actors and the audience. Then, I discuss the theatrical signs that first caught my attention; the actors’ performative bodies and the music and stage sounds, where I analyse my comprehension of the actors’ performative bodies from a gender perspective. The analysis then continues to a more argument based interpretation of the interactions between the actors and the audience, and follows by a discussion of the actors impersonation of childhood and adulthood. In the last part of the analysis I identify and discuss my understanding of various themes and messages in För att jag säger det.

    The result of the study implies that a few sequences of the staging along with the actors’ performative bodies in För att jag säger det correlates to gender and hetero norms, but mostly the performance discourages normativity in general. The complex relationship between childhood and adulthood are however well established in the performance’s staging, and can be found in how the actors portraits childhood versus adulthood. It is also visible in the interactive communicational parts between the stage and the auditorium, which only occurs under the terms and conditions of the actors.

    Keywords: Unga Klara, gender, performativity, performance analysis, childhood revolution, theatre for children and young audiences

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    fulltext
  • 692.
    Wäisänen, Linnéa
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Barndomsrevolution på Unga Klara: En föreställningsanalys av För att jag säger det utifrån ett genusperspektiv2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The Swedish professional theatre for children and young audiences is in a constant change, development and renewal due to adulthoods shifting view and understanding of the child and childhood through the ages. The shifting discourse of childhood can be seen both in the various theatre performances for children and young audiences throughout the 20th century, but also in the constant shifting discussions and debates about what sort of performances are appropriate for children.

    The base of this thesis is a performance analysis of a recorded version of Unga Klara’s För att jag säger det from a gender perspective, with a focus on the stage setting and the mise-en-scène, along with the actors’ performative actions. The purpose is to examine if and how these theatrical signs counteracts or correlates with gender and hetero norms, but also investigate if the complex relationship between childhood and adulthood can be seen in the performance. To do this, I use a combination of hermeneutics, theatre semiotics and phenomenology as my main methodological starting point. Theories about gender performativity and discourse analysis in childhood studies serve as perspectives to the analysis and interpretation of the performance.

    The analysis starts with a brief introduction to the performance along with a discussion about the dramaturgical structure and the course of events and situations taking place in För att jag säger det. The analysis continues with a discussion about the theatrical space, in particular the stage space in relation to the starting point of the performance, along with the theatrical communication between the actors and the audience. Then, I discuss the theatrical signs that first caught my attention; the actors’ performative bodies and the music and stage sounds, where I analyse my comprehension of the actors’ performative bodies from a gender perspective. The analysis then continues to a more argument based interpretation of the interactions between the actors and the audience, and follows by a discussion of the actors impersonation of childhood and adulthood. In the last part of the analysis I identify and discuss my understanding of various themes and messages in För att jag säger det.

    The result of the study implies that a few sequences of the staging along with the actors’ performative bodies in För att jag säger det correlates to gender and hetero norms, but mostly the performance discourages normativity in general. The complex relationship between childhood and adulthood are however well established in the performance’s staging, and can be found in how the actors portraits childhood versus adulthood. It is also visible in the interactive communicational parts between the stage and the auditorium, which only occurs under the terms and conditions of the actors.

    Download full text (pdf)
    Barndomsrevolution på Unga Klara
  • 693.
    Wäisänen, Linnéa
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Investigating Dramaturgy: Observing the Rehearsal Process of Mellanförskapet at Unga Dramaten2022Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I have for as long as I can remember been interested and fascinated by theatre performances and their ability to create meaning, significance and understanding towards their audience. This has later on turned into a growing interest and curiosity for the rehearsal process, as it is within the rehearsals the meaning-making aspects of a performance are both created and produced. Moreover has this curiosity generated to be a somewhat basis for this research. 

    Through a lens of dramaturgy is this study seeking to investigate how meaning, significance and narrative are created and established within a rehearsal process, namely the rehearsal process of Mellanförskapet at Unga Dramaten. Explore the in-between-ness of the rehearsal process in relation to the upcoming theatrical event and moreover focus on the dramaturgical strategies within the rehearsal. By engaging with autoethnographic methods for observing the rehearsals, is the aim of this study to investigate how meaning making practices within the theatre can be understood in the eye of an observer. Semi-structured interviews with the creative team have further on contributed to additional knowledge and valuable information about the rehearsal process in general. Moreover serves the concept of making meaning as a basis for the theoretical framework, discussed in relation to meaning making practices within the theatre, namely dramaturgy and performative actions. Since Mellanförskapet aims toward teenagers as its primary audience, are aspects of theatre for a younger audience [TYA] discussed in relation to dramaturgical strategies within the rehearsal process. Moreover are themes and topics raised within Mellanförskapet such as intercultural identity, racism and bullying discussed in regards to TYA as well as dramaturgical strategies within the rehearsal process. 

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    Investigating Dramaturgy
  • 694.
    Ystad, Vigdis
    et al.
    Oslo universitet.
    Brynhildsvoll, KnutOslo universitet.Lysell, RolandStockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    "Bunden af en takskyld uden lige": om svenskspråklig Ibsenformidling 1857-19062005Collection (editor) (Other (popular science, discussion, etc.))
  • 695.
    Zaccarini, John-Paul
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Fragments of a Circoanalysis2010In: Den inre scenen: Teater & psykoanalys / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, p. 105-121Chapter in book (Other academic)
  • 696.
    Österlind, Eva
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Drama into the curriculum: Sisyphus’ work2015In: NJ (Drama Australia journal), ISSN 1445-2294, Vol. 39, no 1, p. 3-18Article in journal (Refereed)
    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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