g (b. Stockholm, 20 February 1832; d. Stockholm, 29 January 1899). Swedishtheatre director. His training as a bookseller in Stockholm involved internships in Parisand Dresden, during which he regularly attended theatre performances. He began actingat Mindre Teatern in Stockholm in 1858. He took theatre trips regularly to Paris as well asGermany and Austria to learn about the new dramas and operas, and trends in the buddingdirector-led theatres of Europe. He was engaged to act at the Royal Theatre, studying thework of August Bournonville, whom he succeeded as stage manager in 1864. Josephsonprepared the rehearsals, planning the blocking, and enforcing a more moderate realismon stage. His most remarkable production at the Stockholm Opera was Meyerbeer’s operaL’Africaine (1867) with spectacular stage machinery effects. In 1873, he was appointed ADof Nationaltheatret in Kristiania (Oslo). In collaboration with Ibsen, he edited the playscriptand staged the first production of Peer Gynt in 1876. Back in Stockholm in 1879, he took overthe leadership of Nya Teatern and successfully competed for audiences with Dramaten.When Dramaten turned down his play Master Olof, Strindberg proposed that Josephsondirect it at Nya Teatern, where it was a major success. Josephson left Nya Teatern in 1887,when the organisation was beset by financial difficulties. In addition to his theatre practice,he published books and articles in which he heavily criticised the Swedish theatre.

(b. Stockholm, 5 March 1890; d. Stockholm, 7 February 1944). Swedish theatredirector who introduced modernist directing to Sweden and attempted to produce a people’s theatre. Lindberg was born into the theatre. His father, August, had a touring companyand was known for his interpretations of Shakespeare’s plays and for staging the Europeanpremiere of Ibsen’s Ghosts. Per witnessed several of Max Reinhardt’s guest productionsin 1915 and 1917. Contracted as stage director at Lorensbergsteatern in Gothenburg, he studied the directing methods at Reinhardt’s theatres DT, Kammerspiele, and Volksbühne inBerlin in 1918, responding positively to Reinhardt’s work with the actors, but critical of whathe considered to be the overuse of stage effects.