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  • 1.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Att växa sidledes: Tematik, barnsyn och konstnärlig gestaltning i Suzanne Ostens scenkonst för unga2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this thesis is to highlight and discuss the artistic force, potential and significance of performing arts for children and young audiences through the example of the work by Suzanne Osten. The focus of this research is on themes, notions of the child and artistic expressions and strategies. The dissertation discusses both the aesthetic and the political aspects of Osten’s theatre for young audiences and takes an interdisciplinary approach, combining theatre and performance studies and childhood studies. A fundamental assumption is that childhood is not a fixed or stable phase that manifests itself in one particular way for all children during all times. Another assumption is that theatre is more than what is visually apparent on stage. What is staged does not take place inside a vacuum, but is closely connected to the surrounding society and culture. To study theatre for young audiences as a cultural expression is therefore, to a great extent, also about analysing notions of the child.

    Five performances have been selected, all for young audiences: Paddakvariet (The Toad Aquarium, 1988, for ages 10 and over), Delfinen (The Dolphin, 1992, for ages 3 and over), Irinias nya liv (Irina’s New Life, 1996, for ages 9 and over), Flickan, mamman och soporna (The Girl, the Mother and the rubbish, 1998, for ages 7 and over), and Lammungarnas fest (The Baa-lambs Holiday, 2014, for ages 13 and over). A model for performance analysis has been constructed, based on hermeneutics and semiotics, complemented by three key theoretical concepts. Firstly focalization, as used by theatre scholar Maaike Bleeker, in order to understand the interaction between the spectator and the visions produced by the apparatus of performance. The reasoning of theatre scholar Gay McAuley about space in performance is used to examine how space is utilized and retained in the performances, while the notion of utopian performative by theatre scholar Jill Dolan provides tools to discuss how moments of ‘feeling utopia’ are a significant part of the selected works which raises questions of the transformative and affective power of theatre. In order to contextualize and historicise the analyses, the response of the performances is also taken into account drawing mainly on theatre reviews.

    As a whole the analyses show Osten’s theatre for young audiences as an ongoing research project problematizing the situation and position of children in society, as well as the view of art for children. Ostens performances for young audiences exhibit and make possible notions of a child outside of the norm in late 20th and early 21st century childhood discourses both within research and society as a whole. Osten’s theatre and artistry are identified as growing sideways, developing in unexpected directions while disrupting ideas about childhood and adulthood, and also what can be viewed as theatre for children and theatre for adults. The dissertation states that Osten’s theatre for young audiences can be seen as pioneering, not only in the field of children’s theatre, but also for the development and renewal of Swedish theatre in general.

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    Att växa sidledes: Tematik, barnsyn och konstnärlig gestaltning i Suzanne Ostens scenkonst för unga
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  • 2.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Barns rätt till konst och kultur: en rätt med undantag?2020In: En sten i magen: Rättigheter för barn utan undantag / [ed] Rebecca Brinch; Rebecca Örtman; Margareta Aspán; Karin Helander; Pernilla Leviner; Malena Janzon, Stockholm: Styx förlag , 2020, p. 45-61Chapter in book (Other academic)
  • 3.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Historiska narrativ och samtidens Sverige i teater för ung publik: Ögonvittnen som trauma-drama2023In: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, Vol. 53, no 1, p. 25-42Article in journal (Refereed)
    Abstract [en]

    Historical Narratives and Contemporary Sweden in Theatre for Young Audiences. Eyewitnesses as Trauma-Drama. Children’s theatre in Sweden has a tradition of working with various political, social and existential issues. The purpose of the article is to explore the potential of children’s theater to stage an inclusive Sweden, with an empirical starting point in the theatre production Eyewitnesses. In Eyewitnesses, Young Malmö City Theatre wanted to bring to life testimonies from the Holocaust, in a city that is known for having extended problems with contemporary anti-Semitism. Eyewitnesses is based on true life stories and aimed at a young audience aged 13-18. The article examines wether Eyewitnesses has the potential to contribute to increased intercultural understanding and respect for human rights, focusing on the emotions that the performance evokes. In the article, I employ theories about cultural trauma and trauma-drama, and focus on the dramaturgical choices that are made, and the young audience’s reception. The article’s empricial basis consists of performance observations, audience observations, and interviews with the young audience. The article shows that Eyewitnesses not only has the potential to function as a historical narrative, but reflections are also awakened about contemporary social traumas and sufferings. At the same time, a discrepancy in the image of contemporary Sweden is revealed. Some informants highlight Sweden as an equal country characterized by freedom, while others identify issues of racism and segregation. From this perspective, three different images emerge: one where racism is seen as something that primarily happens outside Sweden's borders, one that highlights segregation and that we live in a racist society, and finally a third, which is also the dominant one, where critical reflection on current issues of inequality is sparked from the encounter with the theatre performance. In this way, Eyewitnesses has the potential to function as a trauma-drama, depending on the emotions that the performance evokes.

  • 4.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Inledning: antirasism, dekolonisering och migration i svensk teater2022In: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 14-39Chapter in book (Other academic)
  • 5.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Scenkonst i Sverige för barn och unga: migration, mångfald och representation2022In: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 257-278Chapter in book (Other academic)
  • 6.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Suzanne Osten and Swedish Theatre for Young Audiences2019In: Theatre for Young Audience Journal GEKI, no 21Article in journal (Other academic)
  • 7.
    Brinch, Rebecca
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Teater på arabiska för alla: reflektioner från ett samtal om Arabiska Teatern2022In: Berätta, överleva inte drunkna: Antirasism, dekolonisering och migration i svensk teater. / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 306-315Chapter in book (Other academic)
  • 8.
    Brinch, Rebecca
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "All teater har en samhällsrevolutionerande potential": Ett samtal om Unga Klara med Farnaz Arbabi2022In: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 337-351Chapter in book (Other academic)
  • 9.
    Brinch, Rebecca
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gindt, DirkStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.Rosenberg, TiinaStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Berätta, överleva inte drunkna: Antirasism, dekolonisering och migration i svensk scenkonst2022Collection (editor) (Other academic)
  • 10.
    Brinch, Rebecca
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Lorentzon, Ylva
    Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies.
    Lund, Anna
    Stockholm University, Faculty of Social Sciences, Department of Sociology. Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies.
    Empati och erkännande i teater som gestaltar migration för barn och unga2023In: Konsten att beröra: Känslor i barnkulturen / [ed] Margareta Aspán; Mats Börjesson, Stockholm: Centrum för barnkulturforskning, Stockholms universitet , 2023, p. 133-155Chapter in book (Other academic)
  • 11.
    Brinch, Rebecka
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Martin Hellström, Pippi på scen: Astrid Lindgren och teatern2016In: Barnboken, ISSN 0347-772X, E-ISSN 2000-4389, Vol. 39Article, book review (Other academic)
  • 12.
    Gindt, Dirk
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Brinch, RebeccaStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.Rosenberg, TiinaStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater2022Collection (editor) (Other academic)
    Abstract [sv]

    Antologin "Berätta, överleva, inte drunkna" är den första publikationen på svenska som samlar scenkonstnärer och teatervetare till att reflektera över den pågående flyktingsituationen och den ökande främlingsfientligheten. Boken tar hänsyn till både strukturella och institutionella aspekter som spelar roll i dekoloniseringsprocesser (t.ex. kvotering; chefspositioner; scenkonstnärliga utbildningars upplägg).Antologin kan användas som kurslitteratur för studenter i teatervetenskap och besläktade ämnen, exempelvis barn- och ungdomsvetenskap, kulturstudier, litteraturvetenskap, genusvetenskap, lärarutbildningar och scenkonstnärliga utbildningar. Boken riktar sig även till scenkonstnärer och praktiker, studieförbund samt till en allmän publik som är intresserad av antirasistisk och postkolonial teater. Samtliga bidrag är skrivna på ett pedagogiskt sätt som gör boken tillgänglig för en akademisk och icke-akademisk publik.Boken har en inkluderande agenda som ger utrymme både för den yngre generationen scenkonstnärer och pionjärer som drivit på utvecklingen av de- och postkolonial teater. Perspektiv från institutionsteatrar varvas med erfarenheter från alternativa scenkonstnärliga miljöer. Antologins geografiska spännvidd sträcker sig från Malmö i syd till Sápmi i nord, och ortens teaterkultur får lika stort utrymme som storstädernas scenkonst. Syftet är att spegla den kulturella mångfald som präglar den samtida scenkonsten och bidra till en fördjupad dialog mellan akademin, scenkonsten och allmänheten.

1 - 12 of 12
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  • nn-NO
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