Digitala Vetenskapliga Arkivet

Change search
Refine search result
2345678 201 - 250 of 924
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 201.
    Eriksson, Sara
    et al.
    Kungliga tekniska högskolan.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Trichon, Vincent
    Kungliga tekniska högskolan.
    Unander-Scharin, Carl
    Karlstad universitet.
    Kjellström, Hedvig
    Kungliga tekniska högskolan.
    Höök, Kristina
    Kungliga tekniska högskolan.
    Dancing With Drones: Crafting Novel Artistic Expressions Through Intercorporeality2019Conference paper (Refereed)
    Abstract [en]

    Movement-based interactions are gaining traction, requiring a better understanding of how such expressions are shaped by designers. Through an analysis of an artistic process aimed to deliver a commissioned opera where custom-built drones are performing on stage alongside human performers, we observed the importance of achieving an intercorporeal understanding to shape body-based emotional expressivity. Our analysis reveals how the choreographer moves herself to: (1) imitate and feel the affordances and expressivity of the drones' 'otherness' through her own bodily experience; (2) communicate to the engineer of the team how she wants to alter the drones' behaviors to be more expressive; (3) enact and interactively alter her choreography. Through months of intense development and creative work, such an intercorporeal understanding was achieved by carefully crafting the drones' behaviors, but also by the choreographer adjusting her own somatics and expressions. The choreography arose as a result of the expressivity they enabled together.

  • 202.
    Ertl, Am
    Stockholm University of the Arts, Department of dance.
    The Wild and The Cute2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
  • 203.
    Erävalo, Eliisa
    Stockholm University of the Arts, Department of dance.
    A porous touch2016Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This essay tries to unfold the concepts and concerns in and with the work I´m doing. As a method for identifying concerns to work with, I`ve been mindmapping and writing a working journal. The text I will have in italics in this essay will be texts from that process. This essay is also an unfolding of this same process of identifying concerns and then working with them.

  • 204.
    Erävalo, Eliisa
    Stockholm University of the Arts, Department of dance.
    This is about somebody else.2009Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This is about somebody else.

    What is self exposure on stage? How can I expose in a solo?

    Using methods like improvisation, brainstorming and reading I put myself in a research of what self-exposure could be, and what it would be - for me. I chose to approach these question by working on the opposite of exposure, hiding. I made research in the studio and outside it on how one could expose by hiding. The other theme that became relevant in my work was the constructions of protection that enable hiding. Playing safe was one way to see hiding and taking a risk to be exposing.

    How do I play safe? What is a risk? It is not a true risk to fail in something that doesn't matter to you. In this solo and for me a risk was to make a decision to trust in movement. It was to share my genuine interest and take a risk to fail doing it in a way that gives it relevance. Relevance for me to now share it with you.

    I did a solo I want to share with you. This is my self-exposure.

  • 205.
    Exe Christoffersen, Erik
    et al.
    Department of Aesthetics and Communication, Aarhus University, Denmark.
    Winkelhorn, Kathrine
    Malmö University, Faculty of Culture and Society (KS), School of Arts and Communication (K3).
    Hotel Pro Forma2023In: The Routledge Companion to Contemporary European Theatre and Performance / [ed] Ralf Remshardt; Aneta Mancewicz, Routledge, 2023, p. 573-579Chapter in book (Refereed)
    Abstract [en]

    Through a series of artistic practices between opera, music, performance art, and installation, Danish company Hotel Pro Forma has expanded the boundaries of performing arts. Hotel Pro Forma is an atelier, a laboratory, and a production company that investigates places and perspectives: nomadic, exploratory, always challenging, with a different perspective of the world. This chapter is an introduction to founder Kirsten Dehlholm’s artistic performative practice and further provides a thorough examination of the performance Hvorfor bliver det nat Mor as well as a look at her later performances. In 2015, Dehlholm received an Award of Honor for her artistic achievements from the International Society of Performing Arts ‘as a superior image-maker, an explorer in space and time – across the arts’.

  • 206.
    Fahlgren, Siv
    et al.
    Mid Sweden University, Faculty of Human Sciences, Department of Social Sciences.
    Giritli Nygren, Katarina
    Mid Sweden University, Faculty of Human Sciences, Department of Social Sciences.
    Granberg, Magnus
    Mid Sweden University, Faculty of Human Sciences, Department of Social Sciences.
    Johansson, Anders
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities.
    Söderberg, Eva
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities.
    Having Your Cake and Eating It?: The “Painful Cake” Incident of 2012 Examined2015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 1, p. 55-70Article in journal (Refereed)
    Abstract [en]

    On the 15th of April, 2012, The Modern Museum (Modernamuseet) in Stockholm celebrated the World Art Day by having a reception with the Swedish cultural minister present, at which an artwork in the form of a cake made in the likeness of the body of a caricatured black woman was served, cut up and eaten, while the artist, masked as the cakes head, screamed. This conceptual, relational, and contextualizing artwork, which leads to a much heated debate in Sweden and which was also internationally picked up on, was made by the explicitly anti-racist artist Makode Linde. In this article, we explore the problem of this event in terms of its sociocultural significance. How did we react upon the drama that we were following from a distance? What did it make us see? What questions did the incident raise about the Swedish society of today? These are examples of the questions we as gender researchers working in Sweden will discuss in the form of a triptych. We use the triptych metaphor as a tool for opening dialogue. By opening its panels it becomes possible to decommodify the single image of the artwork and make relations between agents traceable, visible, and readable.

    Download full text (pdf)
    fulltext
  • 207.
    Fahlgren, Siv
    et al.
    Mittuniversitetet, Avdelningen för samhällsvetenskap.
    Giritli Nygren, Katarina
    Mittuniversitetet, Avdelningen för samhällsvetenskap.
    Granberg, Magnus
    Mittuniversitetet, Avdelningen för samhällsvetenskap.
    Johansson, Anders
    Mittuniversitetet, Avdelningen för humaniora.
    Söderberg, Eva
    Mittuniversitetet, Avdelningen för humaniora.
    Having Your Cake and Eating It?: The “Painful Cake” Incident of 2012 Examined2015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 1, p. 55-70Article in journal (Refereed)
    Abstract [en]

    On the 15th of April, 2012, The Modern Museum (Modernamuseet) in Stockholm celebrated the World Art Day by having a reception with the Swedish cultural minister present, at which an artwork in the form of a cake made in the likeness of the body of a caricatured black woman was served, cut up and eaten, while the artist, masked as the cakes head, screamed. This conceptual, relational, and contextualizing artwork, which leads to a much heated debate in Sweden and which was also internationally picked up on, was made by the explicitly anti-racist artist Makode Linde. In this article, we explore the problem of this event in terms of its sociocultural significance. How did we react upon the drama that we were following from a distance? What did it make us see? What questions did the incident raise about the Swedish society of today? These are examples of the questions we as gender researchers working in Sweden will discuss in the form of a triptych. We use the triptych metaphor as a tool for opening dialogue. By opening its panels it becomes possible to decommodify the single image of the artwork and make relations between agents traceable, visible, and readable.

    Download full text (pdf)
    FULLTEXT01
  • 208.
    Fahlin, Marie
    Stockholm University of the Arts, Department of dance.
    Moving through Choreography – Curating Choreography as an Artistic Practice2021Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The purpose of the artistic research, Moving through Choreography – Curating Choreography as an Artistic Practice, has been to consider choreography and curating in their similarities and differences. Thus, at different phases of the working process, choreography and curating were treated as one and the same artistic practice; while, in other moments, as practices that are distinct from each other.

    Curating has been implemented as a ‘taking care’ principle and a relational activity impacting the production, presentation and documentation of choreography. Choreography has undergone a process of self-reincarnations, or rather, of trans-carnations, whereby the entire body of work has been scrutinized and altered. Key figure/body/agent of these trans-carnations has been the horse, or rather, the assemblage of human and horse, women and horses, here called ‘Centauring.’ 

    Curating and choreography have been integrated to a scrutiny of the art of riding, specifically, the choreography of dressage. In dressage, the research has identified the rigor needed by the research to both steer and unleash the working process.

    The research has been pursued by purely artistic means, within a circumscribed field. Different perspectives and the making use of ramifications and loose ends, has proliferated into a plethora of intra-related works, objects and choreographies within which research result and artistic result coincide. The research har proceeded in consecutive phases. Each phase has developed its own specific artistic methodologies.

    The overarching methodology has provided for a clear navigation of undetermined directions and dramaturgies. The concept of ‘One’ has produced and collected both core outcomes and residual manifestations. The exhibitions and the exhibitor have carried, pursued and embodied the works and otherwise choreographies, throughout the research process.

    Download full text (pdf)
    Centauring – The Book
    Download full text (pdf)
    appendix
    Download (pdf)
    Registreringsblad
  • 209.
    Farahmand, Atoosa
    Stockholm University of the Arts, Department of Performing Arts.
    Hur kan man behålla visionen för en scenkonstproduktion i relation till resurserna som produktionen söker/önskar i förhållande till vad produktionen sedan får?: Undersökande frågeställning inom konstnärliga praktiker2024Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    This text is about how to maintain the vision for a performing arts production in relation to the resources the production seeks and wishes to what is actually received.

  • 210.
    Farkas, Gergő D.
    Stockholm University of the Arts, Department of dance.
    organ-ing2024Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Organ-ing is a multidisciplinary choreographic project that operates through a set of obscure organs that expand from spaces into bodies and from bodies into spaces. These organs don’t have vital functions and don’t seem to want to be named either; one could absolutely survive without them. Their byproducts are dances, sounds, objects, and poems: a gathering of lovers in lust for touch.

    Organ-ing is a strategy for a worlding that doesn’t stop at the body's borders. It is realised through an interest in the organ as a form that holds things as well as an ongoing formation. As an organ grows, I learn what it does. The project doesn’t follow linear paths of causality concerning what forms what: these organs shape and are shaped by what they create and hold. While realised and felt inside the human body, they also pour into and out of it. They might be organs of a human but they aren’t human organs.

    These emergent organs propose a sense of fiction to intertwine with the body’s pre-existing narratives, whether medical or holistic, and bring forth an array of fantasies that weave together the felt sense of the body. The organs of organ-ing don’t mean correcting or questioning what is already there. Instead, they twist or expand mostly pre-existent physical capacities to fabricate a body lustfully entangled with itself and its environment, with the ability and deep desire to belong.

    This alternative thesis is a website found on https://organ-ing.gergodfarkas.com/. The website contains hyperlinks, which lead to a series of footnotes. These footnotes can also be read as a coherent text.

    Download full text (pdf)
    organ-ing
  • 211.
    Feldhandler, Samuel
    Stockholm University of the Arts, Dance Department.
    On Temperament, Steps and other Apparatuses of my Choreographic Practice:2018Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Similarly to how I write dance, my approach to writing this essay will be descriptive, in such a way developed by Simon Hecquet and Sabine Prokhoris in their book Fabriques de la Danse1. Description for them is a way to construct gazes or manners of seeing2 and not merely the communication of a preexisting gaze. In such, it is a mode of giving accounts to another as well as to oneself. In this giving of accounts, my aim is to dissect some of the choreographic apparatuses I have been developing throughout the years, analyse what they do and if they are useful in fulfilling what I want my work to do. This essay will consider my entire body of works and will especially focus on the current work ’d he meant vary a shin’s, a dance trio for Eva Honings, Lena Schattenberg and myself.

    Download full text (pdf)
    fulltext
  • 212.
    Felländer-Tsai, Philippa
    Stockholm University of the Arts, Department of dance.
    OUR VISION IS FROM HELL. / 34°10'26.6"N 118°39'50.4"W: a fictional letter to Kanye West2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 5 HE creditsStudent thesis
    Abstract [en]

    This essay is one part of my Bachelor’s degree project, the other part being the dance performance OUR VISIONIS FROM HELL. / 34°10'26.6"N 118°39'50.4"W, which was presented in November 2022 at Stockholm University of the Arts. The work was inspired by certain events around the breakup between musician Kanye West and reality star Kim Kardashian. The text aims to further articulate, explain and discuss the topics of the piece, which were heartbreak, violence and pop culture in the arts, as well as referencing the American writers bell hooks and Susan Sontag and their approach to these issues. The essay also goes into the research, conversations and different thinking processes from and within the work. The text is written as a fictional letter to Kanye West and desires to question and criticize his behavior during the fall of 2022.

    Download full text (pdf)
    OUR VISION IS FROM HELL. / 34°10'26.6"N 118°39'50.4"W: a fictional letter to Kanye West
  • 213.
    Ferm Almqvist, Cecilia
    Södertörn University, Teacher Education, Education.
    Contemporary dance as being and becoming in the age of aging: Existential aspects of (arts) learning among older amateur dancers2022In: European Journal for Research on the Education and Learning of Adults, ISSN 2000-7426, E-ISSN 2000-7426, Vol. 3, no 1, p. 97-112Article in journal (Refereed)
    Abstract [en]

    Taking experiences from a contemporary multi-arts dance project as a starting point, this article explores how such a project can offer opportunities for being and becoming among older amateur dancers. The article takes a phenomenological approach, in which holistic experience and sharing of experiences are central. The phenomenon of the investigation is self-conceptualisation. The artistic process and context constitute an adult educational situation. To come close to the lived experiences of the dancers, the rehearsals and performance were observed and documented. Six of the participants were also interviewed. The material was analysed in a hermeneutical phenomenological manner, and Simone de Beauvoir’s thinking regarding ageing was used as a theoretical lens. The results show how the self-images of the participants change during the course of the project. The dance activities seem to give the older participants opportunities to remain themselves, even as they allow themselves to change. They learn to know themselves, each other, and the world.

    Download full text (pdf)
    fulltext
  • 214.
    Ferm Almqvist, Cecilia
    et al.
    Södertörn University, School of Culture and Education, Education.
    Andersson, Ninnie
    Göteborgs universitet, HSM.
    To Offer Dance as Aesthetic Experience and Communication Among Elderly People: An Art-Based Study2019In: International Journal of Education & the Arts, E-ISSN 1529-8094, Vol. 20, article id 12Article in journal (Refereed)
    Abstract [en]

    As a contribution to the field of community dance, this article explores the teacher role in a setting where elderly people are offered to take part in a dance workshop. The aim of the study is to describe the role of the teacher when offering participation in dance as an artistic form among elderly people. The theoretical starting-point for the study is aesthetic experience and communication, based on a phenomenological philosophy, and the approach is arts-based research. The workshop series was observed and filmed. Written reflections were gathered and six of the participants were interviewed. The research material was analyzed in a phenomenological manner. The result shows that the choreographer influences possibilities for participation regarding: how workshops are designed and the inputs that are given, the atmosphere that is created, how the participants are to use their bodies, and how dance as an artistic form of expression is offered.

  • 215.
    Ferm Almqvist, Cecilia
    et al.
    Södertörn University, School of Culture and Education, Education.
    Andersson, Ninnie
    Stockholm University of Arts, Sweden.
    “We are not that old you know”: Dance as a dwelling place for women over 65 in the northern part of Sweden2023In: Journal of Dance Education, ISSN 1529-0824, E-ISSN 2158-074X, Vol. 23, no 2, p. 134-143Article in journal (Refereed)
    Abstract [en]

    This article communicates a study on dance in people over 65 in Sweden. Earlier studies on dance for elderly people have primarily focused on treatment and wellbeing. The current study centers on the right to make oneself heard in and through contemporary dance as an artistic form of expression, regardless of age, gender or geographical context. The specific aim of the study is to describe and analyze the experiences of women aged over 65 in a rural area, who participated in contemporary dance workshops as a form of arts learning. The workshops, which were observed and documented, constituted part of an EU-financed project, Age on stage. Participants also shared experiences through informal chats and e-mails. The material was analyzed in a narrative manner. The results show that the workshops created a safe space for dance as a dwelling place, where dance was discovered, and at the same time developed, collaboratively. They also highlighted the importance of this type of artistic participation for elderly women in terms of developing an understanding of themselves and coping with life.

  • 216.
    Ferm Almqvist, Cecilia
    et al.
    Södertörn University, Teacher Education, Education.
    Björkman, Lotta
    Södertörn University, Teacher Education, Education.
    Lundberg Bouquelon, Petra
    Södertörn University, Teacher Education, Teacher Education and Aesthetic Learning Processes.
    Den meningsfulla (äldre dansande) kroppen: sammanflätad, gränsöverskridande och hemmahörande2023In: Nordic Journal of Art & Research, ISSN 2535-7328, Vol. 12, no 1, p. 1-25Article in journal (Refereed)
    Abstract [en]

    Having the possibility to experience meaning in artistic settings is a human right. However, several studies show that structures and norms may prevent human beings from participating in artistic and cultural activities. Moreover, it is not given that all forms of participation offer meaningful experiences, something which puts a great responsibility upon organizers of artistic events. The current study is based in a project where elderly people were given the chance to participate in processes of development and performance of collaborative contemporary dance. The specific aim of the study was to describe and analyse the phenomenon of the meaningful body based on a phenomenological approach. To get access to the dancers’ lived experiences, six participants were interviewed. The transcribed interviews were analysed in a phenomenological manner. The analysis resulted in three themes, which together describe the phenomenon of the lived body, namely: the intertwined body, the border-crossing body, and the body feeling at home. The themes are related to phenomenological philosophy regarding aging, awareness, existence, and aesthetic experience, as well as to art education situations and societal norms.

  • 217.
    Fernández Caballero, María Victoria
    Royal College of Music in Stockholm, Department of Classical Music.
    SHADOWS: Piece for clarinet and live electronic. Collaboration with the Spanish composer Manuel Emilio Marí Altozano.2022Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This project is based on collaborations between the clarinettist Maria Victoria Fernández and the composer Manuel Marí. The process of collaborating is described and two new pieces are composed as result. The first of the pieces is called “Cycles” andit is a solo piece for clarinet, while the second piece is called “Shadows” and is a piece for clarinet and live electronics. The concept of perception is explored and new techniques have been addressed to make this new music accessible both to new audiences and performers interested in this field. 

    Download full text (pdf)
    fulltext
    Download (mp4)
    Interview - Cycles
    Download (wav)
    Recording - Cycles
    Download (mp4)
    Interview - Shadows
    Download (zip)
    Recording - Shadows Electronics
    Download (mpeg)
    Shadows - Concert Version
    Download (zip)
    Electronics of Shadows
  • 218.
    Fjellman, Benjamin
    Stockholm University of the Arts, Department of Performing Arts.
    I sökandet efter en ny teater: att arbeta multidisciplinärt, holy theatre och den ständiga processen2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Har den västerländska människan förlorat sitt spirituella väsen? Och på vilket sätt kan teatern vara en plats för att få kontakt med hela vår gestalt?

    För att undersöka denna frågeställning valde jag att arbeta multidisciplinärt och gjorde en dansföreställning för två dansare. Det undersökande arbetet på scenen ledde sedan fram till ett seminarium där detta diskuterades.

  • 219.
    Florén, Thomas
    Dalarna University, School of Culture and Society, Sound and Music Production.
    Hat och hot mot svensk scenkonst2022Report (Other academic)
    Download full text (pdf)
    fulltext
  • 220.
    Flygare Bengtsson, Susanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Övergång2017Independent thesis Advanced level (degree of Master (One Year)), 20 HE creditsStudent thesis
    Abstract [en]

    A one act play consisting in short scenes at a crossing. We meet different people a short moment, while they are waiting for the green light. In a break, more or less welcome, where other transitions and obstacles to cross in life are felt. In dialogue and in silence.

    Theme / Idea: To be put on pause or coming over. Play time about 1 h.

  • 221.
    Foka, Anna
    Umeå University, Faculty of Arts, Humlab.
    Remixing Classics for the Screen: Woody Allen and the Classical Tradition2015In: Studia Oliveriana, ISSN 0562-2964, Vol. 1, p. 55-76Article in journal (Refereed)
    Abstract [en]

    Several films by Woody Allen (Interiors, Oedipus Wrecks, Match Point and Mighty Aphrodite) contain elements of classical tradition that have been neglected or oversimplified by film scholarship as references to the director’s personal engagement with psychoanalysis. Using Mighty Aphrodite (1995) as illustration, I argue that these films convey the expression of contemporary social issues through a complex and multi-layered reception of classical culture that goes beyond pure psychoanalysis. In Mighty Aphrodite, specifically, Allen deploys the strict formalism of tragedy and the myth of Oedipus as film mechanisms for contemporary societal discourse. Via evaluation of film and narrative, I demonstrate that Allen’s classical reception is self-reflexive as it refers back to the very processes of performative arts. Furthermore, Allen utilizes the classical tradition as a form of expression in contemporary classical Hollywood narratives and creates a rich cultural experience for his audience; a cinematic treatise on cultural remix, dramatic formalism and classical reception per se.  

     

  • 222.
    Foka, Anna
    Umeå universitet, Humlab.
    Remixing Classics for the Screen: Woody Allen and the Classical Tradition2015In: Studia Oliveriana, ISSN 0562-2964, Vol. 1, p. 55-76Article in journal (Refereed)
    Abstract [en]

    Several films by Woody Allen (Interiors, Oedipus Wrecks, Match Point and Mighty Aphrodite) contain elements of classical tradition that have been neglected or oversimplified by film scholarship as references to the director’s personal engagement with psychoanalysis. Using Mighty Aphrodite (1995) as illustration, I argue that these films convey the expression of contemporary social issues through a complex and multi-layered reception of classical culture that goes beyond pure psychoanalysis. In Mighty Aphrodite, specifically, Allen deploys the strict formalism of tragedy and the myth of Oedipus as film mechanisms for contemporary societal discourse. Via evaluation of film and narrative, I demonstrate that Allen’s classical reception is self-reflexive as it refers back to the very processes of performative arts. Furthermore, Allen utilizes the classical tradition as a form of expression in contemporary classical Hollywood narratives and creates a rich cultural experience for his audience; a cinematic treatise on cultural remix, dramatic formalism and classical reception per se.  

     

  • 223.
    Fopp, David
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Regi med barn och unga: En studie av hur personregi används i barn- och ungdomsteaterverksamhet2013Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Hur arbetar regissörer och dramapedagoger med barn med ”personregi” - alltså med feedbacken som hjälper till att ett barn hittar ett uttryckssätt som är trovärdigt, ett sätt att spela som är livligt. Hur gör man och varför? Vad är det för en typ av handling, interaktion? Syftet med arbetet är att förstå och tydliggöra en ganska dold och mystisk verksamhet; att inspirera alla intresserade till utvecklat egen verksamhet; att lyfta fram en interaktion där barnen blir hjälpt till och värdesatt i deras spontana tillvaro.

    Arbetets metodik är inspirerad av ”grundad teori” och närmar sig den konkreta sociala interaktionen genom att föra öppen strukturerade samtal med regissörer och dramapedagoger som är verksamma i stora mest kommunala barn/ungdomsteater: Vår Teater/Kulturskolan, Enskedespelet, Sagateatern Lidingö, Ung teater Täby, Skara Skolscen samt Stockholms Stadsteater och Dramaten. Utifrån det material föreslås en systematisering av de olika metoder hur man arbetar som regissör med just personregi. Teoribakgrunden är Daniel Stern och Anders Brobergs utvecklingspsykologi å ena sidan; och de implicita teorierna i internationella skådespeleri/regihandböcker å andra.

    Resultatet visar att det finns en skillnad i regiarbetet när det gäller 7-12-åringar respektive 12-20-åringar. Med de yngre arbetar man utan text. Däremot bygger verksamheten i alla åldrar på stolpmanus som regissören arbetar fram med barnen utifrån improvisationer i en ömsesidig inspirerande process av att hitta-på och ta-upp. I nästa steg är huvuduppgiften för personregissörerna att hjälpa till att försätta barnen i den specifika stämningsfulla situationen som scenen kräver. Som personregins metoder (i alla åldrar) för finarbetet dyker många olika ”verktyg” upp: kognitiva (1) som att prata om ”varför” någon gör något (a), vad någon ”vill” med en handling eller mening (b) eller om hur man ska ”tänka” medan man spelar en mening (c); kroppsliga (2) som att hitta nya rörelsemönster och uttryckssätt (a) eller agera ”som-om” man vore själv rollfiguren (b); samspelsmässiga (3) som att ta upp impulser från den andres blick eller situationen själv. Hur sceneriet exakt ska se ut bestämmer man sent i repetitionsarbetet. Alla är överens om att personregins arbete utgör en unik och värdefull situation där en vuxen hjälper ett barn att hitta sin fantasi och att våga gestalta en annan varelse.

    Download full text (pdf)
    fulltext
  • 224.
    Fornäs, Johan
    Göteborgs universitet.
    Nio år efter Tältprojektet: Rapport från ett seminarium 12-13/1 19861986Report (Other academic)
    Download full text (pdf)
    Nio år efter Tältprojektet
  • 225.
    Fornäs, Johan
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    Tältprojektets utopiska spår2023In: alba.nu, no 9 majArticle in journal (Other (popular science, discussion, etc.))
  • 226. Fornäs, Johan
    et al.
    Lindberg, Ulf
    Hansson, Lars
    Tältprojektet: Vi äro tusenden1977In: Tekla: Teori och klasskamp, ISSN 0348-7253, no 3/4, p. 94-104Article in journal (Other academic)
    Download full text (pdf)
    fulltext
  • 227.
    Forssell, Jonas
    Stockholm University of the Arts, University College of Opera. Konstnärliga fakulteten vid Lunds universitet.
    Textens transfigurationer2015Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis focuses on the opera text enlightened from four different perspectives: the translator, the librettist, the composer and finally the singer, based on the author’s thirty years of professsional practice, in the spirit of Donald A. Schön’s study from 1983: The Reflective Practitioner; How professionals think in action. The method is basically hermeneutic and the esthetics inspired by Umberto Eco’s Opera Aperta (”The Open Work”) from 1962. Questions from within the perspective of the translator are: In what ways does opera translation differ from other forms of translation, and how does an opera translator work? What is the history of “opera in the ver-nacular” compared to “opera in original language” and are singable translations needed whatsoever in the modern era of subtitling? The perspective of the librettist examines the opera form’s SWOT-analysis, the differences from other “storytelling” art forms, the task of making an adaption compared to choosing to create an original plot, the matter of taste and building the form from dramaturgical principles, the shaping of aria texts, the importance of tight collaboration and cutting, cutting, cutting (“a libretto cannot be short enough” Edgar Istel, 1922). The composer’s perspective contains practical and theoretical words of advice and examples from practice, together with a so ”think aloud”-study from within a composer’s thought process while working. The final chapter, from the singer’s perspective, focuses on whether modern vocal ideals and singing “in original language”, with subtitles, together with expanding performance halls, have made opera text harder to perceive, and rendered earlier established texting techniques forgotten or obsolete. The answers to all these questions are complex. This thesis concludes that the opera form is still expanding, but not necessarily in the direction of creating a new, contemporary canon. “There are about 600 opera houses in the world, all are ‘National Galleries’, none is the Tate Modern” (Per-Erik Öhrn, 2012), but there are also opportunities. Almost all successful new opera productions in recent years have their librettos written in English, a language traditionnally regarded as “weak” in the field of opera. Opera audiences worldwide are nowadays accustomed to hearing and understanding sung English words and comprehending a dramatic context when expressed in English, thanks to 100 years of Anglo-American dominance in popular music and about 50 years of dominance in television and films.

    Download full text (pdf)
    fulltext
  • 228.
    Fredriksson, Daniel
    Dalarna University, School of Humanities and Media Studies, Sound and Music Production.
    Så gick det en tid och åter en tid: audiovisuell gestaltning av Lisa Johansson Sandbergs berättelse om jättarna i Vilhelmina2020In: Nättidsskriften Västerbotten Förr & NuArticle in journal (Other (popular science, discussion, etc.))
    Download full text (pdf)
    fulltext
  • 229.
    Fredriksson, Sandra
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Hur skapas dans- och teaterkonst för barn: En undersökning av tre scener i Stockholm2007Student paper first term, 5 HE creditsStudent thesis
    Abstract [sv]

    [---] I studien problematiseras samhällets och de vuxnas rådandeideal över barn, barndom och dess kultur, vidare diskuteras vilka faktorer som väger in vid barnföreställningar utifrån de valda scenernas perspektiv. [---]

  • 230.
    Friberg, Ulf
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Collecitvity vs. individualism2019In: Empowerment of the future Performing Artists / [ed] Steinunn Knútsdóttir, Iceland University of the Arts, 2019Conference paper (Refereed)
    Abstract [en]

    These are results and thoughts from my research at Swedish theater academies.

    Within a time span of about three years, I have interviewed just over 40 students from the four theater academies in Sweden. Driven by an interest in their view of collectivity and individualism in relation to education, the acting profession and society. For the same purpose I have also talked to and interviewed a number of teachers from theater academies about their experience of contemporary students in relation to collectivism and individualism, in a teaching context.

    Download full text (pdf)
    Individualism vs. collectivity
  • 231.
    Friberg, Ulf
    Göteborgs universitet.
    Den kapitalistiska skådespelaren: Aktör eller leverantör?2014Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The dissertation revolves around an actor’s craft as a changing craft. Theatre workers

    – like many other professions in Sweden – have experienced major changes in the

    labour market during a relatively short period of time. In what way has capitalistic

    ideology changed society over the last 25 years, and in what way has this affected the

    actor’s craft, and what impact has been experienced? What strategies can the field of

    the theatre, in general, and the actors, in particular, use to create space for the development

    of the craft of acting in a new era?

    The different parts of the dissertation attack the questions mentioned above from a

    number of different angles. References from other disciplines such as philosophy, the

    history of ideas and sociology, which are placed in dialogue with the theatre in this

    dissertation project, are all-important.

    In the first part of the dissertation, the author positions the research and himself

    and also presents the methods used and the theories from other disciplines through

    which he discusses the issues to be addressed.

    The next section discusses leadership and organisation through the 1990’s until today.

    The economic crises that affected Sweden during this time not only produced

    fairly extensive changes for publicly funded theatres but also brought about a changing

    balance of power in theatres.

    Theatrical craft is discussed in the next section, where the main questions addressed

    are: In what way do changes in power relations affect the actor’s craft? What is the

    actor’s craft and who is really portraying the role? Actors in fact need what the author

    would like to call “informal power” in relation to their craft; however, this informal

    space, the author argues, has been cut back.

    The fourth act in this dissertation consists of the text of a play, which adopts a freer

    and more associative approach to the issues discussed, and, as part of the discussion,

    is staged in a publicly funded theatre in connection with the actual public defence of

    the dissertation.

    The Epilogue carries and drives issues towards a changing future – if this future

    exists.

  • 232.
    Friberg, Ulf
    Göteborgs Universitet – HSM.
    Den kapitalistiska skådespelaren eller den kapitalistiska teaterns brist på konkurrens2013In: On the move / [ed] Johanna Dahlin & Tove Andersson, Linköping, 2013, Vol. 11-13/6, p. 22-23Conference paper (Refereed)
    Abstract [sv]

    Ekonomismen skapar nya levnadsvärldar nya diskurser som vi alla har en inter- subjektiv förståelse för. Vi är alla mer eller mindre tvingade att agera i diskursens värderingar. Eftersom vi lever i ett kapitalistiskt samhälle, ett marknadssamhälle, och eftersom det som vi betraktar som den svenska teatern är en del av det of- fentliga samhället, måste även den betraktas om kapitalistisk. Detta innebär rent praktiskt att institutionsteatern vilar på ett ekonomisk tänkande, där den ekono- mistiska diskursen genomsyrar verksamheten. 

  • 233.
    Friberg, Ulf
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and theater.
    Skådespelaren Ulf Friberg: ”Flexibilitet kan inte bara vara att kapa bort människor”2018In: Dagens Nyheter, Vol. 11/11Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Örebro länsteater hotas av nedskärningar och i lördags hölls en manifestation i Örebro för ensemblen. ”Kultur går med vinst, det är bevisat, kruxet är att beräkna hur mycket och till vem”, skriver skådespelaren Ulf Friberg till stöd för sina kollegor.

  • 234.
    Friberg, Ulf
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Ulf Friberg: Den ekonomiska pressen får skådespelarkonsten att förtvina2019In: Dagens Nyheter, ISSN 1101-2447Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Den ekonomistiska synen på scenkonst förvandlar yngre skådespelare till varumärkesmedvetna och skrikande solitärer, skriver Ulf Friberg, skådespelare och lektor i scenframställning.

    Download full text (pdf)
    fulltext
  • 235.
    Friberg, Ulf
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    Ulf Friberg: ”Äntligen ifrågasätts myten om skådespelarens mörker”: Ja, låt oss diskutera skådespelarens yrke, men utan den gamla vanliga mytiska svärtan. Ulf Friberg fortsätter diskussionen som inleddes av Dramatens Andreas T Olsson i DN (1/4).2019In: Dagens Nyheter, ISSN 1101-2447, no 5 aprilArticle in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Jag har länge argumenterat för att se på och diskutera skådespelarens yrke som just ”ett yrke”! Ett yrke med djup kunskap, regler, arbetsplatser, kollegor. Ett yrke med sina egna svårigheter och förtjänster. Precis som många andra yrken vill jag tillägga.

    Download full text (pdf)
    fulltext
  • 236.
    Friberg, Ulf
    Luleå University of Technology, Department of Arts, Communication and Education, Music, media and Theatre.
    What are mistakes?: Let society touch you2019In: The Sustainable Theatre Artist: Norteas 2018 / [ed] Samuli Nordberg; MadsThygesen; Steinunn Knutsdottir, Köpenhamn: The National School of Performing Arts , 2019, p. 18-19Chapter in book (Other academic)
    Abstract [en]

    To reach the new and authentic you have to make misstates, do wrong, to fail. Every single progressor invention in human history derives from failure or mistakes.Make space for what you don't know, embrace your errors and feel strong.Do wrong and you’re on the right track.I wise man said: “If the world were perfect, it wouldn't be.”

    Download full text (pdf)
    fulltext
  • 237.
    Fribyter, Saga
    Stockholm University of the Arts, Department of Opera.
    En klingande Vinyasa: En studie om yogans direkta effekt på sångrösten2024Independent thesis Basic level (degree of Bachelor of Fine Arts), 5 HE creditsStudent thesis
    Abstract [en]

    This work examines the direct effect of yoga on the singing voice. Is it possible to notice a difference in the voice right after a yoga session? I put together a method to test this by singing right before and right after practicing yoga and thoroughly documenting this in writing and by recording. I was amazed by the difference that could be noticed in my voice after yoga. Not only did it help to release tension but I also consistently experienced more freedom and better high notes after my workouts. During this study I became more certain of how important my yoga practice is going to be for my career.

    Download full text (pdf)
    fulltext
  • 238.
    Fries, Julia
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    The Clown as Transgressive Agent on Paths to Sustainable Futures2022In: Relational and Critical Perspectives on Education for Sustainable Development: Belonging and Sensing in a Vanishing World / [ed] Margaretha Häggström; Catarina Schmidt, Cham: Springer, 2022, p. 155-167Chapter in book (Other academic)
    Abstract [en]

    This article describes the use of clowning in explorations of sustainability and economics. It analyzes the author’s own clown work through an autoethnographic study, and in relation to the field of transgressive learning. The analysis shows how clowning was a resource to overcome fear in facing difficult issues and to process sustainability with devotion, vulnerability, and joy. The clowning clarified important aspects of sustainability learning and the research points to the clown as an inspiration to imaginative and embodied ways of learning with the aim of transgressing unsustainable norms and transforming ourselves, as well as our societies.

  • 239.
    Fries, Julia
    et al.
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Wall, Tony
    Drama as a hopeful practice when navigating liminal times2023In: Nordic Journal of Art & Research, ISSN 2535-7328, Vol. 12, no 2Article in journal (Refereed)
    Abstract [en]

    This article presents results from a study where applied drama interventions were deployed in four different groups to build capacities to re-imagine economics. Participants were interviewed or entered dialogue with each other after completing the drama work. Through a close reading of one of the conversations that stands out as glowing in the research material and with inspiration from rhizomatic analysis, we identify four nodes that point to drama as a hopeful practice during insecure times. The dramatic arts have historically facilitated the navigation of localized political and economic tensions, but research and practice has not seemingly addressed the transitions to more holistic forms of development embedded within the United Nation’s Sustainable Development Goal 8: Decent Work and Inclusive Economic Growth. Conceptualizing this transition as liminal, we argue for the use of drama(tic) arts to navigate this state. The node Space for emotions articulates drama as a possibility to embrace and integrate difficult emotions. The node Openings and invitations – a new learning experience describes drama as an unconventional form of teaching that opens for creativity and new understandings. The third node Pretending towards new realities points to how the imaginative aspects of drama can give experiences of new pretended states beyond the liminal. Finally, the node Discomfort and its reinterpretations shows how challenging aspects of drama can be understood as in itself creating a liminal state where the unexpected can emerge. Findings echo the transformatory potential of drama(tic) arts in prior environmental and sustainability education research but extend it in the specific context of navigating and re-imagining economic growth (SDG8), and point to specific qualities of drama when trying to move towards sustainability in difficult times.

  • 240.
    Frisk, Anders
    Stockholm University of the Arts, Dance Pedagogy Department.
    Danslärarkroppen som resonanslåda: en hermeneutisk fenomenologisk studie om danslärares upplevelser av att observera (sin) dansundervisning2019Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Abstract

    Title: The dance-teacher body as a sounding board - a hermeneutic phenomenological study about dance-teachers experiences observing (their own) dance education.

    Author: Anders Frisk, Stockholm University of the Arts - School of Dance and Circus

    Language: Swedish

    Key words: Dance, dance teacher, dance education, dance pedagogy, phenomenology, kinaesthetic empathy, interaffectivity, bodily resonance 

     

    The aim of this study is to give insights into how dance teachers experience observing (their own) dance lessons. The interest lies in what they are reacting to and what gives an action in the form of feedback, guiding or ending an exercise, and how these reactions and actions are manifested in the body. Two teachers at the Swedish school of sport and health sciences (GIH) in Stockholm were observed and filmed during dance lessons with PE&H-student teachers. The subject of the lessons were experiencing and exploring dance as expressive form. From the videos of the lessons, different situations were chosen and discussed during a so-called re-experiencing interview. The interviews were transcribed and the text has been analysed using a hermeneutic phenomenological method. 

    The analysis resulted in the following findings: To observe one’s own teaching seems to be a valuable tool for the teachers in order to reflect upon didactical considerations and possibilities for developing the teaching. The teachers seem to react on (lack of) movement, presence, focus and movement qualities. This creates a dissonance in their own bodily resonance that seems to create an embodied experience that they react upon. They act by guiding the students by adding more movement, verbal affirmation or instruction, metaphors or by ending the exercise. Sometimes they postponed reacting in order to give the students a chance to find their way back in focus. The teachers also have a focus on creating a learning environment where the aim is for the students to explore and to experience their own bodily resonance and how this can relate to other bodies.  It seems that the teachers show a sensibility for the situation and the harmony in the dance studio that could be derived from a professional-personal competence or from an embodied practical pedagogical knowledge. The results of the study are discussed with the concepts of interaffectivity, mutual incorporation and kinaesthetic empathy. By raising awareness around how bodily (and embodied) interactions are intertwined within dance education these concepts might help and support the development of teaching in this specific context. 

    Download full text (pdf)
    fulltext
  • 241.
    Frisk, Anders
    Swedish School of Sport and Health Sciences, GIH, Department of Sport and Health Sciences.
    Om jag inte fått dansa, vem hade jag varit då?: en studie om dans och självkänsla2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Aim

    The aim with this study was to find out whether former students of the upper secondary school dance-program, experience that they through dance have enhanced/strengthened certain psychological and social abilities as well as physical capacities. The questions asked in relation to the aim where:

    • Do the students mention that dance as expression strengthens self-esteem, self-confidence and self-awareness?
    • Do the students mention that dance as expression strengthens body-control/body-awareness?
    • Do the students mention that dance as expression helps enhancing the social ability?
    • Is there any part of dance (the dance-education) that seems to be particularly part of the development according to the questions asked?

    Method

    The method being used is a quantitative questionnaire with some qualitative approaches where former students of the upper secondary school aesthetic dance-program have been part of the subject group. A total of 45 answers where collected and they have been analysed quantitatively and interpreted from an abductive theoretical framework consisting of phenomenology, social psychology and by the support of earlier research in dance.

    Results

    The results show that a majority of the students experience that dance has contributed to (to great extent or partly) strengthen their self-esteem, self-confidence, self-awareness, body-control/body-awareness and enhancing their social ability. The parts of the dance-education that turned out to be particularly enhancing the psychosocial abilities where; the possibility to be on stage, improvisation and the self-creating work.  The physiological capacities that the students experienced most enhancing where; the possibility to be on stage, improvisation and meeting different dance-styles.

    Conclusions

    The conclusion is that through meeting dance as expression and dance-education, based on the values of the schools steering documents, the dance-students psychosocial abilities and physical capacities enhances. This seems mainly being referred to when the student can work creative and with communication in a safe environment. A learning-environment based on a holistic point of view where the body can be both subject and object, where a healthy view of the body reigns, might give the student a chance for developing a good sense of self.

     

    Download full text (pdf)
    fulltext
  • 242.
    Froste Myrin, Tove
    Stockholm University of the Arts, Department of Performing Arts.
    Process för produktion Lyktmannen 2022: En kort översikt av en process för en examensproduktion, fokuserat på bredden i rollen som produktionsteknisk samordnare2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    The production process for a horror production for a young audience. How the planing process is a part of a whole teams artistic process, from the view poin of technical production manegment.

    Download full text (pdf)
    Tove Froste Myrin, produktionsteknisk samordning 2022
  • 243.
    Frödén, Lucy Cathcart
    University of Glasgow, UK.
    We are the Sun: Multilingual collaborative songwriting as a hospitable, embodied and political process2020In: Scottish Journal of Performance, ISSN 2054-1953, Vol. 7, no 1, p. 11-36Article in journal (Refereed)
    Abstract [en]

    Multilingual approaches to collaborative creativity can be seen as one form of resistance to inequality and neo-colonialism, through the potential to decentre the English language, unsettle entrenched linguistic hierarchies, and open up spaces of linguistic hospitality (Ricoeur, 2006). This article will share a song written in collaboration with displaced young people, in order to reflect on ways in which multilingualism in creative processes and performance might play a role in fostering solidarity and mutual care. The song, the writing process and the participants' reflections together act as a lens through which to observe small but significant shifts that can happen when linguistic repertoires beyond the dominant language are welcomed into a shared creative space. Multilingual approaches here are not seen as a quick-fix solution to systemic injustice, but as one way to illuminate questions of power and audibility in socially-engaged arts practice.

    Download full text (pdf)
    fulltext
  • 244.
    Färlin-Månsson, Sophia
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Språktillägnan genom dans: Intervjustudie av lärare om metoden Dansa en bok2021Independent thesis Basic level (university diploma), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna studie är att undersöka grundskollärares upplevelser och uppfattningar av språktillägnandemetoden Dansa en bok. Fokus har varit att få höra lärarnas beskrivning av metoden, vilka didaktiska drag som synliggjorts, vad dans som form kan bidra med i lärande av annat ämne och hur lärarna upplever elevers språktillägnan vid användningen av Dansa en bok-metoden. De teoretiska perspektiv studien utgår från är fenomenologi och socialsemiotik. Även några begrepp från språktillägnan har använts för att kunna förklara lärarnas upplevelse. Forskningsmetoden som används för att undersöka detta har varit en kvalitativ gruppintervju med lärare i lågstadiet. Samtalet som fördes med lärarna var utifrån ett filmat material där metoden användes. Resultatet visade att lärarna pekade på olika faktorer i metoden som stimulerade elevernas språktillägnan. Lärarna lyfte att en lustfylld och tillåtande atmosfär möjliggör att eleverna vågar använda egna strategier för att lära sig nya ord, uttal och meningar. Lärarna menade också att när dans och rörelse används som medel under språklektionen bidrar det till att elever lättare förstår vad som skall göras då hela kroppen är involverad i kommunikationen och meningsskapandet. Lärarna synliggjorde att flera av målen i Läroplanens riktlinjer nåddes när metoden Dansa en bok användes under engelska-lektionen. Studien synliggör även att mer forskning behövs på hur dans kan användas som medel i teoretiska ämnen. 

    Download full text (pdf)
    Språktillägnan genom dans
  • 245.
    Gharib, Christopher J. W.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    So it goes: A Constructivist Review of The Last Days of Ceausescu2022Student paper other, 5 credits / 7,5 HE creditsStudent thesis
    Download full text (pdf)
    fulltext
  • 246.
    Giannikopoulou, Daphne
    Stockholm University of the Arts, Department of dance.
    Make Minuscule Monsters2021Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay follows closely the process of making the work for my degree project. The aim of the text is to reflect as much as possible the entire journey of my thinking and doing, demonstrating how one of the main concepts of the work, metamorphosis, served the final purpose of the project, to build a world for bizarre creatures made of colorful piles of clothes. The methods used were looking for inspiration material online i.e. a performance by Ingri Fiksdal, several drag performers, or a music video by the band Primus, bringing in Posthuman theory and decolonial thinking as well as readings on the grotesque, including writers like Rosi Braidotti, María Lugones, and Sara Cohen Shabot respectively, taking an excessive amount of notes on diary form, and playing dress-up in the studio. The information that surfaced while all the above was combined, is presented in quite a raw form here, not as one smooth text, but as chunks that mirror where my process was at each moment. More so than anything else, this essay demonstrates the messiness of a/my artistic process and acts as a mind map of interests as they get closer to some kind of crystallization.

    Download full text (pdf)
    Make Minuscule Monsters
  • 247.
    Gil, Rachel
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Allt beror på viljan...eller?: En fördjupning i dansarens kapacitet till mental styrka2009Independent thesis Basic level (degree of Bachelor), 10 HE creditsStudent thesis
    Abstract [sv]

    Jag är utbildad vid Svenska Balettskolan i Stockholm, klassisk linje, och gick därefterDanspedagogutbildningen på Danshögskolan i Stockholm. Under mina studiertillbringade jag en tid som utbytesstudent i Spanien, och då jag såg möjligheter att jobbasom dansare i Spanien blev jag kvar där och har nu jobbat i flera år i ett par olikasammanhang i klassiska mindre kompanier. Mina ambitioner, drömmar och minaerfarenheter möts och i denna text försöker jag samla mina tankar. Det kanske är viktigtatt veta att den spanska kulturen i sig inte är främmande för mig, då jag kommer från enkulturellt ganska blandad familj och uppväxt, med Spanien och spanska språket som eningrediens.Jag vill i detta arbete fördjupa min, och förhoppningsvis även andras förståelse fördansarens verklighet genom att reflektera över egna erfarenheter som dansare i relationtill stora frågor som exempelvis: vilja, frustration, orättvisor, förnedringar, lycka,konkurrens, ambition, prestationsångest, makt, mod, svaghet och frihet. Jag började ialla fall i alla dessa begrepp, men fokus kom att ligga på det som för mig är nyckelord –viljan. Jag utgår från mina egna erfarenheter och upplevelser, som jag till att börja medbearbetar i en minnestext. Därefter gestaltar jag mina erfarenheter i konstnärlig form,som presenteras i form v en film som jag också kommenterar i en del av denna text.Avslutningsvis anlägger jag ett mer teoretiskt perspektiv, då jag försöker sätta mig in iinnebörden av en metod för mental träning, mycket använd av idrottare, och vad denenligt min uppfattning skulle innebära om den användes pedagogiskt för dansare. Mittarbete anlägger alltså flera olika perspektiv.Min frågeställning är:Hur kan jag gestalta mina upplevelser av en dansares verklighet i text och i enkomposition?Jag undersöker också frågorna:Vilken betydelse har dansarens vilja och mentala styrka?Var kommer viljan, styrkan ifrån? På vilket sätt påverkar den inställningen ochprestationen?Vad för sorts förberedelse tror jag skulle öka dansarens mentala styrka?Vad har jag saknat i mina utbildningar och i mitt arbetsliv?2Jag undersöker frågorna i följande form:Inledningsvis i form av text, där jag gör en betraktelse över vad jag anser att det innebäratt vara dansare, där jag bland annat lyfter fram de höga prestationskraven ochförpliktelserna, del 1, Mina dansade erfarenheter, minnen och reflektionerDärefter en konstnärlig gestaltning i form av ett filmat solo angående samma tema meden tillhörande text som uttrycker de bägge sidorna hos en dansare, i det här fallet migsjälv, nämligen den bundna och den fria dansaren, del 2, Dansade minnen i vitt ochsvart. Processen, och reflektioner över den finns i den andra delen i denna text, medsamma titel som filmen.Avslutningsvis följer en kompletterande studie, en metod av mental träning använd utavidrottare, som ett förslag till dansare, i yrkesliv och utbildning, där jag har gett exempelpå vad det kan innebära för framtida dansare om de fick hjälp i den process, som förmig och många andra dansare varit onödig hård och tuff, del 3,Pedagogiska möjlighetertill förändring? 

  • 248.
    Gillinger, Jenna
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Interior Architecture & Furniture Design.
    Home is where her horror is: a call for knowledge about domestic violence in the field of architecture and in society2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The most dangerous place for a woman is her own home. More than 50 cases of abuse against women a day are reported in Sweden, and on average a man in Sweden kills a woman he has or has had a relationship with every three weeks. A social and human commitment can be the difference between life and death. It is time to direct focus and responsibility towards the men, you, me and society. Architects and interior architects have long had knowledge of how to design safe public spaces in outdoor environments. But the fact is that only 15% of all reported rapes are committed in outdoor environments. The remaining 85% is done in her own home by a person she has a relationship with or a relative. The field of Architecture and Interior Design should have knowledge of domestic violence and take this into account in their practice.

    "Home is where her horror is" is based on the fact that the most dangerous place for a woman is her own home, this is further explored and shaped in three statements:

    -Line 1: The field of Architecture, Interior Architecture and design needs knowledge of domestic violence and take this into account in their practice.

    -Line 2: In collaboration with material from the organisation "Huskurage", design and create a mobile information site in an apartment building to promote conversations and spontaneous meetings between neighbours, raise awareness about domestic violence and introduce Huskurage.

    -Line 3: Shape a home from the abused woman's perspective on a 1:1 scale during Konstfack's spring exhibition 2023. To raise awareness and inform the visitor through art, spatial design, design, film and performance with the ambition of evoking reaction that leads to action.

    Download full text (pdf)
    Rapport "Home is where her horror is"
    Download (mp4)
    Film "Home is where her horror is"
    Download (mp4)
    Performance "Home is where her horror is"
  • 249.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Coming Out of the Cabinet: Fashioning the Closet with Sweden’s Most Famous Diplomat2012In: Studies in Fashion and Beauty: Volume One / [ed] Efrat Tseëlon, Ana Marta González and Susan Kaiser, Bristol, UK & Chicago: Intellect Ltd., 2012, p. 233-254Chapter in book (Refereed)
    Abstract [en]

    This article offers a critical analysis of the media discourse surrounding the Swedish diplomat Sverker Åström’s coming out as a gay man at the age of 87. Particular interest is devoted to his striking fashion choice of wearing a pair of oddly coloured socks, which highlighted his contradictory masculinity as well as the many inherent paradoxes of the closet. Åström’s red and green socks functioned as a means to express forbidden desires, to oppose normative expectations in a playful way and to grant the gay subject a presence in a world that is still very much structured by the logics of the closet. Moreover, his contradictory body language, coupled with his repeated affirmations that his coming out was a private issue, revealed a divided masculinity that was ideologically dependent on a pre-feminist understanding of gender and sexuality as private, that is to say non-political. The article argues that there was strong evidence to suggest that his coming out was in fact a tactical move in a political game, a move aimed to denounce and ridicule the Swedish Security Police (SÄPO), who, after decades of surveillance, refused to grant the diplomat access to its classified files on him.

  • 250.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Creativity, Corporeality and Collaboration: Staging Fashion with Giorgio Armani and Robert Wilson2020In: Staging Fashion: The Fashion Show and Its Spaces / [ed] Tiziana Ferrero-Regis, Marissa Lindquist, London: Bloomsbury Academic, 2020, p. 162-175Chapter in book (Refereed)
2345678 201 - 250 of 924
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf