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  • 201.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Playing Activists and Dancing Anarchists : Men and Masculinities in Cultural Performances in Contemporary Sweden2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

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

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

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

  • 202.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sky Gilbert, Daniel MacIvor, and the man in the hotel room: queer gossip, community narrative, and theatre history2013In: Theatre Research in Canada, ISSN 1196-1198, E-ISSN 1913-9101, Vol. 34, no 2, p. 187-215Article in journal (Refereed)
    Abstract [en]

    This essay outlines how the gossip surrounding Tennessee Williams’s visit to Vancouver in 1980 has influenced the narratives of gay communities and in so doing contributed to queer theatre history in Canada. Stories of Williams inviting young men to his hotel room and asking them to read from the Bible inspired Sky Gilbert and Daniel MacIvor to each write a play based on these events. The essay argues that Gilbert and MacIvor transcend the localized specificity of the initial rumours and deploy gossip as a tool to articulate a process of sexual and cultural marginalization, thereby fostering a dialogue with the past. This dialogue marks a crucial and pedagogical task in gay and queer theatre to address the on-going needs of an ever-changing community.

  • 203.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Tennessee Williams and the Swedish Academy: Why he never won the Nobel Prize2011In: Tenn at One Hundred: The Reputation of Tennessee Williams / [ed] David Kaplan, East Brunswick, NJ: Hansen , 2011, p. 153-167Chapter in book (Other academic)
  • 204.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Diva and the Demon: Ingmar Bergman Directs The Rose Tattoo2012In: New Theatre Quarterly - NTQ, ISSN 0266-464X, E-ISSN 1474-0613, Vol. 28, no 1, p. 56-66Article in journal (Refereed)
    Abstract [en]

    In this article Dirk Gindt discusses Ingmar Bergman’s 1951 production of Tennessee Williams’s The Rose Tattoo in the small Swedish town of Norrköping, demonstrating how Bergman methodically ignored the tragicomic nature of the play in order to develop and exaggerate its comic and grotesque elements. After extensive cuts and alterations in the script, the character Serafina delle Rose became even more overpowering than in the original text and dominated the action from beginning to end. Karin Kavli, a leading lady in Swedish post-war theatre and a frequent collaborator with Bergman, played the character not as a mourning widow but as a possessed disciple of Dionysus in an unabashedly entertaining and sexualized production which, despite reservations from critics, became a success with audiences.

  • 205.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Torn between the ‘Swedish Sin’ and ‘homosexual freemasonry’: Tennessee Williams, sexual morals and the closet in 1950’s Sweden2010In: The Tennessee Williams Annual Review, ISSN 1097-6035, Vol. 11, p. 19-39Article in journal (Refereed)
  • 206.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. Concordia University, Canada.
    Transatlantic Translations and Transactions: Lars Schmidt and the Implementation of Post-War American Theatre in Europe2013In: Theatre journal (Washington, D.C.), ISSN 0192-2882, E-ISSN 1086-332X, Vol. 65, no 1, p. 19-37Article in journal (Refereed)
    Abstract [en]

    Contributing to an intercultural understanding of American and European theatre in the post-war era, this essay explores the significance of the Swedish publisher and producer Lars Schmidt for the introduction and spread of U.S. plays and musicals on his side of the Atlantic. Schmidt’s innovative publishing strategies and production methods in addition to his skills as a cultural translator made works like The Glass Menagerie, Cat on a Hot Tin Roof and My Fair Lady commercially viable and intelligible to audiences in various national contexts. In the process, he was largely responsible for the emergence of the individual producer in Europe, a position that was perceived as foreign and at times vehemently dismissed as too commercial and too American.

  • 207.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    When Broadway came to Sweden: The European premiere of Tennessee Williams’s Cat on a Hot Tin Roof2012In: Theatre Survey, ISSN 0040-5574, E-ISSN 1475-4533, Vol. 53, no 1, p. 59-83Article in journal (Refereed)
    Abstract [en]

    This essay proposes a case-study approach to examine how the initial European production of Cat was received and, by implication, how one of the defining American playwrights of the twentieth century was discussed in Sweden. It focuses on the process of cultural translation and, more precisely, the question of how Swedish ensembles interpreted a foreign playwright who was known for breaking sexual taboos. Unpacking the cross-cultural and transnational dialogue that was established when Cat made its first appearance on a European stage, the essay teases out the cultural tensions and the negotiation of national identity that took place when Williams’s play was transposed from the Mississippi Delta to a more northern latitude. I argue that the stage and the cultural sections of the newspapers offered a forum for Sweden to negotiate some of the country’s sexual anxieties by making use of American cultural products and firmly situating them in an exoticized American context whose values were deemed to conflict with European, and more specifically Swedish, cultural identity.

  • 208.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Williams and Bergman, Lust and Death: Culturally Translating A Streetcar Named Desire in Post-War Sweden2013In: Tennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges / [ed] John S. Bak, Amsterdam & New York: Rodopi, 2013, p. 135-168Chapter in book (Refereed)
  • 209.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    ‘Your asshole is hanging outside of your body?': excess, AIDS, and shame in the theatre of Sky Gilbert2014In: The uses of excess in visual and material culture, 1600-2010 / [ed] Julia Skelly, Burlington: Ashgate, 2014, p. 249-276Chapter in book (Refereed)
  • 210.
    Gindt, Dirk
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Potvin, John
    Concordia University, Montreal, QC.
    Creativity, Corporeality and Collaboration: Staging Fashion with Giorgio Armani and Robert Wilson2013In: Studies in Theatre & Performance, ISSN 1468-2761, E-ISSN 2040-0616, Vol. 33, no 1, p. 3-28Article in journal (Refereed)
    Abstract [en]

    This essay analyzes the creative and economic relationship between and the intersections of theatre, performance and fashion by exploring the notion of collaboration through the work of Italian designer Giorgio Armani and American theatre director Robert Wilson. It addresses three case studies derived from different performance spaces: a performance art installation in a once derelict, purposefully redesigned train station; a modernist play staged in a traditional proscenium arched theatre; and a retrospective exhibition held in a fine art museum that invited the visitors to ‘walk the catwalk’. The objective of the essay is twofold. First, it focuses on the concrete results of the collaboration, that is, the actual events, the mutual artistic and economic benefits for both parties as well as the sometimes controversial critical reception and discourse surrounding them. Second, it queries the meaning and potency of the status of the auteur in a long-term creative collaboration between two equally influential artists from the related, yet distinct fields of theatre and fashion.

  • 211.
    Granberg, Anita
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Det måste få ta tid: En studie av musikterapeuters verksamhet i skolan2004Doctoral thesis, monograph (Other academic)
    Abstract [en]

    x

  • 212.
    Hambro, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Agathe Backer Grøndahl (1847-1907): "A perfectly plain woman?"2009In: The Kapralova Society Journal, ISSN 1715-4146, Vol. 7, no 1, p. 1-8Article in journal (Refereed)
    Abstract [en]

    Som kvinnelig komponist og utøver måtte Agathe Backer Grøndahl forhandle identitet med publikum, dags- og fagpressen. I resepsjonen fra hennes samtid finnes det flere distinkte ideologiske budskap: I et intervju med Bernard Shaw i The Star hevder hun at erfaringene som hustru og mor gjør henne til kunstner, og at hun komponerer i stille aftentimer etter at dagens arbeid er over. Hun skaper et bilde av komponering som bare én av flere oppgaver i husholdningen. Hennes musikk ble ofte betraktet som genusrelaterte diskurser om musikk. For flere kritikere glir genus, verkene og hennes egen interpretasjon av dem over i hver­andre og får en sterk "kvinnelig" symbolkraft. Kritikere som ellers var negative til kvinners kvinnelige komponister, gav henne anerkjennelse mens de poengterte at hun var et unntak. Synet på kvinnelige komponister hun ble sammenlignet med, tenderte i retning nedlatende, om ikke bent fram fornærmende. Den minst krevende responsen til henne som komponist betraktet verkene som en omforming av kvinnelig svakhet til musikalsk styrke. Musikken ble trivialisert, omskrevet som noe som passet best i hjemmet/den sosiale scenen, en personlig diskurs om det kjente og nære, og dermed ikke konkurrerte med en mer rasjonell mann­lig dyktighet. Hvilket syn hadde så samtiden på "kvinner og genialitet. Hilda Turjussen besvarer nettopp dette i artikkelen "Kvinden som Geni", gjengitt i flere norske aviser 1893: "Naar kvindens evne - jeg mener det kvindelige geni - gaar i anden retning end mandens, da anerkjendes ikke geniet - følger hun i mandens fotspor, da heder det: hun eier ikke orginalitet. […] Medens mandens originalitet dægges for, taales ikke kvindens." For å få et innblikk i samtidens syn på spørsmålet analyserer jeg også eksempler fra resepsjon knyttet til de kunstneriske evenementene ved kvinneutstillingen i København 1895.

  • 213.
    Hambro, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Genus og kanonisitet i skandinavisk musikkhistorie 1890-1920: Feministisk hermeneutikk og kanontransformasjoner av menns og kvinners musikk på terskelen til "kvinnenes århundre"2009In: Musikvetenskap i dag: Musikvetenskaplig konferens i Lund 9-11 juni 2009 / [ed] Svenska samfundet för musikforskning, 2009Conference paper (Refereed)
    Abstract [en]

    Årene 1890-1920 i Skanidnavias musikkliv utgjør utvilsomt felt med omdiskuterte synspunkter og fordommer. Kvinnesakspionéren Ragna Nielsen spådde 1896 at 1900-tallet ville bli "kvinnenes århundre". Menns og kvinners roller ble for alvor satt på dagsorden i den offentlige debatten. RUndt århundreskiftet ble så vel mannlighets- som kvinnelighetsbegreper problematisert: På overflaten kan det virke som om klimaet for kvinner og deres rettigheter i 1890-årene var i stadig bedring, selv om inngrodde, negative holdninger til kvinnelig åndsproduksjon fortsatt ble ytret i dagspresse, musikk- og vittighetsblader. Mannlighetsbegrep be delvis erstatte med begreper om langt mer "åpen"/"åpne" maskulinitet(er). Hvorledes møtte periodens skandinaviske musikk og musikkliv kvinnelige og mannlige utøvere og komponister kvinne- og mannsroller i endring? Et stort antall kvinnelige skandinaviske komponister publiserte og oppførte sin musikk mellom 1890 og 1920, men 1920-årenes kultur- og samfunnsomveltninger ble ledsaget av redusert aktivitet.

    Fra en feministisk tradisjon med maktperspektiv diskuteres tradisjonelle framstillinger av kvinners og menns musikkproduksjon, som bar stadig sterkere preg av at kanon(er) av "mesterverk" begynte å bli fiksert. Kanonen(e) ga et misvisende bilde både av kvinnelige og mannlige komponister. Kvinnenes musikk har konsekvent vært betraktet som kvinnelig musikk, mens mannlige komponister ikke i tilstrekkelig grad er synliggjort som menn. Kan en dialogisk synsmåte som betoner samspillet mellom menn og kvinner bidra til fornyet teoretisk refleksjon omkring eksisterende ulikhetstenkning i "kvinnemusikkhistoriebøker" og i mer tradisjonelle syntetiserende framstillinger? Hvilke gjensidige, (u)synlige genusrelasjoner fungerer i musikkproduksjon, musikkliv og musikkhistorier om perioden? Spørsmålene forfølges analytisk, genuskritik, vitenskapskritisk og kutlurhistorisk.

  • 214.
    Hambro, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Grøndahl, Agathe Ursula, geb. Bacer2009Other (Other academic)
  • 215.
    Hambro, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Kvinnelighet, kritikk og  originalitet.: Musikkinnslag ved «Kvindernes  Udstilling fra Fortid til Nutid» i 1895.2010In: Tidsskrift for kjønnsforskning, ISSN 0809-6341, E-ISSN 1891-1781, Vol. 34, no 1, p. 23-40Article in journal (Refereed)
    Abstract [en]

    Femininity, criticism and originality

    Musicking at the Copenhagen 1895 Women’s Exhibition from past to present

    In reviews of this event, projections of the composers’ and artists’ femininity and appearance are both highlighted and intertwined. Presenting everything from apparently fair and balanced descriptions to reviews that openly state common negative attitudes towards women’s abilities, critics – mainly male composers, conductors and musicians – tried to make it appear as if women posed no real threat or challenge to the male establishment. What male critics made sound highly conventional, was in fact propaganda based on their own gender-loaded esthetics. Still, most of them account for enthusiastic crowds of women applauding the participant’s executive skills and compositions. It seems that if gifted women chose to develop in other directions than this esthetic, they didn’t get renown, and if they followed in men’s footsteps, they were accused of not being original. Therefore the originality of the represented women couldn’t be accepted or receive public renown.

  • 216.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater och dansvetenskap.
    Conversations: Twelve questions on Re-thinking Theory and Practice2007In: Proceedings Society of Dance History Scholars: Thirtieth Annual Conference Co-sponsored with CORD, Centre National de la Danse, 2007, p. 3-4Conference paper (Other academic)
  • 217.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Dance and Democracy in Norden2011In: Dance and the Formation of Norden: Emergences and Struggles / [ed] Karen Vedel, Trondheim, Norge: Tapir academic press , 2011, p. 175-196Chapter in book (Other academic)
  • 218.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Dance and Politics edited by Alexandra Kolb2013In: Dance Research Journal, ISSN 0149-7677, E-ISSN 1940-509X, Vol. 45, no 3, p. 160-163Article, book review (Other academic)
  • 219.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Dancing African-American Jazz in the Nordic Region2014In: Nordic Dance Spaces: Practicing and Imagining a Region / [ed] Karen Vedel, Petri Hoppu, Farnham: Ashgate, 2014, p. 101-127Chapter in book (Refereed)
  • 220.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Dancing Naturally: Nature, Neo-classicism and Modernity in Early Twentieth-Century Dance. Edited by Alexandra Carter and Rachel Fensham2014In: Theatre research international, ISSN 0307-8833, E-ISSN 1474-0672, Vol. 39, no 01, p. 57-58Article, book review (Other academic)
  • 221.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Dans och historiografiska reflektioner2009Book (Other academic)
  • 222.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Everybody's Dance: Democracy and Dancing in Nordic Spaces2011In: Spacing Dance(s) - Dancing Space(s): Proceedings 10th International NOFOD Conference / [ed] Susanne Ravn, Odense: University of Southern Denmark , 2011, p. 21-34Conference paper (Other academic)
  • 223.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Finnish Dance Research at the Crossroads: Practical and Theoretical Challenges2008In: Dance Research Journal: Congress on Research in Dance, ISSN 01497677, Vol. 40, no 2, p. 103-106Article, book review (Refereed)
  • 224.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Spaces of Encounter: Dancing Democracy in the Nordic Region2013In: Dance Spaces: Practices of Movement / [ed] Susanne Ravn & Leena Rouhiainen, Odense: Odense Universitetsforlag, 2013Chapter in book (Refereed)
  • 225.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Field of Dance Didactics: The Use of Analytical Terminology in the Studio2014In: (Re)Searching the Field: Festschrift in Honour of Egil Bakka / [ed] Anne Margrete Fiskvik, Marit Stranden, Bergen: Fagbokforlaget, 2014, p. 243-253Chapter in book (Refereed)
  • 226.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Power of Classification2009In: Worlding Dance / [ed] Susan Foster, Houndmills, Basingstoke: Palgrave Macmillan , 2009, p. 14-31Chapter in book (Other academic)
  • 227.
    Hedwall, Lennart
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    "En öfwersigt af musiken inom Wermland": bidrag till belysningen av det sena 1700-talets svenska musikliv = [A survey of the music in Vermland] : [a contribution to the elucidation of Swedish musical life in the late 18th century]1995Doctoral thesis, monograph (Other academic)
  • 228.
    Heed, Sven
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    The Imaginary Illness in Dramaten: Moliere's comedy between farce and tragedy2008In: Degrés, ISSN 0770-8378, no 134-35, p. i1-I15Article in journal (Refereed)
  • 229.
    Heed, Sven Åke
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Beyond the Snowslide.: Ibsen and Postdramatic Theatre2009In: Ibsen in the Theatre / [ed] Sven Åke Heed & Roland Lysell, Stockholm: STUTS , 2009, p. 27-31Chapter in book (Other academic)
  • 230.
    Heed, Sven Åke
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Efter maskeraden2007In: Ny svensk teaterhistoria 1: Teater före 1800, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 231.
    Heed, Sven Åke
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Folkligt och profant2007In: Ny svensk teaterhistoria 1: Teater före 1800, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 232.
    Heed, Sven Åke
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Impulser utifrån2007In: Teater i Sverige 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 233.
    Heed, Sven Åke
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Ny svensk teaterhistoria 1: Teater före 18002007Collection (editor) (Other academic)
  • 234.
    Heed, Sven Åke
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Operett och musikal2007In: Teater i Sverige 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 235.
    Heed, Sven Åke
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Stadsteatertanken i svensk teater2007In: Teater i Sverige 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 236.
    Heed, Sven Åke
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Teaterhandlinger – fra Sofokles til Hotel Pro Forma2008In: Nordic Theatre Studies, ISSN 0905-6380, Vol. 20Article, book review (Other academic)
    Abstract [en]

    Review of Erik Exe Christoffersen's book Teaterhandlinger – fra Sofokles til Hotel Pro Forma

  • 237.
    Heed, Sven Åke
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Forser, TomasGöteborgs universitet.
    Ny svensk teaterhistoria 3: 1900-talets teater2007Collection (editor) (Other academic)
  • 238.
    Heed, Sven-Åke
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Under mindets stjerner høje: Terje Maerlis uppsättning av Henrik Ibsens Når vi døde våkner.2008In: Tolkningens scen: Festskrift till Roland Lysell, Aiolos , 2008Chapter in book (Other (popular science, discussion, etc.))
  • 239.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Aktör med oerhörd scenisk närvaro: Richard Bark, Skådespelaren Lars Hanson2013In: Respons : recensionstidskrift för humaniora & samhällsvetenskap, ISSN 2001-2292, no 4Article, book review (Other academic)
  • 240.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Artistic development on the frontline2013In: News from Swedish Theatre, ISSN 1653-7637, p. 6-7Article in journal (Other (popular science, discussion, etc.))
  • 241.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Att vara eller inte vara rollen: Skådespelarens paradox2011In: Vitterhetsakademiens årsbok, Stockholm: Kungliga Vittherhetsakademien , 2011, p. 109-123Chapter in book (Other academic)
    Download full text (pdf)
    Att vara eller inte vara rollen
  • 242.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Att öppna nya världar: Om teatersamtal och barnpublik2011In: På jakt efter den dialogiska estetiken / [ed] Karin Helander, Stockholm: Carlsson , 2011Chapter in book (Other (popular science, discussion, etc.))
  • 243.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Barndramatik och barndomsdiskurser2014 (ed. 2)Book (Other academic)
  • 244.
    Helander, Karin
    Department of Child and Youth Studies, Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, Centre for the study of children's culture. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Barnets rätt till kultur och konst2014In: Barnrätt: En antologi / [ed] Ann-Christin Cederborg, Wiweka Warnling-Nerep, Stockholm: Norstedts Juridik AB, 2014Chapter in book (Other academic)
  • 245.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Barnteater i tiden2009In: Från Prosperos ö till Illyrien: Göteborgs Stadsteater 75 år 1934 - 2009 / [ed] Per-Arne Tjäder, Göteborg: Göteborgs stadsteater , 2009Chapter in book (Other (popular science, discussion, etc.))
  • 246.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    "Den var rolig och så lärde man sig nånting, men jag kommer inte på vilket det var": Om barnteater och receptionsforskning2011In: Locus, ISSN 1100-3197, Vol. 23, no 3-4, p. 81-97Article in journal (Other academic)
  • 247.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    En teater för alla sinnen: 30 år med Orionteatern2015Book (Other academic)
  • 248.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, Centre for the study of children's culture.
    Förord2008In: Tillstånd och tillblivelse: Lång dags färd mot natt: Från kollationering till föreställning, Carlsson, Stockholm , 2008Chapter in book (Other (popular science, discussion, etc.))
  • 249.
    Helander, Karin
    Department of Child and Youth Studies, Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, Centre for the study of children's culture. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Opening new worlds - a guide to visiting theatres with school children: Excerpts from a manual for teachers and other adults at school2009In: Theatre for development: Experiences from an international theatre project in Asia "Children's Voice" / [ed] Christina Nygren, Stockholm: Svensk Teaterunion - Swedish Centre of the ITI , 2009, p. 91-98Chapter in book (Other academic)
  • 250.
    Helander, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Tidig utsatthet präglade den vuxne författaren2014In: Respons : recensionstidskrift för humaniora & samhällsvetenskap, ISSN 2001-2292, no 4Article in journal (Other academic)
2345678 201 - 250 of 679
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