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  • 201.
    Granath, Sara
    Södertörns högskola, Institutionen för genus, kultur och historia.
    Romeo and Juliet at the Power Station2004Inngår i: Journal of Korean Theatre Studies Association, ISSN 1229-2877, Vol. 22, s. 25-38Artikkel i tidsskrift (Annet vitenskapelig)
  • 202.
    Granath, Sara
    Södertörns högskola, Institutionen för genus, kultur och historia.
    Romeo and Juliet at the Power Station2005Inngår i: Theatre and space / [ed] Miy-He Kim, Jae-Min Shim, Seoul: Yeongeukwa Ingan , 2005, s. 77-92Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 203.
    Granqvist, Raoul
    Umeå universitet, Humanistiska fakulteten, Moderna språk. Engelska.
    Seskaröteater visar politiskt förtryck1984Inngår i: Vasabladet, Vol. 20 juliArtikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 204.
    Granqvist, Raoul J.
    Umeå universitet, Humanistiska fakulteten, Moderna språk.
    Folkopera till språkens lov i Öja2001Inngår i: Hufvudstadsbladet, Vol. 9 juliArtikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 205.
    Griggio, Carla F.
    et al.
    KTH. Université Paris -Sud XI Orsay, France; EIT ICT Labs, France.
    Romero, Mario
    KTH, Skolan för datavetenskap och kommunikation (CSC), High Performance Computing and Visualization (HPCViz). Georgia Institute of Technology.
    Canvas Dance: An Interactive Dance Visualization for Large-Group Interaction2015Inngår i: Proceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems, ACM Digital Library, 2015, s. 379-382Konferansepaper (Fagfellevurdert)
    Abstract [en]

    We present Canvas Dance, a prototype of an interactive dance visualization for large-group interaction that targets non-professional dancers in informal environments such as parties or nightclubs, and uses the smartphones of the dancers as the input device for the motion signal. The visualization is composed of individual representations for each dancer, and the visual mappings designed for their dance moves have three main goals: to help the users identify their own representation, to uncover and inspire imitation among dancers, and to support unpredictable dance moves.

  • 206.
    Griggio, Carla
    et al.
    KTH.
    Romero, Mario
    KTH, Skolan för datavetenskap och kommunikation (CSC), Beräkningsvetenskap och beräkningsteknik (CST). Georgia Institute of Technology.
    A real-time dance visualization framework for the design of mappings that favor user appropriation2015Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper we present a real-time dance visualization framework with the goal of easily mapping motion data from an accelerometer and a gyroscope into visual effects that users can compose and appropriate to their own dancing style. We used this framework to design a set of dance-tovisuals mappings through a user-centered approach. As a result, we conclude with a list of factors that help users to understand how to interact with a real-time dance visualization with no prior instructions.

    Fulltekst (pdf)
    fulltext
  • 207.
    Griggio, Carla
    et al.
    KTH. EIT ICT Labs Master School, Sweden.
    Romero, Mario
    KTH, Skolan för datavetenskap och kommunikation (CSC), High Performance Computing and Visualization (HPCViz).
    Leiva, Germán
    KTH. EIT ICT Labs Master School, Sweden.
    Towards an Interactive Dance Visualization for Inspiring Coordination Between Dancers2015Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this work in progress we present early results in the process of understanding how interactive dance visualizations can inspire coordinated dance moves between dancers in informal contexts. Inspired by observations at nightclubs and parties with DJs, we designed an interactive dance visualization prototype called "Canvas Dance" and evaluated it in a user study with 3 small groups of people. We conclude by offering a set of design considerations for future work on interactive dance visualizations for non-professional dancers in informal contexts.

  • 208.
    Gullstam, Maria
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Från nationalscen till passionsmusik: Rousseau och teatern i 1700-talets Sverige2017Inngår i: Kritik och beundran: Jean-Jacques Rousseau och Sverige 1750-1850 / [ed] Jennie Nell, Alfred Sjödin, Lund: Ellerströms förlag, 2017Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [sv]

    Under 1700-talets mitt var Jean-Jacques Rousseau och hans idéer kring musik och teater ytterst kontroversiella i såväl Sverige som övriga Europa. Tidigare forskning har påpekat ett flertal exempel på hur Rousseaus tankar om musik och teater mottogs i Sverige. Avsikten med denna artikel är att samla dessa och andra exempel, i syfte att visa hur den dualistiska receptionen av Rousseaus idéer om musik och teater tog sig uttryck och växlade under den andra hälften av 1700-talet i Sverige. Studien ämnar visa på hur Rousseaus kritik av den parisiska teatern delvis var starkt ogillad i svensk offentlig debatt, samtidigt som hans skrifter om musik, estetik och dramatik varligt letade sig in bland den svenska kultureliten, och åtminstone i periferin fanns närvarande när Gustav III:s storslagna projekt att bilda en svensk nationalscen utvecklades. Svenskarnas förståelse för och bruk av Rousseaus idéer kring musik och teater illustreras genom fyra exempel: publicisten Per Jusléns tal om en nationalteater hållet i Utile Dulci 1769; debatten om teaterns inflytande på sederna i Sverige under andra hälften av 1700-talet i samtida tidskrifter och skrivtävlingar anordnade av ett flertal litterära akademier; Johan Wellanders tal om musik (troligen framfört i Utile Dulci någon gång mellan 1766–1776); samt det första svenska musiklexikonet, Svenskt musikaliskt lexikon, efter grekiska, latinska, italienska och franska språken, författat av Carl Envallsson och publicerat 1802.

  • 209.
    Gullstam, Maria
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Pygmalion’s power struggles: Rousseau, Rameau and Galathée2017Inngår i: Rousseau on stage: Playwright, musician, spectator / [ed] Maria Gullstam, Michael O’Dea, Oxford: Voltaire Foundation, 2017Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    Rousseau’s Pygmalion can be seen as the theoretical culmination and the practical result of his lifelong thinking around and experimentation with theatre and music. But why did Rousseau choose the Pygmalion myth to tie all these ideas together? This chapter examines in what ways Rousseau’s Pygmalion can be seen as a direct response to his arch-enemy Jean-Philippe Rameau’s opera-ballet Pigmalion, written in 1748. It discusses why Rousseau would chose to reply so directly to Rameau’s Pigmalion, and how Rousseau’s Pygmalion communicates with Rameau’s opera-ballet, drawing on the two thinkers’ theoretical discussions. 

  • 210.
    Gullstam, Maria
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Rousseau's Idea of Theatre: From Criticism to Practice2020Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    As a critic of the moral consequences of Parisian theatre while writing plays and music for it, Jean-Jacques Rousseau (1712-1778) had a double relationship to the art form of theatre. This doctoral thesis argues that his seemingly double position towards the theatre is not necessarily contradictory. Building on previous research about Rousseau’s writings for the theatre, its main questions are ‘Why did Rousseau compose works for the French stage, while at the same time directing his critique towards it?’ and ‘How through his own theatrical works did Rousseau try to respond, aesthetically and practically, to the inherent problems that he saw in the theatre?’ Drawing on both Jean Starobinksi and Jacques Derrida, the study outlines a theoretical starting point through the concept of pharmakon. In its two-fold structure – simultaneously medicine and poison – the pharmakon can help us understand how Rousseau saw art, and theatre in particular, as potentially both harmful and useful to society. 

    Starting from Rousseau’s broader perspective on the arts, the thesis uses his many writings on music, alongside his early theoretical works on art and on the development of human society. This shows that Rousseau’s neologism perfectibility, in addition to being an anthropological term describing a human faculty, is an aesthetic notion through which he writes his own history of the arts. By conceptualising this thought structure as aesthetic perfectibility, it is possible to demonstrate how Rousseau uses this notion to understand, expose and oppose systematised and universal rules of reason, beauty and taste. This is fundamental for our understanding of his dual relationship to theatre and to his sharp criticism of the Parisian stage in the Lettre à d’Alembert. This is because aesthetic perfectibility has the same structure as the pharmakon; applied in the wrong way it is harmful to humanity, but studied well and used with care, it can also be applied to remedy or at least partly reduce the harm it has already caused. Moving from a theoretical perspective towards a practical one, the final chapters of the thesis focus on some of Rousseau’s principal stage works: Le Devin du village, Pygmalion and Narcisse, ou L’Amant de lui même. These chapters show that Rousseau’s understanding of theatrical imitation suggests how he perceived the Parisian stage as morally dangerous, and why, in his own theatrical works, he tried to problematise and expose how theatrical imitation could be used as a tool to obtain power. Finally, the study argues that Rousseau’s creation of a new dramatic genre, the scène lyrique, can be seen as an attempt to make theatrical art approach musical imitation, in order to make it less harmful morally. The thesis concludes by arguing that the public festival should be perceived as part of the same pharmakon as theatre, and that in his own stage works Rousseau therefore experimented with conceptual elements borrowed from the festivals. 

    Fulltekst (pdf)
    Rousseau's Idea of Theatre
    Download (jpg)
    omslagsframsida
  • 211.
    Gustafsson, Johanna
    et al.
    Örebro universitet, Musikhögskolan.
    Nilsson, Karolina
    Örebro universitet, Musikhögskolan.
    Att bli trygg: Dramapedagogisk nytta i skolans värld2012Independent thesis Basic level (university diploma), 5 poäng / 7,5 hpOppgave
  • 212.
    Göthberg, Martin
    Högskolan Dalarna, Akademin Humaniora och medier, Svenska.
    Amatörteater och folkbildning – ett konkret fall2020Inngår i: Att underrvisa i teater / [ed] Ahlstrand, P. & Remfeldt, J, Studentlitteratur AB, 2020, s. 55-72Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 213.
    Göthberg, Martin
    Högskolan Dalarna, Akademin Humaniora och medier, Svenska. Göteborgs universitet.
    Publikmötet i kommunikativt perspektiv2020Inngår i: Att undervisa i teater / [ed] Ahlstrand, P. & Remfeldt, J, Studentlitteratur AB, 2020, s. 97-115Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 214.
    Göthberg, Martin
    Högskolan Dalarna, Akademin Humaniora och medier, Svenska. Göteborgs universitet.
    Teater som kollektivt lärande2020Inngår i: Att undervisa i teater / [ed] Ahlstrand, P. & Remfeldt, J, Studentlitteratur AB, 2020, s. 75-95Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 215.
    Hallgren, Eva
    Stockholms universitet, Humanistiska fakulteten, Institutionen för ämnesdidaktik.
    "Doing crazy things does not mean you are crazy but brave!"- as a patient with newly-developed psychosis, navigating a chaotic and uncertain time with drama/theatre methods2022Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    The paper aims to broaden the understanding of what in a drama/theatre practice can fulfil a function in psychiatry in working with patients with newly debuted psychosis.

    Research on cultural expressions, including drama/theatre, provides evidence of positive effects on health, including mental illness. Patients with different diagnoses (e.g. mental illness) who participate in drama/theatre activities express feelings of meaning and hope when their stories are enacted and sometimes even meet an audience. In these contexts, the participants are treated as people with resources and not as patients, and it is an artistically knowledgeable leader who leads the work, not a therapist or nurse (e.g. the WHO report, 2019).

    Previous research mentions hardly any specific drama/theatre conventions in work with drama/theatre aside from role-taking, where alternative ways of being can be tried, and that a dramaturgical understanding of the self can enable us to create new images of ourselves. In previous research, there was no clear participant perspective when drama/theatre was used as a method in anti-stigma work. Nor have we found research in which patients and care staff participate on the same terms as drama/theatre group participants.

    This study focuses on what drama/theatre methods could lead to positive self-esteem and anti-stigma development. Which specific artistic tools are distinguished, and which nuances and qualities are made visible and specified in the interaction between participants and drama educators/theatre directors, which previous studies have not focused on to any great extent?

    This research study is carried out at a daycare clinic where patients with newly developed psychosis can choose to participate in a drama/theatre group once a week. The study extends over a year. As a participating observer, the researcher has joined the drama/theatre work as one of the participants in two different groups. A beginner group mainly with drama work and group establishment and a continuation group with more performance focus. In addition, interviews were conducted with participants, the drama/theatre director and care staff who also participated in the drama/theatre work as participants. The groups continued their work during the covid 19 period, and the work was partly carried out in snow and rain.

    The preliminary results are elucidated with the help of both drama/theatre theory, activity theory and relational theory to be able to describe and understand what it is the theatre practitioner is trying to achieve with his actions in relation to the participants' actions and how the participants' experiences interact with what happens. The result clarifies which drama/theatre tools are essential for increased self-esteem and reduced self-stigma and which nuances have been distinguished as particularly important in their use.

    The most important preliminary conclusion so far is how the drama/theatre practitioner uses his solid knowledge of drama/theatre tools and methods in a, experienced by the participants, professional but unpretentious way. However, it is essential how the drama/theatre practitioner, in joint action with the participants, takes them into the unknown and the absurd and becomes a role model. To do crazy things does not mean that one is crazy but brave!

  • 216.
    Halén, Veronica
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Konsten att regissera barn: Att arbeta med barnskådespelare i professionella teaterproduktioner2016Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    Since there is very little scientific research about directing children and foremost about directingchildren in professional productions, like Stockholm stadsteater, was my purpose with this bacheloressay to find work methods that directors use when they work with child actors in professionalproductions. With this bachelor essay I wanted to give practitioners in the world of theater tools forhow to work with children in professional theater, as well as increase the interest for furtherresearch in this subject.

    To accomplish this purpose I have gathered material from the production of Billy Elliot at MalmöOpera, made observations of the same production at Stockholms stadsteater and interviewed thedirector of the production, Ronny Danielsson and director and children ambassador Suzanne Osten.The study is made from a perspective of the post modern child and also from a so called child perspective on the art of directing and working with children in theater.

    My conclusions from my studies are that when working as a director with child actors you need tothink about motivation and stimulating the children in their development, and support them in theirwork with analyzing the play, as well as give them tools to help them find their emotionalconnection. If the children loose their interest in acting the director need to be there to give thechildren new challenges. It is important to give positive feedback and use a language that thechildren understand and use body language and image work to clarify the directions as well asletting the children have some time for rest and play.

    This is only one example of how directors work with child actors in professional productions. Frommy interviews, observations and the previous research that I have studied, have I discovered thatdirectors sometimes are in agreement and sometimes not. To further answer my questions moreresearch into the director’s way of working with children would be needed. I therefor hope that Ithrough this essay have contributed with increasing the interest of further research into this subject.

    Fulltekst (pdf)
    fulltext
  • 217.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    A Contested Corporeality: Solidarity, Self-Fulfillment, and Transformation through African-Derived Dancing2020Inngår i: Dance Research Journal, ISSN 0149-7677, E-ISSN 1940-509X, Vol. 52, nr 1, s. 7-19Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article focuses on an analysis of ways in which conflicts between dancing as an act of solidarity, a tool for self-fulfillment, or as a form of an interpretative transformation have been played out in practicing dancing derived from different African cultures within a Swedish context. This period embraces African-American theatrical jazz dance during the 1960s and the more contemporary interest in dances from West African countries. The examples articulate modes of cultural appropriation. The question raised is whether a focus on embodied experience of dancing can subvert the practice of appropriation, or if the two approaches are contradictory.

  • 218.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Att tala - att dansa: om metaforens betydelse inom danspedagogik2016Inngår i: Nordic Journal of Dance, ISSN 1891-6708, Vol. 7, nr 1, s. 18-27Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [sv]

    Artikeln fokuserar hur danspedagoger beskriver sitt sätt att använda verbal kommunikation i dansstudion och baseras på intervjuer och observationer av dansundervisning. Som teoretisk bas används idéer om kropp samt teorier om metaforers betydelse för kroppsligt baserad kommunikation. Dessutom argumenteras för att pedagog och dansstudent är engagerade i en förkroppsligad version av kritisk tänkande, inom vilket talet är en av flera centrala delar.

    De fyra pedagoger som intervjuas representerar olika dansgenrer och det visar sig påverka hur språkanvändningen uppfattas. En dominerande tendens är dock att man anser att bruket av metaforer har genomgått en historisk förändring. Från ett tidigare metaforrikt språk med referenser till bl a naturfenomen används nu allt oftare ett mer konkret, funktionsinriktat språk. Det kan vara påverkat av de olika danstekniker som tränas men också av dagens estetiska, koreografiska trender.

  • 219.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Dance and Politics edited by Alexandra Kolb2013Inngår i: Dance Research Journal, ISSN 0149-7677, E-ISSN 1940-509X, Vol. 45, nr 3, s. 160-163Artikkel, omtale (Annet vitenskapelig)
  • 220.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Dancing Naturally: Nature, Neo-classicism and Modernity in Early Twentieth-Century Dance. Edited by Alexandra Carter and Rachel Fensham2014Inngår i: Theatre research international, ISSN 0307-8833, E-ISSN 1474-0672, Vol. 39, nr 1, s. 57-58Artikkel, omtale (Annet vitenskapelig)
  • 221.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Dans och historiografiska reflektioner2009Bok (Annet vitenskapelig)
  • 222.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Dansens "språklighet" systematiserad: modeller för analys2017Inngår i: Språket och dansen / [ed] Birgitta Sandström, Stockholm: Carlsson Bokförlag, 2017, s. 195-211Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 223.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Embodied Curriculum Theory and Research in Arts Education: A Dance Scholar's Search for Meaning. Author: Susan W. Stinson. Springer, 2016.2016Inngår i: Nordic Journal of Dance, ISSN 1891-6708, Vol. 7, nr 1, s. 62-64Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 224.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Embodied Spectatorship? Interpreting dance reviews around 19002017Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, nr 1, s. 8-24Artikkel, forskningsoversikt (Fagfellevurdert)
    Abstract [en]

    The article intertwines historiographical analyses with research methods focusing on embodied responses to performances. It argues that dance reviews can be interpreted from a sensorial viewpoint, analyzing ways in which language articulates so-called kinaesthetic, or affective responses. The argument is based on theories of agency and embodiment (Noland). Swedish reviews from performances by Isadora Duncan (Stockholm, 1906), Artemis Colonna (Stockholm, 1903), and Loïe Fuller (Gothenburg, 1907) are investigated, and it is concluded that these kinaesthetic sensations are visible mainly in the language of female writers and spectators. Moreover, in arguing that an embodied spectatorship is important in order to understand the view of the period as a turning point in dance aesthetics, an emphasis is put on the importance of including the practice of dancing by both professionals and amateurs in this historical narrative. Besides embracing the emergence of the professional dance avant-garde, the interpretation focuses on the importance of a corporeal education of the audience. In particular, female audience members seem to, via a dance performance, identify with forms of sensory experience in tandem with visually evaluated objects of art. It is argued that the change in the female viewers’ perceptions had a potential political effect in that it gave voice to both corporeal sensations and women’s experiences in ways new to the public arena. Thus, it is in these experiences the important turning point in dance history emerges, rather than merely in the performances themselves.

  • 225.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten.
    Form och mening i dansen: en studie av stilbegreppet med en komparativ stilanalys av Mary Wigmans och Birgit Åkessons solodanser1991Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    Diss.

  • 226.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Från balettkår till danspionjär: dansaryrkets förändringar kring sekelskiftet2019Inngår i: I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 1900 / [ed] Rikard Hoogland, Göteborg: Göteborgs universitet, 2019, s. 91-114Kapittel i bok, del av antologi (Fagfellevurdert)
  • 227.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Spaces of Encounter: Dancing Democracy in the Nordic Region2013Inngår i: Dance Spaces: Practices of Movement / [ed] Susanne Ravn & Leena Rouhiainen, Odense: Odense Universitetsforlag, 2013Kapittel i bok, del av antologi (Fagfellevurdert)
  • 228.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    The Field of Dance Didactics: The Use of Analytical Terminology in the Studio2014Inngår i: (Re)Searching the Field: Festschrift in Honour of Egil Bakka / [ed] Anne Margrete Fiskvik, Marit Stranden, Bergen: Fagbokforlaget, 2014, s. 243-253Kapittel i bok, del av antologi (Fagfellevurdert)
  • 229.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    The Power of Classification2009Inngår i: Worlding Dance / [ed] Susan Foster, Houndmills, Basingstoke: Palgrave Macmillan , 2009, s. 14-31Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 230.
    Hammergren, Lena
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Åkesson, Birgit Anna Ida (1908-2001)2016Inngår i: Routledge Encyclopedia of Modernism, Routledge, 2016Kapittel i bok, del av antologi (Fagfellevurdert)
  • 231.
    Hammergren, Lena
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Foster, Susan L.
    Dancing the Political2016Inngår i: Choreography and Corporeality: Relay in Motion / [ed] Thomas F. DeFrantz, Philipa Rothfield, Palgrave Macmillan, 2016, s. 291-305Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    In this collaborative essay, we propose to examine what the adjective ‘political’ can mean and fail to mean when it is used to describe dance. We intend to analyse how different geographical and cultural regions have implemented the term, such as the very strong emphasis and nuanced discussions about identity politics in the USA versus a more ‘a-political’ idea in Europe, leading to notions about politics as immanent in the practice of dancing. Using diverse examples including the work of Faye Driscoll , Frédéric Gies , and Deborah Hay ’s Solo Performance Commissioning Project, we hope to create a dialogue about performance from different viewpoints, a kind of process geography of the political in dance. Such a dialogue reflects on the conversations we have had in our Working Group over the years as scholars and the very different methodological and theoretical orientations we have shared with one another.

  • 232.
    Hammergren, Lena
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Sauter, Willmar
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Turning Points and Continuity: Introducing a research project2017Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 29, nr 1, s. 6-7Artikkel i tidsskrift (Annet vitenskapelig)
    Fulltekst (pdf)
    fulltext
  • 233.
    Heed, Sven
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    The Imaginary Illness in Dramaten: Moliere's comedy between farce and tragedy2008Inngår i: Degrés, ISSN 0770-8378, nr 134-35, s. i1-I15Artikkel i tidsskrift (Fagfellevurdert)
  • 234.
    Heed, Sven
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    The Oresteia. Transmission and actuality of the myth2017Inngår i: Degrés, ISSN 0770-8378, nr 169Artikkel i tidsskrift (Fagfellevurdert)
  • 235.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Beyond the Snowslide.: Ibsen and Postdramatic Theatre2009Inngår i: Ibsen in the Theatre / [ed] Sven Åke Heed & Roland Lysell, Stockholm: STUTS , 2009, s. 27-31Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 236.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Efter maskeraden2007Inngår i: Ny svensk teaterhistoria 1: Teater före 1800, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 237.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Folkligt och profant2007Inngår i: Ny svensk teaterhistoria 1: Teater före 1800, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 238.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Impulser utifrån2007Inngår i: Teater i Sverige 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 239.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Ny svensk teaterhistoria 1: Teater före 18002007Collection/Antologi (Annet vitenskapelig)
  • 240.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. teater- och dansvetenskap.
    Operett och musikal2007Inngår i: Teater i Sverige 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 241.
    Heed, Sven Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Stadsteatertanken i svensk teater2007Inngår i: Teater i Sverige 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 242.
    Heed, Sven Åke
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Forser, TomasGöteborgs universitet.
    Ny svensk teaterhistoria 3: 1900-talets teater2007Collection/Antologi (Annet vitenskapelig)
  • 243.
    Heed, Sven-Åke
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Teater- och dansvetenskap.
    Under mindets stjerner høje: Terje Maerlis uppsättning av Henrik Ibsens Når vi døde våkner.2008Inngår i: Tolkningens scen: Festskrift till Roland Lysell, Aiolos , 2008Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 244.
    Heide, Markus
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Språkvetenskapliga fakulteten, Engelska institutionen.
    Narcocorridos: Ethnic Tradition, Border Discourse, and Commercialization2015Inngår i: Selling Ethnicity and Race: Consumerism and Representation in Twenty-First-Century America / [ed] Pisarz-Ramirez, Gabriele, Trier (Tyskland): Wissenschaftlicher Verlag Trier, 2015, s. 197-211Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    As traditional Mexican folk music corridos have always celebrated smugglers, outlaws and bandits, and many songs, popular in Mexico and the US Southwest, have commented on drug-related issues. However, in the past decades narcocorridos added a new dimension to the complex relation of music industry and drug consumption in North America. The following essay discusses the growing popularity of the drug ballad (narcocorrido) in the context of the rise of drug related violence in Mexico and the history of corrido singing in the US-Mexico borderlands. The contemporary narcocorrido is shown as a commercialized rendering of local traditions of resistance against oppression and poverty. Ethnic roots of the music genre are exploited for marketing celebratory and heroic representations of drug related violence.

  • 245.
    Helander, Karin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Aktör med oerhörd scenisk närvaro: Richard Bark, Skådespelaren Lars Hanson2013Inngår i: Respons : recensionstidskrift för humaniora & samhällsvetenskap, ISSN 2001-2292, nr 4Artikkel, omtale (Annet vitenskapelig)
  • 246.
    Helander, Karin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Att vara eller inte vara rollen: Skådespelarens paradox2011Inngår i: Vitterhetsakademiens årsbok, Stockholm: Kungliga Vittherhetsakademien , 2011, s. 109-123Kapittel i bok, del av antologi (Annet vitenskapelig)
    Fulltekst (pdf)
    Att vara eller inte vara rollen
  • 247.
    Helander, Karin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    Att öppna nya världar: Om teatersamtal och barnpublik2011Inngår i: På jakt efter den dialogiska estetiken / [ed] Karin Helander, Stockholm: Carlsson , 2011Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 248.
    Helander, Karin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Barn i dramatiken, på scenen och i publiken2019Inngår i: I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 1900 / [ed] Rikard Hoogland, Göteborg: LIR.skrifter, 2019, s. 47-73Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    Children in plays, on the stage and in the audience Children’s theatre is a reflection of contemporary views on children and childhood. Adults and parents, as well as playwrights, actors, directors, pedagogues, and critics dictate the underlying purposes of theatre for the youngest audiences. Traditionally, the adult world has insisted on a theatre that serves either serves a purpose or entertains, and preferably does both. During the first decades of the twentieth century Swedish theatres produced new plays written by pioneering playwrights, such as Anna Maria Roos, Anna Wahlenberg and Walter Stenström. Sometimes the cast was mixed with both adults and children. Children were created in the plays, they were present in the auditorium and sometimes also on the stage. In some typical performances, children are found in opposition to the grown-ups within different social environments and contexts, from fairy tale castles to poverty. Childhood embraces conflicts and challenges and the children represent courage, common sense, faithfulness and love. The critics often praise the frank and charming child actors, but have problems with the valuations of theatre for a young audience. This chapter analyses shifting representations and functions of children and childhood in the works of Roos, Wahlenberg, and Stenström. The focus of the study is on plays themselves, as well as reviews and other archival source material.

  • 249.
    Helander, Karin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Barndomsbilder: Ingmar Bergman och teatern2019Inngår i: Kungl. vitterhets historie och antikvitets akademien: Årsbok 2019, Stockholm: Kungl. Vitterhets Historie och Antikvitets Akademien, 2019Kapittel i bok, del av antologi (Annet vitenskapelig)
    Fulltekst (pdf)
    fulltext
  • 250.
    Helander, Karin
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Barndramatik och barndomsdiskurser2014 (oppl. 2)Bok (Annet vitenskapelig)
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