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  • 251.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Galen, kriminell och sjuk: Sprätthöken som modeoffer2012Conference paper (Other academic)
  • 252.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "La plume vigoureuse et drue du cher André Obey": Controverses autour de la première adaptation française de La Chatte sur un toit brûlant de Tennessee Williams’2022In: André Obey, créateur dramatique complet: théâtre, musique et sport / [ed] Sophie Gaillard; Marie Sorel, Paris: Honoré Champion, 2022Chapter in book (Refereed)
  • 253.
    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.

  • 254.
    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.

  • 255.
    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)
  • 256.
    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.

  • 257.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Viral Networks: HIV and AIDS, Performance, and the Sexual Politics of the Swedish Welfare State in the 1980s2022In: Theatre journal (Washington, D.C.), ISSN 0192-2882, E-ISSN 1086-332X, Vol. 74, no 4, p. 441-462Article in journal (Refereed)
    Abstract [en]

    This essay marks an intervention into Sweden’s international image as a beacon of civil liberties, gender equality, and progressive LGBTQ+ politics. First, it asserts that theatre and performance became strategic tools to help regulate the sexuality and national health of the Swedish population at the height of the AIDS crisis. Second, it suggests the methodological concept of “viral networks” as a means to generate new insights into the myriad forms of collaboration between theatre artists, social workers, union activists, pedagogues, political representatives, and national corporations on a local, regional, and national level. Through these two lines of argumentation, the essay demonstrates how the welfare state harnessed the stage as a forum to disperse and implement its official sexual politics, defined by normative, punitive, and moralizing standards. In contrast to many countries, where young queer communities mobilized against HIV and AIDS and deployed the arts as a means of protest and community-building, in Sweden the issue was brought to the forefront by left-wing, middle-age, heterosexual men who had been reared in the politicized cultural climate of the 1960s and 1970s. This led to a preoccupation with straight cis-gendered masculinity, to the detriment of already marginalized social constituencies.

  • 258.
    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.

  • 259.
    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. 131-167Chapter in book (Refereed)
  • 260.
    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.

  • 261.
    Gogoulou, Nadi
    Stockholm University of the Arts, Department of dance.
    B.A.W.L.2021Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    An extract of several practices, this presentation exists before it’s happening, while it’s happening and after it’s happening. This presentation is a performative organism that experiments with non-linear time. It invites you to enter from the after point and exit from the before point. The performance is not-not live. It is not-not a recorded organism.

    The performative organism invites you to be with it. It explores sharing a physical space and being alone in a screening, or on a digital device at the same time.

    The performance is a medium for experiencing a screen as a site for liveness and liveness as a site for screen-ness. The performance escalates the de-escalation of experienced intimacy.

    This performative organism is in your body, in a room, on a screen and in your smart phone. It invites you to explore which medium moves you, why, where it moves you to and how?

    For this performative organism, methods of filming, editing, scoring, descoring, digitalizing, listing, cooking, framing, and copying and pasting are in use. 

    Download (mp4)
    film
  • 262.
    Goldmann, Leo
    Stockholm University of the Arts, Department of Performing Arts.
    Om humor i process2024Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Den 15 maj 2024 sattes dansföreställningen Tiny Monument upp på Fri Scen på Stadsteatern i Stockholm. Föreställningen hade ingen enskild regissör eller koreograf, istället så skapade musiken, ljusdesginen, scenografin och kostymen koreografiska ramverk för fem stycken dansstudenter att skapa utifrån.

  • 263.
    Graff, Jens
    Stockholm University of the Arts, Dance Department.
    Dansarens yrkesidentitet2007Report (Other academic)
  • 264.
    Granado Persson, Clarice
    Stockholm University of the Arts, Department of Opera.
    Nära inpå och långtifrån: En undersökning om sceniskt uttryck från olika perspektiv2024Independent thesis Basic level (degree of Bachelor of Fine Arts), 5 HE creditsStudent thesis
    Abstract [en]

    This work examines the laboration of an opera scene performed from three different perspectives and distances. With my own experience of learning acting from two different schools I have in this project developed a method through observing the different feelings and experiences when acting for three different viewpoints. One being as close as a movie camera would be, the second resembling a smaller hall and the third resembling a bigger theater. The purpose and hope for this project would be to connect the similarities and differences in each take and work toward creating honest acting in every form and size one might be asked to perform. Not only did I observe the different impulses and instincts created in me within each take but I also discovered that this could become a method I will use in the future as it brought me closer to my character by going from ”small” to big” in a methodical way.

    Download full text (pdf)
    Nära inpå och långt ifrån
  • 265.
    Granato, Thiago
    Stockholm University of the Arts, Dance Department.
    From Klauss to Katherine(s), a performative reading installation2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    From Klauss to Katherine(s) is a performative reading installation made by the dance artist Thiago Granato in correspondence with seven other choreographers. It is part of his Choreoversations project. It consists of an archival re-enactment of an exchange of fictional letters between dead choreographers, animated by living ones. How can fiction guide us in dealing with the presence of those who are no longer among us?

     

    This practice explores different ways of creating a performative contract through an imaginary link formed between the writer's body, the body of the letter, and the body of the one who reads it. In this context, fiction is used as a way to organize alternative realities. 

    This fictional exchange allows a temporary identification that brings into communication imaginary situations, historical information, facts and speculations across different times and places. It supports the possibility that history coexists with fiction in an entanglement of real and imagined lived experiences. The letters perform a transmission of memories and affects passed through bodies in the act of writing and reading. 

    In this installation, Thiago is present alongside the fictional letters and archival material. The letters take on the agency of performance, while Thiago becomes a living document of the creative process. 

  • 266.
    Granbom, Gunilla
    Teaterhögskolan Stockholm.
    Intervju med Per Sörberg2004Other (Other academic)
    Abstract [sv]

    "Jag tror på en skådespelarens teater, där man är lika medveten om uttrycket av tanken - känslan - som av impulsen till den. Att fullfölja en impuls, att inte göra något annat, utan gå fullt ut tills det tar stopp. Fullfölj idéer, fullfölj linjer."

    Per Sörberg är skådespelare, utbildad på Teaterhögskolan i Malmö. Per undervisar sedan 1998 i clownteknik på Teaterhögskolan i Stockholm. Här förklarar han hur hans syn på clownen har förändrats, och hur han gör för att ge studenterna tillgång till clowntekniken, som - enligt Per - är grunden till allt skådespeleri.

    Download full text (pdf)
    Intervju med Per Sörberg
  • 267.
    Gronberg, Pinja
    Stockholm University of the Arts, Department of dance.
    Physical experiences into words and the other way around2016Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This project is about working with transmitting physical experiences through words. When   working  with that transmission I am exploring the transforming of the physical experiences into words and the words into physical experience. I am exploring this transmission in relation to dance. By working with dance I investigate how information that only I can access becomes shared information that can be generally understood and, at  the same time, carries multiple meanings within it.    

  • 268.
    Grunditz Brennan, Kersti
    et al.
    Stockholm University of the Arts, Department of Film and Media. Stockholms Konstnärliga Högskola/Department of film and media.
    Boholm, Annika
    THE BLOD METHOD: CASE STUDY OF AN ARTISTIC RESEARCH PROJECT IN FILM2022In: International Journal of Film and Media Arts, ISSN 2183-9271, Vol. 7, no 1, p. 48-74, article id 03Article in journal (Refereed)
    Abstract [en]

    The BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation-building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks, how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship? The BLOD method is articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The method is non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. Through this paper, different aspects of the BLOD method are tossed around in relation to BLOD research activities; making cinematic building blocks that allow and induce multiplicity, improvisation, and fluidity of form; sharing personal experiences through fictionalized documentary processes; dealing with ethics in interpersonal and ecological relations. The paper proposes that critical reflection and vulnerability are integral to film production and offers this case study as an example for method development in other research projects or films – especially ones that sprawl, tangle, and defy categorization by field or discipline

    Download full text (pdf)
    The Blod Method: Case Study of an Artistic Research Project in Film
  • 269.
    Grytt, Fabian
    Stockholm University of the Arts, Department of Performing Arts.
    Stumt Tvång2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    Source code for the tools implemented in MAX/MSP and general reflection concerning my work with the sounddesign for my examining project: Stumt Tvång.

    Download (zip)
    Stumt Tvång
  • 270.
    Grönlund, Erna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dansterapi: en målinriktad behandling som stöd och hjälp för pojkar med diagnosen ADHD/DAMP2004Book (Other academic)
  • 271.
    Grönlund, Erna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dansterapi för deprimerade tonpårsflickor samt utvärdering av det samlade dansterapiprojektet2006Book (Other academic)
  • 272.
    Grönlund, Erna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Danterapi för pojkar med ADHD: grupp och individuell behandling2005Book (Other academic)
  • 273.
    Grönlund, Erna
    et al.
    Stockholm University of the Arts, Dance Department.
    Gustafsson, GunnelStockholm University of the Arts, Dance Department.Ståhle, Anna KarinStockholm University of the Arts, Dance Department.Blomqvist, HjalmarStockholm University of the Arts, Dance Department.
    Documentation of the artistic gathering Close encounters - artists on artistic research2007Collection (editor) (Refereed)
  • 274.
    Guido, Mirko
    Stockholm University of the Arts, Dance Department.
    Fictioning Hamlet: Dialogues and Diffractions2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Fictioning Hamlet: Dialogues and Diffractions is my ongoing research shared in room 402 at Linnégatan 87, the 15-16-17 May 2019, as a choreographed environment of situations and relationships. It includes participatory practices, texts, audio-video materials and live performance. These were articulated through a research process I embarked on in the spring of 2018: surprised by the sense of shame I felt when realising I did not know the story of Hamlet, I began dealing with questions about power dynamics between dominant narratives and individual imaginaries. Through the process, I increasingly applied participatory approaches, and staged situations based on strategies of ‘re-fictioning’ as a practice for the construction of alternate realities. My choreographic practice appears via the navigation of the many materials, methods and contexts involved in the process, and in the way they change, respond, and adjust in relation to each other. My idea of expanded choreography begins with thinking the work as a performance device, in which I build-in conditions where response is not only possible, it is what makes the work. My role as author is decentralised in favor of relational thinking. Ethical dimensions of responsivity, responsibility, and inter-subjective relationships lie at the core of this practice. I am committed to working responsively and confronted with and by the complexities each situation and context produce. For this presentation I aimed at making evident, explicit and present the dynamic process of intrasubjective and intersubjective relations that are at the core of this process.

  • 275.
    Gunnari, Mattias
    Stockholm University of the Arts, Department of Opera.
    Reflektionsuppgift: Den skådespelande operasångaren2021Independent thesis Basic level (degree of Bachelor of Fine Arts), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [sv]

    Sammanfattning Vad som fick mig att vilja skriva om det här ämnet var en specifik erfarenhet jag var med om för ett par år sedan, då jag medverkade i en uppsättning av Così fan tutte och gestaltade soldaten Ferrando, utklädd till en arabisk oljeprins. I en av scenerna för Ferrando och Guglielmo en diolag sinsemellan om hur den ena har lyckats förföra en av tjejerna och hur den andra inte. I den här scenen lyckades jag inte hitta nyckeln till att låsa upp dramat, och tydliggöra de olika riktningarna och intentionerna hos min karaktär. Efteråt var jag fortsatt förbryllad och är det än idag — vilket har lett mig till att reflektera kring detta i den här skrivuppgiften. Det var så ovant och slående att inte förstå hur jag skulle göra för att få fram regissörens och min karaktärs vilja, och jag är helt övertygad om att det fanns en lösning till mitt problem framför näsan som jag i stunden inte förmådde att se. Det är min förhoppning att jag av denna reflektionsuppgift ska bli litet klokare och kanske lära mig något nytt om mig själv och om skådespelarkonsten i allmänhet. 

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    Gunnari Reflektionsuppgift
  • 276.
    Gyll, Pia
    Stockholm University of the Arts, Department of Performing Arts.
    Att inte berätta.: Slutreflektion kring examensarbetet Stumt Tvång.2022Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
  • 277.
    Gür, Dilek
    Stockholm University of the Arts.
    Forskningsprojektet "Ett decennium av kris": Slutrapport, hösten 20002000Report (Other academic)
    Abstract [sv]

    beskriva och utvärdera förändringarna under 90-talet på några av de stora teaterinstitutionerna. Utgångspunkten är de ekonomiska och konstnärliga kriser som under 90-talet uppstod på dessa teatrar och de lösningar man sökt finna för dessa.

    Rapporten ingår i ett forskningsprojekt som initierats av professor Per Lysander på Dramatiska Institutet. Arbetet har genomförts med stöd från Stiftelsen Framtidens Kultur samt Helge Ax:son Johnssons Stiftelse.

    Vi har intresserat oss särskilt för reduceringen av fast anställd konstnärlig personal. Detta har varit en krisåtgärd som satts in med såväl ekonomiska som konstnärliga argument. I debatten som följt i krisernas spår har nämligen den konstnärliga stagnationen ofta skyllts på tillsvidareanställda regissörer och en åldrande ensemble bestående av tillsvidareanställda skådespelare. Reduceringen av antalet fast anställda skådespelare har också motiverats ekonomiskt, med förhoppningen att de allt högre personalkostnaderna skulle kunna minskas.

    Ambitionen är dels att i konkreta siffror visa hur stora neddragningar man gjort när det gäller tillsvidareanställda skådespelare. Vi vill också försöka få svar på om man genom förändringarna som gjorts på personalsidan verkligen har lyckats hålla ner personalkostnaderna och om genomströmningen av konstnärlig personal på teatern ökat.

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    fulltext
  • 278.
    Hakopian, Ruzan
    Stockholm University of the Arts, Dance Pedagogy Department.
    Mental träning: en kvalitativ studie av begreppet mental träning och hur det kan ingå i dansutbildningarna2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of this study is to understand how mental training can be integrated in dance education, on the basis that there is a certain lack of mental traning for dancers. Qualitative interviews are used to gain an understandning of what dancers experience of mental training in their schooling. Reaserch is made on sport psychology, to obtain more knowledge about the subject and also dance psychology to highlight past research in dance. The work is analyzed from a hermeneutic perspective.

    The study shows that lectures in mental training should be presented early in dance education, so dancers can gain knowledge and become aware of the psychology in dance practice. Follow-up and continuity are important for developing and maintaining psychological skills. Expertise in the field of dance is desirable of the lecturer. The study shows that the lectures dancers received in mental training, have been of people with sports as a background, it is shown that they have different approaches in mental training, which is not always experienced as constructive in relation to the dancers practice.

  • 279.
    Hald, Niklas
    Stockholm University of the Arts, Department of Acting.
    Fenomenet inopp: - om ersättarens roll2022 (ed. 1)Book (Refereed)
    Download full text (pdf)
    Fenomenet inhopp
  • 280.
    Hald, Niklas
    Stockholm University of the Arts, Department of Acting.
    Om inhopp i teater för barn och unga2021Report (Other academic)
    Abstract [sv]

    Forskningsprojektet Om inhopp i teater för barn och unga handlar om den specifika situationen där en eller flera skådespelare ersätter en eller flera skådespelare i en uppsättningsprocess som redan startat. Essän diskuterar och problematiserar vad som sker i samband med de plötsliga inhoppen och de mer planerade. Vad innebär det för skådespelaren att få en betydligt kortare repetitionsperiod, alternativt ingen alls? Hur påverkar det mig att vara - den nye - i en ensemble? Vilka praktiska, konstnärliga och sociala utmaningar möter den som ersätter/hoppar in och den redan etablerade ensemblen?

    Download full text (pdf)
    fulltext
  • 281.
    Hald, Niklas
    Stockholm University of the Arts, The Department for Acting. Universitet i Nordland, Bodö.
    Skådespelaren i barnteatern: utmaningar för oss som spelar teater för barn och unga : en doktorsavhandling i praktisk kunskap2015Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Summary

    This dissertation is about children’s theatre from the perspective of the professional actor. The main question is: Which are the challenges we actors face when performing for children and young people, and how do we relate to them? The research is based on a long personal experience of acting in theatre aimed at children from the age of three to eighteen years old. In addition to this I have also interviewed actors with similar and different experiences of the same specific age groups, in order to get a better understanding of my field of research. My main goal is to show the complexity of this specific field of acting. The text is essayistic in that it is using experiences as means for reflection. Here I reflect on and over specific events from my practice. These reflections are then set against the interviews and texts from different philosophical and theoretical perspectives, mainly phenomenological and hermeneutic.

    In the presentation of the challenges I have chosen to focus on the theatre performed in the schools and classrooms. They are divided in three categories; External circumstances, Relation to audience and Other challenges.

    Download full text (pdf)
    fulltext
  • 282.
    Hald, Niklas
    Stockholm University of the Arts, The Department for Acting.
    Slutrapport, Om inhopp i teater för barn och unga2020Report (Refereed)
    Abstract [sv]
    • Ju fler kollegor jag talade med, desto mer uppenbart blev det hur ofta inhopp i olika former förkommer – känslan var också att inhopp blivit vanligare i vår tid där projektanställningar dominerar över fasta, eller längre anställningar – något som ger en ökad rörlighet på arbetsmarknaden – varav fler avhopp och inhopp i teaterproduktioner är en av följderna.
    • Jag fascinerades över att så många skådespelare var positiva till inhopp, trots bristen på möjligheter till egna konstnärliga val kombinerat med korta repetitionstider. En av anledningarna är att det trots allt genererar arbete, en annan är att många också stundtals verkar uppskatta den frihet från ansvar som bristen på konstnärlig frihet i sig innebär – ”Det är bara att gå in och köra!”
    • När jag började mitt projekt var jag i huvudsak intresserad av den som hoppar in och de förutsättningar som ges till den/dem. Efterhand blev jag mer och mer intresserad av de som så att säga ”blir kvar” i en ensemble. Det emotionella i att någon lämnar och någon ny kommer in. De personliga relationerna påverkar arbetet i stor grad, även om vi sällan adresserar dem.
    • Det faktum att den inhoppade skådespelaren ofta har en ytterst begränsad repetitionstid gör att det finns något nästan spektakulärt över processen, känslan av att göra något omöjligt. I praktiken innebär det att jag inte hinner tveka, inte får dröja i mitt arbete, utan måste spela ut för ”fullt” redan på ett tidigt stadium innan jag egentligen har koll på vad jag håller på med. Den blandningen av skörhet, förvirring och satsning gör att jag snabbt kommer in till någon sorts kärna i skådespeleriet, en skärningspunkt där det enda som existerar är nuet. Delvis beroende på att nuet är det enda jag vet något om då all tankekraft går åt till ta mig genom moment för moment då jag ännu inte lärt mig navigera i den aktuella uppsättningens rytm, tidslinje och helhet.
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  • 283.
    Hallengren, Anders
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Den gränslösa erfarenheten2021In: Schibboleteffekten: Ledarskap, konsten och människans ansvar / [ed] Julia Romanowska, Stockholm: Appell förlag , 2021, p. 20-24Chapter in book (Refereed)
    Abstract [en]

    Impressions from the Schibbolet project written by one of the moderators. 

  • 284.
    Hamid Isacson, Vanja
    Stockholm University of the Arts, Department of Performing Arts.
    Flerspråkighetens potential i dramatiska verk2022Doctoral thesis, monograph (Other academic)
    Abstract [sv]

    "The potential of multilingualism in dramatic works" is an artistic research project that aims to investigate, develop, and deepen the practice of writing multilingual drama for an imagined audience in Sweden. Through placing significant focus on the playwright's practice, the goal is to contribute to the artistic development of dramatic writing in Sweden and in other Swedish-speaking contexts.

    By using sociolinguistic theories and terms around multilingualism, both the artistic practice and the discourse surrounding it are developed and challenged. Through the application of an integrated ideology of multilingualism, language ideologies based on a monolingual norm are contradicted. In this way, the project makes room for silenced and marginalized voices and perspectives that rarely take or receive a place in Swedish performing arts contexts.

    Considering language, and thus multilingualism, as social practice and action is the starting point for the research. This post-structuralist approach is in line with the theories of sociologist Pierre Bourdieu and language theorist Michael Bakhtin. In this research drama is considered as both practice and as action. Central concepts are linguistic repertoires, translingualism and speech acts.

    Within the project, two dramatic works have been created, ASIA/ÄRENDE and UniZona & PolyZona. These constitute the artistic result of the research and can both be described as dialogical polyvocal plays. Common and central to both works is that multilingualism permeates them and constitutes their formal core. The multilingualism has consequences that affect the dramaturgical and musical structures.

    The creation of the works has taken place in dialogue and collaboration with multilingual actors, directors and translators in Sweden and Finland. The form of the artistic work has been conversations, workshops and periods of writing, translation, and design. Through these processes and works, the issues have been successively investigated. As tools for analysis, reflection and discussion, four categories have been created: dramaturgical, political, emotional and communicative potential. With the help of these, the concrete functions of multilingualism in both dramatic works are examined with the aim of making visible the potential of multilingualism in dramatic works.

    The project demonstrates that multilingual dramatic writing requires different, less traditional approaches and in this way contributes to an expanded practice for the playwright. The methods used in the creation of the works have been collaborative, transcultural and dialogic, shifting between practices and acts of listening and composing.

    "The potential of multilingualism in dramatic works" aims to show the enormous artistic, creative, political, emotional and communicative potential that multilingualism can bring to the dramatic work and, by extension, the performing arts.

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  • 285.
    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)
  • 286.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Many sources, many voices2017In: Rethinking Dance History: Issues and Methodologies / [ed] Geraldine Morris, Larraine Nicholas, London: Routledge, 2017, 2, p. 136-147Chapter in book (Other academic)
    Abstract [en]

    This chapter queries the process of assembling, choosing and interpreting documents from which dance histories can be told. Amy Koritz has emphasized these circumstances in her cogent research on dance and literature in early twentieth-century British culture. From a British perspective, she addresses the historical stature accorded to Maud Allan in comparison to some other contemporary dance artists. To begin a life story with childhood reminiscences has long been a narrative convention. Most dance artists use it in the same manner as Loie Fuller and Isadora Duncan in order to point out how their future careers were decided very early in life, and they depict dance as a kind of 'natural' or universal force impossible to avoid. The Canadian-born dancer Allan exemplifies agency in a different manner. In an interview conducted by a Swedish journalist in 1908, Allan paints a nice and highly respectable picture of herself and her family, which artfully manipulates the truth.

  • 287.
    Hanaeus, Pelle
    Stockholm University of the Arts. Clowner utan gränser.
    Redovisning av högskolekursen Internationell utblick 2008 Moldavien: texter och bilder, reflektioner och fakta2008Collection (editor) (Other academic)
  • 288.
    Hangård, Viggo
    Örebro University, School of Music, Theatre and Art.
    Teater genom lajv genom teater genom lajv genom…: Teaterpedagogers syn på användandet av lajvpraktiker i teaterundervisning.2023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Föreliggande uppsats syfte är att synliggöra teaterpedagogers syn på sin erfarenhet av lajv i relation till teaterundervisningen. Genom kvalitativa intervjuer har tre teaterpedagoger intervjuats som alla ser att deras teaterundervisning har påverkats av deras lajverfarenhet. Övergripande resultat i studien är att flera lajvpraktiker kunnat infogas i teaterundervisningen och understödja kvalitéer och processer kring kollaborativt skapande, rollarbete och reflektionsarbete. Fyra praktiker lyfts. Mini-lajvande är en praktik pedagogerna använder där eleverna lämnar teatermanuset och utforskar nya situationer med sina karaktärer. Den dramaturgiska principen ”play to lose” används för att eleverna ska skapa intressant dramaturgi och öppna situationen för andra elever att kunna delta. Ett slags transparensarbete beskrivs inspireras av lajvets form där eleverna får insyn i pedagogens planering och medkonstruerar sina kunskaper och lektioner. Pedagogerna arbetar även kring elevernas känslor för att omhänderta starka reaktioner i läromomenten och för att eleverna ska lära sig skilja mellan känsloreflektioner och gestaltningsreflektioner. Teaterklassrummet har även analyserats som en läromiljö med informella och formella kvalitéer, vilket blir en möjlig förklaring för varför lajvpraktikerna stundvis kan infogas sömlöst i teaterundervisningen, och varför stora hinder ibland uppstår. Resultaten sätts i relation till tidigare forskning i lajv- och teaterundervisningsfälten, och vidare diskuteras resultatet. För det första diskuteras huruvida lajvet introducerar helt nya praktiker, eller om praktikerna snarare sätter form för redan befintliga praktiker. För det andra diskuteras varför vissa väletablerade lajvpraktiker inte återfinns i informanternas beskrivningar. För det tredje lyfts huruvida teaterläromiljön ska anta flest formella eller informella kvalitéer, och om läromiljön har en unik möjlighet att vara dynamisk.

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  • 289.
    Hanna, Normann
    Stockholm University of the Arts, Department of Acting.
    Who is stalking who?: - stalking as a phenomenon. Actress as the stalkeror the audience as the stalker.2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Hanna Normann and her artistic team will present the concept of stalking, examining who is stalking who. Stalking as a phenomenon, I ask myself as an actress: Audience as a stalker or actress as a stalker? Who is stalking who? - Who is dependent on whom? What do "the gaze of the audience" and "the gaze of the actress" look like when I start working with their conventions? As an actor/actress, how do I get the feeling of being equal to the audience? I ask myself, "How come I feel a sense of relief from not creating directly in front of an audience in the same time and space?" What is it? Why do I feel a greater desire to create in front of the camera and capture what is called the present and what is called presence on film instead of on a stage in direct connection with an audience? What does the audience expect from the actor if I challenge the audience, the traditional theater space, and the traditional meeting that occurs on stage between the actor and the spectator? How do I create the "now" in a different discipline? How long does one "now" last? How do I catch one "now"?

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  • 290.
    Hannisdal, Maja
    Stockholm University of the Arts, Department of dance.
    The Basics2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    The Basics is my on-going exploration of the potential sustainability, ethics, resistance, and beauty of leading a mediocre life. With a specific starting point in the municipal aesthetics of Norwegian social democracy, my hope is for this exploration to reveal new ways of addressing success, failure, value and care, specifically in the practice of artistic and organisational dancemaking, but also for anyone who is grappling with their own mediocrity.

    In attempting to perfect mediocrity, I already failed before starting, seeing that anything perfected can no longer be mediocre. So what am I then left with? Can this failure make a shift in what I value as a mediocre experience? Can I find a resonance in my own body that can enrich my understanding and appreciation for the seemingly boring or irrelevant?

    The past two years I have tried to pull threads between questions of value, neutrality, standards, and bare minimums, to the history of standardised sizes in fast fashion’s basics sections, to the invisible but irreplaceable mass of the predominantly female work force in the municipality, through «Jantelov» and «Dugnadsånd»- defining elements of Scandinavian behavioural norms. And in the middel of this web of threads we find the Basic Bitch in a sustained collapse between high and low culture, feeling the sometimes melancholic, sometimes liberating irrelevancy of her own mediocrity.

    During my process, two main movement scores has taken shape; “The Molasses Collapse” and “Basic Monday Groove”, both working with duration and insistence as main ingredients for reaching an amplified sense of one’s own mass, and the mass of a group. 

    The scores were presented in the form of a dance piece at Weld, Stockholm in May 2023, then with a third score for sharing cake and coffee with the audience in a sustained silence, also focusing on duration as material. The dance piece was choreographed and performed by myself together with dancers Laressa Dickey, Alexis Steeves, Valentina Parravicini, and Tove Skeidsvoll. The work was shown with music by DeHendrik LeChat Willekens based on Portsmouth Sinfonia’s “Also spracht zarathustra” and Johann Sebastian Bach’s “Wachet auf” from Cantata 140. The scenography was inspired by municipal open office landscapes, and the costumes were curated from the basic section of Kappahl, worn together with identical brown wigs and sensible shoes. The cake was served by Sarah Bellugi Klima, light design was by Ronald Salas. The piece was filmed by Maria Ferreira Silva and edited by me.

    The Basics was supervised by Ilse Ghekiere and Jonathan Burrows.

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  • 291.
    Hansson, Ylva
    Stockholm University of the Arts, Department of Performing Arts.
    A doll’s world: Nora ur olika kulturella perspektiv2021Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This master’s thesis discusses who Nora Helmer could be today in different parts of the world. With an idea for an modern adaptation of A doll house (with three Noras from different cultural perspectives) as a starting point the purpose is to research the following questions: Who Nora could be today, how Nora could be portrayed through different cultural perspectives, what similarities and differences there are, if anything in the play has to be changed to relate to a contemporary context and what the essence of Nora is. These questions are being explored through in-depth interviews with five different female actors in different continents: North America, Asia, Oceania, Africa and Europe. The actors thoughts are presented through different themes: Who Nora is, motherhood and marriage, Nora’s favourite color, the ideal woman and who Nora could be in their context today. The last part discusses the different versions of Nora, how a classical play can open up for conversations about current gender equality issues and how this material can be used in the continued work towards a stage production. 

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  • 292.
    Hebrant, Louise
    Stockholm University of the Arts, Department of Dance Pedagogy.
    "Dom säger att jag har för mycket energi": en fenomenografisk studie kring tre danspedagogers, diagnostiserade med ADHD, uppfattningar om sin dansundervisning2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    They say I´ve got too much energy. 

    A phenomenographical study of how three dance pedagogues, diagnosed with ADHD, perceive their dance teaching.

    This study aimed to create knowledge about how dance pedagogues with the diagnose ADHD perceive their teaching practices. The study uses two theoretical perpectives, crip-theory and phenomenography which also is a method for this study. 

    Three dance pedagogues with the diagnose ADHD were interviewed. The questions at issue were: what do the interviews see as positive and negative in their work in relation to the diagnose and which variations are there within the answers. The interviews were perfomed with open questions and with the use of an interview guide. The answers from the interviews were transcribed word by word and out of the answers and the phenomenographical analysis five categories were made. The categories were: "Let the feeling lead", "Spontaneous and energetic", "Too much energy", "A little bit too honest", "Stressful to plan".

    These categories are in line with the ongoing debates and research about the effects of ADHD on behaviour where lack of impulse control and spontaneity is typical. It points at both positive and negative experience to be diagnosed with ADHD when teaching dance. The variations in the answers are especially obvious when the interviewed talk about the organisation and planning before a dance class. It also indicates that people with ADHD are not the same. They feel different, work different and are different just like people who don´t have the diagnose ADHD. But the analyses of the results also includes that it is not quite clear what exactly in behaviour and feelings is caused by ADHD and what is caused by other factors like experience, age, knowledge etcetera. 

  • 293.
    Hedman Hvitfeldt, Maria
    Stockholm University of the Arts, The Film and Media Department.
    I väntans tider: om kvinnor, regiyrket och ett manus2014Other (Other academic)
    Abstract [sv]

    I väntans tider

    om kvinnor, regiyrket och vägen till ett manus.

    Inom film- och tv-branschen har svaret på varför så få kvinnor regisserar film många gånger varit; ”Kvinnor vill inte leda”.

    Men stämmer det?

    I väntans tider är ett undersökande arbete om strukturer, som blev ett manus, och om hur kunskap om sammanhanget växer fram parallellt med ett konstnärligt arbete.

    Det började med följande mening;

    ”Som en intressant kontrast (till siffran 28% kvinnliga sökande till filmregiutbildningarna i Göteborg och Stockholm)var andelen kvinnliga sökande till utbildningen i teaterregi vid Dramatiska Institutet 62% under samma period. På något sätt verkar det alltså inte vara regiyrket som är könskodat utan snarare valet av medium att vilja utöva detta yrke i(…)”

    Ur 00-talets regidebutanter och jämställdhet, En rapport från Svenska Filminstitutet, april 2010. Sid 9. 

    För att få reda på vad det beror på formulerade jag detta; 

    Upplever intervjupersonerna att det finns hinder i filmbranschen eller på filmutbildningen som är specifika för kvinnor? Hur ser de ut? Vad beror de på? 

    Skiljer sig erfarenheterna från de förväntningar och föreställningar som intervjupersonerna hade innan de kom in i filmbranschen och/eller på utbildningen? 

    Finns det vissa egenskaper i eller aspekter av regiyrkets arbetsledande funktion som ställer särskilt stora krav på kvinnor? 

    Har intervjupersonerna erfarenhet av att det finns några könsspecifika skillnader vad avser benägenheten att ta konstnärliga risker i sitt arbete? 

    Finns det några tydliga skillnader mellan filmutbildningen och teaterutbildningen, vad gäller villkoren för kvinnor att göra karriär, och erfarenheter av negativ särbehandling? 

    Har film som konstform enligt intervjupersonerna högre eller lägre status och symboliskt värde än teater? 

    Är det enligt intervjupersonernas erfarenhet lätt eller svårt att kombinera familjebildning och att arbeta med film (alt. vara regissör)? 

     

    Svaren på dessa frågor, som ställdes till ett antal kvinnliga regissörer på väg in på väg ut från konstnärliga skolor,  och några färdigutbildade,  bildade underlag för ett undersökande arbete som resulterade  i ett filmmanus.

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  • 294.
    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.))
  • 295.
    Helander, Karin
    Stockholm University of the Arts, The Department for Acting.
    Den skrattretande teatern: ett år med Gösta Ekman och hans vänner2009Collection (editor) (Other academic)
    Abstract [sv]

    Vad betyder skrattet, det som får oss att skratta vad är det egentligen? På Teaterhögskolan i Stockholm ägnade skådespelare och magisterstudenter ett år åt att i första hand praktiskt, men också teoretiskt, utforska det skrattretande. Under ledning av professorerna Gösta Ekman och Karin Helander, tillsammans med delar av Sveriges främsta humorelit har studenterna studerat äldre och nyare genrer inom komisk gestaltning. Karaktärsarbete, fars, clown, standup och improvisationsteknik stod på schemat. Stor vikt lades även vid att utforska rörelsens komiska potential.En ständigt pågående diskussion fördes kring det skrattretande, både mellan studenter och lärare liksom även mellan Karin Helander och Gösta Ekman. Stora delar av de senares inspelade samtal finns återgivna i boken. Flera av årets gästföreläsare bidrar med egna tankar och reflektioner kring skrattretande scenkonst. Med Karin Helander som ciceron och Gösta Ekman i centrum, i gott sällskap av flera av magisterårets gästföreläsare och inte minst magisterstudenterna själva, leds vi in i den skrattretande teaterns mångfasetterade värld. Karin Helander är professor i teatervetenskap, prisbelönt föreläsare och lektor vid Stockholms universitet.

  • 296.
    Helander, Karin
    Stockholm University of the Arts.
    Kroppen som det skönaste musikaliska instrumentet: om röstpedagogen Cecila Berefelts arbete inom svensk teater och teaterutbildning2012Book (Other academic)
  • 297.
    Helander, Karin
    Stockholm University of the Arts, The Department for Acting. Teaterhögskolan Stockholm.
    Ämne: scenisk gestaltning: dokumentation av Teaterhögskolan i Stockholms professorer Stina Ekblad och Krister Henriksson2009Book (Other academic)
  • 298.
    Hellbom, Rebecca
    Stockholm University of the Arts, University College of Opera.
    Från Mozart till Wagner: En lyrisk-dramatisk soprans reflektioner2020Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Som lyrisk-dramatisk sopran vet jag att min väg vokalt är längre än de flesta andra röstfacks väg, eftersom rösten behöver mer mognad. Mognad att växa in i sitt röstfack och mognad för att klara av de stora rollerna som väntar. Så var börjar man när man är yngre, vilken repertoar kan låta rösten växa och ta plats men ändå bevara ungdomlighet och skönhet? Jag har upplevt från master classes och auditions som jag har varit på att efterfrågan av Mozart har varit stor. Samtidigt har jag alltid tyckt att det har varit svårt att sjunga just Mozart. Det känns inte som att rösten får ta sin riktiga plats och att det skaver på något sätt. Därför blev det tydligt för mig i början av läsåret att mitt projekt skulle handla om hur jag som lyrisk-dramatisk sopran kan hitta min röst i Mozart. Samt hur jag kan dra nytta av ett slankare vokalt tillvägagångssätt som behövs i Mozart och använda det i repertoar som jag trivs bättre i vokalt, som till exempel Wagner.

    Detta är ett utforskande projekt i hur man som lyrisk-dramatisk sopran kan sjunga på bästa sätt med sin röst i olika stilar, och hur de olika stilarna kan dra nytta av varandra. Hur skiljer sig Mozart från Wagner vokalt? Kanske är skillnaden inte så stor, och kanske finns en förening mellan dem två i Weber?

     

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    Från Mozart till Wagner En lyrisk-dramatisk soprans reflektioner
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  • 299.
    Hellström, Henrik
    et al.
    Stockholm University of the Arts, The Film and Media Department.
    Jonstoij, Tove
    Stockholm University of the Arts, The Film and Media Department.
    Öar i berättandets hav2016Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
  • 300.
    Hellström, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Om vår höst med "En värld söker sig räddare"2023In: HuginMumin: ett nordiskt barnmanusprojekt/ et nordisk manusprojekt for barn og ungdom / [ed] Janne Aasebo Johnsen, Helsingfors och Stockholm: ATR förlag , 2023, 1, p. 65-68Chapter in book (Other (popular science, discussion, etc.))
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