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  • 51.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Att växa sidledes: Tematik, barnsyn och konstnärlig gestaltning i Suzanne Ostens scenkonst för unga2018Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

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

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

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

    Fulltekst (pdf)
    Att växa sidledes: Tematik, barnsyn och konstnärlig gestaltning i Suzanne Ostens scenkonst för unga
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    Omslagsframsida
    Download (pdf)
    errata
  • 52.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Barns rätt till konst och kultur: en rätt med undantag?2020Inngår i: En sten i magen: Rättigheter för barn utan undantag / [ed] Rebecca Brinch; Rebecca Örtman; Margareta Aspán; Karin Helander; Pernilla Leviner; Malena Janzon, Stockholm: Styx förlag , 2020, s. 45-61Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 53.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Historiska narrativ och samtidens Sverige i teater för ung publik: Ögonvittnen som trauma-drama2023Inngår i: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, Vol. 53, nr 1, s. 25-42Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

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

  • 54.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Inledning: antirasism, dekolonisering och migration i svensk teater2022Inngår i: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 14-39Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 55.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Suzanne Osten and Swedish Theatre for Young Audiences2019Inngår i: Theatre for Young Audience Journal GEKI, nr 21Artikkel i tidsskrift (Annet vitenskapelig)
  • 56.
    Brinch, Rebecca
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Teater på arabiska för alla: reflektioner från ett samtal om Arabiska Teatern2022Inngår i: Berätta, överleva inte drunkna: Antirasism, dekolonisering och migration i svensk teater. / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 306-315Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 57.
    Brinch, Rebecca
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    "All teater har en samhällsrevolutionerande potential": Ett samtal om Unga Klara med Farnaz Arbabi2022Inngår i: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, s. 337-351Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 58.
    Brinch, Rebecca
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Gindt, DirkStockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.Rosenberg, TiinaStockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Berätta, överleva inte drunkna: Antirasism, dekolonisering och migration i svensk scenkonst2022Collection/Antologi (Annet vitenskapelig)
  • 59.
    Brinch, Rebecca
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Lorentzon, Ylva
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Barn- och ungdomsvetenskapliga institutionen.
    Lund, Anna
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Sociologiska institutionen. Stockholms universitet, Samhällsvetenskapliga fakulteten, Barn- och ungdomsvetenskapliga institutionen.
    Empati och erkännande i teater som gestaltar migration för barn och unga2023Inngår i: Konsten att beröra: Känslor i barnkulturen / [ed] Margareta Aspán; Mats Börjesson, Stockholm: Centrum för barnkulturforskning, Stockholms universitet , 2023, s. 133-155Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 60.
    Brinch, Rebecka
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Martin Hellström, Pippi på scen: Astrid Lindgren och teatern2016Inngår i: Barnboken, ISSN 0347-772X, E-ISSN 2000-4389, Vol. 39Artikkel, omtale (Annet vitenskapelig)
  • 61.
    Brolin, Lisa
    et al.
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för svenska språket (SV).
    Hammar, Ellinor
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för svenska språket (SV).
    Teater för barn - spelar det någon roll?: En kvalitativ studie av två yrkesverksammas syn på att spela professionell teater för skolbarn2023Independent thesis Basic level (professional degree), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Syftet med studien är att undersöka hur två yrkesverksamma personer inom regionteater upplever hur det är att arbeta med teater för skolbarn. Den teoretiska utgångspunkten för studien är fenomenologisk då det är två personers erfarenheter och upplevelser som lyfts fram. Studien är kvalitativ och datainsamlingen gjordes genom semistrukturerade intervjuer. Resultatet visar att teater är viktigt för barns personliga utveckling och deras förståelse för omvärlden. En av de utmaningar som beskrivs av respondenterna är kopplad till den miljö där föreställningarna framförs i skolsammanhang eftersom den upplevs som okontrollerbar. Ytterligare en utmaning som framkommer är när teaterns och skolans förväntningar skiljer sig åt. Det finns även en stor variation mellan kommuner när det gäller att köpa in teaterföreställningar för skolbarn

    Fulltekst (pdf)
    fulltext
  • 62.
    Brunklaus, Birgit
    et al.
    RISE - Research Institutes of Sweden, Sweden.
    Reitsma, Lizette
    RISE - Research Institutes of Sweden, Sweden.
    Andersson Schaeffer, Jennie
    Mälardalens högskola, Akademin för innovation, design och teknik, Innovation och produktrealisering. Region Västmanland Museum, Sweden.
    Ryöppy, Merja
    University of Southern Denmark, Denmark.
    Ho, Hayley
    RISE - Research Institutes of Sweden, Sweden.
    Nyström, Sofie
    RISE - Research Institutes of Sweden, Sweden.
    Carbon theatre in public spaces: Using participatory theatre and co-designmethods in a museum for shaping lowcarbon lifestyles2019Inngår i: Life Cycle Management Conference 2019, Poznan, Polen, 2019, artikkel-id 97Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Over the past ten years, the need for public spaces to deal with burning societal issues, such as climate change, has become even more important. Participatory theatre offers ways to meet the longing for shared forums by engaging large groups of people in exploring difficult social dilemmas. It can potentially empower participants to change their own situations and organizations. In a previous design research project Quantifying your carbon footprint, this gap was in focus. We will use the findings from the Quantifying carbon footprint project as an entry point and expand it with Life Cycle Assessment (LCA) on objects from the current museum collection and on daily life activities that have a carbon impact. The goal of the project is to explore and understand the climate and environmental impacts of lifestyles. The method used here are participatory theatre and co-design methods and pop-up exhibitions are used to engage young citizens in negotiating social norms and understanding their possible impact on CO2 emissions. The museum collections play a crucial role in the process of understanding how LCA calculations are related to mundane objects and reflecting on the temporality of social norms that are negotiated and re-negotiated through the way we handle products and objects in our everyday life. Developing new practices for museums involving participatory methods in order to engage young citizens in climate research. The results of the introductory meeting and study visit show that using the museum’s collection, the history and the value of things in the past centuries become clear and easier to reflect on compared to today’s unsustainable lifestyle – travelling and over consumption. Carbon Dioxide Theatre is an attempt to shape a shared space on a local level, in line with the priorities of the museum’s three years plan.

    Fulltekst (pdf)
    FULLTEXT01
  • 63.
    Brunklaus, Birgit
    et al.
    RISE - Research Institutes of Sweden (2017-2019).
    Reitsma, Lizette
    RISE - Research Institutes of Sweden (2017-2019).
    Jennie, Schaeffer
    Region Västmanland Museum, Sweden.
    Ryöppy, Merja
    University of Southern Denmark, Denmark.
    Ho, Hayley
    RISE - Research Institutes of Sweden (2017-2019).
    Nyström, Sofie
    RISE - Research Institutes of Sweden (2017-2019).
    Carbon theatre in public spaces: Using participatory theatre and co-designmethods in a museum for shaping lowcarbon lifestyles2019Inngår i: Life Cycle Management Conference 2019, Poznan, Polen, 2019, Vol. 9, artikkel-id 97Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Over the past ten years, the need for public spaces to deal with burning societal issues, such as climate change, has become even more important. Participatory theatre offers ways to meet the longing for shared forums by engaging large groups of people in exploring difficult social dilemmas. It can potentially empower participants to change their own situations and organizations. In a previous design research project Quantifying your carbon footprint, this gap was in focus. We will use the findings from the Quantifying carbon footprint project as an entry point and expand it with Life Cycle Assessment (LCA) on objects from the current museum collection and on daily life activities that have a carbon impact. The goal of the project is to explore and understand the climate and environmental impacts of lifestyles. The method used here are participatory theatre and co-design methods and pop-up exhibitions are used to engage young citizens in negotiating social norms and understanding their possible impact on CO2 emissions. The museum collections play a crucial role in the process of understanding how LCA calculations are related to mundane objects and reflecting on the temporality of social norms that are negotiated and re-negotiated through the way we handle products and objects in our everyday life. Developing new practices for museums involving participatory methods in order to engage young citizens in climate research. The results of the introductory meeting and study visit show that using the museum’s collection, the history and the value of things in the past centuries become clear and easier to reflect on compared to today’s unsustainable lifestyle – travelling and over consumption. Carbon Dioxide Theatre is an attempt to shape a shared space on a local level, in line with the priorities of the museum’s three years plan.

    Fulltekst (pdf)
    fulltext
  • 64.
    Burman, Christo
    Umeå universitet, Humanistisk fakultet, Institutionen för kultur- och medievetenskaper.
    I teatralitetens brännvidd: Om Ingmar Bergmans filmkonst2010Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The aim of this dissertation is to discuss and exemplify the use of theatre and theatricality in the film aesthetics of Ingmar Bergman (1918-2007). The main primary material of the study consists of a selection of Bergman’s films: the nine commercials made for Bris soap (1951-1953) and the feature films Sawdust and Tinsel (1953), Smiles of a Summer Night (1955), The Seventh Seal (1957), The Magician (1958), Through a Glass Darkly (1961), Winter Light (1963), The Silence (1963), Persona (1966), The Ritual (1969), Scenes from a Marriage (1973), Fanny and Alexander (1983) and Saraband (2003). The dissertation also includes several other examples from Bergman’s rich intermedial oeuvre, and features theatre, film, radio and television productions. The interart approach is also applied on material from the Ingmar Bergman archives and to the author’s unique interviews that were carried out with Bergman in the fall of 2004 (some of his last interviews).

    After an introduction in the first chapter, the second chapter discusses the history, aesthetics and terminology of theatricality. The term has accumulated an extraordinary variety of meanings, making it denote everything from an act to excess in the broadest possible sense, from a style to a semiotic system and from a medium to a message. In this dissertation theatricality is seen as a reference to a performance that is directed outwards; an act of showing, which reveals the relationship between the medium and the observer. A prerequisite for this is that the object is manifested with a parallel consciousness of the observer’s gaze, which is used as a part of the staging, thereby involving the observer in the work while making her realize that the author is aware of her gaze. This self-consciousness is illustrated in the three following analytical chapters.

    The third chapter looks at the depiction and use of space, framing and long shot-composition, reveries, character entrances, movement and tracking shots in Bergman’s films.

    The main foci of the fourth chapter are masks and Bergman’s famous close-ups, where the emphasis lies on the importance of the actor. In scenes where Bergman lets the actor face and speak directly into the camera, theatricality is characterized by oscillation; that is, it forms an act of showing that breaks the cinematic illusion, while simultaneously involving the observer in the film. The chapter also examines the use of photographs in Bergman’s films.

    The fifth chapter focuses on some of the meta-aspects created by Bergman’s theatrical film aesthetics, for instance when the characters in the films visit theatres. The chapter also analyzes the play-within-the play structure of Bergman’s works and the "indirect" address from Bergman in his films, which is accomplished through the intervention of his voice and cameo appearances.

    The sixth and last chapter of this dissertation consists of a brief summary and conclusions on the subject of cinematic style that show how ideas concerning theatricality have been a part of Ingmar Bergman’s film art.

  • 65.
    Burman, Christo
    Umeå universitet, Humanistisk fakultet, Institutionen för kultur- och medievetenskaper.
    Teaterhistoria III: Ny Svensk Teaterhistoria. Band 3: 1900-talets teater2009Inngår i: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, nr 2, s. 92-93Artikkel, omtale (Annet vitenskapelig)
  • 66.
    Bystedt, Britt-Marie
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Krigaren på scen: Krigarens makt och maktens krigare sedda genom scenkonstens prisma2016Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The warrior has played an important role in most societies, often representing power. The military/ defence system is founded more or less on the ideal of the good and noble warrior. The aim of the thesis is to examine how the warrior's power has been expressed on stage in different times and different contexts. Three perspectives are discussed: 1) The warrior in society, 2) The warrior's self-image (ethos and warrior virtues), 3) The warrior in drama and on stage. In society, warriors in uniform are one means to increase dignity and give credibility to ceremonies. Society uses the same actions as theatre – music, choreography and costumes (parade uniforms). In the thesis there are some examples from the cultural history of the warrior (uniforms, gestures, music etc.). The principal part of the thesis is a study of the warrior as theatrical motif and a discussion of a series of warrior figures in literature and drama on stage. These figures are analysed from the perspectives of masculinity, play and historiography.

    The warrior in literature and drama is rarely a hero. The thesis gives examples under the following headings. The submissive warrior: Catherine de Medici used the warrior as a pliable tool to reduce internal court quarrels, when they were commanded to participate in the court ballets. A different kind of docility in warriors is found in the nineteenth century English melodrama. The false and coward warrior: Ancient writers often used satire in their plays, and warrior figures were easy prey for this. Miles Gloriosus and the Capitain in Commedia dell’arte are two examples. The weak warrior: Anthony, in Anthony and Cleopatra by Shakespeare, is a warrior hero who abandons his wife and family to live with the Egyptian queen, attracted by the luxury and refined lifestyles at her court. The oppressed warrior: The Good Soldier Schweik, created by Bertolt Brecht after a story by Jaroslav Hasek, is an oppressed ordinary soldier in the Czech army, who faces oppression by doing exactly as he is told, and consequently is creating confusion. Georg Büchner’s drama Woyzeck contains an altogether deeper darkness. The outmanoeuvred warrior: The captains in August Strindberg’s two plays The Father and The Dance of Death are both in conflict with their wives but lose their fights. The optimistic warrior: Chekhov introduces in the play Three Sisters two warriors with bright visions of the future but also tells the audience that life can be a tragedy.

    To portray the good and noble warrior is of course possible but it is seldom dramatic, whilst weak and lovesick, false and treacherous warriors are dramatically effective. The theatre's tradition of subversion is a variety of the ancient custom of 'turning society upside-down' during Lent, analysed by Michail Bakhtin in Rabelais and his World. The theatre is also a microcosm. The performing arts make use of the individual to criticize the whole. In drama, it is the individual warrior who bears the responsibility without the need to say anything about the armed forces. Sometimes this is done through the mirror of laughter. When the warrior is seen through the theatre's lens, the picture is enlarged and – according to physical principles, at a certain distance – shows the warrior as part of the upside-down world.

    Fulltekst (pdf)
    Krigaren på scen
    Download (jpg)
    Omslagsframsida
  • 67.
    Bárnány, Ann-Sofie
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap. Teater- och dansvetenskap.
    Babydrama2008Bok (Annet (populærvitenskap, debatt, mm))
  • 68.
    Bäckström, Anders
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Spelrum gatan: Strategier, gränser och motsättningar i spelhändelser genomförda på 2010-talets Södermalm i Stockholm2023Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The aim of the thesis is to shed light on the processes produced when collective performances, here conceptualized as playing events, are performed in urban space in a specific city area, Södermalm in Stockholm between 2012 and 2017. By analyzing urban space as a changing and contradictory space, the study shows how playing events transform everyday space into a playing space. The transformation is decoded through the observation of playing strategies, embodied in the visual and auditory markings of the participating bodies. The study proposes the use of terms based on the verb playing. The term playing event is used in the thesis to refer to collective performances outside a regular theatre context. The use of the term broadens the understanding of what can be included in the concept of theatre. A theoretical pillar is formed by the theatre scholar Willmar Sauter's theory of the theatrical event, developed in the thesis through the concept of playing event. The second framework is provided by sociologist Henri Lefebvre's theories of social space and the right to the city. The study discusses the question of intervention, legality and civil disobedience and how embodied collectivity can emerge as an alternative to the gentrified lifestyle, which is growing strong, in terms of individualization and commodification, in Södermalm in the 21st century. The material of the thesis consists of four mobile playing events: The Supporter´s March, which is a football supporter´s event, secondly, a Catholic procession called Lord of the Miracles of Nazarenas, thirdly, the bicycle manifestation Critical Mass and finally The Pride Parade, a well-known street parade celebrating the hbtqi-community. These four events occupy the urban street with different strategies, thereby producing a variety of border crossings and contradictions. The thesis decodes communication processes between players and spectators and uncovers the dynamic processes between everyday life and playfulness that is produced during performances. The study is the first in the Swedish language to consistently use designations based on the verb playing for collective performances. It is the first study in the Swedish language to analyze, from a perspective of theatre studies, strategies, boundaries and contradictions in urban space when playing events are performed. 

    Fulltekst (pdf)
    Spelrum gatan
    Download (jpg)
    presentationsbild
    Download (pdf)
    errata
  • 69.
    Bågander, Linnea
    Högskolan i Borås, Akademin för textil, teknik och ekonomi.
    Linnea Bågander: Gold: Workshop #3 Oslo2023Inngår i: Costume Agency: Artistic Researsh Project / [ed] Christina Lindgren, Sodja Lotker, Oslo: Oslo National academy of the Arts , 2023, s. 63-67Kapittel i bok, del av antologi (Fagfellevurdert)
  • 70.
    Camilla, Damkjaer
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Muskelmassa och vighet - hur ett forskardjur gör genusförsök i cirkus2008Inngår i: DivanArtikkel i tidsskrift (Annet vitenskapelig)
    Abstract [sv]

    Denna artikel diskuterar genus och kön i nycirkus och särskilt hur cirkuskroppen tar oss rakt in i lejonkulan när det gäller diskusisonen om genus och kön. Diskussionen sker genom nedslag i konkreta situationer. fragment av berättelser om konfrontationen med kroppen i cirkus som praktik, samt fiktiva möten med Professor Challenger - en gestalt Gilles Deleuze's och Félix Guattari's verk Mille Plateaux. 

  • 71.
    Camilla, Damkjaer
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Research and Amateur Practitioner? A Researcher Embarks among Performance Gymnasts.2008Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    When we speak of practice-led research, we tend to mean research combined with professional artistic practice. At the same time, we increasingly try to emphasise and make visible less institutionalised artistic practices. But can we engage in activities like amateur practices in the name of research? This article is the tale of a researcher who ventures among performance gymnasts, and a discussion of the questions that arise from participation in non-scenic performance practices. 

  • 72. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Interview with Sarah Schulman: Corporate Culture, HIV Criminalisation, Historicising AIDS and the Role of Women in ACT UP2018Inngår i: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, s. 387-404Kapittel i bok, del av antologi (Fagfellevurdert)
  • 73. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century2018Inngår i: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, s. 3-46Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    In 2004, on the final day of the Bangkok AIDS Conference, a drug com-pany packaged thousands of single antiretroviral pills into jewellery boxes and allowed one pill per delegate to be collected from their corporate booth. Many delegates at the conference came from countries where access to treat-ment medication was, and continues to be, restricted to the rich. There was a degree of confusion among sex worker activists who attended and whose background or migration status excluded them from accessing life-saving HIV treatment. After an entire week of protests, workshops, presentations, posters, activism, performance, installation, media and the experience of generally being marginalised within the broader HIV sector, we [sex worker activists] witnessed many migrant sex workers living with HIV and without access to treatment carrying their single pill away from the corporate booth.

  • 74. Campbell, Alyson
    et al.
    Gindt, DirkStockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Viral Dramaturgies:  HIV and AIDS in Performance in the Twenty-First Century2018Collection/Antologi (Fagfellevurdert)
    Abstract [en]

    This book analyses the impact of HIV and AIDS on performance in the twenty-first century from an international perspective. It marks a necessary reaffirmation of the productive power of performance to respond to a public and political health crisis and act as a mode of resistance to cultural amnesia, discrimination and stigmatisation. It sets out a number of challenges and contexts for HIV and AIDS performance in the twenty-first century, including: the financial interests of the pharmaceutical industry; the unequal access to treatment and prevention technologies in the Global North and Global South; the problematic division between dominant (white, gay, urban, cis-male) and marginalised narratives of HIV; the tension between a damaging cultural amnesia and a potentially equally damaging partner ‘AIDS nostalgia’; the criminalisation of HIV non-disclosure; and, sustaining and sustained by all of these, the ongoing stigmatisation of people living with HIV.

    This collection presents work from a vast range of contexts, grouped around four main areas: women’s voices and experiences; generations, memories and temporalities; inter/national narratives; and artistic and personal reflections and interventions.

  • 75.
    Cedergren, Mickaëlle
    Stockholms universitet, Humanistiska fakulteten, Romanska och klassiska institutionen.
    La conquête à tout prix et le salut coûte que coûte! La réécriture du religieux dans Avent et Crime et Crime de Strindberg2016Inngår i: Revoir la fin: dénouements remaniés au théatre (XVIIIe-XIXe siècles) / [ed] Sylviane Robardey-Eppstein, Florence Naugrette, Paris: Classiques Garnier, 2016, s. 139-156Kapittel i bok, del av antologi (Fagfellevurdert)
  • 76.
    Cedergren, Mickaëlle
    Stockholms universitet, Humanistiska fakulteten, Institutionen för franska, italienska och klassiska språk. franska.
    La spiritualité du théâtre strindbergien dans la mouvance de Péladan : L’idéal féminin dans Le Chemin de Damas2007Inngår i: Romanitas, lenguas y literaturas romances., ISSN 1937-5697, Vol. 2, nr 1, s. 33-Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Si la vocation de la femme, et du couple en général, est un sujet de préoccupation dans la littérature française fin de siècle, cet aspect apparaît comme un élément fondamental dans le théâtre de Strindberg et de son confrère français, Péladan. Contemporains l’un de l’autre, Strindberg a toujours admiré l’œuvre de son maître. Aux yeux de l’écrivain Suédois, Péladan est le porte-parole du catholicisme et est à la tête d’un mouvement de conversion qui saisit la France de l’époque. Le projet de cet article est de montrer comment l’idéal féminin se développe chez les deux auteurs en prenant pour objet d’analyse l’étude comparée de leurs pièces, Le Chemin de Damas (1898-1901), La Prométhéide (1895) et Le Prince de Byzance (1896). À l’issue de cet examen, nous dégagerons comment le motif de la chasteté se dessine à travers l’idéal féminin tout en soulevant les divergences d’interprétation chez les deux auteurs. Si Péladan s’inspire de la mythologie grecque en réactualisant notamment le mythe de Pandore, Strindberg réinvestit de son côté ce mythe mais exploite, à la différence de ce premier, la figure mariale de la Vierge Marie, la deuxième Ève, icône de la femme pure, chaste et médiatrice du salut. Au-delà de leurs interprétations théâtrales, qui semblent présenter des issues différentes, un même idéal de virginité semble habiter les personnages.

  • 77.
    Cedergren, Mickaëlle
    Stockholms universitet.
    « L’Amour platonique dans la littérature fin de siècle. Parcours croisé de textes de Péladan et de Strindberg »2010Inngår i: Actes du XVIIe Congrès des romanistes scandinaves / [ed] Jukka Havu, Carita Klippi, Soili Hakulinen, Philippe Jacob, José Santisteban Fernanez, Tampere: Tampere University Press , 2010, s. 182-198Konferansepaper (Annet vitenskapelig)
  • 78.
    Cedergren, Mickaëlle
    Stockholms universitet, Humanistiska fakulteten, Institutionen för franska, italienska och klassiska språk.
    L'héritage catholique dans le théâtre de Strindberg 2009Inngår i: Inter-lignes, ISSN 1959-6995, nr n° spécial (2008), s. 101-109Artikkel i tidsskrift (Fagfellevurdert)
  • 79.
    Cedergren, Mickaëlle
    Stockholms universitet, Humanistiska fakulteten, Institutionen för franska, italienska och klassiska språk.
    L'Idéal monastique chez Huysmans et Strindberg, entre réalité et fiction.2009Inngår i: Revue de littérature comparée, ISSN 0035-1466, E-ISSN 1965-0264, ISSN 0035-1466, Vol. LXXXVI, nr 2, s. 165-182Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [fr]

    Strindberg et Huysmans appartiennent à la même période mystique de fin de siècle et partagent le même rêve religieux, celui notamment de fonder une colonie d’artistes de style monastique. Alors que Huysmans réalise une partie de ses rêves en devenant oblat bénédictin et en essayant de regrouper autour de lui quelques artistes, Strindberg échouera. L’écrivain suédois ne verra jamais son rêve prendre forme tel qu’il l’aura défini avec minutie dans sa correspondance. En revanche, au lieu de devenir moine, il mettra son écriture à contribution pour faire vivre ce rêve à travers de nombreux personnages littéraires de son théâtre. Cette étude examine les deux manières différentes par lesquelles Huysmans et Strindberg ont vécu leurs rêves.

  • 80.
    Cedervall, Sofia
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Szatek, Elsa
    Stockholms universitet, Humanistiska fakulteten, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik.
    Arts-based research: drama som forskningsmetod2017Konferansepaper (Annet vitenskapelig)
  • 81.
    Chaib, Christina
    Högskolan i Jönköping, Högskolan för lärande och kommunikation, HLK, Livslångt lärande/Encell.
    Amatörteater - den totala konstarten?: Ungdomar i en konstnärlig edukativ process1993Rapport (Annet vitenskapelig)
  • 82.
    Chaib, Christina
    Högskolan i Jönköping, Högskolan för lärande och kommunikation, HLK, Livslångt lärande/Encell.
    Livet på scen förbereder det verkliga livet: Om betydelsen av unga människors teaterskapande2000Inngår i: Barn Teater Drama / [ed] Karin Helander, Stockholm: Centrum för barnkulturforskning, Univ. , 2000Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 83.
    Chaib, Christina
    Högskolan i Jönköping, Högskolan för lärande och kommunikation, HLK, Livslångt lärande/Encell.
    Quasimodo - ett musikteaterprojekt: Ungdomars erfarenheter och upplevelser1991Rapport (Annet vitenskapelig)
  • 84. Cremona, Vicki Ann
    et al.
    Morris, GayHoogland, RikardStockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.Sauter, WillmarStockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Playing Culture: Conventions and Extensions of Performance2014Collection/Antologi (Fagfellevurdert)
    Abstract [en]

    Playing Culture represents one of the corner stones in the model of the Theatrical Event, as developed by the Working Group of the International Federation for Theatre Research (IFTR). In this volume, thirteen scholars contribute to illuminate the significance and possibilities of playing within the framework of theatrical events. Playing is understood as an essential part of theatrical communication, from acting on stage to events far from theatre buildings. The playfulness characterizing academic traditions sets the tone in the introduction, illustrating the four sections of the book: Theories, Expansions, Politics and Conventions. The theoretical chapters depart from the classical Homo Ludens and offer a number of new perspectives on what play and playing implies in today’s mediatized culture. The contributions to the second section on extensions, deal with playing in non-theatrical circumstances such as market places, passports and stock holders’ meetings. The third section on the politics of playing focuses on wood-chopping women, saints and youngsters in South African townships – all demonstrating their social and political ambitions and purposes. The last section returns to the stage on which performers intend to represent, respectively, themselves, Bunraku puppets or the audience. Playing appears in many forms and in many places and constitutes a basic principle of theatre and performance. This book touches upon important theoretical implications of playing and offers a wide range of historical and contemporary examples. Playing Culture – Conventions and Extensions of Performance is the third book of the IFTR Working Group on The Theatrical Event. The first volume, entitled Theatrical Events – Borders Dynamics Frames was published in 2004, followed by Festivalising! Theatrical Events, Politics and Culture in 2007. The present volume continues to expand the vision of the Theatrical Event as a theory and model for the study of playing, theatre, performance and mediated events.

  • 85.
    Cullhed, Anders
    Stockholms universitet, Humanistiska fakulteten, Institutionen för litteraturvetenskap och idéhistoria. Litteraturvetenskap.
    Från klassiker till imperialist2008Inngår i: Axess Magasin, nr 6, s. 60-62Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 86.
    Cullhed, Anders
    Stockholms universitet, Humanistiska fakulteten, Institutionen för litteraturvetenskap och idéhistoria.
    Förord2011Inngår i: Aminta: Ett herdedrama, Stockholm: Natur och Kultur , 2011, s. 7-19Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 87.
    Cullhed, Anna
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Litteraturvetenskapliga institutionen.
    Fischer, OttoUppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Litteraturvetenskapliga institutionen, Avdelningen för retorik.Lysell, RolandInstitutionen för litteraturvetenskap och idéhistoria, Stockholms universitet.Öhrberg, AnnUppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Litteraturvetenskapliga institutionen, Avdelningen för retorik.
    Poetens monopolium: Bengt Lidner 250 år2009Collection/Antologi (Annet (populærvitenskap, debatt, mm))
  • 88.
    Dahlberg, Leif
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID.
    "Look at the happy bear here!": The use of artivism in Extinction Rebellion Sweden2023Inngår i: Journal of Resistance Studies, ISSN 2001-9947, Vol. 9, nr 2, s. 40-77Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The article describes and analyses how the climate activist group Extinction Rebellion (XR) Sweden makes use of art as part of nonviolent direct actions, a form of action which often is referred to as artivism. The article is based on direct observations of actions, documented online chats, interviews with participants, and content analysis of films, photographs and social media posts. The artivist actions were performed in Stockholm in 2020-2022. The interviews were made in the autumn 2022. The first part of the article is descriptive, presenting a series of artivist actions performed by the XR group. There is also a critical and historical discussion of politically engaged art and the use of art in activism. The second part of the article consists of a thematic analysis of the interview material. The article argues that artivism is import- ant both as a means of communication and for the internal culture in the activist group. As a form of meaning-making, artistic creation challenges the ready-made framing of political issues. The artivist performance is a form of place-making, temporarily transforming the meaning of public space, set- ting the stage for a carnivalesque where climate activists can appear as Fossil Fuel Industry executives, openly revealing disinformation and Greenwashing campaigns. Artivist action constitutes a form of aesthetics of resistance, chal- lenging hegemonic ideological representation. Many of the artivist actions performed by the XR group were satirical, where humour plays an important part. Humour is also important in other ways, to keep up the spirit and en- gagement of the activists, and to defuse possible tension with bystanders and representatives of law enforcement. 

  • 89.
    Damkjaer, Camilla
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Deleuze och Guattari leker: Anti-psykoanalys och anti-teater?2010Inngår i: Den inre scenen: Psykoanalys & teater / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, s. 9-16Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 90.
    Damkjaer, Camilla
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap.
    The Aesthetics of Movement: Variations on Gilles Deleuze and Merce Cunningham2005Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections.

    It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts.

    Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.

    Fulltekst (pdf)
    FULLTEXT01
  • 91.
    Damkjaer, Camilla
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Tilfældighed i bevægelse2006Inngår i: Bevægelsens Poetik / [ed] Lis Engel, København: Museum Tusculanums Forlag, 2006Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [da]

    Dette kapitel er et spil, hvor flere eventyrlige væsner mødes omkring tilfældighed og bevægelse. Der er koreografen Merce Cunningham, hans samarbejdspartner musiker og komponist John Cage, den franske filosof Gilles Deleuze, og den engelske forfatter Lewis Caroll. Kapitlet diskuterer ideer om tilfældighed og spil, og vi møder både pindsvin, flamingoer og andra levende, bevægelige væsner. Med alle brikkerne præsenteret kan spillet begynde.

  • 92.
    Damkjaer, Camilla
    et al.
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Muukkonen, Kiki
    Fragments of the History of Contemporary Circus in Sweden 1990-20102012Inngår i: Contemporary Circus - Introduction to the Development of hte Art Form / [ed] Tomi Purovaara, Stockholm: STUTS , 2012Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    The chapter traces the development of contemporary circus in Sweden in the period 1990 - 2010. The history of this development is explored through interviews with artists who participated in the contemporary circus environment.

  • 93.
    Daneshfar, Shauheen
    Stockholms konstnärliga högskola, Institutionen för film och media.
    Scented Rooms2022Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    In 1979, during and after the Islamic Revolution of Iran, a vast number of cinema and theatre halls were set on fire by extremist revolutionaries or closed forever. Consequently, many artists and workers were forced to give up their professions. The phenomenon in question can be considered an effort of the government to further change the country's cultural identity. One of the closed-down theatres was Tamashakhaneh Tehran, the country’s oldest modern theatre built in 1915. This particular theatre can be considered as a symbol of a hindered way of living. By revisiting the theatre, the film aims to draw attention to a suffocated social culture. Through patient observations and metaphoric statements, the filmmaker brings this omitted subject to the centre of attention.

    Besides referencing history and factual events through the use of archive materials, the artist utilises poetic text and imagery to uncover the abstract memory of the building. The intention is to invite the audience to have an experience of decaying beauty and to witness something that has been silent for a long time gain expression again.

    Scented Rooms narrates the story utilising a poetic and metaphoric language, revisiting the theatre’s interior architecture, and skims through archive materials and historical events. The film observes ruined objects that have remained in the building. The film shows original recordings from the past besides choreographed pieces. Choreographed re-enactments are filmed in a theatrical space in Stockholm, representing the actors who had been oppressed and banned from working. Additionally, leaning into interviews with people, past events are being reviewed.

    The film avoids being merely descriptive and elevates factual references through its dedication to metaphoric language.

    By using 35mm film which has expired, I aim to reach the abstract memory of the place. as the celluloid film on which the footage is captured has gone through a decay process, it can be considered an agent in the creation of image and in reaching the memory of the theatre thereof.

    I have come to work with poetic documentary film through a phenomenological insight into the components of cinema, photography and literature. The imagery itself for me is a way of poetic expression.

    As an artist who grew up in a culture melted with poetry and metaphoric expressions, I am trying to implement poetic elements to communicate in a social context.

    In the making of the film poetic materiality is considered a social instrument. Historically in Iran, poetry is used as an expression when facing exhaustion or when overwhelmed by the system of power. The longing for the poetic depiction of a silent social culture has roots in both culturally sensitive and emotionally descriptive views on social history. 

     

    For me as a young Iranian artist who grew up under the circumstances of the Islamic government, this particular theatre has always been a symbol of a hindered way of living. I witnessed how the power institution strives to change or destroy any kind of icon that refers to a specific social culture from the public space and changes the appearances of the city, media or even the language. 

    In the film, separated elements enter into a readable context: a ground for emphasizing the quality of interpretation over the quality of reportage.

     

    35mm celluloid film has an important role in the film as it will act as an agent to evoke the memory of the space and the era. It will give me the ability to go further than reproducing a copy of the objects but allows me to uncover what has been untold.

  • 94.
    Derkert, Kerstin
    Stockholms universitet.
    Repertoaren på Mindre teatern under Edvard Stjernströms chefstid 1854-631979Doktoravhandling, monografi (Annet vitenskapelig)
  • 95.
    Di Luigi, Guendalina
    et al.
    Linköpings universitet, Institutionen för beteendevetenskap och lärande, Psykologi. Linköpings universitet, Filosofiska fakulteten.
    Clareus, Benjamin
    Lund Univ, Sweden.
    Mejias Nihlén, Theodor
    Linköpings universitet, Institutionen för beteendevetenskap och lärande, Psykologi. Linköpings universitet, Filosofiska fakulteten.
    Malmquist, Anna
    Linköpings universitet, Institutionen för beteendevetenskap och lärande, Psykologi. Linköpings universitet, Filosofiska fakulteten.
    Wurm, Matilda
    Orebro Univ, Sweden.
    Lundberg, Tove
    Lund Univ, Sweden.
    Psychometric Exploration of the Swedish Translation of the Sexual Orientation Microaggressions Scale (SOMS), and a Commentary on the Validity of the Construct of Microaggressions2023Inngår i: Journal of Homosexuality, ISSN 0091-8369, E-ISSN 1540-3602Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The aim of the present study was to assess the psychometric properties of a Swedish translation of the Sexual Orientation Microaggressions Scale (SOMS) in a convenience sample of 267 Swedish LGB+ people (Mean age = 36.41). Testing suggested some strengths in terms of factor structure and 2-week test-retest reliability (ICC > .79). Also, internal consistency (alpha = .80-.91) and convergent validity were supported for most subscales. However, the Assumption of Deviance subscale was associated with low response variability and internal consistency (alpha = .35), and the correlational pattern between the Environmental Microaggressions subscale and mental health variables diverged from the overall trend. Furthermore, measurement invariance between homo- and bisexual participants was not supported for most subscales, and although microaggressions would be theoretically irrelevant to a small comparison sample of heterosexual people (N = 76, Mean age = 40.43), metric invariance of the Environmental Microaggressions subscale was supported in comparison to LGB+ people. We argue that these limitations suggest a restricted applicability of the SOMS in a Swedish context, and this has consequences for the definition and operationalization of the construct of microaggressions as a whole. Therefore, more research on the latent properties of microaggressions in Swedish as well as in other contexts is required.

  • 96.
    Didong, Paola
    Stockholms universitet.
    Incarnation des idées: le jeu de l'acteur dans le théâtre français contemporain2003Doktoravhandling, monografi (Annet vitenskapelig)
  • 97.
    Dima, Ramona
    University of Bucharest, Romania.
    Bahlui Arcadia & other stories // & alte povestiri2016Bok (Annet (populærvitenskap, debatt, mm))
  • 98.
    Dotlacilova, Petra
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Picturing the Horror: Costumes for Furies on the French stage from 1650 to 17662017Inngår i: Terpsichore and her Sisters: the Relationship between Dance and other Arts / [ed] Georgina Boyes, Cambridge: Early Dance Circle , 2017, s. 51-66Konferansepaper (Annet vitenskapelig)
  • 99.
    Dotlacilová, Petra
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Introduction: Terms, Questions, Perspectives2019Inngår i: Dance Body Costume, Leipzig: Leipziger Universitätsverlag, 2019, s. 11-20Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 100.
    Dotlacilová, Petra
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Louis-René Boquet’s Work for Opera and Ballet in the Second Half of the Eighteenth Century2019Inngår i: Dance Body Costume / [ed] Petra Dotlačilová, Hanna Walsdorf, Leipzig: Leipziger Universitätsverlag, 2019Kapittel i bok, del av antologi (Fagfellevurdert)
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