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  • 1.
    Alm, Mikael
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History.
    Johansson, Britt-IngerUppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Scripts of Kingship: Essays on Bernadotte and Dynastic Formation in an Age of Revolution2008Collection (editor) (Other academic)
    Abstract [en]

    When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.

    In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.

  • 2.
    Andersen, Eeva
    Umeå University, Faculty of Arts, Comparative Literature and Scandinavian Languages.
    Teaterspridningen till Skellefteå 1852-19112003Report (Other academic)
  • 3.
    Andrén, Maria
    et al.
    University of Gävle, Faculty of Education and Business Studies.
    Peterson, Elisabeth
    University of Gävle, Faculty of Education and Business Studies.
    Från ingen idé till färdig föreställning: Ett fokussamtal om den skapande processen2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Peterson, E & Andrén, M. (2010). Från ingen idé till färdig föreställning. Ett fokussamtal om den skapande processen. C-uppsats i dramapedagogik, Akademin för utbildning och ekonomi, Högskolan i Gävle.

    Syftet är att utifrån ett ledarperspektiv undersöka och beskriva den skapande processen i ett pedagogiskt föreställningsarbete. Undersökningen har en fenomenologisk utgångspunkt med fokussamtal som metod.  Fem drama-pedagoger som alla har arbetat på kulturskola med föreställningsarbete har gemensamt undersökt den skapande processen. Resultatet redovisas i kategorier utifrån den skapande processens olika faser, gruppens förutsättningar och ledarens pedagogiska överväganden. Vidare är materialet analyserat efter Pirjo Birgerstams indelning av skapande handling utifrån estetisk-intuitiv och rationell-analytisk position. I undersökningen behandlas också den tysta kunskapen och dess betydelse i det dramapedagogiska arbetet. Resultatet visar att den  skapande processen pendlar mellan olika nivåer som kan uttryckas i termer av mythos/logos, formdriften/sinnliga driften, agering/reflexion, estetisk-intuitiv/ rationell-analytisk position och att den pendlar mellan delar och helhet.

  • 4.
    Badani Zuleta, Paola
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Linguistics and Philology.
    Restoring the face of history on stage: Taking Tiger Mountain by Strategy - A model opera in revolutionary service2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis is to present identified modifications in the model opera Taking Tiger Mountain by Strategy, and to put these in perspective of its trajectory from its origins in the novel Tracks in the Snowy Forest, to its final form as the studied model opera from 1970. A semantical analysis was employed in the study of the book and the script, whereas semiotics served as a tool in identifying the existence and use of traditional elements from the theatrical form of jingju in the model opera. The contextualized analysis of the encountered alterations and their employment in relation to their history and contemporary circumstances shed a light over the importance of the identified elements’ role in using the model opera as a tool for clarifying differences between good and evil as established by the contemporary political elite. Going beyond its entertaining purpose and in accordance with the established policies regarding the arts set by the Communist Party, director Jiang Qing created a medley of Chinese and Western instruments, reformed jingju elements and rephrased lines. A medley conveying the indirect message of the right way to follow, in the disguise of a communist hero besieging Tiger Mountain in the name of revolution.

  • 5.
    Bergman-Claeson, Görel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Scandinavian Languages.
    Berättaren på scenen: Monologer, avsidesrepliker och direkt publiktilltal i svensk dramatik under tre sekler2008Book (Other academic)
  • 6.
    Bergman-Claeson, Görel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Scandinavian Languages.
    Pigan som tystnade: Könsaspekter på episka strukturer i svensk dramatik 1725-19002007In: Språk och kön i nutida och historiskt perspektiv: studier presenterade vid Den sjätte nordiska konferensen om språk och kön, Uppsala 6-7 oktober 2006, Uppsala: Uppsala universitet , 2007, 145-153 p.Chapter in book (Other academic)
    Abstract [en]

    The maid who fell silent. Epic structures and gender in Swedish drama 1725-1900

    Epic structures such as soliloquies and asides are frequently used in drama. The narrative function served by these dramatic conventions enables characters to provide a running commentary to the plot, and this in turn makes the characters using them a driving force in the drama.

    In this paper I discuss gender and social class of the dramatic figures using epic structures in Swedish drama from 1725 to 1900. The material studied consists of 25 plays.

    The main characters af interest are the servant figures. The driving force of 18th-century comedy is the cunning maid and, to a lesser extent, her male counterpart. Around 1850 these servants are replaced by other figures, such as the scheming villain, a characteristic male figure in melodrama.

    With the emergence of realism and naturalism, the use of epic structures is reduced. Female servant figures in naturalist plays have few lines, and use virtually no soliloquies or asides. They are a necessary part of the bourgeois family, but are no longer the driving force of the drama.

  • 7.
    Bergman-Claeson, Görel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Scandinavian Languages.
    Den bannlysta berättaren: monologen, avsidesrepliken och det moderna genombrottet2007In: Studier i svensk språkhistoria. 9, Det moderna genombrottet - också en språkfråga?: föredrag vid nionde sammankomsten för svenska språkets historia, i Åbo 19-20 maj 2006, Åbo: Svenska institutionen vid Åbo akademi , 2007, 7- p.Chapter in book (Other academic)
  • 8.
    Bergström, Gunnel
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen.
    In search of meaning in opera: an opera singer's approach to the dialectics of words, music & myth in opera from Monteverdi to Verdi2000Doctoral thesis, monograph (Other academic)
  • 9.
    Berlova, Maria
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Performing Power: The Political Masks of King Gustav III of Sweden (1771-1792)2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    King Gustav III founded the Swedish National Theater and Opera, participated in the court theater as playwright, director and actor and he was rightly called the Theater King. The King’s passion for acting was perceived in the past as a psychological weakness, which won him the appellation of wimp (fjant). However, Gustav III presents a special interest as a performer of the role of an enlightened monarch according to the philosophy of the epoch of Enlightenment, particularly that of Voltaire. This research project aims at challenging the stereotyped perception of Gustav III, and presents him as a performing king who purposely used his acting ability to achieve political gain.

    The theoretical foundation of this study of the King’s use of theater is described in Chapter I. The theory of playing by Johan Huizinga and the theory of theatricality of Nikolai Evreinov, from the point of view of culture and anthropology, respectively, explain how playing is the basis of human living. Yuri Lotman’s semiotic approach is applied to formulate the concept of theatrical playing meant to influence the spectators, which is at the core of the Pageants in court and in public, used by Gustav III to display his power. Finally, but most importantly, the theories of Josette Féral, Hans-Georg Gadamer and Willmar Sauter present theatrical playing as an interactive performative communication between the performer and the beholders that became the core of Royal Encounters, which were the most effective political tools of Gustav III.

    The ensuing chapters are devoted to the different activities of the King related to theater, understood as the sum of interactions between the performer and the spectators that can occur within the walls of a theater or outside them. Theatricalized actions transported into life and directed to the beholders (Pageants) and the interaction between the performing King and his beholding subjects (Royal Encounters) are presented and examined. Examples of Pageants are chosen from court life, such as entertaining divertissements and amateur theater; Public Pageants were held at occasions such as the birth of a royal prince and King Gustav’s departure to the war with Russia. Among the Royal Encounters the coup d’etat in 1772 and the struggle against the nobility at the Riksdag of 1789 can be mentioned.

    The conclusion establishes the concordance between the performing King and his beholding subjects leading to real achievements in politics. This investigation sheds light on the different theatrical means the King employed in crafting political tasks and choosing appropriate political masks. Gustav III was a master of acting; thus, the decisive factor in each of his theatricalized actions was not so much his art at playwriting and directing, as his ability as a performer. In addition, the King could assert his royal power by performing his own idealized social role of an enlightened monarch.

  • 10.
    Bialecka, Mirka
    Uppsala University, University Library.
    En flykt in i språkkapseln2008In: Svenska Dagbladet, ISSN 1101-2412, Vol. 14/8Article in journal (Other (popular science, discussion, etc.))
  • 11. Björck, Amelie
    Som om öronen blev smutsiga2009In: Ord och bild, ISSN 0030-4492, no 1/2, 30-33 p.Article in journal (Other (popular science, discussion, etc.))
  • 12. Björck, Amelie
    Dokumentärteaterns ansvar2010In: Teatertidningen, ISSN 1101-9107, no 1, 39-40 p.Article in journal (Other (popular science, discussion, etc.))
  • 13. Björck, Amelie
    Vidga scenvärldar2010In: Teatertidningen, ISSN 1101-9107, no 4, 10-13 p.Article in journal (Other (popular science, discussion, etc.))
  • 14.
    Blom, Mattias Bolkéus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English, The Swedish Institue for North American Studies.
    Om rätten att säga ifrån: Arthur Millers Häxjakten2001Other (Other (popular science, discussion, etc.))
  • 15.
    Blomgren, Anna-Maria
    et al.
    University West, Department of Studies of Work, Economics and Health.
    Blomgren, Roger
    University West, Department of Studies of Work, Economics and Health.
    Det ostyrbara pastoratet: teaterpolitikens nätverk2002Report (Other academic)
  • 16.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Body as Non-Place: Utopian Potential in Philippe Decouflé’s Dance Film Codex2013In: Spaces of Utopia, ISSN 1646-4729, Vol. 2, no 2, 143-154 p.Article in journal (Refereed)
  • 17.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. Free University of Berlin, Germany.
    On Multiple Appearances: An Analysis of the Performing Body in Kitt Johnson's Drift2012In: Nordic Theatre Studies, ISSN 0904-6380, Vol. 24, 44-53 p.Article in journal (Refereed)
    Abstract [en]

    On Multiple Appearances: An Analysis of the Performing Body in Kitt Johnson's Drift In the article, I challenge the prevalent use of phenomenology in dance scholarship, which focusses on the dancer's experience of her body when dancing. This approach often implies the problematic assumption that the dancer's experience is immediately transferred to the spectators who, in turn, are universally 'moved' by her dancing body. Instead of acknowledging that dance is a product of historically and culturally specific circumstances, such an analytical perspective ultimately tends to mystify dance. In this article I propose a different use of analytical tools in dance scholarship: I employ phenomenological reduction and epoche to focus on how dancing bodies appear in a stage context. To test the ability of these tools to explore dancing bodies from a third-person perspective, I analyze Danish choreographer Kitt Johnson's solo performance Drift (2011), focussing on her variable physical appearance. While phenomenology helps me to describe the multiple and radically different guises Johnson assumes in her piece, my analysis does not, ultimately, aim to distil a truer, more real being from her appearances, as is often the case in phenomenological analyses. Instead, I complement my analytical approach with the Deleuzian notion of becoming animal, suggesting that Johnson stages what, in Judith Butler's terms, could be called a critical contingency of bodily appearance.

  • 18.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Do you really feel like the outside matches the inside: Der authentische Körper im Wandel der Zeit2013In: Medialität und Menschenbild / [ed] Jens Eder, Universität Mannheim; Joseph Imorde, Universität Siegen; Maike Sarah Reinerth, Universität Hamburg, Walter de Gruyter, 2013, 85-99 p.Chapter in book (Refereed)
    Abstract [en]

    The concept of an authentic person who makes his/her ‘true inner’ visible on the body’s surface reappears as an ideal throughout history. What has undergone significant changes, however, is what exactly constitutes authentic bodily appearance. What ‘inner’ is represented and how exactly is it made visible on the body? My article focuses on two instances in which stagings of the authentic body represent an important issue: First in the French Enlightenment and subsequently in contemporary makeover culture (which originated in the Western world, but is no longer limited to it).

    Images of bodies revealing their ‘true inner’ took on particular importance in the Enlightenment when writers such as Rousseau used them as counterpoints to what they rejected as the ancien regime ’s affected bodies. One might assume today –in the aftermath of late 20th century poststructuralism, postmodernism and feminism –that any notion of bodily ‘authenticity’ or for that matter ‘essential selfhood’ would be curtly dismissed. Yet, the image of an authentic body that reveals a ‘deserving’ inner self is exactly what is staged in most popular media today.

    18th century acting theories suggested that ‘naturally expressive’ gestures could be conveyed –indeed reveal feelings –without any mediation. What has changed since then, I will argue, is that the ideal authentic body in makeover-culture has to be thoroughly and visibly worked for.

  • 19.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    "Känner du verkligen att utsidan stämmer med insidan?": Sken och vara i den samtida kroppskulturen2012In: Okonstlad konst?: Om äkthet och autenticitet i estetisk teori och praktik / [ed] Axel Englund/Anna Jörngården, Lindome: Symposion Brutus Östlings bokförlag, 2012, 25-35 p.Chapter in book (Other academic)
  • 20.
    Bork-Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Freie Universität Berlin.
    Authenticity and its Contemporary Challenges: On Techniques of Staging Bodies2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this thesis I investigate what ‘authenticity’ means in a contemporary popular context and how it is used in the staging of bodies. Furthermore, I analyse works of dance and fashion from the past fifteen years with a focus on their strategies of challenging the notion of ‘bodily authenticity’.

     

    When ‘an authentic body’ is sought by participants or demanded by judges and ‘experts’ on popular makeover and casting TV shows such as The Swan (Fox 2004) or Germany’s Next Topmodel (Pro 7 2006-present) this refers to the physical visualisation of what is perceived/presented as the participants ‘inner self’. I scrutinise the staging techniques and the codes of appearance that bodies have to comply with in order to be deemed ‘authentic’ on the shows. To define them and place them in the history of the idea of ‘bodily authenticity’, I complement my study with an outline of how ‘authenticity’ was understood in the Enlightenment and what techniques were used to stage the body when the concept gained currency, for instance in the writings of Rousseau. My analysis makes clear that 'bodily authenticity' on the two TV shows is achieved by strictly following gender-normative codes of beauty and by a depiction of 'working hard'. But various techniques also mask the hard work, for example by showing a participant ‘having fun’ performing it.

     

    Contemporary works of dance and fashion challenge the problematic implications in the notion of ‘bodily authenticity’. I analyse three strategies of undermining the ‘authentic’ ideal in a total of seven pieces. These strategies are hyperbole which exaggerates the beauty code implicit in ‘authentic appearance’; multiplicity which undermines ‘authenticity’s’ essentialism and estrangement which denies the notion of individual authorship. In conclusion, I place the staging strategies used in my examples in a wider cultural context and highlight potential problems inherent in their critiques.

  • 21.
    Bornemark, Jonna
    et al.
    Södertörn University, School of Culture and Communication, Centre for Studies in Practical Knowledge.
    Ekström von Essen, Ulla
    Södertörn University, School of Culture and Communication, Centre for Studies in Practical Knowledge.
    Att bli häst och att tämja hästen: en föreställning2010In: Kentauren: om interaktion mellan häst och människa / [ed] Jonna Bornemark, Ulla Ekström von Essen, Huddinge: Södertörns högskola , 2010, 169-195 p.Chapter in book (Other academic)
  • 22.
    Britt-Marie, Bystedt
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Krigaren på scen: Krigarens makt och maktens krigare sedda genom scenkonstens prisma2016Doctoral thesis, monograph (Other academic)
    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.

  • 23.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Teaterhistoria III: Ny Svensk Teaterhistoria. Band 3: 1900-talets teater2009In: Tidskrift för litteraturvetenskap, ISSN 1104-0556, no 2, 92-93 p.Article, book review (Other academic)
  • 24.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    I teatralitetens brännvidd: Om Ingmar Bergmans filmkonst2010Doctoral thesis, monograph (Other academic)
    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.

  • 25.
    Bárnány, Ann-Sofie
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Babydrama2008Book (Other (popular science, discussion, etc.))
  • 26.
    Cedergren, Mickaëlle
    Stockholm University.
    « L’Amour platonique dans la littérature fin de siècle. Parcours croisé de textes de Péladan et de Strindberg »2010In: Actes du XVIIe Congrès des romanistes scandinaves / [ed] Jukka Havu, Carita Klippi, Soili Hakulinen, Philippe Jacob, José Santisteban Fernanez, Tampere: Tampere University Press , 2010, 182-198 p.Conference paper (Other academic)
  • 27.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages.
    L'héritage catholique dans le théâtre de Strindberg 2009In: Inter-lignes, ISSN 1959-6995, no n° spécial (2008), 101-109 p.Article in journal (Refereed)
  • 28.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages.
    L'Idéal monastique chez Huysmans et Strindberg, entre réalité et fiction.2009In: Revue de littérature comparée, ISSN 0035-1466, ISSN 0035-1466, Vol. LXXXVI, no 2, 165-182 p.Article in journal (Refereed)
    Abstract [en]

    Strindberg and Huysmans belong to the same fin de siècle mysticism period and deal with the same religious dream, more specifically one concerning the setting up of a “monastically inspired artistic community”. Whereas Huysmans realized a part of this dream and became a Benedictine oblate while at the same time trying to found a “colony of artists” of his own and to some extent succeeded, Strindberg did not. The Swedish writer could never materialize his plan, several aspects of which were extensively described in his letters. Instead of becoming a monk, he used his own literary writing and incarnated his dream in a number of theatrical pieces. This study investigates the two different modes in which Huysmans and Strindberg respectively lived his own particular dream.

  • 29.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of French, Italian and Classical Languages. franska.
    La spiritualité du théâtre strindbergien dans la mouvance de Péladan : L’idéal féminin dans Le Chemin de Damas2007In: Romanitas, lenguas y literaturas romances., ISSN 1937-5697, Vol. 2, no 1, 33- p.Article in journal (Refereed)
    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.

  • 30.
    Cedergren, Mickaëlle
    Stockholm University, Faculty of Humanities, Department of Romance Studies and Classics.
    La conquête à tout prix et le salut coûte que coûte! La réécriture du religieux dans Avent et Crime et Crime de Strindberg2016In: Revoir la fin: dénouements remaniés au théatre (XVIIIe-XIXe siècles) / [ed] Sylviane Robardey-Eppstein, Florence Naugrette, Paris: Classiques Garnier, 2016, 139-156 p.Chapter in book (Refereed)
  • 31.
    Chaib, Christina
    Jönköping University, School of Education and Communication, HLK, Lifelong learning/Encell.
    Quasimodo - ett musikteaterprojekt: Ungdomars erfarenheter och upplevelser1991Report (Other academic)
  • 32.
    Chaib, Christina
    Jönköping University, School of Education and Communication, HLK, Lifelong learning/Encell.
    Amatörteater - den totala konstarten?: Ungdomar i en konstnärlig edukativ process1993Report (Other academic)
  • 33.
    Chaib, Christina
    Jönköping University, School of Education and Communication, HLK, Lifelong learning/Encell.
    Livet på scen förbereder det verkliga livet: Om betydelsen av unga människors teaterskapande2000In: Barn Teater Drama / [ed] Karin Helander, Stockholm: Centrum för barnkulturforskning, Univ. , 2000Chapter in book (Other (popular science, discussion, etc.))
  • 34.
    Cullhed, Anders
    Stockholm University, Faculty of Humanities, Department of History of Literature and History of Ideas. Litteraturvetenskap.
    Från klassiker till imperialist2008In: Axess Magasin, no 6, 60-62 p.Article, book review (Other (popular science, discussion, etc.))
  • 35.
    Cullhed, Anders
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas.
    Förord2011In: Aminta: Ett herdedrama, Stockholm: Natur och Kultur , 2011, 7-19 p.Chapter in book (Other (popular science, discussion, etc.))
  • 36.
    Cullhed, Anna
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature.
    Fischer, OttoUppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature, Rhetoric.Lysell, RolandInstitutionen för litteraturvetenskap och idéhistoria, Stockholms universitet.Öhrberg, AnnUppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature, Rhetoric.
    Poetens monopolium: Bengt Lidner 250 år2009Collection (editor) (Other (popular science, discussion, etc.))
  • 37.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Deleuze och Guattari leker: Anti-psykoanalys och anti-teater?2010In: Den inre scenen: Psykoanalys & teater / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, 9-16 p.Chapter in book (Other academic)
  • 38.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    The Aesthetics of Movement: Variations on Gilles Deleuze and Merce Cunningham2005Doctoral thesis, monograph (Other academic)
    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.

  • 39. Didong, Paola
    Incarnation des idées: le jeu de l'acteur dans le théâtre français contemporain2003Doctoral thesis, monograph (Other academic)
  • 40.
    Ekenberg, Love
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Forsberg, Rebecca
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Sauter, Willmar
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Antigone’s Diary – A Model for Democratic Decision Making in Suburban Stockholm2016In: Contemporary theatre review (Hardback), ISSN 1026-7166, Vol. 26, no 2, 227-240 p.Article in journal (Refereed)
    Abstract [en]

    ”Antigone has disappeared, but we found her diary. Join us in the search of her traces.” Sophocles’ drama has been transferred to a suburb of Stockholm. Students in a local highschool have recreated the classical tale in their own environment, guided by director Rebecca Forsberg from the RATS Theatre. RATS stands for “Research in Artistic TechnologieS”, a section of the Department of Computer and System Science at Stockholm University. Cellular phones are not prohibited in this theatrical enterprise, on the contrary, they constitute the particular means of communication in this event. Whether you download an app into your own phone or lend a phone from the organizers – what you will hear are the fragments of Antigone’s diary. You will find sculptures, parks, kiosks and other places through the GPS and every time you come close to the next site of performance, your phone knows when you are there. And every time you leave the place, Antigone will ask you a question: “What makes you angry?” – “When can one break the rules?” Etc. You can answer the questions by means of text messages and once you have done so, you can see what other participants have answered before you. How does it end? Haimon, Antigone’s friend and lover, whispers into your ear: “What does freedom mean to you?” It is up to us, the participants, to find appropriate responses to this eternal question. This theatrical event, highly technified and reversing the relationship between agents and beholders, gives rise to a number of intricate questions. The problems at stake concern the creative process of this mobile drama, the technical challenges to make it work, the theoretical implications of this multimedia performance, and, finally, the outcome in terms of civic engagement and its potentials of public decision making.

  • 41.
    Eklund, Jonas
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Fenomenet Poppe, mellan scen och skratt: En studie av Nils Poppes komiska skådespeleri utifrån en fenomenologisk utgångspunkt2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Scholarly research on comical popular theatre is rare in the Swedish context even though the genre has attracted large audiences throughout the 20th century. Nils Poppe is one of the greatest Swedish actors in the comical genre and he is famous for his playful acting style. With my Master’s dissertation I aim to shed some light on both the genre and this great actor. Another aim of this Master’s dissertation is to gain understanding of what causes the audience’s laughter experiencing Nils Poppe’s comical acting. To understand the audience response to the comical acting I need to study the communication between the actor and the beholders.  

    In doing this I use Bert O. States phenomenological approach, in which he divides the communication into three modes in which the beholder experiences the action. In each of these modes I then use complementary concepts and theories to analyze the audience’s laughter.

    My analysis starts with the Representational mode in which the focus is on the fiction of the play. Using semiotics, I discuss Poppe’s characters as a stock character related to the Commedia dell’arte character Harlequin and other clown characters, which are imbedded in the audience’s memory. With examples from a play I show why the audience laugh in different scenes. 

    In the next chapter, I analyze the Self-expressive mode in which the artist at stage is in focus. While experiencing the fiction of the play the audience simultaneously experiences the reality on stage. The actor is present and Poppe’s real face, body and voice is affecting the audience’s response.

    The final mode is the Collaborative mode in which the collaboration between the actor and beholder is analyzed. The direction of the play and how Poppe interacts with the audience is increasing the impression of presence among the audience. In his acting, Poppe breaks the theatrical conventions of the separation between fiction and reality, and in improvisations, he challenges both the audience and fellow actor’s notion of theatre.

    The result of the study implies that some laughter can’t be explained just by studying each of these modes separately. When the character leaves the fictional play and acts within the audience reality, or when the actor on stage is understood as part of the fiction an incongruity is created that tends to make the audience laugh. 

  • 42. Elblaus, Ludvig
    et al.
    Tsaknaki, Vasiliki
    Lewandowski, Vincent
    Bresin, Roberto
    Hwang, Sungjae
    Song, John
    Gim, Junghyeon
    Griggio, Carla
    Leiva, Germán
    Romero, Mario
    KTH, School of Computer Science and Communication (CSC), Computational Science and Technology (CST). Georgia Institute of Technology.
    Sweeney, David
    Regan, Tim
    Helmes, John
    Vlachokyriakos, Vasillis
    Lindley, Siân
    Taylor, Alex
    Demo Hour2015In: interactions, ISSN 1072-5520, E-ISSN 1558-3449, Vol. 22, no 5, 6-9 p.Article in journal (Refereed)
    Abstract [en]

    Interactivity is a unique forum of the ACM CHI Conference that showcases hands-on demonstrations, novel interactive technologies, and artistic installations. At CHI 2015 in Seoul we hosted more than 30 exhibits, including an invited digital interactive art exhibit. Interactivity highlights the diverse group of computer scientists, sociologists, designers, psychologists, artists, and many more who make up the CHI community.

  • 43.
    Enström, Ann
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Theatrical Emotion: a Less Noble Approach2009In: 2009 IFTR Conference:"Silent Voices Forbidden Lives: Censorship and Performance" : Lisboa, Portugal, July 12-18th / [ed] Maria Helena Serodio, Guitherme, Filipe, Centro de Estudos de Teatro: Impresso em Julho pela Multi Artes Grafias , 2009, 1-5 p.Conference paper (Refereed)
    Abstract [en]

    Imagine that you have two options of comparing THE MODERN actor, either to an airplane, or to a perfume-bottle.1Where the airplane is a symbol of rationality, enlightenment, science, efficiency and reason. And where the perfume-bottle is a symbol of desire, longing, craving, affect, dreams, appearance and surface. The modern actor as either a fast and fierce airplane, or, a nice smelling, nice looking perfume bottle!

    1Not to make things unnecessary complicated, having in mind the debate of the origins of modernism, I date the breakthrough of modern acting to the first half of the 1900, to first and foremost Stanislavski, but also to some of his contemporaries. 

  • 44.
    Enström, Ann
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Pleasurable Travels of a Suspicious Theatre-princess2011In: 2011 IFTR Conference: "Tradition, Innovation, Community" : Osaka, Japan, 7-12 August / [ed] Helen, Gilbert, Osaka, Japan: IFTR FIRT , 2011, 1-9 p.Conference paper (Refereed)
    Abstract [en]

    In 1835 the famous Danish storyteller HC Andersen wrote a story that he named The Princess and the Pea (Prinsessen på ærten), and that sometimes is translated into The Real Princess. Regardless of whom the title is featuring the story itself is not directly about a princess, but first and foremost about a prince. It is about a prince who is looking to marry a real princess – and as such a typical example of how easy a princess, a woman, can be sidestepped and turned into an “other”, as Simone de Beauvoir put it in The Second Sex

  • 45.
    Enström, Ann
    Umeå University, Faculty of Arts, Litteraturvetenskapliga institutionen.
    Transitional Sisters: a Study of The Theatre-Institution's Close Allegiance to Hegemonic Masculinity2004In: Nordic Theater Studies, ISSN 0904-6380, Vol. 16, 62-77 p.Article in journal (Refereed)
    Abstract [en]

    Transitional Sisters traces how the ideology of hegemonic masculinity operates, how it is safeguarded, and how it remains unquestioned within theatre as an institution.

  • 46.
    Enström, Ann
    Umeå University, Faculty of Arts, Department of culture and media studies. Umeå University, Faculty of Social Sciences, Umeå Centre for Gender Studies (UCGS).
    Känsla för skådespelarkonst: mot en förståelse av tysta kunskaper och görandets fenomenologi2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The primary argument in this thesis is that the common assumption that an actor has emotion inside him- or herself which can be evoked and projected outwards is an outdated misconception. A proposition is made to replace this possessive acting model, which underpins the realist tradition and is based on the popularized aspects of Stanislavsky’s system for actor training, by a situational acting model. This new model is founded on the idea that emotion is something that actors “do”. Furthermore, a theory of this situational model is advanced where the actor is seen to perform emotion in an interplay with action in three different ways: in the world symbolically as an expression, of the world phenomenologically as in-sensing or out-sensing, and with the world as a becoming – which opens the actor up to greater forces of nature and society.                           

              The material in this thesis has been focused on from both a contextualizing and a theoretic perspective. The contextualizing perspective places the actor’s doing of emotions in a historical context. The theoretic aspect concentrates on how performing emotions is realized in practice, and it proceeds from an analysis of two contemporary Swedish examples: the actresses Lena Endre in the role of Lady Macbeth at the Royal Dramatic Theatre in Stockholm in a production of William Shakespeare’s Macbeth from 2006, and Mia Skäringer in her stage show Horny as Hell and Really Holy from 2010. In exploring this material, a combination of Paul Ricoeur’s “hermeneutics of suspicion” and Paul Stoller’s ”sensuous scholarship” is applied.

              A synthetic theoretical approach is employed that is set on a phenomenological foundation in combination with theories of emotion and affect as well as gender theory and theatre theory. The discussion is informed by Michael Polanyi to gain an understanding of tacit knowledge and the role of kinesthesia; by Simone de Beauvoir to establish a perspective on the body as a situation; by Sara Ahmed to see the potential for a cultural politics of emotion and a queer view of intentionality; and by Maurice Merleau-Ponty to propose a way of looking at the human being as being of the world as opposed to in the world. Interpretations of a few of Gilles Deleuze’s and Félix Guattari’s concepts such as rhizome, becoming, and body without organs, are added to this list in order to provide a background for what the third way of doing emotion is about.

  • 47.
    Enström, Ann
    Umeå University, Faculty of Arts, Department of culture and media studies.
    En prinsessa på ärten till metod2012In: Mitt i metoden: kulturvetenskapliga reflektioner / [ed] Bo Nilsson & Anna Sofia Lundgren, Umeå: Institutionen för kultur- och medievetenskaper, Umeå universitet , 2012, 37-48 p.Chapter in book (Other academic)
  • 48.
    Eriksson Barajas, Katarina
    Linköping University, Faculty of Educational Sciences. Linköping University, Department of Social and Welfare Studies, Learning, Aesthetics, Natural science.
    How to (or not to) research reception of fiction in public spaces: methodological reflections2014Conference paper (Other academic)
    Abstract [en]

    Thepaper is based on an interdisciplinary empirical research project on theuse of fiction. Reader response/reception theories and discursive psychology (Edwards & Potter, 1992) are combined in theproject. The approach, called discursive reception studies (Eriksson Barajas& Aronsson, 2009), provides possibilities to analyse the role of socialinteraction in the co-construction of the experience of, in this case, a filmor a play. Thepaper deals with methodological issues: i) how to get access to ‘naturally’occurring practices around fiction – when people went to cafés after seeing afilm together and in the pause at the theatre; ii) how to record data in suchpractices; iii) how to use data collection methods and analysis methods adaptedto the type of data collected. One advantage with the used method for datacollection is that I have come across “dream participants” – that is correctmatch between participants and film content.

  • 49.
    Eriksson Barajas, Katarina
    Linköping University, Faculty of Educational Sciences. Linköping University, Department of Social and Welfare Studies, Learning, Aesthetics, Natural science.
    Pace as a measure of aesthetic value2014Conference paper (Other academic)
    Abstract [en]

    The overarching aim of the paper is to contribute knowledge on fiction in use. The paper deals with the temporal relations between fictional duration and experienced duration (cf. Genette, 1988). More specifically, the paper gives insight in how cinema- and theatregoers use pace as a value measure. The analysed empirical material consists of recordings of naturally-occurring conversations in theatre pauses and at cafés after seeing a movie. In the study, discursive psychology (Edwards & Potter, 1992) is used on reader-reception data. This  approach is called discursive reception studies (Eriksson Barajas & Aronsson, 2009). Such approach provides possibilities to analyse the role of social interaction in the co-construction of the “reading” of a fictional oeuvre. An initial result is that cinema- and theatregoers orient towards emotions, temporalities and narrative pace. Examples of how a long film can be experienced as having had a short duration and vice versa will be presented.

  • 50.
    Ernst, Manilla
    Department of Child and Youth Studies, Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, Centre for the study of children's culture.
    "...det var bättre än teater, vanlig teater.": En receptionsstudie av den unga publikens upplevelser av sin delaktighet i mobiltelefondramat Antigones dagbok2015Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med uppsatsen är att diskutera vilken delaktighet RATS Teater erbjuder sin publik i mobiltelefondramat Antigones dagbok och vidare visa på hur publiken förvaltar denna delaktighet under föreställningstillfället.I uppsatsens första del görs en semiotisk tolkning av föreställningens visuella och audiella teckengrupper. I uppsatsens andra del görs en receptionsstudie med den unga publiken. Förutom observationer och intervjuer återfinns en analys av det textmaterial som publiken får möjlighet att skapa under föreställningstillfället.I uppsatsens teoridiskussion redogör jag för delaktighetsbegreppets mångfacetterade innehåll och funktion. Detta är nödvändigt för visa på begreppets variationer beroende på i vilken forskningskontext det används och vidare för att ringa in på vilket sätt begreppet delaktighet diskuteras i relation till uppsättningen.Antigones dagbok är utformad som en applikation för smartphones och kan beskrivas som gps-styrd radioteater i offentlig miljö. Ljudfiler spelas upp när publiken närmar sig de i förväg bestämda spelplatserna. För att publiken ska kunna orientera sig tar de hjälp av den karta som visas i telefonens display samt de röster och den musik som spelas upp. Efter varje ljudscen ställer huvudkaraktären Antigone en fråga till publiken. De svarar på dessa genom att skicka sina svar som sms. Kommentarerna går att läsa direkt i displayen och kan få betydelse för tolkningen av föreställningen. I uppsatsen diskuteras dels hur publiken är delaktig genom att replikera skriftligt på frågorna. Därtill diskuteras hur iscensättningen låter publiken vara medskapare av uppsättningens helhet. De unga åskådarna måste själva tillskriva karaktärerna attribut eftersom dessa aldrig syns utan enbart finns i ljudscenerna. Publiken har också till uppgift att ta ställning till vad, i den offentliga miljön, som ska utgöra föreställningens scenrum. Till skillnad från föreställningar i teatersalonger med specifik scenografi och rekvisita blir det publikens uppgift att skapa föreställningens fiktiva rum utifrån det offentliga rummet som omger dem.I receptionsstudien är det tydligt att publiken gillar denna digitala och utmanande iscensättning. Den unga publiken visar sig ha vissa svårigheter att ta till sig historien om Antigone. Samtidigt är det tydligt att den stora behållningen inte är föreställningens berättelse utan formen. Eleverna i receptionsstudien framhåller närheten till karaktärerna och platserna som skapas under föreställningshändelsen; de känner sig snarare som aktörer än som åskådare. Formen erbjuder också en mer tillåtande miljö där elevernas är mer aktiva som åskådare än passiva. Detta visar sig har positiva effekter på elevernas upplevelser.Mest uppskattat är föreställningens digitala verktyg. Det tillåter publiken att göra avtryck i produktionen. Förutom att svara på frågorna som ställs och dela med sig av sina perspektiv använder eleverna tekniken för att lämna omdöme på föreställningen och kommentera sin upplevelse.

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