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Något har hänt i svensk politik. De barnpolitiska förslagen haglar.Frågor om barn och unga har blivit heta. I det politiska samtalet ochpå nyheterna sammanförs barn och unga, migration och integration,brott och straff, förort och utanförskap på olika sätt. Samtidigt sombarns rättigheter har stärkts på flera sätt genom lagstiftning undersenare år, ser vi också att politiska förslag som rör barn allt oftare gårut på en sak: ökad social kontroll. Det gäller kanske särskilt de barnpolitiska förslag som rör migration och integration. Den här bokentar därför temperaturen på utvecklingen inom just dessa områden.Bokens fokus gör också att den säger något om den ökade politiseringen av barns integration och välfärd som vi ser i samtidens Sverige.I boken ger 19 författare exempel på de senaste årens förändringari lagstiftning och praktik som direkt eller indirekt riktar sig till utsatta grupper av barn och familjer med bakgrunder som inte är majoritetssvenska. Lästa tillsammans, skildrar författarnas olika bidrag enberättelse om en välfärdsstat i förändring. Det är en välfärdsstat somtydligare, och oftare, betonar exkludering framför inkludering utifrån ett synsätt där krav och kontroll leder till ordning och integrering. Det leder till den för samtiden kritiska frågan: Kan exkluderingav vissa barn och deras sociala kontexter leda till sammanhållning?, En forskningsantologi med 19 författare med bakgrund i olika samhällsvetenskapliga discipliner.

The text forms part of the Backpages section 34.1, edited by Caridad Svich.

The term live is generally understood in the sense of “immediate,” or to indicate the fact that something takes place here and now. The fact that some events are perceived as live undoubtedly indicates something significant about those events. Still, scholarship in performance studies and neighboring fields have demonstrated that a simple, ontological, or technical definition of liveness is problematic if not impossible. This study rethinks the meaning of liveness, proposing that liveness pertains to the manner in which something is perceived and to what is perceived in that thing. Based on a reassessment of key conceptualizations of liveness and presence in performance studies, it develops an understanding of liveness as the characteristic of a sense-making that affirms difference, and which presupposes mediation rather than implying immediacy. The dynamics of this live sense are further developed through a consideration of the artistic treatises of Japanese nō actor and playwright Zeami (c. 1363 – c. 1443). These texts demonstrate how secrecy or not knowing is a precondition to produce a sense of liveness for the audience, expressed by the concept hana, the “flower.” The dissertation argues that this sense of secrets is significant for the artistic process as well, and that it relates to larger questions regarding understanding, aesthetics and the nature of reality. Then in the last chapter, the study takes up three examples of film, nō theater and pop music, exploring how a liveness that is objective and universal comes to be experienced subjectively in particular encounters of different kinds. In this way, the thesis as a whole provides a way of understanding liveness as the appreciation of the ineffable: a theoretical framework which serves both to analyze specific experiences and to shed light on the live foundation of sense-making as such.

This essay explores drag as an artform, guided by the lens of queer theory, offering insights into the nuanced expressions of drag. Exploring three theatrical productions across genres like modern dance, opera and musical theatre, the study focuses on character portrayal and design, seeking to understand the essence of drag and why certain cross- dressings are more closely associated with drag than others. By combining performance analyses with existing research on drag, this paper reveals the complex and dynamic nature of drag culture. With a particular emphasis on the exploration and subversion of gender norms, the study sheds light on how drag is portrayed and understood within the Swedish theatrical context through Matilda the Musical, Askungen and Everlasting Event. Through this investigation, the essay offers valuable insights into the evolving role of drag as a form of artistic expression and social commentary.

This chapter traces the transformation of some of Gothenburg’s theatres from private enterprises into municipality- and state-run affairs, highlighting the often-conflictual negotiation processes inherent to the making of welfare cities. The making of some of Gothenburg’s theatres into public institutions reveals the different – and sometimes conflicting – claims of turn-of-the-century urban welfarism: public funding was to guarantee that ‘good’ theatre became an economically affordable and thereby a socially integrating institution while at the same time conforming to a certain moral and artistic standard. The chapter uncovers the different forms of urban actorship involved in transforming theatre into a public infrastructure and draws the entanglements between private initiatives, municipal decision-making, state support and the – relatively weak – involvement of Gothenburg’s popular movements. By un-packing the entangled components of emerging urban welfarism, the chapter unravels the welfare city as having its origin and catalyst not only in considerations of ‘the common good’ but just as much in private interests.

„Czy wiesz, że mój teatr gra po polsku?” – oto pytanie, które wzbudziło moje największe zainteresowanie podczas corocznej konferencji nordyckich teatrologów.

En recension av Johan Hiltons bok Den siste teaterdirektören. Berättelsen om Benny Fredriksson.

En understreckare om Judith Butlers bok Who's Afraid of Gender? i Svenska Dagbladet första april 2024.

I denna uppsats undersöker jag hur jag som operasångare kan nalkas skådespeleriet och sammanföra det med musikens och sångens uttrycksmedel.

The article explores the scenographic rendering of trauma in the theatre performance 872 days. Voices of the besieged city staged by a small theatre, Subbota, in Saint Petersburg, Russia. The performance delves into the complex issues of private narratives of traumatic experiences, which, for decades, were deemed unimportant and even disruptive within the context of victory and glory of The Great Patriotic War. The production is based on memoirs and diaries of witnesses of the Leningrad siege. This study explores the connection between the scenographic ecology and empathic unsettlement, which is understood as a tool of approaching trauma through the experience of the audience. The article analyses how the scenographic rendering of trauma allows for potential representation and understanding of traumatic experience. It further looks at a theatre space as a place for mourning and reflexivity that allows the possibility of working through past trauma to better understand the present.

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., QC 20240125

In February 2017, Sweden’s oldest and largest professional Sámi ensemble, Giron Sámi Teáhter, produced the politically outspoken production CO2lonialNATION – A Theatrical Truth and Reconciliation Commission, a collective documentary theatre project that assembled anonymized witness testimonies from all over Sápmi. Using CO2lonialNATION as a highly representative example of Giron Sámi Teáhter’s repertoire, this essay highlights the decolonial labour of contemporary Sámi performance. It teases out the dramaturgical implications of mounting a theatrical truth and reconciliation commission by exploring the preparation and research process, the embodied performance onstage including the script, spatial arrangement, and relationship between performers and audiences, as well as the production’s roots in Sámi visual, material, and musical culture. Indebted to the work of political sciences and Indigenous studies scholar Rauna Kuokkanen, the essay’s core argument suggests that Sámi performance constitutes a gift that foregrounds Indigenous knowledges, rehearses and enacts political change and social justice, and engenders relationships that are characterized by respect, responsibility, and reciprocity. Finally, the essay ponders some of the ethical responsibilities and methodological challenges that a non-Sámi spectator faces when witnessing a performance that outlines the manifold legacies of settler colonialism.

When Jon Fosse receives this year’s Nobel prize in literature in December, it will be collected by a playwright and novelist whose work examines the lives of ordinary people on the outer reaches of society, trying to cope with the challenges and hardships of daily life. But his work is suffused with hope and affection as well as a darker sense of foreboding. There is a warm affinity between Fosse and the characters that populate his plays, highlighting their humanity. Fosse, a Norwegian who lives in Bergen, has also been much praised for his seven-part novel Septology, nominated for the International Booker prize in 2022. But few beyond Scandinavia and Germany realise his international success was built on his work as a dramatist. So who is this Scandinavian writer who has scooped the world’s most sought-after literary prize?, Publiserad 2023-10-06

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

En programtext om Askungemyten i Folkoperans programblad till uppsättningen av Gioacchino Rossinis Askungen (Stockholm 2023).

Discussing how historical acting principles might enrich today’s theatre, the author suggests that theatre scholars turn away from semiotics: a twentieth-century theory that still informs today’s views of eighteenth-century acting, largely due to Dene Barnett, an influential pioneer of Historically Informed Performance. As an alternative to semiotic representation, the author points to Jan Kott’s concept of contemporaneity, which refers to a special relationship between the text, the actor, and the spectator. This leads him to promote the finesse: a crucial but forgotten concept of eighteenth-century acting theory that was associated with the actor’s revealment of the uniqueness of the character.

What can artists learn from theatre scholars when it comes to performing historical works on stage today? What can theatre scholars learn from today’s artists when it comes to understanding the works and practices of the past? How is the experience of modern spectators affected by attending performances in historic theatres? And how, aesthetically, do we experience the reconstruction of productions from the remote past? This collection of essays covers the findings of the research project ‘Performing Premodernity’: an international group of theatre scholars whose work centred on the Drottningholm theatre from 1766: just outside Stockholm, this famous theatre has authentic stage sets and machinery preserved almost in their original eighteenth-century state. Behind all the essays is a mixture of fascination and dissatisfaction with today’s performances of drama and opera classics, particularly those that take place in historic theatres, and those operating within the so-called Historically Informed Performance movement. Moreover, they reflect a desire to develop and expand the methods traditionally used by theatre historians. And they present a variety of angles on today’s performances in historic theatres and on today’s attempts to revive theatrical practices of the past. The authors combine academic and artistic research as a way of deepening and nuancing our understanding of eighteenth-century theatre practices. The historical research is set in dialogue with the dramaturgical insights and aesthetic experiences the historians gained from their practical doing in historic spaces. Experimentation with lighting, costumes, stage movement, vocal and instrumental practices, and the flow of energy between performers and spectators led to the investigation of topics that theatre historians otherwise tend to ignore. In turn, this has led the researchers to challenge long-held views of the sites, repertoires, and performance practices of eighteenth-century theatre. Performin

In this interview, the singer-actors João Luís Paixão and Laila Cathleen Neuman describe their experience of taking part in the workshop experiments of the research group Performing Premodernity as well as in the group’s production of Jean-Jacques Rousseau’s Pygmalion, which premiered at the State Castle of Český Krumlov in 2015. The conversation revolves around the scenic interpretation of Pygmalion and the genre of melodrama at large and about what the singers learned about eighteenth-century acting from performing at the Drottningholm Palace Theatre and in other historic theatre sites.

Grounded in performance theories and Indigenous methodologies, this essay focuses on the 2021 solemn service in Uppsala Cathedral, when the Church of Sweden apologized for its historical complicity in the colonization of Sápmi. The essay discusses key rhetorical features of the Archbishop’s apology and analyses how the service incorporated Sámi visual, material, oral, and performance cultures. Of specific interest are five Sámi testimonies about settler colonialism and artist Anders Sunna’s redesign of the sanctuary. To tease out the contextual specificities (and limitations) of the apology and situate it as part of unfolding decolonial processes across the circumpolar North, the essay draws selective comparisons to Canada’s Truth and Reconciliation Commission and former Prime Minister Stephen Harper’s 2008 formal apology to First Nations, Inuit, and Métis Peoples., Basé sur les théories de performance et les méthodologies autochtones, cet essaise concentre sur le service solennel tenu à la cathédrale d’Uppsala en 2021, durant lequel l’Église de Suède s’est excuséepubliquement pour sa complicité historique dans la colonisation du Sápmi. L’essai discute les éléments rhétoriques clés des excuses de l'archevêque et analyse la façon dont cette messe incorporait les cultures visuelles, matérielles, orales et performatives des Samis. Le réaménagement du sanctuaire par l’artiste Anders Sunna, ainsi que les cinq témoignages de Samis sur le colonialisme sont particulièrement intéressants. Afin de déterminer les spécificités (et les limitations) contextuelles de ces excuses et les situer dans les processus de décolonisation en cours dans le cercle polaire, cet essai établit des comparaisons sélectives avecla Commission de vérité et réconciliation du Canada et les excuses officielles de l’ancien Premier ministre canadien Stephen Harper aux Premières Nations, Inuits et Métis en 2008., VR/Circumpolära performancekulturer

Ecology describes the intertwined relationships in our world and includes the study of animals and plants and how we as humans relate to each other, our surroundings, and the more-than-human (Giannachi & Stewart 2005; Woynarski 2020). Ecodramaturgy describes theatre and performance that places ecological reciprocity and community at the centre of its artistic and thematic content (Arons & May 2012:4). Lisa Woynarski uses the term to deal with meaning-making concerning ecology in all theatre and performance forms, themes, processes, and narratives and thus potentially as a strategy to subvert dominant forms of representation that often devalue the more-than-human world (Woynarski 2020). Ecological theatre, thus, does something and can potentially problematize relations to the more-than-human (Woynarski 2020). In Sweden, a few important ecocritical theatre initiatives have been run by Riksteatern - Sweden's largest touring theatre since 1933. In the Human and Nature project (2017–2020), Riksteatern investigated climate, lifestyle, and nature/culture issues. In 2017, the production Polarfararna was played, directed by Åsa Johannisson, an absurd disaster drama about an expedition to the North Pole in 2016. In 2018, the production Slutet enligt Rut was played, directed by Nora Nilsson, a comedy about inheritance and desire where Rut, who has reached the age of 112, refuses to die so that the forest she leaves behind will live undisturbed. In Nationalparken (2019), directed by Lisa Färnström, the old-growth forest is a metaphor for diversity and becomes a tribute to thousands of ways of life. This paper focuses on the following questions: What ecodramaturgical strategies can be found in the three performances? In what ways do the performances examine man’s relationship to the more-than-human? What role do forests and landscapes play in the three performances, and what dramaturgical significance do they have?

The paper aims to broaden the understanding of how and what in a drama/theatre practice can open up places which seems to be of importance for patients with newly developed psychosis together may be fragile and from there find the strength to take steps outside the care world. The paper is based on a 16 months participant observation study conducted in three drama/theatre groups including interviews with patients, drama practitioners and nurses. The study is theoretically framed through Jons’ (2008) conceptual construction of the phenomenon pedagogical creed based on Buber’s philosophy of existential dialogue, Collins (2004) interactional rituals and emotional energy and Sheff’s notions social bonds and attunement.

I remember the first time I came across the utopian performative: the butterflies in my stomach, the overwhelming feeling of hope and happiness it produced. Jill Dolan [2005] points to those moments during performances when the audience comes together and feels hopeful; moments that constitute inspiration for change: for the performer, the spectator, and maybe even the world – and which are often (understandably) politically or socially charged. But my experiences were different: my feeling of hope was not emerging after watching a political vision of the future, but during and after my encounters with beauty. I began to wonder: can a profound sense of beauty that brings the feeling of hope and love, also have the potential to change the world? In this article, I explore the aesthetics of the theatrical event and its effectiveness in bringing out utopian performatives. Theoretically, I draw on Erika Fischer-Lichte’s aesthetics of the performative to show how the language of performance analysis can access a theatrical (aesthetic) experience and on the theory of affect in performance to understand my experience; also, I supplement Dolan’s theory with Dorthe Jørgensen’s experience of beauty to extend her thinking into non-political experiences and grasping them more fully. As an example, I discuss Oratorium Dance Project (Lodz 2011).

Biografi över skådespelaren och revyartisten Åke Söderblom., Svenskt biografiskt lexikon (SBL) är ett vetenskapligt och populärvetenskapligt standardverk som började utges 1917, sedan 1962 i statlig regi. Från den 1 januari 2009 ingår SBL i Riksarkivets verksamhet, utgörande en egen enhet., Svenskt biografiskt lexikon

This master’s thesis is concerned with the portrayal of motherhood and mother-daughter relationships on stage. By conducting performance analyses of three separate contemporary performances, all focused on mother-daughter relationships, the thesis investigates the creation of mother and daughter on stage. Through the lens of Hans-Thies Lehmann’s theory on postdramatic theatre, the thesis dissects aspects of the performances moving beyond the dramatic action to gain further insight into the portrayal of mother and daughter on stage. The thesis aims to investigate the aspects contributing to the creation of mother and daughter on stage, as well as analyse the conveyed meaning of the relationship between them. Combined with a feminist approach, the role of mother and daughter on stage is placed in a larger context, analysing motherhood as an institution and concept, both on and off stage. By understanding the intimate and complex mother-daughter relationship as a product of patriarchal structure, it becomes necessary and relevant to investigate this relationship further. Since the performances portray private relationships in a public space, the analysis is also concerned with the interrelation between the stage and the outside world. The analysed performances are Und dann kam Mirna at the Maxim Gorki Theatre in Berlin, Kung Mor at Teater Galeasen in Stockholm and Mommy Issues at Kulturhuset Stadsteatern in Stockholm. The material for the thesis mainly consists of my experiences of the performances in the role of spectator and the theatre texts. By using Lehmann’s theory as a starting point, the analyses are centred around moving beyond the narrative to investigate other aspects on stage, such as objects, physicality, levels of reality, intertextuality, intermediality and the use of text on stage. The thesis dissects how these aspects contribute to the creation of mother and daughter on stage, as well as analyses the portrayed generational differences and their impact

This essay explores the genre of In-Yer-Face theatre and its representation of women. In-Yer-Face theatre emerged in the 1990s in the UK, characterised by its confrontational style and provocative themes. While the genre is often associated with the portrayal of violence and aggression towards women, this essay explores how In-Yer-Face theatre may also offer a platform for women's stories and experiences. Through an analysis of The Censor, Blasted and the performances of Shopping and fucking and Look back in anger, the essay researches how In-Yer-Face theatre explores traditional gender roles and the ways in which women are often subjected to violence, exploitation, and objectification. The essay will use both a drama analysis and performance analysis of two plays and two performances from the genre to explore different views from the most prominent writers of the genre.Ultimately, this essay argues that In-Yer-Face theatre has an opportunity to offer a powerful and complex representation of women that demands critical engagement and interpretation but in many ways reproduces the societal norms.

”Blessed be those without pretense”: A hermeneutic-semiotic analysis of the institutionally produced storytelling theatre of Västerbotten is a bachelor thesis in Performance Studies. The study aims to examine and define the aesthetic and commonly occurring themes of the institutionally produced storytelling theatre of Västerbotten, and to discuss the representation of the citizens of Västerbotten on stage, which ideals and characteristics are desirable and which are not. The theoretical framework of this study is supported by ethnological and sociological theories about storytelling and the method used is performance analysis based on semiotics and hermeneutics. Seven performances between the years 1998-2021 are deconstructed and analyzed. The results show several reoccurring and common features of the storytelling theatre of Västerbotten, such as the shifting between the storyteller's present moment and the time period of the story, the important role music plays in the telling of the story and the common setting of the farming societies of the turn of the 19th to the 20th century. Other reoccurring themes are those of Christianity, socialism, food, farm animals, and squalor. The ideal characteristics identified were honesty, integrity, and a good work ethic. There is an ambition for cultural preservation present within the genre and a lack of representation of minorities.

The purpose of this thesis is to see how the contemporary artistic theater for children handles the subjects concerning migration and representation, both artistically and practically. To respond to questions about how these subjects are thematized as well as contextualizing the development of the genre, a post-colonial intersectional perspective is used as a theoretical basis. Production analysis is used as a methodological basis for two productions that were staged at Unga Klara in 2018. Previous research shows that different views of children have dominated throughout the ages, which have represented themselves in the artistic culture for children. The artistic children's theater, or children's tragedy (barntragedi), has its roots in the political children's theater of the 1960- 1970’s and is based on the belief that children have the right to see their inner lives portrayed in an artistically qualitative way. This essay concludes that these two children’s tragedies thematize these topics through a combination of representing interculturality via multilingualism, and through contextualizing how children’s feelings are related to the political injustices that affect their lives.

In the spring of 2023, Kungliga Operan in Stockholm, Sweden premiered their production of Stephen Sondheim's famous musical Sweeney Todd: The Demon Barber of Fleet Street. This study aims to analyze this production in regards to Mattias Fhyr's definition of the Gothic. It analyzes what gothic signs and themes are recognizable in the Kungliga Operan production of the musical and how they manifest on stage. The study applies the qualitative method of performance analysis, which uses a combination of semiotics and hermeneutics to analyze live performances. Semiotics is also used as the theoretical foundation of this essay. Fhyr's definition specifies that a gothic text depicts subjective worlds, that lack higher order and is characterized by an atmosphere of decay, destruction, and irresolvability, and that it contains labyrinthine qualities. Earlier research also shows that the Gothic can be found in almost all media, including theater. This study illustrates how this performance of Sweeney Todd contains and expresses the above mentioned themes. It also discusses the gothic genre's relationship with opera and comedy and how they are relevant in the performance. It explores the characters monstrous depictions, and examines different familial relations and themes in the musical, characteristic of the gothic genre. The study concludes that the Gothic can be found in the musical's set design and fictional locations, in the mood and atmosphere mostly created by the score, in the characters and their actions, as well as in the story itself.

“Perpetual little girl” – Gender coding of the costume design-profession: A critical discourse analysis is a bachelor’s thesis in Performance Studies written by Yonna S. Thil in the spring of 2023 at Stockholm University. This study focuses on the gendering of the costume design-profession, as well as the gendering of theatre professions in general and attempts to answer the question “How does female gender coding affect the professional role of the costume designer?”. Fashion history and theatre history is used to map out the ways in which the costume designer is at a point of intersection between fashion, a highly feminized phenomenon, and theatre, a system which has excluded women from the practice for thousands of years. Statistics from Stockholm University of the Arts and interviews with both male and female costume designers working in theatre and film in Sweden tell the story of how the feminization of their profession affect the practice. The study includes comparisons with male coded professions in the theatre system, questions of the wage gap between male and female coded professions as well as discussions of the artistic genius and charismatic authority.

Tonsättaren Pierre Boulez påpekade att hans lärare Olivier Messiaen (1908–1992) stod mitt i en av 1900-talsmusikens mest betydande spänningar: i hans verk är ett fokus på kompositionstekniker avsett att understödja en mer romantisk strävan mot ett intensivt musikaliskt uttryck och känsla. Spänningen kan diskuteras som aspekter av en modernistisk respektive romantisk musiksyn och gör sig direkt påmind i studier av Messiaen som interpret av sina egna verk. Till skillnad från en rad befintliga undersökningar av Messiaens pianospel har motsvarande analytiska studier av hans interpretation av egna orgelverk inte genomförts tidigare. Under lång tid har en uppsättning kommersiella inspelningar från 1956 utgjort den främsta källan till detta område, vid sidan av diverse kommentarer som spridits genom elevers skrifter. Det har funnits en vitt spridd uppfattning att Messiaen tar sig mycket stora friheter i förhållande till sina egna partitur, utan att bakomliggande konstnärliga ideal diskuterats vidare. Artikeln påvisar att tonsättaren själv upphöjde partituren som gemensam norm för verkens interpretation och betraktade sina egna inspelningar som ett högst personligt uttryck. I denna studie har tre inspelningar av cykeln Livre d’Orgue med Messiaen som interpret kunnat detaljstuderas, tillsammans med 14 senare kompletta versioner med andra organister. Analysen utgår från tonsättarens egna råd till interpreter i förordet till verket Quatuor pour la fin du temps. Där fastslås att musiker först måste lära sig spela musiken exakt som noterat för att senare vid framföranden enbart behålla notvärdens sentiment och forma musiken med personlig frihet och agogik. I flera av de sju satserna blir det tydligt att Messiaen spelar med en stark känsla för sina bakomliggande idéer, även till en punkt där han inte längre bibehåller kontroll över partiturens notvärden. Trots att en senare interpretationshistoria till stor del bygger på att organister underordnat sig tonsättarens auktoritet sker, Artikelns titel på svenska: Sentiment bortom kronometri: en interpretationshistorisk studie av Olivier Messiaens Livre d’Orgue, Performing the rhythm of life - interpretation of time in Olivier Messiaen's organ works

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

The project of Art e miss is a moving practice and research, an embodied exploration of the wild woman archetype. The research is aiming to practice ways to mobilize one-female-self in situations of feeling restricted. It is about approaching ways of mobilizing oneself to act and transform situations and moments of friction. On a personal level, it works with the question ‘How can I overcome situations in which I feel restricted? How can I transform those situations into situations that support me and my desires?’ On a political level, it is a feminist practice for imagining and proposing alternatives. It tries to empower the female to seek possible different responses against dominant ideas and structures of oppression. For exploring this question within the field of dance and movement, the project of Art e miss uses imagination, playfulness, and modes of relating to generating mobility and movement. The project uses strict scores to generate the structure in which the performers can practice. In this structure, the performers practice spontaneously reacting at the moment through improvised dances and mobilizing themselves as a response to the restrictions of the task., Performative and mediated practices, with specializations in choreography

Swedish theatre has during the last decades gone through a transformation. The male predominance of directors, playwrights, and theatre managers has been challenged. International cooperation has been more common and stage art forms are now more merged, where especially new circus has played a central role. Swedish theatre is highly subsidized, but despite this the neoliberal agenda has affected the theatre with the enforcement of reporting and measurement systems. The school system has partly been privatized which has exacerbated the situation for theatre for young people. The central question now for the Swedish theatre is how to attract new audiences.

This dissertation, When Dance Became Modern (När dansen blev modern), deals with theatrical dance in Sweden between 1930 and 1960 from a historiographical perspective and assumes that dance is interwoven with socio-cultural contexts. The aim is to investigate what factors create the conditions for certain genres and aesthetics to emerge. The historiographical narrative that the investigation departs is largely concentrated on the Royal Theater. A narrative has been consolidated where the 1930s and 1940s are described as a period of decline in contrast to the radical change of the 1950s. The historiography is based on historiographical theories and methods where turning points are the focus, contrasts are identified, and the development of events is uneven. The thesis reviews the history of dance that contrasts traditional views of dance with an emerging, new aesthetic of dance–i.e., the traditional versus the modern. My point of departure is that when dance is established as an art form, it is woven together with various aspects of the emerging modernity. Therefore, how the field of dance, as a profession and aesthetics, took shape is examined. I highlight relationships other than purely aesthetic ones and also consider various genre expressions as part of the modern. Here, the framework includes modernity’s social changes, national cultural policy ideas, and in some cases the ideas within, for example, the translocal dance field. The intention to identify and analyze several contemporary phenomena in the sphere of dance has necessitated different types of sources. The empirical material consists largely of reviews, articles, program leaflets, and posters, but statutes and protocols are also used. Additional sources are dance history books, biographies, and memoirs as well as etymological books, dictionaries, encyclopedias, and legal texts and government investigations. Finally, the empirical material includes choreography in film and some interviews. In the thesis

Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on videotaped professional theatre interactions in Germany, we focus on consecutive instances of rehearsing the same scene and trace the interactional history of a particular gesture. This gesture is used by the director to instruct the actors to play a particular aspect of a scene adopting a certain aesthetic concept. Stabilization requires the emergence of shared knowledge. We will show the practices by which shared knowledge is established over time during the rehearsal process and, in turn, how the accumulation of knowledge contributes to a change in the interactional practices themselves. Specifically, we show how a gesture emerges in the process of developing and embodying an aesthetic concept, and how this gesture eventually becomes a sign that refers to and evokes accumulated knowledge. At the same time, we show how this accumulated knowledge changes the instructional activities in the rehearsal process. Our study contributes to the overall understanding of knowledge accumulation in interaction in general and in theater rehearsals in particular. At the same time, it is devoted to the central importance of gestures in theater, which are both a means and a product of theatrical staging.

This text is based on a roundtable organised bythe five authors at the 2022 NOFOD conference inCopenhagen. As scholars and practitioners investedin the research and teaching of dance history bothinside and outside academia, we wanted to addressthe pressing issue of how ‘history’ is defined andpositioned within Nordic dance scholarship andpractices today. Dance, as we think of it and practiseit in our everyday lives, is far more diverse than theso-called ‘contemporary dance’ that the white authorslisted as scholars and practitioners in the conferencecall indicate.1 For this roundtable, we wanted to showthat dance theory and practice-led work in dance gofar beyond the Eurocentric idea of contemporarydance present in the conference call, and to advocatefor a more inclusive understanding of the practices ofmaking or researching dance in the future.

What can artists learn from theatre scholars when it comes to performing historical works on stage today? What can theatre scholars learn from today’s artists when it comes to understanding the works and practices of the past? How is the experience of modern spectators affected by attending performances in historic theatres? And how, aesthetically, do we experience the reconstruction of productions from the remote past? This collection of essays covers the findings of the research project ‘Performing Premodernity’: an international group of theatre scholars whose work centred on the Drottningholm theatre from 1766: just outside Stockholm, this famous theatre has authentic stage sets and machinery preserved almost in their original eighteenth-century state. Behind all the essays is a mixture of fascination and dissatisfaction with today’s performances of drama and opera classics, particularly those that take place in historic theatres, and those operating within the so-called Historically Informed Performance movement. Moreover, they reflect a desire to develop and expand the methods traditionally used by theatre historians. And they present a variety of angles on today’s performances in historic theatres and on today’s attempts to revive theatrical practices of the past. The authors combine academic and artistic research as a way of deepening and nuancing our understanding of eighteenth-century theatre practices. The historical research is set in dialogue with the dramaturgical insights and aesthetic experiences the historians gained from their practical doing in historic spaces. Experimentation with lighting, costumes, stage movement, vocal and instrumental practices, and the flow of energy between performers and spectators led to the investigation of topics that theatre historians otherwise tend to ignore. In turn, this has led the researchers to challenge long-held views of the sites, repertoires, and performance practices of eighteenth-century theatre. Performin

What can artists learn from theatre scholars when it comes to performing historical works on stage today? What can theatre scholars learn from today’s artists when it comes to understanding the works and practices of the past? How is the experience of modern spectators affected by attending performances in historic theatres? And how, aesthetically, do we experience the reconstruction of productions from the remote past? This collection of essays covers the findings of the research project ‘Performing Premodernity’: an international group of theatre scholars whose work centred on the Drottningholm theatre from 1766: just outside Stockholm, this famous theatre has authentic stage sets and machinery preserved almost in their original eighteenth-century state. Behind all the essays is a mixture of fascination and dissatisfaction with today’s performances of drama and opera classics, particularly those that take place in historic theatres, and those operating within the so-called Historically Informed Performance movement. Moreover, they reflect a desire to develop and expand the methods traditionally used by theatre historians. And they present a variety of angles on today’s performances in historic theatres and on today’s attempts to revive theatrical practices of the past. The authors combine academic and artistic research as a way of deepening and nuancing our understanding of eighteenth-century theatre practices. The historical research is set in dialogue with the dramaturgical insights and aesthetic experiences the historians gained from their practical doing in historic spaces. Experimentation with lighting, costumes, stage movement, vocal and instrumental practices, and the flow of energy between performers and spectators led to the investigation of topics that theatre historians otherwise tend to ignore. In turn, this has led the researchers to challenge long-held views of the sites, repertoires, and performance practices of eighteenth-century theatre. Performin

During the 18th century, the French court employed considerable number of people and resources in order create the most brilliant performances, which reflected the monarchs’ power. But who made the costumes for the spectacles, how these people worked, where, how were the costumes distributed and used? And how much did this all cost? Through study of the inventories, costume programs, working sheets and contracts I uncover the actual work on and economy of the costume for court stage.

This article concerns how the normative matter of body hair is playfully encountered within a theatre practice for teenage girls. By working with Deleuzian-inspired theories, playfulness is understood as embodied doings, interwoven with the local context. The article explores how playfulness is enacted in relation to the everyday, in particular body hair removal. The analysis shows how playfulness is an ambiguous feature enacted together with bodies, affects and materialities. Moreover, playfulness became both a restricting and a transformative force reproducing the already known while also opening up a critical approach of playing with the violent aspects of hair removal.

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