This thesis have identified strategies of resistance in Anne Charlotte Lefflers drama Skådespelerskan from year 1873. The main character Ester and the supporting character Agda continously challenges and breaks generally accepted patriarchal norms. The first aim for the thesis was to distinguish and examine Agda’s and Ester’s strategies of resistance in Skådespelerskan from a feminist perspective. The second thesis was to identify similarities and differences in their strategies of resistance. This has been done by examine textual, contextual and performative literary strategies of resistance. Relevant for the analysis is an historic and contemporary context for Skådespelerskan, where for instance personal and public sphere and the concept the New woman is described. Furthermore is Yvonne Hirdmans theories about gender contract together with feminist sociological theories about women’s movement and solidarity relevant for the analysis. Earlier research have analyzed Ester and her relationships with other charachters but not the one with Agda. In that way this thesis fills a void. The analysis is organized through four strategies of resistance. Agda’s strategies of resistance is humor and sisterhood and Ester’s is outspokenness and flirtation. The biggest difference is that Agda gives resistance from within the personal sphere and Ester from outside. The conversations between Agda and Ester is not part of the drama, they take place between the two parts of the drama. The result of these confidential conversations is that their resistance partly increases and partly changes tone in the second part of the drama. That shows how important it is with solidarity and sisterhood in order to find strength to struggle for change in a patriarchal society.