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  • 1.
    Fornäs, Johan
    Göteborgs universitet.
    Nio år efter Tältprojektet: Rapport från ett seminarium 12-13/1 19861986Report (Other academic)
  • 2. Fornäs, Johan
    et al.
    Lindberg, Ulf
    Hansson, Lars
    Tältprojektet: Vi äro tusenden1977In: Tekla: Teori och klasskamp, ISSN 0348-7253, no 3/4, p. 94-104Article in journal (Other academic)
  • 3. Kotkina, Irina
    Атлантов в Большом театре: Судьба певца и движение оперного стиля2002Book (Other academic)
  • 4. Larsson, Camilla
    Det som händer nu: Kroppar som material, händelse som metod, närvaro som koreografi2014In: Koreografisk journal, ISSN 2001-7626, no 2, p. 16-23Article in journal (Other (popular science, discussion, etc.))
  • 5.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Ett fiktivt landskap2018In: Danstidningen, ISSN 1102-0814, no 2, p. 22-23Article in journal (Other (popular science, discussion, etc.))
  • 6.
    Nord, Iwo
    Södertörn University, School of Culture and Education, Gender Studies.
    Translation and Translocality in Gin Müller's Trans Gender Moves2016In: Transgender Studies Quarterly, ISSN 2328-9252, E-ISSN 2328-9260, Vol. 3, no 3-4, p. 611-617Article in journal (Other academic)
    Abstract [en]

    This article reviews Gin Müller's play Trans Gender Moves, arguing that it has translation, on several levels and in its broadest sense, at the core of its themes and aesthetics. Based on the performers’ real-life stories, Trans Gender Moves is about what it might mean to live in transition between and across genders, but also languages, cultures, and times. With a departure from their own translational experience as an audience member, the author looks at how the play connects translation to interpretation and discusses how the stage is crafted into a “translation site,” or “translocality,” where the overlapping places, times, and languages of the performers’ everyday lives are explored. It is crucial to the politics of Trans Gender Moves that all the actors, as well as the director, have themselves experienced living trans lives and that the play, by telling the life stories in the words of the people who lived them, brings trans voices into the realm of authority. Moreover, it is especially noteworthy that the performers and the audience are involved in a form of engagement that begins from multiplicity. The author suggests that the play might be used to further reflect on the challenge of how we are to escape monolingualism in transgender studies.

  • 7.
    Riise, Michael
    Södertörn University, School of Culture and Education, Centre for Studies in Practical Knowledge.
    Kommunikationens anatomi: för regissör och ensemble2017Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    In the frame of Practical knowledge at Södertörn University, Sweden, I have examined my own practical knowledge. The starting-point is what happened during my work as director, when I was rather new in the profession. The studie focuses on what it is that happens when the body communication is not functioning as it should. This essay focuses mainly on physical communication and investigates how the communication worked during this process in which I in the beginning of my carreer led as director at a Public Theatre. My story tells about how I remember the direction process with a Theatre ensemble, framed with communication problems. I call this Directing process 1. The directing work and the actors process work was suffering and an optimal result was not possible to reach. In spite of that, the play was performed and reached a large audience. In a comparative field study  I observed another theatre rehearsal process, interviewed the director and saw the performance. This process worked well. I call this Directing process 2. I have a theoretical discussion with a starting point in communication and theatre literature where I analyze my own understanding of communication and what the communication concept stands for. When traditional communication theory is completed with physical variables, it lightens in a concrete and distinct sense, some essential abilities in the directors work. I reject the assertion that all behavior is communication. I presuppose from the definition that communication builds on someone who sends and someone who confirms.

    I introduce communication theoretical conceptions and six key words as starting-point, for my analysis of physical communication during a process work. I compare the differences in the directors relation to their ensembles. The two theatre directing processes differed in terms of communication in  several crucial points. These differences became a question of vital  importance for a successful and a less successful process. The biggest weakness in process 1 appears to be my own lack of freedom in the way of movement related to the ensemble. It was characterized by a closed body language, difficulties with the listening, and avoiding eye contact. From that I identify the largest problem witch showed to be the lack of confidence between me and the crew. The great assets of the Process 2 was the physical freedom among the bodies that moved in the room, and in relation to each other, while the biggest problem I saw as the lack of clear intentions. The conclusion is that the positions of the bodies related to each other can be a determining factor for successful work together. Moreover that confidence showed up to be the most important communicative reason if these processes succeeded ore failed.

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