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  • 1. Björck, Amelie
    Dokumentärteaterns ansvar2010In: Teatertidningen, ISSN 1101-9107, no 1, p. 39-40Article in journal (Other (popular science, discussion, etc.))
  • 2. Björck, Amelie
    Som om öronen blev smutsiga2009In: Ord och bild, ISSN 0030-4492, E-ISSN 1402-2508, no 1/2, p. 30-33Article in journal (Other (popular science, discussion, etc.))
  • 3. Björck, Amelie
    Vidga scenvärldar2010In: Teatertidningen, ISSN 1101-9107, no 4, p. 10-13Article in journal (Other (popular science, discussion, etc.))
  • 4.
    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, p. 169-195Chapter in book (Other academic)
  • 5. Feiler, Yael
    A Manifesto for an Israeli She Monster2007In: Staging international feminisms / [ed] Elaine Aston, Sue-Ellen Case, Basingstoke: Palgrave Macmillan , 2007, p. 203-211Chapter in book (Other academic)
  • 6. Feiler, Yael
    Att välja och att välja bort: rapport om ett antal svenska teatrars rutiner och kriterier gällande rekrytering av dramatiker, med särskilt fokus på genus och jämställdhetsaspekten2009Report (Other academic)
  • 7. Feiler, Yael
    Kulturutredningens problem: Om kulturutredningens dubbelhet i förhållande till konst och kvalitet2009In: Arena, ISSN 1652-0556, no 2, p. 18-19Article in journal (Other (popular science, discussion, etc.))
  • 8. Feiler, Yael
    Nationen och hans hustru: feminism och nationalism i Israel med fokus på Miriam Kainys dramatik2004Doctoral thesis, monograph (Other academic)
  • 9. Feiler, Yael
    What Happens When The Merchant of Venice is Being Staged?: A comparative analysis of the reception of three European productions2010In: Shakespeares Shylock och antisemitismen / [ed] Yael Feiler, Willmar Sauter, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier (Stuts) , 2010, 2. utök. uppl., p. 133-162Chapter in book (Other academic)
  • 10. Feiler, Yael
    et al.
    Sauter, Willmar
    Shakespeares Shylock och antisemitismen2006Collection (editor) (Other academic)
  • 11. Feiler, Yael
    et al.
    Sauter, Willmar
    Shakespeares Shylock och antisemitismen2010Collection (editor) (Other academic)
  • 12. Feiler, Yael
    et al.
    Sauter, Willmar
    Shylock i rörelse: gestaltning, mottagande - nu och då2006In: Shakespeares Shylock och antisemitismen, Stockholm: Stiftelsen för utgivning av teatervetenskapliga skrifter , 2006, p. 29-60Chapter in book (Other academic)
  • 13. Granath, Sara
    Hercules i Lund - bakom kravallstaket och poliser1996In: Svenska Teaterhändelser 1946-1996 / [ed] Lena Hammergren, Karin Helander, Willmar Sauter, Stockholm: Natur och kultur , 1996, p. 50-88Chapter in book (Other academic)
  • 14. Granath, Sara
    Interaction acteur/public dans un groupe de théâtre libre dans les années 1970 et 19801995In: L'annuaire théâtral-Revue québécoise d'études théâtrales, ISSN 0827-0198, no 18, p. 75-92Article in journal (Other academic)
    Abstract [sv]

    Om olika slags publikkontakt som en svensk fri teatergrupp ägnade sig åt under 1970- och 80-talen. Om förändrade maktrelationer mellan skådespelare och publik. Gruppen hette först Proteus, sedan Mercurius, under ledning av Ulf Gran

  • 15.
    Granath, Sara
    Stockholms universitet.
    Käket & Moralen: teatersällskapet Proteus/Mercurius från studentteater till länsteater1997Doctoral thesis, monograph (Other academic)
    Abstract [sv]

    The aim of this dissertation is to study the development of a so called free theatre group in the south of Sweden. This group, here called Proteus/Mercurius, started out as a travelling amateur theatre, emanating from the Student Theatre of Lund, in 1965, and waas finally established as the regional theatre of the county of Skaraborg, in 1988. The group' s leadeer and director Ulf Gran became the head of the new theatre.

    The French sociologist Pierre Bourdieu uses the concept of cultural field to characterize the arena,where agents and institutions fight over the correct definition of, in  this case, Good Theatre. My main objective is to find and correlate the various factors contributing to the changing legitimacy of Proteus/Mercurius within the Swedish theatre field.

    Placing myself within this field I have studied the traje´ctory of ProteusMercurius in relation to the other theatre groups that made up the free theatre movement from the mid-sixties onwards.

    I have found that Proteus/Mercurius differed frommany other groups at a time when leftist political declarations were common. It also had a clearly defined leader and director, when team work was the word of the day. When other groups wrote their own plays, Proteus/Mercurius specialized in classics, such as Shakespeare, Marivaux, Strindberg, Holbnerg and so on. It seems to be a matter of timing; Proteus/Mercurius was nevdr in the mainstream of the theatre groups.

    But viewed from a distance many similarities between Proteus/Mercurius and other groups have become evident. One of the reasons for Proteus/Mercurius' changing legitimacy seems to be that various kinds of symbolic capital such as education and social relations proved valuable at different moments.

    When the groups, thanks to generous state subsidies, overflowed the market, factors such as state educated actors became more important. And, even though Proteus/Mercurius actually managed to form the basis of a new regional theatre, its tradition of using amateurs or student actors in productions became an increasingly negative factor.

    Still, I have found that Proteus/Mercurius over the years kept to its initial goal of interacting with the audience in new and unusual ways, often in psaces not ordinarily used for theatre. The most appreciated part of the group' s work was aLWAYS THE OUTDOOR SUMMER performances, REACHING AUDIENCES OUTSIDE THE GROUP OF habitual theatre-goers. The same went for performances for specific groups, such as improvisations with nurses and Winnie-the-Pooh for mentally handicapped children. Even if Proteus/Mercurius did not reach lasting fame within the field, it med with some very appreciative audiences.

  • 16.
    Granath, Sara
    Södertörn University, School of Gender, Culture and History.
    Romeo and Juliet at the Power Station2004In: Journal of Korean Theatre Studies Association, ISSN 1229-2877, Vol. 22, p. 25-38Article in journal (Other academic)
  • 17.
    Granath, Sara
    Södertörn University, School of Gender, Culture and History.
    Romeo and Juliet at the Power Station2005In: Theatre and space / [ed] Miy-He Kim, Jae-Min Shim, Seoul: Yeongeukwa Ingan , 2005, p. 77-92Chapter in book (Other academic)
  • 18.
    Magnusson, Håkan
    Södertörn University College, The School of Culture and Communication.
    En scenografs reflektioner över sina kunskaper och drivkrafter2007Independent thesis Advanced level (degree of Magister), 15 points / 22,5 hpStudent thesis
    Abstract [sv]

    Essän är en reflektion som drivs fram av tvivel, missnöje och förhoppningar. I försöket att svara på frågan: Vad är scenografi? blir essän en beskrivning över hur min kunskap kring teaterscenografi har byggts upp. Den beskriver även min förhoppning av vad scenografen och scenografin kan bidra med i en utveckling av teatern och jag föreslår ett tillvägagångssätt.

    Sven-Åke Heed hänför teatern till de föreställande konsterna och låter mimesis i Aristoteles beskrivning, som en imitation av handlingar ge oss en av förutsättningarna för scenografens arbete. Konsekvenserna av detta framgår i beskrivningen av mitt arbete som scenograf.

    Genom en hermeneutisk rörelse mellan delar och helhet inom både scenografin och scenografens arbetsmiljö och den större helheten teaterförställningen, klarnar bilden och scenografens nödvändiga kunskaper framträder.

    Scenografen använder kunskaper och färdigheter från teoretisk - vetenskaplig kunskap - episteme, även om den inte har en framträdande roll i arbetet. En annan form är, praktisk - produktiv kunskap – techne. Den har en dominerande roll då den förknippas med det synliga estetiska resultatet, vilket är det finala beviset för scenografin. I min framställning hävdar jag dock, att den tredje formen, praktisk klokskap – fronesis, är den som styr de övriga två i arbetet med scenografi. Den är tätt sammanvävd med syfte och mål för föreställningen och berör etik och moral. Den leder scenografens arbete genom att avgöra när mina insatser skall ske, i vilken omfattning och med vilka medel jag genomför mitt arbetet. Fronesis är kunskapen som rytmiserar min process. Jag har utgått från Bengt Gustavsson och hans indelning i tre olika kunskapsformer. Han hänvisar till att hans utgångspunkt är Aristoteles och det som han skriver i Den Nichomakiska etiken

    Med hjälp av Hans-Georg Gadamer och Paul Ricoeur fördjupas min reflektion över dilemman och möjligheter i arbetet kring teaterföreställningen. Regissören och scenografens möte kring föreställningsarbetet undersöks i relation till horisonten och dess sammansmältning.

  • 19.
    Marko Englund, Leo
    Södertörn University, School of Culture and Education.
    Skådespelarens hemligheter: Om Zeamis estetik och värdet av det som inte framträder2013Independent thesis Advanced level (degree of Master (One Year)), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    This work examines how the aesthetics of Japanese actor and playwright Zeami Motokiyo (1346-1443) offers insight into the value of the unseen elements in art, specifically in the art of acting. What acting makes appear is likened to a vessel, which creates an empty space of what doesn’t appear. This non-appearing element is at the same time what gives the vessel its function. Nō theater is described as an art of suggesting, giving a background to Zeami’s theories. The importance of the tangible in Zeami’s aesthetics is underscored in a discussion of the technique, beauty, specificity, and variation implied by the principals of two basic arts, monomane, and hana. Then, the way the actor according to Zeami can make use of the unseen to fascinate the spectator is thoroughly investigated, relating it among other things to the question of emotion in western theory of acting, and the japanese concept of yūgen. Finally, Zeami’s concept of hana is described as relying on both what appears and what doesn’t appear, and the relevance of hana as a definition of the value of art is emphasized.

  • 20.
    Neuhauser, Charlott
    Stockholms universitet.
    Fruktansvärd, ospelad och nyskriven - kriser och konflikter kring ny svensk dramatik: från Gustav III:s originaldramatik till dagens beställningsdramatik2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The issue of this thesis concerns a selection of historical debates in which new Swedish drama is under discussion. The studied debates take place in the cultural and political fields and within the fields of theater and literature and deal with a recurring assumption in Swedish theatre history – that new Swedish drama is insufficient. The primary object of this thesis is to find explanations to: why is the Swedish new drama so often described as defective? The following questions, guiding the analysis, are: How are the crises described? What are the stakes? How has the dramatic text been influenced by being judged either as literary product or a product for the stage? How is the playwright’s role described, and perhaps changed, in the crises? The aim of the analysis is to understand how traditions and conventions are shaping the debates and contribute to perpetrate the myth of the malfunctioning Swedish new play.

    In a historical perspective several attempts have been made to govern new Swedish drama by legislative and political power. New Swedish drama has, for example, been viewed as a possible expression of the nation, as part of shaping the Swedish Welfare state or creating interactive communication with the audience. Despite its many uses, new Swedish drama continues to be describes as flawed.

    The study starts with King Gustav III:s Swedish theatre where the purpose was to produce Swedish original plays. The study ends with an analysis of a new government grant for new Swedish drama, which was installed in 1999. The chosen debates are analyzed with the help of concepts borrowed from the French sociologist Pierre Bourdieu, looking at each historical situation as a possible moment for the establishment of the field ”new Swedish drama”. The survey ends with eight interviews with playwrights, who are active today.

    The conditions for the new Swedish drama are the guiding line in this thesis. These conditions are found in the cultural, social and historical contexts that cooperate when a taste or convention is being shaped. They are part of the discourses in the field, where criteria for the new Swedish drama is formulated. In order to understand the significance of, for example, the expression, ”the newly written Swedish drama” research has been pursued in biographical material, historical surveys, and debates in the daily press and in professional journals.

    Without being a full bourdieuan analysis, the thesis is using concepts from Bourdieu. The work of British feminist theatre historian Tracy C Davis inspires the critical historic perspective.

  • 21.
    Neuhauser, Charlott
    Stockholms universitet.
    Minnesplatsen som process och performace: Det urbana konstverket2012In: Peripeti, ISSN 1604-0325, E-ISSN 2245-893X, no 18, p. 35-44Article in journal (Refereed)
  • 22.
    Neuhauser, Charlott
    Stockholms universitet.
    New swedish plays: A new genre?2013In: Text in Coontemporary Theatre: The Baltics within the World Experience / [ed] Guna Zeltina, Cambridge: Cambridge Scholars Publishing, 2013, p. 98-106Chapter in book (Refereed)
  • 23.
    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.

  • 24.
    Pusztai, Istvan
    Södertörn University, School of Communication, Media and it, Rhetoric.
    Berättarteknik: Dramaturgiska begrepp från A till Ö2011Book (Other academic)
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