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  • 1. Billing, Cecilia
    et al.
    Berge, Gunnel
    Granath, Sara
    Märta Weiss-Lars Forsberg, Jänken1975In: Roman blir film / [ed] Ingvar Holm, Lund: Cavefors , 1975, p. 109-118Chapter in book (Other academic)
  • 2. Billing, Cecilia
    et al.
    Berge, Gunnel
    Granath, Sara
    Olle Hedberg-Alf Sjöberg, Iris och löjtnantshjärta1975In: Roman blir film: studier om filmatiseringen av litterära verk / [ed] Ingvar Holm, Lund: Cavefors , 1975, p. 64-74Chapter in book (Other academic)
  • 3.
    Granath, Sara
    Södertörn University, School of Gender, Culture and History.
    Bodil Malmsten - dramatik och teaterestetik2010In: Litteratur och språk, ISSN 1653-1701, no 6, p. 25-31Article in journal (Other academic)
  • 4.
    Granath, Sara
    Södertörn University, School of Gender, Culture and History.
    Föreställningar om fröken Lagerlöf själv2011In: Spår och speglingar / [ed] Maria Karlsson, Louise Vinge, Möklinta: Gidlunds , 2011, 1, p. 258-284Chapter in book (Other academic)
  • 5. 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)
  • 6. 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

  • 7.
    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.

  • 8.
    Granath, Sara
    Södertörn University, School of Culture and Education, Comparative Literature.
    Leffler, texten och kroppen2013In: Att skapa en framtid: kulturradikalen Anne Charlotte Leffler / [ed] David Gedin och Claudia Lindén, Stockholm: Rosenlarv , 2013, 1, p. 121-133Chapter in book (Other academic)
  • 9.
    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)
  • 10.
    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)
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