Inflyttningsfesten är en teaterpjäs som handlar om sju unga vuxna som har samlats för en inflyttningsfest. Någon föreslår att de ska leka en lek som går ut på att alla måste lägga sina mobiler på bordet och dela med sig av sina meddelanden och samtal med resten av gruppen. En rad hemligheter och pinsamheter uppdagas under kvällen och festen spårar så småningom ur. Men när de lämnar lägenheten för att åka hem är allting precis som det var i början av kvällen. Det går upp för oss att leken aldrig hände och att hela pjäsen har varit ett tankeexperiment.

Det jag vill utforska är hur mobiltelefoner och sociala medier har gjort intrång i människors allra mest privata sfär och hur det påverkar oss. För tjugo år sedan höll vi våra hemligheter inom oss. Idag finns de i våra mobiler som har blivit lite som våra svarta lådor. Hemligheter, en del oskyldiga andra farliga, uppdagas och människor som känner varandra blir främlingar. Och man kan inte rentvå sig från de hemligheter som finns i mobilen. Min pjäs tar upp ämnen som mikrootrohet, svårigheter att kommunicera med varandra, undanhållande av egna framtidsplaner, så kallade fria förhållanden, relationen till sitt ex och föräldrar som lägger sig i. Ämnen som jag hoppas och tror känns relevanta i vår samtid, och något för var och en att kunna relatera till.

Detta examensarbete är ett utdrag ur pjäsen Inflyttningsfesten.

We explore Peirce's pragmatic conception of sign action, as a distributed and emergent view of cognition and exemplify with the emergence of classical ballet. In our approach, semiosis is a temporally distributed process in which a regular tendency towards certain future outcomes emerges out of a history of sign actions. Semiosis self-organizes in time, in a process that continuously entails the production of more signs. Emergence is a ubiquitous condition in this process: the translation of signs into signs cannot be inferred from the properties of the components of a semiotic triad alone, but has to take into account a complex interaction between a micro-semiotic and macro-semiotic level of description. This interaction can be understood as an interplay of potentialities and tendencies, or upward constitutive determinative relations and downward selective determinative relations. According to this view, emergence is a central defining condition of processes of meaning. Ballet is a sign in action. The emergence of classical ballet is a self-regulatory process, in which a system of different kinds of cognitive artifacts (musical, bodily/motor, spatial/architectonic) and agents obtained a stable semiotic relation throughout many phases of development between the 16th and the 19th Century. One case is the development of the verticality of dance in classical ballet as a semiotic relation connecting proscenium arch stages, dancing bodies, and audiences. This development is micro-semiotically determined by the spatial constraints of the proscenium arch stage, and macro-semiotically determined by a historical construction of the dancing body as a sign within a network of semiotic chains, such as the intersemiotic regulation of body of the dancer by principles coming from painting. This is not only the emergence of actual meaning, but also the emergence of an open-ended field of potential and general meanings, an autonomous tendency of development. To say that ballet, as sign action, emerges, is to say that cognitive artifacts such as dancer's bodies, stages and audience's point of view, musical compositions, costumes, all sorts of supporting institutions, etc, constitute a niche for sign action, interacting according to tendencies of development that didn't exist before.

Film music has increasingly entered into the concert programmes in the last twenty years, to become now standard repertoire not only of the so-called 'Pops Concerts' but also of the more classical-oriented ones. Yet, the presentation of the film-music repertoire in concert programmes is a corner of the film-music field that has received little scholarly attention – if none at all. Archival research, particularly using audiovisual archives, is the key to reconstruct how film music has been gradually introduced into concert programmes and in what forms. 

As an example, I propose to describe the methodology and findings of the research that I conducted in Boston, U.S.A., in 2010 and 2011, the aim of which was to demonstrate John Williams' seminal contribution to the legitimisation of film music as a viable concert repertoire. The research was conducted at the Boston Symphony Orchestra Archives – where I compared the concert programmes of the Williams era with the ones from the previous Arthur Fiedler era – and at the WGBH Media Archives – where I watched all the Williams episodes of the TV show Evening at Pops (1969-2004). The archival research was more rewarding that expected, the findings demonstrating my thesis very convincingly. In particular, the videos I watched at WGBH, combined with the study of the programmes at the BSO Archives, were the basis of my classification of the forms and formats in which film music is typically adapted for concert performance. The video materials were also cardinal in showing that Williams has also had a central role in developing the multimedia concert presentations – i.e. an orchestra playing live to projected film clips – in its two formats (“multimedia concert piece” and “multimedia film piece”).

Film music has increasingly populated the concert programs in the last twenty years. Yet, the presentation of the film-music repertoire in concerts is a corner of the film–music field that has received little scholarly attention. Archival research combined with the study of audio–visual documents in particular is the key to reconstruct the story of the presentation of film music in concerts. As a case study, I present the findings of the research that I conducted in Boston, U.S.A., in 2010 and 2011. Its aim was to demonstrate John Williams's seminal contribution to the legitimization of film music as a viable concert repertoire during his tenure as conductor of the Boston Pops Orchestra—“America's orchestra”. The results showed very convincingly that John Williams's association with the most trend–setting and visible orchestra in the U.S.A. has been a major force and a seminal influence for the acceptance of film music as a legitimate concert repertoire.

Multimedia events are part of contemporary society. Music, theatre, and visual arts have been increasingly collaborating with each other to offer aesthetic experiences that are as immersive and multisensorial as possible. Film music has also entered the multimedia arena. Indeed, a very successful type of concert presentation of the film-music repertoire is the multimedia form: a live orchestra plays to projected film clips. This multimedia presentations of film music should be of interest not only to music scholars – film music has undeniably become a favourite repertoire to fuel concert programmes, and multimedia presentations are the most fitting form to present film music. Multimedia presentations should also be of interest to film scholars, as multimedia presentations are a revival of past film-viewing experiences that can be traced back to the silent era. The case study here is John Williams's conductorship of the Boston Pops Orchestra, which has been seminal not only because it brought more film music into concert programmes, but also highly influential for its experiments with the multimedia presentations.

The Boston Pops has had a prominent role in the validation of film music as a legitimaterepertoire for concert programs, particularly during John Williams’s tenure (1980–1993).The paper focuses on the orchestra’s approach to film music, demonstrating that the present-day acknowledgment of the film-music repertoire as a legitimate source of concert pieces islargely the result of Williams’s policy and example during his Boston years. The diffuse useof illustrative film montages in film-music concerts today or the recent phenomenon of entirefilms with live orchestral accompaniment are also consequences of Williams’s successfulaudio-visual presentations with the Boston Pops.

The Boston Pops is a world-class orchestra playing “non-high Art music” in one of the most prestigious concert venues in the world: Symphony Hall in Boston. The first in its genre, with an impressive array of best-selling recordings, tours, and nation-wide radio and TV broadcasts, the Boston Pops has always been at the forefront of American music and has, over the years, achieved huge popularity. In 1980, famed Hollywood composer John Williams was named to succeed the late Fiedler. While several film composers had conducted film music concerts before, this was the very first case of a Hollywood composer appointed leader of such an important musical institution. During his fourteen-year tenure, Williams seized the opportunity to erode the “iron curtain” that segregated “applied” film music from “absolute” concert music.

De osårbara är ett kammarspel. En dramatisk text skriven för teaterscenen. Pjäsen utspelar sig i de tre huvudkaraktärernas barndomshem där de ännu bor kvar. Den äldsta systern försöker övertala sina yngre syskon till att de ska berätta om sin uppväxt medan de filmar sig själva. Materialet ska sedan publiceras på Youtube så att systrarna ska kunna tjäna pengar på sina berättelser. Detta som en slags revansch på sin mamma, som tycks ha utsatt systrarna för övergrepp i olika former.Under pjäsens gång får läsaren reda på att mamman har dött och troligtvis blivit mördad. Parallellt med filmsekvenserna och systrarnas dialoger försöker en utredare ta reda på vem av syskonen som är skyldig till mordet.Pjäsen behandlar teman kring etik och moral genom att ifrågasätta vad begreppet ”skyldig” egentligen betyder.

Performance art is solidly rooted in the “Hier und Jetzt” asserted by Walter Benjamin as the only remaining con-dition for the Aura. But, as Philip Auslander observes, every performance is always already mediatized in one way or an-other, and still we experience its authenticity. In my paper, I will argue that mediatization seems to be a (necessary) condition for authenticity, in a discussion of the Swedish artist Öyvind Fahlström’s (1928–76) performance Kisses Sweeter than Wine(1966). In 1953, Fahlström wrote the world’s first manifesto for concrete poetry, inspired by Pierre Schaeffer’s musique concrète. In the mid 1950s he turned to the visual arts,and later he wrote radio plays, directed movies and arranged per-formances and happenings. He moved to New York in 1961 and joined the international neo-avant-gardes there. In his use of new technology and different broadcasting media, Fahlström was a forerunner for media art, and the intermedial intricacy can be fully understood and discussed only in our own infor-mation age. His, and other similar, experiments in the 1960s are important links in the genealogy of today’s networked, global, and multiscreen world, since they constitute early con-fluences of cybernetics, art, and media. This is best seen in his performance, which was part of 9 Evenings. Theatre and Engi-neeringarranged by Experiments in Art and Technology (E.A.T.) at the 69th Regiment Armory in New York in 1966. He mixed performance on stage with a plethora of mediatized events, but still his art retained its essential authenticity.

A one act play consisting in short scenes at a crossing. We meet different people a short moment, while they are waiting for the green light. In a break, more or less welcome, where other transitions and obstacles to cross in life are felt. In dialogue and in silence.

Theme / Idea: To be put on pause or coming over. Play time about 1 h.

Female archetypes in women satire emanate from Ancient Roman time and are still in use. Their purpose was to ridicule and/or categorise women. One typical example is the elderly, love sick woman. She occurs in early, Roman comedy, in operas by Mozart and in slapstick today. She can also be portrayed as a witch. An other one is the young woman, too young to know about love, but old enough to long for it. 

The partakers are invited to try out and play with various vocal technics which makes this paper an investigation in artistic methods as well as artistic pedagogy. How do the archetypes manifest physically and emotionally in the voice and the body? In addition the paper asks how unique an individual voice is. Do ancient female archetypes still lurk within the new liberal concept of the unique individual?

Guadeloupean author Gerty Dambury’s play Confusion d’instants (2003) is a treatment of the impact of globalization on the French and French Caribbean societies’ most disenfranchised members. It also explores the interaction of personal and collective memory with local, national, and global histories. Confusion d’instants depicts the lives of three characters belonging to different generations and genders, who each speak in a single tense (past, present, or future). Each character also has a personal fixation with specific objects of consumption, such as radios, cars, or household appliances. Through the experiences of these socially and culturally marginalized characters Dambury articulates a searing critique of contemporary Guadeloupean society and of global capitalist consumerism in general. Through a close reading of the play, the article will analyse Dambury’s dramatic reflection on globalization, forgotten histories, and social marginalization.

The image of an exotic, Oriental other has inhabited the imaginaries of European theatre audiences and practitioners for centuries. This paper proposes to trace the genealogy of Orientalist tropes in European – specifically French – theatre, by looking at the trajectory of the first Chinese play translated into a European language, Ji Junxiang’s Zhao shi gu er [The Orphan of the house of Zhao]. Translated by Joseph de Prémare in 1731, the work inspired ‘exotic’ plays by Voltaire, in France, and Arthur Murphy, in Britain. The play has experienced several ‘revivals’ over recent years, leading to various debates and critiques around diversity, cultural stereotypes and appropriation. Voltaire’s L’Orphelin de la Chine was performed in France in 2007, with little questioning of the Orientalist aspects of the 1755 play by the production team. In 2012, an adaptation of the play by James Fenton performed at the RSC caused controversy due to the white-washing of the cast. These productions reveal how colonial, Orientalist and racist stereotypes remain in Western art forms. The talk will also discuss the more recent history of ‘borrowing’ from Asian theatre styles by European practitioners, which saw its peak in the later-half of twentieth-century with the emergence of intercultural theatre troupes led by Ariane Mnouchkine and Peter Brook. Although emerging from a desire to embrace the ‘universality’ of theatre, works by these practitioners have tended to perpetuate cultural stereotypes about the ‘East’. The talk will end with a brief overview of current representations of the ‘Oriental Other’ in the French media and culture.

In this essay the research question; “How is the body movement de ned in times of democracy due to technology? “will be explored. e process will include a theoretical research on the de nition of democracy in relation to digitalization. e outcome of this project will be in the form of a performance with a con- temporary dancer. e purpose of this project will be to invite the audience to question the limitations and freedoms the digitalized world imposes on our political system and our body movement.

Utifrån en studie om Red Rebel Brigades artivistiska framträdanden i samband med klimatdemonstrationer och -aktioner, diskuteras och problematiseras användandet av estetiska och emotionella uttryck i klimatmobiliseringar.

This presentation explores the creative and critical potentials of a collaborative and performative writing practice which has its origins in diverse disciplines. It engages with the work of Gilles Deleuze and Félix Guattari’s on levels both conceptual and methodological. 

In our recent jointly-produced work (‘BLOODCRYSTALPOLLENSTAR’, Deleuze and Contemporary Art, eds. O’Sullivan & Zepke, University of Edinburgh Press, 2010.), we set out to engage with a series of concepts taken from Deleuze & Guattari's work in a set of interlinked fictions. Throughout the text, however, a kind of image appears, which seems to disrupt the work while continuing to affirm its creative and critical process.  In Deleuze and Guattari’s writing, too, such images appear and are posed against the conventions of philosophy’s discipline. These mutant images are not insignificant elements, we propose. In their tenacious disruption they can be shown more clearly to be constitutive of critical work. Our presentation takes this methodological insight and questions its potential in a practice assembled differently, with components of art, literature, performance and philosophy. Departing from a series of moments in our previous text, it mobilises the resistance encountered when the mutating force of the image is exposed, doing so to propose a future for creative work.