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  • 1.
    Flygare Bengtsson, Susanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Övergång2017Independent thesis Advanced level (degree of Master (One Year)), 20 HE creditsStudent thesis
    Abstract [en]

    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.

  • 2.
    Karlsson, Katarina A.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Female archetypes: appropriating female caricatures by re-interpretation2019In: Nordic Summer University Circle 7 Artistic Research | Performing Heterotopia: Winter Symposium 2019 Departures, Deviations and Elsewheres, 7–10 March 2019, European Humanities University, Vilnius, Abstracts and Bios, 2019Conference paper (Refereed)
    Abstract [en]

    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?

  • 3.
    Knust, Martin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Die historische Szene: ‘Revaluing Theatrical Heritage: Challenges and Opportunities’. Konferenz der Freien Universität Brüssel und der Universität Gent am 22. und 23. Januar 2013 in Kortrijk/Courtrai, Belgien2013In: Operapoint: magazin für Oper und Konzert, ISSN 1864-4023, Vol. 13, no 1, p. 5-7Article in journal (Other (popular science, discussion, etc.))
  • 4.
    Lee, Vanessa
    Oriel College, UK;Exeter College, UK.
    Lost in consumerism: existential and linguistic wanderings in Confusion d’instants (2003) by Gerty Dambury2017In: Transtext(e)s Transcultures: Journal of Global Cultural Studies, E-ISSN 2105-2549, Vol. 12Article in journal (Refereed)
    Abstract [en]

    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.

  • 5.
    Lee, Vanessa
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Portraying the ‘Other’: the ‘Oriental’ in French theatre and culture2018In: Presented at Society for Francophone Postcolonial Studies (SFPS) Annual Conference 2018, Lancaster: Society for Francophone Postcolonial Studies (SFPS) , 2018Conference paper (Other academic)
    Abstract [en]

    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.

  • 6.
    Lee, Vanessa
    University of Oxford, UK.
    [ Review of ] Les Veuves créoles, comédie. Edited with an Introduction by Julia Prest: Cambridge: The Modern Humanities Research Association, 2017. 100 pp. ISBN: 97817818826412017In: Bulletin of Francophone Postcolonial Studies: A Biannual Publication, E-ISSN 2044-4109, Vol. 8, no 2, p. 28-29Article, book review (Refereed)
  • 7.
    Pilipovic, Josipa
    Linnaeus University, Faculty of Arts and Humanities, Department of Design.
    The body and democracy: Contemporary dance, technology and democracy.2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    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.

  • 8.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    HEIMATINÉ: Performance (60 min) av KOEFF (Johanna Rosenqvist, Malmö), Hans T Sternudd (Hjärup) and Pär Thörn (Berlin) på konferens Places, People, Stories, 28 september 2011 i Kalmar2012In: Places, People, Stories: A graphic novel by Mats Brate and Petter Hanberger / [ed] Cornelius Holtorf, Kalmar/Växjö: Linnéuniversitetet , 2012, p. 39-39Conference paper (Other academic)
  • 9.
    Sivefors, Per
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Prophecies, Dreams, and the Plays of John Lyly2013In: Staging the Superstitions of Early Modern Europe / [ed] Verena Theile, Andrew D. McCarthy, Farnham: Ashgate, 2013, p. 191-215Chapter in book (Refereed)
  • 10. Ståhl, Ola
    et al.
    Chapman, Neil
    Falmouth University, UK.
    BLOODCRYSTALPOLLENSTAR2011Conference paper (Other academic)
    Abstract [en]

    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.  

  • 11.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Don Quichotte: Sad Countenances2019Artistic output (Unrefereed)
1 - 11 of 11
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