Syftet med studien är att undersöka hur två yrkesverksamma personer inom regionteater upplever hur det är att arbeta med teater för skolbarn. Den teoretiska utgångspunkten för studien är fenomenologisk då det är två personers erfarenheter och upplevelser som lyfts fram. Studien är kvalitativ och datainsamlingen gjordes genom semistrukturerade intervjuer. Resultatet visar att teater är viktigt för barns personliga utveckling och deras förståelse för omvärlden. En av de utmaningar som beskrivs av respondenterna är kopplad till den miljö där föreställningarna framförs i skolsammanhang eftersom den upplevs som okontrollerbar. Ytterligare en utmaning som framkommer är när teaterns och skolans förväntningar skiljer sig åt. Det finns även en stor variation mellan kommuner när det gäller att köpa in teaterföreställningar för skolbarn

Studien skildrar den betydelse som de första uppsättningarna av pjäsen Pippi Långstrump hade för berättelsens genombrott. Studien skildrar också Astrid Lindgrens upplevelse av att själv spela amatörteater. I verket finns även de pjäser Lindgren skrev om Pippi med

Den yngre publiken vill inte ha det klippta och välgjorda när de tittar på strömmad scenkonst utan teatern med stort T, skriver Martin Hellström.

This volume presents Wagner’s impact on music performers, composers, writers and stage directors in the European North from different angles and takes a glance on his championship of Nordic mythology apart from the well-known sources. The essays collected in it focus on two main geographic areas – Sweden and Finland – but include examples from other Northern countries as well. Wagner’s relation to the North, though being mediated through art and literature rather than his own experiences, has been dealt with extensively in Wagner research. This does not apply when looking in the opposite direction. How did the cultural life in the North respond to Wagner’s works? 

The essays in this book describe, document and interpret what the North’s relation to Wagner became like in the beginning, how it developed until present day, how it distinguished itself from other parts of the world and how the introduction and impact of his works differed within the European North.

During the last decades the historical informed performance practice has gained attention not only concerning music research but also concerning the other arts which are involved in performing music theatre. Among others, the light and stage design, including costumes, as well as the stage technology of the past has been investigated. What has been omitted is the body language of the actors which was very different from modern customs. Especially in the case of Wagner the role of the gesture is an important issue. Wagner had the habit to create his music often in close connection with the physical delivery of the singer. Some parts of his scores turn out to be enlarged contemporary theatre gestures and he was eager to rehearse the gestural embodiment of his characters thoroughly with his singers. For illustrating the historical distance of modern theatre to the gesture of the Wagner era, I will present musiciconographical, verbal and filmic sources which allow us to get a glimpse of the performance practice in the 19th century. Understanding the characteristics of 19th-century acting means to understand both central aspects about the shape and the aesthetics of Wagner’s works. 

This article analyses two plays by Guadeloupean writer Gerty Dambury that offer two complementary perspectives on the Guadeloupe general strike of 2009: Les Atlantiques amers (2009) and Des doutes et des errances (2014). The discussion will focus on each play in turn. The first section, covering Les Atlantiques amers, provides an analysis of the dramatic devices used by Dambury to articulate the relation between art and politics. The second section is an examination of Des doutes et des errances, and the ways in which Dambury proceeds to a reassessment of the themes of politics, identity, and immigration explored in Les Atlantiques amers.

This chapter addresses the experience of black female creatives as depicted in plays by Caribbean women writers; Maryse Condé’s Pension les alizés (1988), and Gerty Dambury’s Trames (2008) and Des doutes et des errances (2014). The plays here analyzed depict female characters as artists, writers, or even performers, who attempt to reconcile everyday life, relationships and their creative work. Condé and Dambury stage the obstacles relating to race and gender discrimination their characters face, but also how these women transcend stereotypes and strive for a new form of creative expression. Looking at plays written between the 1980s and the mid-2010s – a period which witnessed intense fluctuations of the concepts of race, gender, and identity in the arts and society – allows us to appraise the development of these concerns from the late twentieth to the early twenty-first century.

The article explores the scenographic rendering of trauma in the theatre performance 872 days. Voices of the besieged city staged by a small theatre, Subbota, in Saint Petersburg, Russia. The performance delves into the complex issues of private narratives of traumatic experiences, which, for decades, were deemed unimportant and even disruptive within the context of victory and glory of The Great Patriotic War. The production is based on memoirs and diaries of witnesses of the Leningrad siege. This study explores the connection between the scenographic ecology and empathic unsettlement, which is understood as a tool of approaching trauma through the experience of the audience. The article analyses how the scenographic rendering of trauma allows for potential representation and understanding of traumatic experience. It further looks at a theatre space as a place for mourning and reflexivity that allows the possibility of working through past trauma to better understand the present.

A new critical approach of the term "tragic" through the play The Heroes by John Ashbery. Instead of the tragic I propose the use of the term "tragic awareness", as a result of the Derridean deconstruction of identities or definitions.

Filmvetaren Anna Sofia Rossholm dyker ned i Ingmar Bergmans arbetsbok från Höstsonaten och hittar ett konstnärskap sprunget ur ett ständigt skiftande perspektiv mellan fantasi och verklighet, smärta och distans.