How effective is manipulation when applied, if it's mechanisms are simultaneously exposed? This essay is a reflection on my play "ROM COM - en romantisk komedi", which premiered at Kulturhuset Stadsteatern in Stockholm in late May 2022, a genre piece which consistently strives to draw it's audience's attention to the form, tropes and conventions it uses to influence their emotions.

The production process for a horror production for a young audience. How the planing process is a part of a whole teams artistic process, from the view poin of technical production manegment.

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The purpose of this document is to make the reader aware of two areas of vocal Brazilian music that have long been neglected, and are now receiving the attention of researchers and performers: Brazilian Portuguese lyric diction and the operas of Brazilian composer Antônio Carlos Gomes. Many people are familiar with popular genres of Brazilian music. The samba, bossa nova, choro and the driving rhythms associated with carnival dances are widely popular among the general public. However, few are familiar with the classical vocal repertoire. The first section is dedicated to pedagogical tools for teaching Brazilian Portuguese diction. American singers will find the process of preparing Brazilian repertoire more accessible with this concise but objective guide. The second half is a discussion of the operatic works of Antônio Carlos Gomes, with focus on Gomes as a transitional figure from the bel canto to verismo in Italy in the second half the 19th century, as well as his contributions to the operatic repertoire. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2017. / November 7, 2017. / Antonio Carlos Gomes, Brazilian Portuguese, Lyric diction, Opera, Voice / Includes bibliographical references. / Valerie M. Trujillo, Professor Directing Treatise; Evan Allan Jones, University Representative; Douglas L. Fisher, Committee Member; Joseph C. Kraus, Committee Member.

This project explored how different art practices from different fields cross-pollinate in the process of making interdisciplinary art. I want to trace how the process of exploration and thinking in different mediums create a dynamic interchange of ideas that leads to the development of new ways of relating to practices. I used different approaches and techniques, from somatic practices to experimenting with digital tools, to understand how different practices interact with and inform each other. The process becomes an intricate system of similarities and feedback loops, where one can reflect and interpret in many different mediums. Referenced documentation can be found in Research Catalogue. https://www.researchcatalogue.net/view/2145583/2183542

Sammanfattning Denna studie genomfördes 2009, som en del i ett större projekt; ett konstnärligt och pedagogiskt utvecklingsprojekt på Teaterhögskolan (Stockholms Dramatiska Högskola).   Syfte och frågeställningar Syftet med min studie är att fånga upp och analysera mina egna upplevelser, vid arbete med kroppslig gestaltning, utifrån Viewpoints, Mask och kostym/Karaktär. Vad gör arbete med Viewpoints för min upplevelse vid kroppslig gestaltning?  Vad gör arbete med Mask och kostym/Karaktär för min upplevelse vid kroppslig gestaltning? Vilka moment upplever jag som speciellt kritiska?                                                    Hur förändras mina upplevelser under processens gång?   Metod Studien bygger på att jag har gjort en deltagande observation, med hjälp av introspektion. Jag har gjort en så kallad samtida introspektion. Forskarsubjektet och forskningsobjektet är en och samma person, vilket kallas för forskarintrospektion. Empirin utgörs av den förda fältdagboken, varur jag valt ut ett antal av mina nedtecknade upplevelser att analysera och tolka.   Resultat De tre metoderna Viewpoints, Mask och kostym/Karaktär väckte olika typer av känslor, sprungna ur affekter. Ett kausalt samband kan ses mellan Viewpoints och de positiva affekterna glädje och intresse/nyfikenhet medan Mask och Kostym/karaktär oftare väckte starkt negativa affekter så som rädsla. De negativa affektupplevelserna var påtagligt kroppsliga. De negativa affekterna förändrades över tid, i slutet av min empiri ger jag uttryck för de positiva affekterna glädje och intresse/nyfikenhet, även i arbete med Mask och kostym/Karaktär. Genom att föra dagbok tydliggjordes mina ”förhandlingar” med mig själv, vad gäller min syn på och upplevelse av könskategorisering och heteronormativitet.   Slutsats Viewpoints, Mask och kostym/Karaktär kan alla tre på sitt eget särskilda vis betraktas som kraftfulla pedagogiska redskap och bidra till personlig utveckling, när det gäller kroppslig gestaltning / Abstract The following research was conducted 2009 as a part of a bigger project; a development work in the Arts at Teaterhögskolan (Stockholm Academy of Dramatic Arts).     Aim The aim with this research is to capture and analyze my own experiences during physical interpretation, based on work with Viewpoints, Mask and costume/Character. How does work with Viewpoints affect my experiences, during physical interpretation? How does work with Mask and costume/Character affect my experiences, during physical interpretation? What moments do I experience as extra critical? How does my sense of experiences change during the process?   Method The research is built up on participant observation, through introspection. I have made a simultaneous introspection. The researcher and the subject of research is the same person, which is referred to as researcher introspection. The empirical material consists of my kept journal, from where I picked out a number of the noted experiences for analysis and interpretation.   Results The three methods Viewpoints, Mask och costume/Character raised several kinds of emotions derived from affects. A causal connection can be noted between Viewpoints and the positive affects of joy and interest/curiosity whereas Mask and costume/Character more often generated strong negative affects such as fear. The experience of the negative affects was unmistakably physical. The negative affects transformed over time by the end of my empirical material I gave voice to the positive affects joy and interest/curiosity as well, when working with Mask or costume/Character. By keeping a journal my ongoing “negotiations” became obvious containing my view upon/ experience of categorizing gender and heteronormativity.   Conclusions The three methods Viewpoints, Mask and costume/Character can all, in their own particular way, be seen as powerful educational tools and contribute to personal development, when it comes to physical interpretation.

Hanna Normann and her artistic team will present the concept of stalking, examining who is stalking who. Stalking as a phenomenon, I ask myself as an actress: Audience as a stalker or actress as a stalker? Who is stalking who? - Who is dependent on whom? What do "the gaze of the audience" and "the gaze of the actress" look like when I start working with their conventions? As an actor/actress, how do I get the feeling of being equal to the audience? I ask myself, "How come I feel a sense of relief from not creating directly in front of an audience in the same time and space?" What is it? Why do I feel a greater desire to create in front of the camera and capture what is called the present and what is called presence on film instead of on a stage in direct connection with an audience? What does the audience expect from the actor if I challenge the audience, the traditional theater space, and the traditional meeting that occurs on stage between the actor and the spectator? How do I create the "now" in a different discipline? How long does one "now" last? How do I catch one "now"?