The purpose of this thesis is to see how the contemporary artistic theater for children handles the subjects concerning migration and representation, both artistically and practically. To respond to questions about how these subjects are thematized as well as contextualizing the development of the genre, a post-colonial intersectional perspective is used as a theoretical basis. Production analysis is used as a methodological basis for two productions that were staged at Unga Klara in 2018. Previous research shows that different views of children have dominated throughout the ages, which have represented themselves in the artistic culture for children. The artistic children's theater, or children's tragedy (barntragedi), has its roots in the political children's theater of the 1960- 1970’s and is based on the belief that children have the right to see their inner lives portrayed in an artistically qualitative way. This essay concludes that these two children’s tragedies thematize these topics through a combination of representing interculturality via multilingualism, and through contextualizing how children’s feelings are related to the political injustices that affect their lives.

This essay explores the genre of In-Yer-Face theatre and its representation of women. In-Yer-Face theatre emerged in the 1990s in the UK, characterised by its confrontational style and provocative themes. While the genre is often associated with the portrayal of violence and aggression towards women, this essay explores how In-Yer-Face theatre may also offer a platform for women's stories and experiences. Through an analysis of The Censor, Blasted and the performances of Shopping and fucking and Look back in anger, the essay researches how In-Yer-Face theatre explores traditional gender roles and the ways in which women are often subjected to violence, exploitation, and objectification. The essay will use both a drama analysis and performance analysis of two plays and two performances from the genre to explore different views from the most prominent writers of the genre.Ultimately, this essay argues that In-Yer-Face theatre has an opportunity to offer a powerful and complex representation of women that demands critical engagement and interpretation but in many ways reproduces the societal norms.

The project of Art e miss is a moving practice and research, an embodied exploration of the wild woman archetype. The research is aiming to practice ways to mobilize one-female-self in situations of feeling restricted. It is about approaching ways of mobilizing oneself to act and transform situations and moments of friction.  On a personal level, it works with the question ‘How can I overcome situations in which I feel restricted? How can I transform those situations into situations that support me and my desires?’ On a political level, it is a feminist practice for imagining and proposing alternatives. It tries to empower the female to seek possible different responses against dominant ideas and structures of oppression. For exploring this question within the field of dance and movement, the project of Art e miss uses imagination, playfulness, and modes of relating to generating mobility and movement. The project uses strict scores to generate the structure in which the performers can practice. In this structure, the performers practice spontaneously reacting at the moment through improvised dances and mobilizing themselves as a response to the restrictions of the task. / Performative and mediated practices, with specializations in choreography

”vivid and fiery”
  Carolina Müller as phenomenon at the Royal Theatre Carolina Müller is identical with the Royal Theatre and she was the first professional female opera singer in Sweden. The audience’s perception of her stage personality and her agency in her portrayal of the title role in C. W. Gluck’s opera Alceste at the Stockholm opera in 1781 will throw light on her quality; her singing and acting style according to the affect she created on stage linked to the age of sensibility. Carolina Müller’s agency constitutes a gap in Swedish theatre history which will be examined in order to reach a better understanding of the structures behind her position. Willmar Sauter’s concept of the theatrical event, but with a feministic perspective on the role of the actress, is used to analyze her performativity, which I characterize as both passionate and sentimental. I use historical descriptive sources to understand her stage personality, and I will look into her performance of Alceste from the perspective of late eighteenth century acting. Secondly, I look into the prescriptive sources linked to Alceste, to examine how her stage personality affected the production, she had a great impact on the creation of the opera characters written for her after her Alceste. Finally, I highlight how the European exchange allowed her to emerge as a phenomenon. Telling her story is a contribution to the history of the prima donnas of the north, and thereby to the field of feminist historiography.  Carolina Müller, Gluck, Alceste, actress, Royal Theatre, phenomenon, stage personality, agency, theatrical event, performativity, sensibility, gaze

This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections. It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts. Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.

This master’s thesis discusses the term physical theatre from a discourse point of view. It also focuses on aspects of power from a field theory perspective. The main theory used is Pierre Bourdieu’s field theory, and I try to apply this onto critical discourse analysis, mainly taken from Michel Foucault. The forms of physical theatre I focus on are mainly commedia dell’arte, theatre forms inspiredby Grotowski and Artaud, as well as mime, performance and contemporary circus. These are all theatre forms that focus especially on the body. My aim is to explore the status and discourse of physical theatre in Sweden today. The thesis is divided into two main parts. First, I present research concerning empirical data, where I search for the term physical theatre, as well as other forms of describing these theatre forms, in magazines, theatre playlists, texts about theatre troups etc. The term physical theatre is not very common in these texts, it is often described as dance-theatre for example. It is also prominent that the view on what physical theatre is has changed, theatre forms which focus on the body and its expression have been incorporated into the major theatre field, and are no longer considered odd or different. Physical comedy, however, still stands out. Although it seems that it has become increasingly popular, it has somewhat moved away from the serious forms of physical theatre. The second part of the thesis approaches the subject from a more theorising point of view, where the discussion itself is the main focus. I start off by discussing the term physical theatre and its aesthetics – how its meaning has changed from being something avant-garde to something that is considered “normal”. Thereafter I discuss the status of the physical theatre forms, and apply them onto Bourdieu’s field theory. Physical comedy has not yet acquired the status of ”high culture”, whereas the serious, more “arty” forms of physical theatre are on different positions in the theatre field, and even on the physical theatre field. I also discuss how this can be transferred to theories about popular culture, and the interesting things that happens when the once very popular, low-status theatre form commedia dell’arte is situated in a high culture theatre house, Kungliga Dramatiska Teatern, in Sweden. I continue to discuss marginalised forms of theatre from a sub-culturalperspective, fighting both against and inside the dominant culture to gain status in the theatre field. After this, I discuss how the physical theatre’s new discourse has changed because of the newly found interest in contemporary circus, research projects in universities as well as higher education in physical art forms. The conclusion is that the term physical theatre still can be useful to describe different forms of theatre, although it is quite vague and has changed significally.

Jag fångades av dekorsnickeriets sinnrika konstruktioner och dess strävan att finna pragmatiska lösningar anpassade till teaterrummets särskilda krav på mångsidighet, flexibilitet och hanterbarhet. I mitt arbete redovisar och resonerar jag kring ett urval av grundläggande teknikeroch metoder. Samt vad som är kännetecknande för arbetet i ateljéverkstaden. Hur detta tillsammans skulle kunna tillämpas inom möbelkonstruktion och utformande av offentliga miljöer. Dessa egenskaper, tekniker och tillvägagångssätt skapar tillsammans med mina egna erfarenheter inom möbelsnickeri ett ramverk kring en undersökande formgivnings och tillverkningsprocess av en möbel. Jag ser detta arbete som en riktning i min utvecklingsprocess som konstruktör och möbelsnickare. Vidare ser jag ett ökat behov av flexibla och slitstarkamöbler för att möta framtida krav på ökad resurshushållning av våra gemensamma tillgångar. / I was caught up in the ingenious constructions of décor carpentry and its efforts to find pragmatic solutions adapted to the theatre room’s particular demands for versatility, flexibility and manageability. In my work, I present and discuss a selection of basic techniques and methods. And what is characteristic of the work in the studio workshop. How this could be applied together in furniture construction and the design of public environments.These characteristics, techniques and approaches, together with my own experience in furniture carpentry, create a framework for an investigative design and manufacturing process of a piece of furniture. I see this work as a direction in my development process as a designer and furniture carpenter. Furthermore, I see an increased need for flexible and durable furniture tomeet future demands for increased resource management of our common assets.

CHILDHOOD REVOLUTION AT UNGA KLARA - A performance analysis of ’För att jag säger det’ from a gender perspective LINNÉA WÄISÄNEN Abstract The Swedish professional theatre for children and young audiences is in a constant change, development and renewal due to adulthoods shifting view and understanding of the child and childhood through the ages. The shifting discourse of childhood can be seen both in the various theatre performances for children and young audiences throughout the 20th century, but also in the constant shifting discussions and debates about what sort of performances are appropriate for children. The base of this thesis is a performance analysis of a recorded version of Unga Klara’s För att jag säger det from a gender perspective, with a focus on the stage setting and the mise-en-scène, along with the actors’ performative actions. The purpose is to examine if and how these theatrical signs counteracts or correlates with gender and hetero norms, but also investigate if the complex relationship between childhood and adulthood can be seen in the performance. To do this, I use a combination of hermeneutics, theatre semiotics and phenomenology as my main methodological starting point. Theories about gender performativity and discourse analysis in childhood studies serve as perspectives to the analysis and interpretation of the performance. The analysis starts with a brief introduction to the performance along with a discussion about the dramaturgical structure and the course of events and situations taking place in För att jag säger det. The analysis continues with a discussion about the theatrical space, in particular the stage space in relation to the starting point of the performance, along with the theatrical communication between the actors and the audience. Then, I discuss the theatrical signs that first caught my attention; the actors’ performative bodies and the music and stage sounds, where I analyse my comprehension of the actors’ performative bodies from a gender perspective. The analysis then continues to a more argument based interpretation of the interactions between the actors and the audience, and follows by a discussion of the actors impersonation of childhood and adulthood. In the last part of the analysis I identify and discuss my understanding of various themes and messages in För att jag säger det. The result of the study implies that a few sequences of the staging along with the actors’ performative bodies in För att jag säger det correlates to gender and hetero norms, but mostly the performance discourages normativity in general. The complex relationship between childhood and adulthood are however well established in the performance’s staging, and can be found in how the actors portraits childhood versus adulthood. It is also visible in the interactive communicational parts between the stage and the auditorium, which only occurs under the terms and conditions of the actors. Keywords: Unga Klara, gender, performativity, performance analysis, childhood revolution, theatre for children and young audiences

This master’s thesis is concerned with the portrayal of motherhood and mother-daughter relationships on stage. By conducting performance analyses of three separate contemporary performances, all focused on mother-daughter relationships, the thesis investigates the creation of mother and daughter on stage. Through the lens of Hans-Thies Lehmann’s theory on postdramatic theatre, the thesis dissects aspects of the performances moving beyond the dramatic action to gain further insight into the portrayal of mother and daughter on stage. The thesis aims to investigate the aspects contributing to the creation of mother and daughter on stage, as well as analyse the conveyed meaning of the relationship between them. Combined with a feminist approach, the role of mother and daughter on stage is placed in a larger context, analysing motherhood as an institution and concept, both on and off stage. By understanding the intimate and complex mother-daughter relationship as a product of patriarchal structure, it becomes necessary and relevant to investigate this relationship further. Since the performances portray private relationships in a public space, the analysis is also concerned with the interrelation between the stage and the outside world. The analysed performances are Und dann kam Mirna at the Maxim Gorki Theatre in Berlin, Kung Mor at Teater Galeasen in Stockholm and Mommy Issues at Kulturhuset Stadsteatern in Stockholm. The material for the thesis mainly consists of my experiences of the performances in the role of spectator and the theatre texts. By using Lehmann’s theory as a starting point, the analyses are centred around moving beyond the narrative to investigate other aspects on stage, such as objects, physicality, levels of reality, intertextuality, intermediality and the use of text on stage. The thesis dissects how these aspects contribute to the creation of mother and daughter on stage, as well as analyses the portrayed generational differences and their impact on the mother-daughter relationship in the performances. The analyses place the portrayed mothers and daughters into a larger context, by including concepts such as performativity and the male gaze. The thesis shows how the portrayal of motherhood and mother-daughter relationships on stage can be created by reaching beyond a narrative or a desired understandability. Together, the three performance analyses contribute with concluding insights into the internal logic and structures of the performances.

I have for as long as I can remember been interested and fascinated by theatre performances and their ability to create meaning, significance and understanding towards their audience. This has later on turned into a growing interest and curiosity for the rehearsal process, as it is within the rehearsals the meaning-making aspects of a performance are both created and produced. Moreover has this curiosity generated to be a somewhat basis for this research.  Through a lens of dramaturgy is this study seeking to investigate how meaning, significance and narrative are created and established within a rehearsal process, namely the rehearsal process of Mellanförskapet at Unga Dramaten. Explore the in-between-ness of the rehearsal process in relation to the upcoming theatrical event and moreover focus on the dramaturgical strategies within the rehearsal. By engaging with autoethnographic methods for observing the rehearsals, is the aim of this study to investigate how meaning making practices within the theatre can be understood in the eye of an observer. Semi-structured interviews with the creative team have further on contributed to additional knowledge and valuable information about the rehearsal process in general. Moreover serves the concept of making meaning as a basis for the theoretical framework, discussed in relation to meaning making practices within the theatre, namely dramaturgy and performative actions. Since Mellanförskapet aims toward teenagers as its primary audience, are aspects of theatre for a younger audience [TYA] discussed in relation to dramaturgical strategies within the rehearsal process. Moreover are themes and topics raised within Mellanförskapet such as intercultural identity, racism and bullying discussed in regards to TYA as well as dramaturgical strategies within the rehearsal process.