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We live in a world where individual wealth and success is sought after by many. Swedish peopleare more isolated than ever; people feel lonely and mental illnesses is on the rise. This, of course,is caused by many different factors, but we need each other, that is certain. The statistics say that 40% of the households in Sweden are single households, 1 in 3 people over 60 live alone, often asa result of a partner passing away. Used statistics are usually very family- and couple-fixated. It is hard to navigate through thestatistics if you’re looking for collectives and other alternative living situations. When having theseset standards of SCBs statistics, it is hard to be a visionary. People are leaving their home towns for Umeå due to many different reasons; work and studies atthe university are dominant factors. It is quite rough to gain a social network in a new city, andwhen you’re new somewhere you need a safety net to fall back on when times are rough. But people also need their privacy; their recreational space for healing. People shouldn’t be forced tointeract with each other, but they need to get the tools to be able to, when they want it. Imagine a space that celebrates individuality; the neo-liberal way of living we’ve been taught topursue, but at the same time criticizes it. Imagine quite small isolated dwellings in a biggerenclosed space. As time goes by, the residents will see how bizarre their isolated cocoon homesare, and their activity will bleed out into the collective. The collective space is plain and open for all to use. It is a street within the building that can beadapted to whatever purpose. Eventually, the residents will create a citiness within the building bythemselves. They will claim the space outside of their front door. They reclaim the corridor, theelevator, the courtyard, where you usually just nod towards your neighbours. The corridorbecomes home, yet it belongs to nobody. They are not forced, but they have been given the toolsto discover it themselves; resulting in their homes spilling out into the collective.

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Throughout the report, I argue for the virtues of allowing the contentious fictional narratives of poetry, theatre and myth to take place in the public's consciousness. In an attempt to deal with the spread of misinformation, societies have tended to favor censorship, which only deals with a symptom at the cost of the public's critical thinking. A better solution is to allow the audience to engage in the cultural and political discourse these subjects engage with, while signaling to them through design the importance of being critical. To illustrate how theatre and courthouses act as battlefields for truth I examine what historians, anthropologists, philosophers and poets have had to say about theatre's political nature as well as investigate one specific courthouse in detail, Umeå rådhus, including its current function, accessibility and juridical history. In relation to this, I examine how laws are made and how they relate to a societies morals according to legal theory and look into two plays in detail, to see what occurs when the clash between myth and law takes place on stage. Finally, I argue for their instructive value from a Miltonic perspective. I propose staging fiction in the rådhus' now vacant space to signal to the audience the importance of regarding both parties attentively as well as being scrupulous when passing judgment. In doing so, the rådhus reclaims for itself a fitting political agent.