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.