Syftet med denna uppsats är att undersöka om det är relevant att tala om könsöverskridande i teaterpjäsen Den elektriska flickan samt se om det går att möjliggöra förändringar i ett sådant arbete. Teoretiska perspektiv är semiotik- och genusanalys samt dramaanalys av pjäsens manus, analyserande av dess sceniska slutproduktion och därtill intervjuer. Dessa fungerar som ett gestaltande ljudverk och ger ökad förståelse kring arbetsprocessen. Jag har funnit att det är möjligt att jobba utanför rådande könsidentiteter att det finns intresse från skådespelare, regissör och dramatikers håll att frångå bilden av teatern som ett speglande av verkligheten, där vi ständigt reproducerar bilder av en normerande könsuppdelning / The aim with this essay is to investigate if it’s relevant to speak of gender breaking theatre in the play Den elektriska flickan and to see if it’s possible to make changes possible in such work.Theoretical perspectives are semiotic analysis and gender analysis, and a drama analysis of the script of the play, analysis of the scenic end production, and to that, interviews. They function as a creative sound piece and gives increased comprehension about the work in progress. I have found that it is possible to work outside existing gender identities. It seems that there is an interest, from actors, director and playwright to abandon the picture of theatre as a reflection of reality, where we constantly reproduce pictures of a normative gender.

<p> </p><p>The image of the poet Gustaf Fröding is the main theme of this essay. It opens with an analysis of the chamber opera <em>Flickan i ögat.</em> This opera has never been translated but a direct translation would be <em>The Girl in the Eye</em>. It refers to a story that when a man looks into the mirror and sees a picture of a girl in his eye, she will be his future love.  Fröding has written a poem "Flickan i ögat" where the person in the poem only observes himself. Based on this motif the libretto paints a period of Gustaf Fröding's life. Fröding proposes to Vivi, a waitress on a restaurant frequented by Fröding. His proposal has been turned downed. The drama then shows a picture of a miserable and unhappy poet in vain looking for love. But the cause is also the poet's narcissistic character and his morbid erotic fantasies.</p><p>This view is compared with the different images of Fröding that have been put forward during the years, from the beginning of 1900 until today. It has changed from the popular, the unhappy, the modernistic and lately the playful Fröding. The Fröding reception has been discussed based on Bourdieu's theory of cultural fields. In the discussed subfield the actors with highest hegemony are shown to be the theorists and critics of literature as well as psychiatrists.</p><p> </p><p> </p>

The image of the poet Gustaf Fröding is the main theme of this essay. It opens with an analysis of the chamber opera Flickan i ögat. This opera has never been translated but a direct translation would be The Girl in the Eye. It refers to a story that when a man looks into the mirror and sees a picture of a girl in his eye, she will be his future love.  Fröding has written a poem "Flickan i ögat" where the person in the poem only observes himself. Based on this motif the libretto paints a period of Gustaf Fröding's life. Fröding proposes to Vivi, a waitress on a restaurant frequented by Fröding. His proposal has been turned downed. The drama then shows a picture of a miserable and unhappy poet in vain looking for love. But the cause is also the poet's narcissistic character and his morbid erotic fantasies. This view is compared with the different images of Fröding that have been put forward during the years, from the beginning of 1900 until today. It has changed from the popular, the unhappy, the modernistic and lately the playful Fröding. The Fröding reception has been discussed based on Bourdieu's theory of cultural fields. In the discussed subfield the actors with highest hegemony are shown to be the theorists and critics of literature as well as psychiatrists.