<p>Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.</p>

Humboldt-Univ., Magisterarbeit--Berlin, 2001. / Literaturverz. S. 93 - 102.

Thesis (Ph. D.)--Ohio State University, 2007.

Made available in DSpace on 2016-12-08T16:51:57Z (GMT). No. of bitstreams: 1 lara.pdf: 763931 bytes, checksum: ad900beabace23b47c5373832696ac94 (MD5) Previous issue date: 2012-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research proposes a study about the intersection between personal life and professional life in the work of the Odin Teatret actresses, Else Marie Laukvik, Iben Nagel Rasmussen, Julia Varley and Roberta Carreri. Were raised during the trajectory of each of the four actresses, moments where interference of personal life in professional life culminated in the creation of new methods of creation and training. One of the axes of this study was to think that the new methods created by the four actresses would allow to locate the space within each group and to identify different ways to practice understanding of the theater. Through analysis of the space established by every actress in the group, discusses gender relations involving these actresses do theater. Purpose of this study was also to bring to public the research of the actresses in an attempt to analyze his work to bring up discussions on the presence of women in theater history / Esta pesquisa propõe um estudo sobre intersecções entre vida pessoal e vida profissional no trabalho das atrizes do Odin Teatret, Else Marie Laukvik, Iben Nagel Rasmussen, Roberta Carreri e Julia Varley. Foram levantados durante a trajetória de cada uma das quatro atrizes, momentos onde interferências da vida pessoal na vida profissional culminaram na criação de novas metodologias de criação e treinamento. Um dos eixos deste estudo foi pensar que as novas metodologias de criadas pelas quatro atrizes possibilitariam localizar o espaço de cada uma delas dentro do grupo bem como identificar diferentes maneiras de compreensão da prática teatral. Através da análise do espaço estabelecido por cada uma das atrizes no grupo, discute relações de gênero que envolvem o fazer teatral destas atrizes. Também foi propósito deste trabalho trazer à público a pesquisa das atrizes do grupo, numa tentativa de analisando seu trabalho trazer à tona discussões sobre a presença das mulheres na história do teatro

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This dissertation examines how transgender feelings and gender variation emerged as a vital motivator for scientific and aesthetic explorations of human personhood and social experiences of marginality in German-speaking culture in the early twentieth century. My research illustrates how concepts of gender variation served as a generative problem for modernist practitioners of sexual science and as a creative impulse and figural resource for modernist literary and artistic innovations. The feedback between these fields allowed for novel social categories to develop in a period where designations like “transgender” or “transsexual” were not yet in use as stable public identities or diagnoses, but nevertheless circulated in response to experiences of embodied difference and social alienation. By reading for “transgender feeling” as a heuristic that unites multiple historical categories of gender and sexual variation, I argue that transgender phenomena were instrumental for the development of German modernist movements at large. Building on affect studies, trans and queer studies, and German literary and cultural studies, my project intervenes in limited contemporary understandings of transgender history and identity as a minority political and diagnostic discourse. Instead, I argue for a more expansive, “democratized” notion of transgender feeling that encompasses diverse historical forms of gender variation, some of which have disappeared or become “obsolete,” and show how narratives of gender intermediacy and incongruence are essential to modernist aesthetic practices. Chapter One examines theories of sexual intermediacy in the sexological work of Magnus Hirschfeld and Otto Weininger, who both suggested that a transgender condition underlies “normal” human sexual development. I show that trans feelings cut across Hirschfeld’s sexological categories and, in particular, his deployment of the case genre, troubling stable taxonomies of sexual affect and allowing for promising forms of coauthorship and “trans genre writing” to emerge in sexology. Chapter Two takes up Rainer Maria Rilke’s writing in The Notebooks of Malte Laurids Brigge and Das Stunden-Buch, as well as his early childhood experience, to argue that dysphoria and intermediacy are key to understanding the social alienation that Rilke expressed in his modernist work alongside personal attachments to femininity and a feminine poetic voice. Chapter Three on Else Lasker-Schüler illustrates how trans feelings, the masculine persona of Jussuf and appropriations of racial and ethnic difference significantly frame the novel Mein Herz and become enduring features of Lasker-Schüler’s literary and artistic production. I highlight how scholarly reception of Rilke and Lasker-Schüler’s work have intentionally disavowed these expressions as transgender and argue for a reassessment of trans feeling as a creative impulse in German modernism through their texts and images. My last chapter explores how modernist periodical media served as a vital tool for crafting trans intimate publics in the Weimar period and for negotiating the shared norms of gender and social participation for a novel class of gender-variant people under the category of transvestism. In my conclusion, I turn to the unfinished business of sexual and gender definition that continues to frame LGBTQ politics in Germany and abroad today, and I link contemporary questions of trans aesthetics to modernist dynamics of gender and sexual multiplicity.