Things, spaces and people collaborate in order to create an immersive experience. This project investigates this collaboration in order to combine them for an embodied way of tell and perceive stories.  Can a immersive experience help to close the gap between information and the person, the event and the story? In the following essay I am going to analyze the components that are part of the experience. I am interested in the connection between perception, memory, atmosphere and objects. Inquire how they are related and what they represent in order to tell stories with them. I try to question the way we perceive and expand the function of telling and receiving stories to the whole body and everything around us. With these new questions, create my project – Johan’s Room – and experiment with them, trying to connect the audience with the story.

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.

This essay describes an action research project conducted twice in the same high school with second year students within the subject English. Students are often unwilling or unable to relate to Shakespeare and his language. It is boring, they say. It is difficult, inaccessible and has nothing to do with us, they say. But how is falling in love unrelatable and boring? How are gangs and families far away from today's society? Romeo and Juliet is relatable and as current today as it was 400 years ago.  The subject English in the Swedish curriculum requires different literary time periods and dramatic text as well as living conditions, attitudes, values, traditions, social issues as well as history, politics and culture from the world where English is used should be integrated into the teaching. Which means that Shakespeare is perfect.  Teaching English using drama is a challenge with students who do not see themselves as ‘actors’, the didactic challenges themselves being of interest in this essay. Students are asked to create a modern devised version of William Shakespeare’s Romeo and Juliet where they work on character using for example Stanislavsky’s methods and improvisation. The aim is to see which didactic changes need to be made for character work and performance to be effective, run smoothly and be fun. The aim is also to better understand how it feels for the students to take on a character. The results show the importance of relevance for the students, leading them slowly into using drama as a method. The play has to be relatable and have a connection to the students own lives. In conclusion, in-depth character work linked to improvisation and devising is important for the development of character.

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

The purpose of this narrative study was to describe the role and potentials of drama groups for enhancing and maintaining well-being for female drama group members living with HIV in Uganda. Six semi-structured interviews were carried out and analyzed through a thematic analysis. The analysis was made within a theoretical framework based upon Sen's notion of the capability approach and social psychological theories of the self. The results showed that the activities carried out by the drama group empowered the women through increasing their access to important capabilities such as inclusion and self-respect. It further indicated that the women needed other forms of support before being able to benefit from these activities. However, some capabilities were still inaccessible to the women due to obstacles as poverty and harmful gender norms. / Syftet med den här narrativa studien var att beskriva dramagruppers roll och potentialför att förbättra och upprätthålla välmåendet för kvinnliga dramagruppmedlemmar somlever med HIV i Uganda. Sex semi-strukturerade intervjuer genomfördes ochanalyserades genom en tematisk analys. Analysen gjordes inom ett teoretisk ramverkbaserat på Sen's idé av the capability approach som kombinerades medsocialpsykologiska teorier om självet. Resultatet visade att aktiviteterna som utfördes idramagruppen stärkte kvinnorna genom att öka deras tillgänglighet till viktigakapabiliteter såsom social inkludering och självrespekt. Vidare tydde resultaten på attkvinnorna var i behov av annat slags stöd innan de kunde gagnas av dessa aktiviteter.Dock var vissa kapabiliteter fortfarande oåtkomliga för kvinnorna, vilket orsakades avbegränsningar som fattigdom och skadliga könsnormer.

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