This master’s thesis is concerned with the portrayal of motherhood and mother-daughter relationships on stage. By conducting performance analyses of three separate contemporary performances, all focused on mother-daughter relationships, the thesis investigates the creation of mother and daughter on stage. Through the lens of Hans-Thies Lehmann’s theory on postdramatic theatre, the thesis dissects aspects of the performances moving beyond the dramatic action to gain further insight into the portrayal of mother and daughter on stage. The thesis aims to investigate the aspects contributing to the creation of mother and daughter on stage, as well as analyse the conveyed meaning of the relationship between them. Combined with a feminist approach, the role of mother and daughter on stage is placed in a larger context, analysing motherhood as an institution and concept, both on and off stage. By understanding the intimate and complex mother-daughter relationship as a product of patriarchal structure, it becomes necessary and relevant to investigate this relationship further. Since the performances portray private relationships in a public space, the analysis is also concerned with the interrelation between the stage and the outside world. The analysed performances are Und dann kam Mirna at the Maxim Gorki Theatre in Berlin, Kung Mor at Teater Galeasen in Stockholm and Mommy Issues at Kulturhuset Stadsteatern in Stockholm. The material for the thesis mainly consists of my experiences of the performances in the role of spectator and the theatre texts. By using Lehmann’s theory as a starting point, the analyses are centred around moving beyond the narrative to investigate other aspects on stage, such as objects, physicality, levels of reality, intertextuality, intermediality and the use of text on stage. The thesis dissects how these aspects contribute to the creation of mother and daughter on stage, as well as analyses the portrayed generational differences and their impact on the mother-daughter relationship in the performances. The analyses place the portrayed mothers and daughters into a larger context, by including concepts such as performativity and the male gaze. The thesis shows how the portrayal of motherhood and mother-daughter relationships on stage can be created by reaching beyond a narrative or a desired understandability. Together, the three performance analyses contribute with concluding insights into the internal logic and structures of the performances.

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I have for as long as I can remember been interested and fascinated by theatre performances and their ability to create meaning, significance and understanding towards their audience. This has later on turned into a growing interest and curiosity for the rehearsal process, as it is within the rehearsals the meaning-making aspects of a performance are both created and produced. Moreover has this curiosity generated to be a somewhat basis for this research.  Through a lens of dramaturgy is this study seeking to investigate how meaning, significance and narrative are created and established within a rehearsal process, namely the rehearsal process of Mellanförskapet at Unga Dramaten. Explore the in-between-ness of the rehearsal process in relation to the upcoming theatrical event and moreover focus on the dramaturgical strategies within the rehearsal. By engaging with autoethnographic methods for observing the rehearsals, is the aim of this study to investigate how meaning making practices within the theatre can be understood in the eye of an observer. Semi-structured interviews with the creative team have further on contributed to additional knowledge and valuable information about the rehearsal process in general. Moreover serves the concept of making meaning as a basis for the theoretical framework, discussed in relation to meaning making practices within the theatre, namely dramaturgy and performative actions. Since Mellanförskapet aims toward teenagers as its primary audience, are aspects of theatre for a younger audience [TYA] discussed in relation to dramaturgical strategies within the rehearsal process. Moreover are themes and topics raised within Mellanförskapet such as intercultural identity, racism and bullying discussed in regards to TYA as well as dramaturgical strategies within the rehearsal process.

Syftet med studien är att undersöka hur två yrkesverksamma personer inom regionteater upplever hur det är att arbeta med teater för skolbarn. Den teoretiska utgångspunkten för studien är fenomenologisk då det är två personers erfarenheter och upplevelser som lyfts fram. Studien är kvalitativ och datainsamlingen gjordes genom semistrukturerade intervjuer. Resultatet visar att teater är viktigt för barns personliga utveckling och deras förståelse för omvärlden. En av de utmaningar som beskrivs av respondenterna är kopplad till den miljö där föreställningarna framförs i skolsammanhang eftersom den upplevs som okontrollerbar. Ytterligare en utmaning som framkommer är när teaterns och skolans förväntningar skiljer sig åt. Det finns även en stor variation mellan kommuner när det gäller att köpa in teaterföreställningar för skolbarn

Cette thèse en recherche-création est une réflexion sur l’espace du geste-son. La dé- marche artistique de l’auteure, reposant sur six éléments : le corps, le son, le geste, l’image vidéo, l’espace physique et l’espace technologique, a été intégrée dans la conception d’un système de captation de mouvement en vision par ordinateur, le SICMAP (Système In- teractif de Captation du Mouvement en Art Performatif). Cette approche propose une nouvelle pratique performative hybride. Dans un premier temps, l’auteure situe sa démarche artistique en s’appuyant sur les trois piliers de la méthodologie transdisciplinaire : les niveaux de Réalité et de perception (le corps et l’espace-matière), la logique du tiers inclus (l’espace du geste-son) et la com- plexité (éléments du processus de création). Ces concepts transdisciplinaires sont ensuite mis en relation à travers l’analyse d’œuvres arborant un élément commun à la démarche de l’auteure, soit le corps au centre d’un univers sensoriel. L’auteure met ensuite en lumière des éléments relatifs à la pratique scénique susci- tée par cette démarche artistique innovante à travers le corps expressif. Le parcours du performeur-créateur, menant à la conception du SICMAP, est ensuite exposé en passant par une réflexion sur l’« instrument rêvé » et la réalisation de deux interfaces gestuelles pré- paratoires. Sous-entendant une nouvelle gestuelle dans un contexte d’interface sans retour haptique, la typologie du geste instrumental est revisitée dans une approche correspondant au nouveau paradigme de l’espace du geste-son. En réponse à ces recherches, les détails de la mise en œuvre du SICMAP sont ensuite présentés sous l’angle de l’espace technologique et de l’application de l’espace du geste- son. Puis, les compositions réalisées lors du développement du SICMAP sont décrites d’un point de vue artistique et poïétique à travers les éléments fondateurs du processus de création de l’auteure. La conclusion résume les objectifs de cette recherche-création ainsi que les contributions de cette nouvelle pratique performative hybride. / This research-creation thesis is a reflection on the gesture-sound space. The author’s artistic research, based on six elements: body, sound, gesture, video, physical space, and technological space, was integrated in the conception of a motion capture system based on computer vision, the SICMAP (Système Interactif de Captation du Mouvement en Art Performatif – Interactive Motion Capture System For Performative Arts). This approach proposes a new performative hybrid practice. In the first part, the author situates her artistic practice supported by the three pillars of transdisciplinary research methodology: the levels of Reality and perception (the body and space as matter), the logic of the included middle (gesture-sound space) and the com- plexity (elements of the creative process). These transdisciplinary concepts are juxtaposed through the analysis of works bearing a common element to the author’s artistic practice, the body at the center of a sensorial universe. The author then puts forth elements relative to scenic practice arisen by this innovative artistic practice through the expressive body. The path taken by the performer-creator, leading to the conception of the SICMAP, is then explained through a reflection on the “dream instrument” and the realization of two preparatory gestural interfaces. Implying a new gestural in the context of a non-haptic interface that of the free-body gesture, the topology of the instrumental gesture is revisited in response to a new paradigm of the gesture-sound space. In reply to this research, the details of the SICMAP are then presented from the angle of the technological space and then applied to the gesture-sound space. The compositions realized during the development of SICMAP are then presented. These works are discussed from an artistic and poietic point of view through the founding elements of the author’s creative process. The conclusion summarises the objectives of this research-creation as well as the contributions of this new performative hybrid practice.

Diploma thesis " Information and library services for students of art schools with a focus on dramatic and musical art in the Czech Republic " aims to analyze the environment of libraries with a fund focused on music and theater, which serves students of art schools. This thesis also describes library and information services and the impact of copyright law to provide services in libraries with a fund containing score, audio and audiovisual media. The last section describes methodology of qualitative research and evaluates research by force field analyzing method and also analyzed findings and recommendations to address the identified facts.

What does it mean to take Animals, Plants, and Machines seriously when engaging in hybrid natures such as bioart, plant-art, taxidermy art and cyborgs in contemporary art?  Traditionally within art history the focus has been on human culture as the fundamental underpinning for cultural behaviour and productions, consequently rendering animal and plant histories invisible from the analysis of artworks. In this thesis I attend to the bodies of animals, plants, and machines put in the context of the zooësis (places/contact zones) of these bodies as biopolitical aesthetics (aesthetic bodies/objects) in contemporary art. Followingly, also attending to the histories of animals, plants, and machines in human societies and culture.  Situated within the interdisciplinary field of Human-Nonhuman-Animal Studies, or Anthrozoology, the aim in this thesis is to examine the meaning of animals, plants, and machines beyond representation, symbolism and mythology in contemporary art. In other words, this thesis analyses the representations of animal, plant, and cyborg bodies as actant aesthetic (organic and mechanical) objects, in art, literature, and media. Particular focus is payed to the hybrid natures founded in the taxidermy art of Berlinde De Bruyckere; in the bioart and transgenic plant-art of Špela Petrič; in the hybrid hyperrealist sculptures and bioethics of Patricia Piccinini; and in the hybrid artifacts, or “technoanimalism” of Tove Kjellmark.

A dança e a música dos Cocos e Sambas de Caboclo, do Samba rural e das Cirandas e cantigas de roda, por suas características próprias de ludicidade e de significação cultural, são o território das experiências estéticas e saberes dos jogos rapsódicos. Esta pesquisa propõe uma pedagogia das artes cênicas através de uma educação corporal e musical que integra tais saberes e experiências da dança popular e da música nos processos de criação e aprendizagem do atuante. Deste modo, os jogos rapsódicos são brincadeiras cantadas, dançadas, tocadas e contadas que colocam em movimento as vozes poéticas e corporeidades do narrador e do brincante das nossas celebrações e práticas culturais, para complementar as teorias e métodos da pedagogia das artes cênicas ensinados no Brasil. / Dance and music of Coco and Caboclo\'s Samba, from rural Samba and from Cirandas, Northeastern Brazilian circle dances, for their own playful features and their cultural meaning, are territory for aesthetic experiments, and knowledge for the rhapsodic games. This research proposes performimg art pedagogy by means of body and musical education, which integrates such knowledge and experience of popular dance and music into the actor\'s processes of learning and creation. Thus, rhapsodic games are sung, danced, played and told games, which prompt the poetic voices and corporeity of narrators and players from our celebrations and cultural practices, in order to complement the theories and methods of the performing art pedagogy taught in Brazil.

A dança e a música dos Cocos e Sambas de Caboclo, do Samba rural e das Cirandas e cantigas de roda, por suas características próprias de ludicidade e de significação cultural, são o território das experiências estéticas e saberes dos jogos rapsódicos. Esta pesquisa propõe uma pedagogia das artes cênicas através de uma educação corporal e musical que integra tais saberes e experiências da dança popular e da música nos processos de criação e aprendizagem do atuante. Deste modo, os jogos rapsódicos são brincadeiras cantadas, dançadas, tocadas e contadas que colocam em movimento as vozes poéticas e corporeidades do narrador e do brincante das nossas celebrações e práticas culturais, para complementar as teorias e métodos da pedagogia das artes cênicas ensinados no Brasil. / Dance and music of Coco and Caboclo\'s Samba, from rural Samba and from Cirandas, Northeastern Brazilian circle dances, for their own playful features and their cultural meaning, are territory for aesthetic experiments, and knowledge for the rhapsodic games. This research proposes performimg art pedagogy by means of body and musical education, which integrates such knowledge and experience of popular dance and music into the actor\'s processes of learning and creation. Thus, rhapsodic games are sung, danced, played and told games, which prompt the poetic voices and corporeity of narrators and players from our celebrations and cultural practices, in order to complement the theories and methods of the performing art pedagogy taught in Brazil.

Denna studie utgår från transpersoners och icke-binära personers erfarenheter av lajvande i Sverige under 2000-talet. Lajv är en typ av performance, liknande improviserad teater utan publik, där deltagarna gestaltar och förkroppsligar olika karaktärer, en roll eller alternativ identitet. Även om lajvs potential att förändra har tidigare studerats har ingen forskning gjorts om transpersoners erfarenheter av hur lajv och karaktärer har förändrat dem. Denna studie undersöker därför hur lajv och erfarenheter av att förkroppsliga karaktärer har påverkat hur de ser på sin könsidentitet och använder sig av könsuttryck i vardagen. I fokus står deltagarnas aha-upplevelser om sitt kön före, under, kring och efter lajv. Med intervjuer och queer fenomenologi visar studien att lajvande och karaktärer har hjälpt dem att hitta, utforska, testa och orientera sig mot nya könslinjer, könsidentiteter och könsuttryck samt gett dem verktyg att börja följa dessa könslinjer i vardagen. Studien visar även hur de har hindrats och hjälpts av andra lajvare, samt hur gränsen mellan lajv och vardag läcker och transformerar. Studiens resultat bidrar till en ökad kunskap om hur lajvande kan ha en förmåga att förändra och hur svenska lajvkulturen har utvecklats under 2000-talet. / This thesis concerns trans and non-binary persons’ experiences of live action role-playing (larp) in Sweden during the last 20 years. Larp is a form of performance, similar to improvised theater without any external audience, where the participants (larpers) play and embody characters. The characters are similar to theater characters, but are also a form of persona or alternative identity for the larpers. Although earlier research has shown that larp has a potential to transform and change larpers, little research has been done on transpersons’ experiences of how larping and characters have changed them. The purpose of this thesis is to analyse how larping and experiences of embodying characters have affected how they understand their own gendersex and use gendered expressions, clothes, and behaviors in everyday life. A central part of the analysis is the participants' feeling of wonder over their gendersex before, during, around, and after larping. By using interviews, queer phenomenology, and the concept of bleed, the study shows how larping and characters have helped them to find, explore, try, and orient themselves toward new gender lines, gendersexes and gendered expressions and also given them tools to help them following these new gender lines and embody their gendersex in everyday life. Furthermore, the study shows how they have been hindered and helped by other larpers, and how the borders between the larp worlds and the world of everyday life are porous and transformative. The findings of the study gives new insights of transpersons’ experiences of larping. Furthermore, the results deepen our knowledge of larping’s transformative potential, how role-playing can be used in identity processes, and how the Swedish larping community has evolved during the 21th century.