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  • 301.
    Hansson, Ylva
    Stockholm University of the Arts, Department of Performing Arts.
    A doll’s world: Nora ur olika kulturella perspektiv2021Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This master’s thesis discusses who Nora Helmer could be today in different parts of the world. With an idea for an modern adaptation of A doll house (with three Noras from different cultural perspectives) as a starting point the purpose is to research the following questions: Who Nora could be today, how Nora could be portrayed through different cultural perspectives, what similarities and differences there are, if anything in the play has to be changed to relate to a contemporary context and what the essence of Nora is. These questions are being explored through in-depth interviews with five different female actors in different continents: North America, Asia, Oceania, Africa and Europe. The actors thoughts are presented through different themes: Who Nora is, motherhood and marriage, Nora’s favourite color, the ideal woman and who Nora could be in their context today. The last part discusses the different versions of Nora, how a classical play can open up for conversations about current gender equality issues and how this material can be used in the continued work towards a stage production. 

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  • 302.
    Harthey Ubilla, Shirley
    Stockholm University of the Arts, Dance Pedagogy Department.
    Genus i hiphopdans: en analys av kvinnliga streetdansares hiphopdans utifrån ett genus och feministiskt perspektiv2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 303.
    Haverinen, Heini
    et al.
    Stockholm University of the Arts, Dance Pedagogy Department.
    Pantsu, Pauliina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Where is the jazz?: A qualitative study of jazz dance styles and components in dance education for children2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study was to create knowledge about which jazz dance styles and jazz dance components are present, and how they emerged at ten to twelve year old children’s jazz dance classes in Stockholm. Empirical material was collected through semi-structured observations during three jazz dance classes at three different dance schools. The results revealed that both jazz dance components (musicality, dynamics, isolations, expression and improvisation) and jazz dance styles varied at the three jazz dance classes. The results revealed as well that styles of the observed dance lessons were fusions of teachers’ individual styles combined with recognized jazz dance styles; show-, lyrical-, broadway- and authentic jazz.

  • 304.
    Hebrant, Louise
    Stockholm University of the Arts, Department of Dance Pedagogy.
    "Dom säger att jag har för mycket energi": en fenomenografisk studie kring tre danspedagogers, diagnostiserade med ADHD, uppfattningar om sin dansundervisning2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    They say I´ve got too much energy. 

    A phenomenographical study of how three dance pedagogues, diagnosed with ADHD, perceive their dance teaching.

    This study aimed to create knowledge about how dance pedagogues with the diagnose ADHD perceive their teaching practices. The study uses two theoretical perpectives, crip-theory and phenomenography which also is a method for this study. 

    Three dance pedagogues with the diagnose ADHD were interviewed. The questions at issue were: what do the interviews see as positive and negative in their work in relation to the diagnose and which variations are there within the answers. The interviews were perfomed with open questions and with the use of an interview guide. The answers from the interviews were transcribed word by word and out of the answers and the phenomenographical analysis five categories were made. The categories were: "Let the feeling lead", "Spontaneous and energetic", "Too much energy", "A little bit too honest", "Stressful to plan".

    These categories are in line with the ongoing debates and research about the effects of ADHD on behaviour where lack of impulse control and spontaneity is typical. It points at both positive and negative experience to be diagnosed with ADHD when teaching dance. The variations in the answers are especially obvious when the interviewed talk about the organisation and planning before a dance class. It also indicates that people with ADHD are not the same. They feel different, work different and are different just like people who don´t have the diagnose ADHD. But the analyses of the results also includes that it is not quite clear what exactly in behaviour and feelings is caused by ADHD and what is caused by other factors like experience, age, knowledge etcetera. 

  • 305.
    Hedman Hvitfeldt, Maria
    Stockholm University of the Arts, The Film and Media Department.
    I väntans tider: om kvinnor, regiyrket och ett manus2014Other (Other academic)
    Abstract [sv]

    I väntans tider

    om kvinnor, regiyrket och vägen till ett manus.

    Inom film- och tv-branschen har svaret på varför så få kvinnor regisserar film många gånger varit; ”Kvinnor vill inte leda”.

    Men stämmer det?

    I väntans tider är ett undersökande arbete om strukturer, som blev ett manus, och om hur kunskap om sammanhanget växer fram parallellt med ett konstnärligt arbete.

    Det började med följande mening;

    ”Som en intressant kontrast (till siffran 28% kvinnliga sökande till filmregiutbildningarna i Göteborg och Stockholm)var andelen kvinnliga sökande till utbildningen i teaterregi vid Dramatiska Institutet 62% under samma period. På något sätt verkar det alltså inte vara regiyrket som är könskodat utan snarare valet av medium att vilja utöva detta yrke i(…)”

    Ur 00-talets regidebutanter och jämställdhet, En rapport från Svenska Filminstitutet, april 2010. Sid 9. 

    För att få reda på vad det beror på formulerade jag detta; 

    Upplever intervjupersonerna att det finns hinder i filmbranschen eller på filmutbildningen som är specifika för kvinnor? Hur ser de ut? Vad beror de på? 

    Skiljer sig erfarenheterna från de förväntningar och föreställningar som intervjupersonerna hade innan de kom in i filmbranschen och/eller på utbildningen? 

    Finns det vissa egenskaper i eller aspekter av regiyrkets arbetsledande funktion som ställer särskilt stora krav på kvinnor? 

    Har intervjupersonerna erfarenhet av att det finns några könsspecifika skillnader vad avser benägenheten att ta konstnärliga risker i sitt arbete? 

    Finns det några tydliga skillnader mellan filmutbildningen och teaterutbildningen, vad gäller villkoren för kvinnor att göra karriär, och erfarenheter av negativ särbehandling? 

    Har film som konstform enligt intervjupersonerna högre eller lägre status och symboliskt värde än teater? 

    Är det enligt intervjupersonernas erfarenhet lätt eller svårt att kombinera familjebildning och att arbeta med film (alt. vara regissör)? 

     

    Svaren på dessa frågor, som ställdes till ett antal kvinnliga regissörer på väg in på väg ut från konstnärliga skolor,  och några färdigutbildade,  bildade underlag för ett undersökande arbete som resulterade  i ett filmmanus.

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  • 306.
    Hedman Hägerström, Amanda
    Stockholm University of the Arts, Department of Performing Arts.
    HORMONE: setting in motion2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Devising process leading up to a performance about hormones.

  • 307.
    Hegerland Moen, Aurora
    Stockholm University of the Arts, Department of Film and Media.
    Connection Between: The research project investigating interactivity of digital worlds in a film production pipeline2022Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    “How can game technology be used to maximize creativity and create an effective production pipeline for an animated film?” I think creating animated film should be a fun and creative process, that is why I have chosen this research question. I explore techniques used in Machinima films and aim to make it more user friendly and less restrictive. My research will become a sort of proposal to how the framework of a Machinima film could look in a modern film production.

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    Connection Between
  • 308.
    Heidebeck, Marika
    Stockholm University of the Arts, Department of Film and Media.
    RÖRELSE SEENDE BERÄTTANDE: tankar om animerad film och erfarenheter från Gaza2021Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    En essä om animerad film och erfarenheter från Gaza. Tankar kring lärande seende och rörelser.  

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    RÖRELSE SEENDE BERÄTTANDE
  • 309.
    Heikenström, Julia
    Stockholm University of the Arts, Department of Dance Pedagogy.
    "Vi är inte gjorde för det här!": en kvalitativ intervjustudie om danslärares upplevelser av distansundervisning till följd av Covid-192021Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of this study was to investigate dance teachers’ experience of distance learning regarding difficulties, benefits and in regard to assessment. The method used was semi-structured interviews and a phenomenological perspective was used to analyse the result of the interviews. The results showed several challenges and a few benefits. The challenges were mainly related to technical and spatial constraints and difficulties in giving formative feedback. On the other hand, filming as a didactic tool was highlighted as an advantage. 

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  • 310.
    Helander, Karin
    Stockholm University of the Arts, The Department for Acting.
    Den skrattretande teatern: ett år med Gösta Ekman och hans vänner2009Collection (editor) (Other academic)
    Abstract [sv]

    Vad betyder skrattet, det som får oss att skratta vad är det egentligen? På Teaterhögskolan i Stockholm ägnade skådespelare och magisterstudenter ett år åt att i första hand praktiskt, men också teoretiskt, utforska det skrattretande. Under ledning av professorerna Gösta Ekman och Karin Helander, tillsammans med delar av Sveriges främsta humorelit har studenterna studerat äldre och nyare genrer inom komisk gestaltning. Karaktärsarbete, fars, clown, standup och improvisationsteknik stod på schemat. Stor vikt lades även vid att utforska rörelsens komiska potential.En ständigt pågående diskussion fördes kring det skrattretande, både mellan studenter och lärare liksom även mellan Karin Helander och Gösta Ekman. Stora delar av de senares inspelade samtal finns återgivna i boken. Flera av årets gästföreläsare bidrar med egna tankar och reflektioner kring skrattretande scenkonst. Med Karin Helander som ciceron och Gösta Ekman i centrum, i gott sällskap av flera av magisterårets gästföreläsare och inte minst magisterstudenterna själva, leds vi in i den skrattretande teaterns mångfasetterade värld. Karin Helander är professor i teatervetenskap, prisbelönt föreläsare och lektor vid Stockholms universitet.

  • 311.
    Helander, Karin
    Stockholm University of the Arts.
    Kroppen som det skönaste musikaliska instrumentet: om röstpedagogen Cecila Berefelts arbete inom svensk teater och teaterutbildning2012Book (Other academic)
  • 312.
    Helander, Karin
    Stockholm University of the Arts, The Department for Acting. Teaterhögskolan Stockholm.
    Ämne: scenisk gestaltning: dokumentation av Teaterhögskolan i Stockholms professorer Stina Ekblad och Krister Henriksson2009Book (Other academic)
  • 313.
    Hellberg, Linnea
    Stockholm University of the Arts, Dance Pedagogy Department.
    Att bygga från styrkor: danspedagogiska metoder för att arbeta med utveckling utifrån elevernas styrkor i dansen2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 314.
    Hellbom, Rebecca
    Stockholm University of the Arts, University College of Opera.
    Från Mozart till Wagner: En lyrisk-dramatisk soprans reflektioner2020Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Som lyrisk-dramatisk sopran vet jag att min väg vokalt är längre än de flesta andra röstfacks väg, eftersom rösten behöver mer mognad. Mognad att växa in i sitt röstfack och mognad för att klara av de stora rollerna som väntar. Så var börjar man när man är yngre, vilken repertoar kan låta rösten växa och ta plats men ändå bevara ungdomlighet och skönhet? Jag har upplevt från master classes och auditions som jag har varit på att efterfrågan av Mozart har varit stor. Samtidigt har jag alltid tyckt att det har varit svårt att sjunga just Mozart. Det känns inte som att rösten får ta sin riktiga plats och att det skaver på något sätt. Därför blev det tydligt för mig i början av läsåret att mitt projekt skulle handla om hur jag som lyrisk-dramatisk sopran kan hitta min röst i Mozart. Samt hur jag kan dra nytta av ett slankare vokalt tillvägagångssätt som behövs i Mozart och använda det i repertoar som jag trivs bättre i vokalt, som till exempel Wagner.

    Detta är ett utforskande projekt i hur man som lyrisk-dramatisk sopran kan sjunga på bästa sätt med sin röst i olika stilar, och hur de olika stilarna kan dra nytta av varandra. Hur skiljer sig Mozart från Wagner vokalt? Kanske är skillnaden inte så stor, och kanske finns en förening mellan dem två i Weber?

     

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    Från Mozart till Wagner En lyrisk-dramatisk soprans reflektioner
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  • 315.
    Hellgren, Matilda
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Att vara i jazz-dans: En kvalitativ studie om hur deltagare i dansundervisning upplever ”existentiellt varande” med hjälp av jazzdans2021Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study investigates how participants in dance education describe their experiences of a phenomenon called ”existential presence” with the help of jazz dance and what didactic factors makes it possible for them to experience it. With theory of the phenomenology-related lifeworld, the didactic relation map, and interview with low standardized questions as a method, came the results that show how the presence could be described in many different ways, how different individuals have different needs for the phenomenon to be possible, and that jazz dance and its strong relationship to the music is a possible opening for the presence to be. 

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  • 316.
    Hellström, Henrik
    et al.
    Stockholm University of the Arts, The Film and Media Department.
    Jonstoij, Tove
    Stockholm University of the Arts, The Film and Media Department.
    Öar i berättandets hav2016Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
  • 317.
    Hellwig, Claes Peter
    et al.
    Stockholm University of the Arts, The Department of Performing Arts.
    Paulin, Anders
    Stockholm University of the Arts, The Department of Performing Arts.
    Konst som strategi: ett KU-arbete vid Dramatiska Institutet 2004-2007 en slutrapport2007Report (Other academic)
    Abstract [sv]

    Den här texten är en slutrapport av det KU-arbete som vi bedrivit under 2004-2007. Vi har försökt sammanfatta arbetet och våra tankar utifrån den kronologi utvecklingen följde. Vi har under det gångna tre åren ett flertal gånger insett att vi lärt oss helt oväntade saker. Det har varit stort som smått. Det har varit fakta och struktur, som tex att Sverige är ett av de EU länder som är sämst på att söka bidrag dvs skapa projekt. Men också möjligheten att se det konstfält som Bourdieu beskriver i full verksamhet. Allt detta har lett oss till ett i många stunder mycket fruktbart samtal men också till ilska och sorg över sakernas tillstånd. Det visade sig emellertid att arbetet bar på ett konkret resultat som vi inte kände till när vi började. Texten utgör därför också ett förslag till en kurs på masternivå på Dramatiska Institutet. Utbildningens inriktning och mål är att utveckla alternativa hantverk för konstnärligt arbete inom scenkonsten. Metoden är att i teori och praktik möta och pröva strategier från fler konstformer och genrer än den egna, för att utveckla ett tänkande där eleven sätter val av målsättning före val av konstnärlig strategi och genre. Vi tänker oss att utbildningen ska motsvara 60 p (40 p i det gamla systemet). Undervisningen ska bedrivas på heltid under ett läsår och omfatta 10-15 elever.

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  • 318.
    Hermansson, Elin
    et al.
    Stockholm University of the Arts, Dance Pedagogy Department.
    Langvik, Sabina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Den inre motivationen: en studie i hur danspedagoger kan integrera mental träning i dansundervisning2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 319.
    Hernesniemi, Marjut
    Stockholm University of the Arts, Department of circus.
    Kehrä/ Kehrae: entwining possible worlds2022Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The artistic research, Kehrä/ Kehrae is done together with Myrsky Rönkä, with significant ropes, places and spaces, creatures and histories. This paper is subtitled entwining possible worlds. It implies alternative possibilities for prevailing modern western ways to live and die and circus.

    There are three big questions in the air: What is the meaning of circus? What does it mean to be alive? And how could circus care (the existence of life within the earth)?

    The starting point was a concern about the troubling state of life and the world how it is today and how the modern western circus felt paradoxical and incapable of responding to the current times in sustainable ways. The initial question was, how to combine circus and other aspects of life into one sustainable, or regenerative and renewable practice. In order to seek other, latent realities this research goes beyond modern western circus history, beyond modern western worldview, and beyond “ordinary” circus practice. 

    The guiding idea is: life is circus, circus is life. Therefore the practice in this research is a collection of “whatever we were doing”. To mention some with great importance: whirling, meditation, becoming-with rope, making and mapping space with ropes and strings, dwelling with nature, and sauna. The other idea is to go through liminality and evoke communitas, with circus practice, bodies, ropes, and others.  This means abandoning accustomed ways to train and think about circus and life. Because of its nature, this work is also opening up what could spiritual (circus) practice mean as an alternative to a mechanistic way of thinking and making.

    The ontology of this research is animistic and relational, which suggests care, respect, reciprocity, and response-ability in all of our relations and takes into account the circulative nature of time and life. Animistic ontology takes materiality and skill towards the idea of becoming-with, when becoming into who and what happens in relational material-semiotic worlding.

    During the process, some specific features, or dwelling places for circus, emerged. Those are circus and play, circus and liminality, circus and shamanism, circus and others. In these dwelling places lies the deep powers of circus to be inversive and subversive, simultaneously transformative and sustaining: the mythical power of circus.

    Through the final artistic outcome Kehrä/ Kehrae, this paper is entwining the strings of the research together as a temporary gathering to be unraveled and intertwined into one again. 

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    Kehrä / Kehrae
  • 320.
    Herrmann, Cilia
    Stockholm University of the Arts, Department of dance.
    Let us be the second body2021Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The essay Let us be the second body is a written pensive and companion in the process of creating a performance with the same title performed in January 2021 at SKH in Stockholm. It describes the main task of the project which was about realizing interdependencies, in a search for political movement towards a non-violent way of relating with and within the world. In the essay, it is described how this can be imagined like crawling through a compost pile. What you find digesting in the pile are conversations and encounters with strangers on the street such as Blurry-Believes/ Pretend-Poems/ Slippery-Statements, and composed fragments of thoughts from thinkers like Maria Lugones, Judith Butler, Ta-Nehsi Coates, and Michael Ende. Composing those fragments within this essay is forming the sentence: “I cannot be out of violence until the system that I am living in is, even though I am not the target of that violence. The essay is longing to get into the muddy work of investigating the concepts of ‘transformation’ and ‘change’. A work that is meant to be, as the structure of the text, mirrored, messed up and ambiguous.  (And through being honest in that ambiguity the essay regains a response-ability.) Concretely, the essay reflects on how I use this ambiguity as a tool for creating the performance Let us be the second body, in which textile art, scenography, sound design and dancing linger in interdependence with the realm of transformation. I will and I will not change the world with this essay. So, I guess you will and you will not be changed by this essay. 

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    Let us be the second body
  • 321.
    Hillerbrant, Eva
    Stockholm University of the Arts, Dance Pedagogy Department.
    Rörelse - Dans - Rörelse: när blir rörelsen dans och rörelseleken danslek?2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 322.
    Hillman, Nathalie
    Stockholm University of the Arts, Dance Pedagogy Department.
    Individuell undervisning i dans: metodutveckling2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 323.
    Hjelm, Keve
    Stockholm University of the Arts, The Department for Acting.
    Dionysos och Apollon: tankar om teater2004Book (Other academic)
  • 324.
    Hjerpe, Madeleine
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Ett queert solo?: ett konstnärligt och didaktiskt arbete om att använda förståelsen av queerteori i en konstnärlig process.2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    A queer solo? Ett queert solo?

    The aim of this work is to examine how queertheory and its central concept can be used in an artistic process. To reach answers about this subject, my work is based on two questions. The first question relate to how queer/gendertheory can be used in an artistic context. The other question relate to how I as a future teacher can work with queer/gendertheory in school.

    The method for my work is divided into two parts. The first part is based on three interviews (and on extra audio material that I will use in my practical presentation) done with people in my everyday life and the interviews are based on discussing central concepts of queertheory. The central concepts I´ve chosen to work a little bit closer with and that I think represent queertheory is identity, structure and standards. Each interview is based on one central concept. The second part of my work is related to my artistic practice, where I will work to find ways to use queertheory in an artistic process. I will also include a didactic perspective to my work and discuss how I can work with queer/gendertheory in upper secondary school, in both theory and practice. 

    The result from my study and work will lead to a performance score, called "A queer solo? and in my essay I will present both the process leading up to my performance score, but I will also present teaching materials that can be used in upper secondary school.

  • 325.
    Hjulström, Lennart
    et al.
    Stockholm University of the Arts.
    Zachrisson Ones, Gudrun
    Stockholm University of the Arts.
    Faust-projektet: ett pedagogiskt och konstnärligt utvecklingsprojekt genomfört med stöd av Högskolans Grundutbildningsråd 90/91-92-931994Book (Other academic)
  • 326.
    Hjärpe, Anna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Let us Dance: en undersökning kring jazzdansundervisning för musiker som spelar till dans2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of my thesis is to attempt formulating methods and strategies functioning as options to broaden

    and develop the knowledge concerning the relationship between music and dance to musicians

    specialized in playing to dance classes. As a dance pedagogue I also try to find ways of developing my

    cooperation with musicians. Teaching jazz dance, the genre used in this essay, I function in different

    pedagogical roles to musicians who accompany dance students. Throughout my study I analyze the

    interviews made with my participants before, during and after my lessons. In my attempts to formulate

    these methods and strategies, different types of pedagogies are used e.g. learning by doing -methodology

    together with dynamic pedagogy.

    Be ing inspired by refle xiv ity, and using it as a tool in my analy zing process, I interpret my partic ipants’

    statements. Especially the final interview discloses that the participants show a broaden understanding

    for movements and the connection between movement and music. Their statements show that they can

    feel the movements, regardless of their dancing the movements or not and this helps them in providing

    music suitable for the specific movements. In order to develop cooperation with musicians, my stu dy

    shows that teamwork is the tool that helps most.

  • 327.
    Holberg, Maria
    Stockholm University of the Arts, Dance Pedagogy Department.
    Ballet is a Woman: Genusperspektiv på dansundervisning i gymnasieskolans estetiska program2013Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay is about gender in dance education. My purpose is to find out whether it´s possible for dance teachers at ”Estetiska programmet” to affect gender roles among the students. Are there any differences in the way teachers talk to boys compared to girls and do they use different kinds of dance movements depending on the students gender? I use the method literature studies to get a deep knowledge about gender research, and classroom observations to see how the teachers and students act. My conclusion is that it´s a problem of a very complex nature. Because of the low number of participating boys in dance education, teachers tend to adjust the teaching to the boys´ needs and wants. But these needs are maybe only a result of this societys ideas of how girls and boys ”are”.

  • 328.
    Holm, Tanja
    Stockholm University of the Arts, Department of Film and Media.
    Berätta det bortglömda: en dokumentär process om Jemenkriget2022Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 10 HE creditsStudent thesis
    Abstract [en]

    The war has turned Yemen into the greatest humanitarian catastrophe on earth, according to the UN. A partial blockade is upheld with Swedish weapon technology, and starves the Yemenis. Five million children risk dying.

    I documented the UN-led peace talks on Yemen, which Sweden hosted in 2018. In Stockholm I later on confronted ordinary people with the question: How can we stop the war? Also, I started baking a miniature model of the ancient city of Sanaa. With the help of archive material, gingerbread houses and a filmed survey in and around Stockholm, I explored how to remedy the cruelty and apathy in the world.

    Yemen is called the "forgotten war", and this thesis attempts to highlight what we would rather keep out of our consciousness.

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  • 329.
    Holma, Katariina
    Stockholm University of the Arts, Department of Opera.
    Characteristics of key signatures: Does the character of sung music change in transposition?2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 5 HE creditsStudent thesis
    Abstract [en]

    In "Characteristics of key signatures" Katariina Holma describes and reflects upon her experiences of  transposing her operatic singing repertoire. Do the character and colour of the sung music change when we transpose it? According to Holma's experience, it is the storyteller in particular, the role character in an opera aria, who is most affected by transposition. Holma learned during her experiment that there are several positive qualities to be gained from transposition that not only help a singer learn more about their repertoire  but also assist them in exposing stumbling blocks to their singing technique.

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    Characteristics of key signatures
  • 330.
    Holmes, Carl-Axel
    Stockholm University of the Arts, Department of circus.
    Carl-A Holmes MA Contemporary Circus Practice2022Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This is a thesis - supposedly. It could also be a performance if you want. As an object it is detachable in that you can pick it up. Or download it. This thesis has edges. It has protrusions, indentations, connections and holes. Lots and lots of holes. That is because this is a thesis about and consisting of affordances. That is to say something that offers interaction. We’ll get into that in a bit. Suffice to say, my hope is that you feel free to read it or play with it in any way you see fit. Turn it into a paper airplane to see if it flies or set it on fire to warm your hands. Rearrange the pages if you want. This might affect the red thread that ties the pages all together, but that’s all the thread was there for. To tie things up and as something to hold onto.With that said, somewhere amongst all the following words, I’d like to think that there is something at least nominally related to Circus. That is because this is supposed to be a thesis about Contemporary Circus Practices. Well….about my own contemporary circus practice in any case. It feels kind of empowering to call my circus practice contemporary though, I must say.Com –Latin. Meaning with or together, and Tempus-Latin. Meaning time. With the times then! Though in all honesty it is probably a very anachronistic, sin temporary circus practise at best.Hmmm…remind me to look into the affordances of time.

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  • 331.
    Holmquist, PeÅ
    Stockholm University of the Arts.
    Dokumentärfilmarens resa2006Book (Other academic)
  • 332.
    Holström, Lisa
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Genus i jazzdans: en kvalitativ analys av danspedagogers förhållningssätt till genus i jazzdansundervisning2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study aims to investigate how dance teachers perceive and approach gender in jazz dance education in Stockholm 2018. The purpose of the study is furthermore to start a discussion and increase the understanding of how gender is treated in the jazz dance pedagogical field. Five interviews with jazz dance teachers worked as empirical material for the analysis and a discussion relating to gender theories and previous research in the field of dance and gender. The results of the analysis showed that the dance teachers had a conscious approach and were aware of gender and perceptions of femininity/masculinity in their jazz dance. The main approach for the dance teachers were to see and treat their students as individuals, even though the methods for this differed. A gender perspective could be seen in relation to other perspectives and pedagogical aspects that affect teaching. The approach towards the students in relation to gender is not to been seen as specific to jazz dance, but in other genres as well. Perceptions of femininity and masculinity in jazz dance however are notable to discuss in relation to the overall approach to gender. The study can't be seen as a general truth - it can only reflect the people involved in this specific study and context. However, the result and the discussion can work as a starting point for further reflections and discussions in the dance pedagogical field regarding gender in dance.

  • 333.
    Hoogland, Rikard
    Stockholm University of the Arts. STUTS Stockholms universitet.
    Möte eller koinsflikt?: en studie över teaterpedagoger med icke-svensk teaterbakgrund på DI:s teateravdelning och Teaterhögskolan i Stockholm2008Book (Other academic)
  • 334.
    Hreinsdóttir, Ingunn Elísabet
    et al.
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dahlrot, Johanna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Somatiska perspektiv inom balett: en kvalitativ studie om balettlärares användning av somatiska förhållningssätt i undervisning2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Ballet and somatic practice are two different fields with separate approaches regarding the body and its movement. Ballet in general is structured by a specific frame emerging from traditions and conventions which have effect on the dancer’s movement patterns and body. On the other hand, a somatic approach initiates movement from within which depends on the individual daily condition. The practitioners are encouraged to work from their own terms, therefore all bodies can be included in somatic practices. The aim of this study was to find out which somatic principles and perspectives ballet teachers use in their ballet teaching and how they relate it to their teaching methods. Our empirical material consist of observations and interviews with three different ballet teachers that took place in Stockholm, which later are processed with content analysis. The content analysis resulted in five main categories. Based on the data collection the result showed that the ballet teachers use somatic approach in their teaching. It also revealed three basic components in their teaching which are: anatomy, the use of language and the use of touch. These three components complement each other and provide the dancer tools to support their dancing as well as becoming more aware of their body’s function. A fundamental element in somatic is the dancer’s negotiation about their bodily needs. Through their choices the dancer can develop a deeper awareness that can maintain a physical balance which leads to a sustainable body.

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  • 335.
    Hultenius, Petra
    Stockholm University of the Arts, Dance Pedagogy Department.
    Materialitetens betydelse i Kulturskolans dansundervisning.2019Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    This is a study that looks at the teaching process of making a dance show within the Community School of Arts from a posthumanist perspective. How does the matter the students meet and the dance teacher uses make a difference?

    My interest in this question came to grow from my dance related work in a pre-school context where matter is given importance in relation to how children gets possibilities to experience and learn. The research material for this study, however, was generated from the Community School of Arts in Stockholm.

    The study identifies the matter that is making a difference for the dance teaching and learning in a process towards making a dance show at the Community School of Arts of Stockholm. The matter of importance identified was connected to the subject areas Body, Music/Sound, Clothes, Light and Space. The study investigates and articulates performative force between human and non-human matter, and further how the students and the dance teacher perceive this performative force. The study discusses how dance teaching and learning can benefit from a more reflective use of matter. In connection to the posthumanist approach the study takes a stand for, I argue that knowledge-making in the Community School of Arts can be seen from a rhizomatic perspective. That implies that learning the arts at the Community School of Arts can give students the opportunity to experience art from their different points of interest. To actively acknowledge the performative force of the different material matter involved in the process of creating a dance show, give students a way to develop dance joy. I argue that a more reflective and conscious use of matter can positively transform the dance teaching and learning of today. In a wider perspective the matter of matter in dance teaching and learning is a question that fosters environmental consciousness building on the sense that we share and are part of the same world, where matter matters.

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    Materialitetens betydelse i Kulturskolans dansundervisning
  • 336.
    Humphreys, Cathryn
    Stockholm University of the Arts, Department of dance.
    I´m faster than you think: A work about embodying subjective Time2016Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
  • 337.
    Huumonen, Andreas
    Stockholm University of the Arts, Department of Performing Arts.
    ’’Klick klack, bang bang’’: a Versace moment at Stadsteatern2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    Researches different methods in the subject of sound design, where chance and play are included in the research. This work was part of a performing arts production called Lycko Ken, in collaboration between Stockholm University of the Arts and the Stockholm City Theater.

  • 338.
    Hyde, Francesca
    Stockholm University of the Arts, Department of circus.
    CIRCUS AS A MATERIAL-DISCURSIVE PRACTICE: A wandering conversation on an impossible journey2022Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The thesis could be described as a performative, reflexive review of my circus practice. Followingapproaches to writing that situate text as part of a practice, such as Jane Rendell's Site Writing, thatlooks at art criticism as a form of architecture, I approach writing as a form of circus. I think this holdstrue whether we adopt the position of circus as the place where events unfold (as in the circus tent) orthat it is the events themselves. I would note that this is not a unique proposition, and follows theprinciples of my classmates & the direction of my course leader. Crucial to understanding this thesis is adecision to start from an approach to circus from a point of view that considers circus as theperformance of the relationship between body, object & environment (following Sebastian Kann 2018).In the same way that my movement practice explores and performs this relationship, so does this text. Istarted out writing this thesis as a performance of the relationship between bodies, objects andenvironments. This works towards an expanded view of what circus could be, operating in a similar veinto notions of expanded choreography. I am hesitant to separate the practices of choreography fromcircus (as is sometimes the case with choreography and dance) - so as to avoid producing a Cartesian riftbetween body (dance) and choreography (mind) and a division between art (choreography) and craft(dance) - as discussed by Bojana Cvejic in the introduction to Choreographing Problems. It could beargued that in this instance, there is a body of text, an object of discussion and an environment ofacademia - though, as you will discover, I find the boundaries of body, object & environment areslippery and shift register (in line with my movement practice).

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    Circus as a material discursive practice
  • 339.
    Hyttinen, Katariina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Varför välja dans på gymnasiet?: En undersökning om danselevers gymnasieval och deras tankar kring valet.2013Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    I have done a study on why students choose dance in high school. My workplace is Per Brahegymnasiet in Jönköping where I am employed as a dance teacher. I am interested in the reasons for the students’ choice of dance in high school, especially as my understanding is that the Arts programme (estetiska program) has become less popular and if that may be related to the fact that there is no dance in elementary school. I have therefore conducted a survey around the students’ reasons for choosing dance in high school in the county of Jönköping and especially at Per Brahe gymnasiet. The survey is in three parts for increased validity: A quantitative survey of all students from the dance programme, a qualitative study with interviews of six students from the dance programme and a simple survey of the county's Arts programmes. One of the results of the surveys is that the students wanted to dance in high school but they had different reasons for the choice. Even if the Art programme is one of the major programmes nationally I was able to ascertain that several Art programmes have shut down their operations in the county.The results of the surveys are reported separately and are followed by a brief summary and further analysis and discussion. The results can further be the basis for my work with development of the dance programme at Per Brahegymnasiet in the county of Jönköping.

  • 340.
    Häggbom, My
    Stockholm University of the Arts, The Film and Media Department.
    En berättelse från verkligheten: om konsten att göra TV-reportage2016Book (Other academic)
    Abstract [sv]

    Sammafattning:

    Något av det mest fantastiska med att göra tv-reportage är att bli insläppt i andra människors liv. Med full tillit lägger de en liten bit av sina liv i just mina händer. Ur den glimten ska jag välja ut och sortera fram det som blir berättelsen. Besluten är många och ofta snabba vid produktion av reportage och inslag för tv/audiovisuella media. Och vi bara gör. Vi gör så som vi oftast brukar för det blir bäst så. Men vad gör vi egentligen? Hur gör vi? Och varför då? Och blir det alltid bäst så? Här vill jag undersöka praktisk erfarenhet av arbetsprocess, metod och gestaltningsval. Men framförallt vill jag visa att det inte bara handlar om vad vi berättar utan också om hur. Det är ju berättelser från verkligheten vi arbetar med! Och nu när alla gör tv och vi översvämmas av en stor mängd rörlig bild och ljud av skiftande kvalitet tror jag att det är viktigare än någonsin att vi vässar våra verktyg och lägger vikt vid hur vi formger berättelsen för att ge den en chans att nå fram. Så här är den nu, handboken i att göra reportage för audiovisuella medier. Att ha i bakfickan när du ger dig ut på dina första reportage. Och om du redan jobbat länge hoppas jag att den kan inspirera dig att fortsätta utveckla ditt eget reportageberättande i bild och ljud.

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  • 341.
    Hällqvist, Ylva
    Stockholm University of the Arts, The Department of Performing Arts.
    Hårets och perukens betydelse och möjligheter: grunder i frisering2006Book (Other academic)
  • 342.
    Hällqvist, Ylva
    Stockholm University of the Arts, The Department of Performing Arts.
    Perukmakeri: samlade erfarenheter i ett hantverk2015Other (Other academic)
    Abstract [sv]

    Boken Perukmakeri – samlade erfarenheter i ett hantverk innehåller grunderna för tillverkning och hantering av det mesta inom traditionellt perukmakeri. Och lite till. Kunskapen om det traditionella sättet är en av förutsättningarna för att kunna ta hand om, reparera och förnya äldre peruker. Med det traditionella perukmakeriet som grund och en början på yrket kan man gå vidare, om man så vill, till andra materialval och metoder och låta sig inspireras av hur kollegor arbetar. Perukmakeri är ett hantverk som var och en kan berika med sin nyfikenhet och kreativitet. Då kommer yrket att vidareutvecklas och förnyas.

  • 343.
    Höghede, Erika
    Stockholm University of the Arts, Department of Acting.
    Metod och teori kopplat till gestaltning av Den goda skådespelaren2015Independent thesis Advanced level (degree of Master of Fine Arts (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Mitt magisterarbete bestod av en 45 minuter lång pjäs som jag skrivit och som framfördes i januari 2016 vid två publika tillfällen på Stockholms konstnärliga högskola. Processen beskrivs inledande i skrivarbetet. Den färdiga pjäsen, Den goda skådespelaren, finns som version 14 och version 1 i slutet av skrivarbetet. Själva magister redovisningen var praktisk, det vill säga att jag skrev en pjäs och framförde den för publik och examinerades sedan då jag också skrivit om vad det var jag hade gjort.

    Det inledande texten består av beskrivning av metod, mål och syfte och om processen att iscensätta och gestalta kultursociologiska teorier med utgångspunkt från främst sammanfattningen av Bourdieus teorier som jag fann i uppsatsen Kulturens fält Om Pierre Bourdieus kultur och utbildningssociologi av Donald Broady. Till min praktiska framställning utgick jag från Brechts teaterteorier. Både Bourdieu och Brecht var intresserade av utbildning.

     Jag ville (enligt Brecht via teater undervisa) om frilansande konstnärers livsvillkor och arbetsförhållanden kopplade till de ekonomiska förutsättningarna för konsten och konstnären. Syftet var att väcka idéer och tankar. Bourdieus teorier är i pjäsen gestaltade som dialoger om tillhörighet, vilka grupper som utestängs från de kulturella arenorna och varför? (hur eliter formeras och reproduceras), hur makteliter inte erkänner (misskännande) att de har haft vissa fördelar (socialt och kulturellt kapital) som gjort att de nått toppositioner inom sitt yrkesfält. 

    När jag nu fått spela min pjäs vid flera tillfällen har jag experimenterat med att, mer eller mindre, beskriva Bourdieus tankar och teorier för publiken efter föreställningen. När jag redovisat Bourdieus och Brechts teorier och begrepp så har det uppstått diskussioner om maktstrukturer inom olika fält. Exempelvis privata teateraktörer kontra fria grupper. Om jag inte redovisat teorin uppstod diskussioner av mer igenkännande karaktär. Då har diskussionen kommit att handla om egna minnen från den egna yrkesverksamheten. Diskussioner har uppstått. Brechts episka teaterteknik har på ett tydligt sätt fungerat som en grund för dialog och diskussion efter föreställningarna.

    Om man tittar på föreställningen som ett slutgiltigt verk är möjligen så att den konstnärliga helheten hade mått bättre av att minska antalet distansering tekniker (projektioner, att bjuda in publik i dialog, kommentera privat, distrahera genom plötsliga händelser och komik m.m.) i min föreställnings uppförande. Men det var inte målet. Brecht förespråkade teatern som ”utbildning” och i det här fallet har jag utbildat mig själv och förhoppningsvis också hittat en metod för att utbilda och väcka reflektion hos andra genom scenisk gestaltning och genom skriven dialog med noter och hänvisningar till sociologisk teori och teaterteori. Praktik och teori i ett arbete.

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  • 344.
    Höghede, Erika
    et al.
    Stockholm University of the Arts, The Film and Media Department. Stockholms dramatiska högskola.
    Sjöblom, Samuel
    Stockholm University of the Arts, The Film and Media Department.
    Barn och unga producerar: vad betyder det för dem, för oss och för världen2016Other (Other academic)
    Abstract [sv]

    Håller vi yrvaket på att förlora kontakten med de unga och deras berättelser om världen? Vad har det i så fall för konsekvenser för demokratin?

    På mediehuset Fanzingo får unga, i medier och i samhället, underrepresenterade grupper berätta sina egna berättelser.

    Vi frågar dem vad som händer när de berättar och vad som händer när berättelsen får en digital form och möter publik? De unga svarar; självförtroende, identitet, makt och en känsla av delaktighet.

    Vi frågar oss; hur hänger mediepedagogiskt arbete med barn och unga ihop med vilka som söker till konstnärlig högskola och vilka som sedan blir yrkesverksamma inom mediefältet? Hörs barns och ungas egna berättelser i medierna om saker som angår dem? Vad tycker de unga?

    Det konstnärliga utvecklingsarbetet baserar sig på intervjuer med unga inom Fanzingos mediepedagogiska verksamhet samt vuxna från Public service och StDH. Slutpresentationen har tagit formen av ett urval av den filmade dokumentationen som skett under intervjuerna samt smakprov på filmer som unga gjort på Fanzingo.

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  • 345.
    Höjbakk Mikalsen, Karen
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Kroppens uttrykk: - en presentasjon av Rosenmetoden og hvordan den har påvirket dansere som har fått rosenbehandling.2004Independent thesis Advanced level (degree of Master (Two Years)), 10 HE creditsStudent thesis
    Abstract [no]

    I denne oppgaven har jeg tatt for meg Rosenmetoden og hvordan den har påvirket meg og sju andre dansere som jeg har pratet med. Rosenmetoden er en berøringsmetode som Marion Rosen har utviklet gjennom mange års erfaring. Vi lagrer opplevelser og undertrykte følelser som spenninger i kroppen, og disse er med på å hemme vårt bevegelsesspråk og vårt potensial til å bevege oss både fysisk, følelsesmessig og mentalt. Målet med Rosenmetoden er å bevisstgjøre spenningene og de følelsene som ligger bak, og gjennom det få tilgang til sitt maksimale potensial, - å komme tilbake til den naturlige kroppen og muligheten til å leve ut hvem vi er. Jeg har undersøkt hvordan dansere som har fått rosenbehandling har blitt påvirket i forhold til sin kropp, til sin bevegelse og til sin dans.

  • 346.
    Hübinette, Nils
    Stockholm University of the Arts, University College of Opera.
    Vad operasångare kan lära av skådespeleri2019Independent thesis Advanced level (degree of Master (Two Years)), 5 HE creditsStudent thesis
    Abstract [sv]

    En lärare som var väldigt viktig för mig i ett visst skede under studietiden, var Thomas Lander. Han introducerade de sångtekniska fördelar man kan hämta från talet, eller som han kallar det, det patetiska talet. Betydelsen, och lärdomarna som kunde hämtas, av talet stannade dock inte här, det breddades till att vara det centrala i hela min filosofi kring kommunikation på scen.Från de rent sångtekniska verktygen som fanns att hämta, kom senare diktionen, och textens hörbarhet. Därefter kom talet i dess mest övergripande form, likt skådespeleri. Vad fanns det egentligen överhuvudtaget för skillnader mellan tal och operasång? Fascinationen uppstod ur det faktum att vi genom trial and error har övat hela livet på att tala, på att till att börja med rent taltekniskt göra oss tillräckligt förstådda, att man hör vad som sägs, och för det andra att vilja uppnå något med vad man säger. Det verkade inte mer än rimligt att använda sig så mycket av det som möjligt, varför uppfinna hjulet en gång till?Frågeställningen blir här därmed: ​Vad finns det för skillnader och likheter mellan skådespeleri och operasång, och vad man lära av det för att bli en bättre sångare?

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  • 347.
    Ijäs, Fanni
    Stockholm University of the Arts, Dance Pedagogy Department.
    Konstnärlig hiphop: skapandemetoder genom dekonstruktion och rörelseanalys2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 348.
    Iljegård, Elina
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Josephine Baker: Livet och dansen2008Student paper second term, 10 HE creditsStudent thesis
    Abstract [sv]

    Mitt syfte med denna uppsats var att ta reda på mer om Josephine Baker, och vad hon gjorde dansmässigt som gr att hon förtjänar en högre status i dansens historiska hierarki. [---]

  • 349.
    Iljegård, Elina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Music Me: ett arbete om metoder för musikalisk utveckling i dansundervisningen2009Independent thesis Basic level (degree of Bachelor), 180 HE creditsStudent thesis
  • 350.
    Invartsen, Mette
    Stockholm University of the Arts, Dance Department. Dans- och cirkushögskolan.
    EXPANDED CHOREOGRAPHY: Shifting the agency of movement in The Artificial Nature Project and 69 positions2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Through two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’.

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