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  • 51.
    Karl, Sjölund
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    STUMT TVÅNG2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
    Fulltekst (pdf)
    fulltext
  • 52.
    Karlén, Yechidah Jessica
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Den performativa dårens metod och föreställningen om galenskap: om det okända, det främmande och icke-vetandet som konstnärlig praktik och metod2021Independent thesis Advanced level (degree of Master (One Year)), 10 poäng / 15 hpOppgave
    Abstract [en]

    This project is researching how a comedy show on insanity could be created and aims to research the subject of madness and the performance of insanity. What is the creative idiot? How can play be an option for understanding the Other? The research is the phenomenology of crazy as the unknown, the stranger and the other. 

    This research questions the ethics of the performance as well as its aesthetics. How can crazy perform itself in an international performative arts context? The focus is to understand the Other as the unknown as unavailable to reason and therefore impossible to perform as understandable. The object of research is the conflict between reason and its negation as the unknown stranger. 

    The result of this project is an idea on how to create this performance, as a way of practicing madness in a safe space and enjoy insanity as a way of producing the not yet known, as a way of playing life.

    Fulltekst (pdf)
    theperformativefool.yechidahjessicakarlen.jessica.karlen.masteroffinearts.funnyswedishgirl
  • 53.
    Kessner, Sonja
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Through the desert: A heroine's tale2021Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 80 poäng / 120 hpOppgave
    Abstract [en]

    trigger warning

    Jeanne Rohleder is a classically trained dancer, performance artist, art therapist and anthropologist. Sonja Kessner is a trained actress and anthropologist whose work takes various forms in the field of music and theatre. The two met during their studies of social and cultural anthropology and found a mutual interest in the structural and institutional side of violence and in the question how personal experiences can form the base for social analysis and artistic activism.

    Within their research the two Berlin based artists/anthropologists investigate the phenomenon of sexualized violence and its political implications, zoom in on trauma and resilience and the transformative possibilities of its artistic progression.

    Their methodology ranges from autoethnographic means to a broad research into various disciplines as for example feminist and queer theory, postcolonial studies, psychological anthropology and political philosophy. Their studio work includes theatre and dance improvisation, creative writing, painting and performance art. 

    The documentation contains a portfolio of their research within the years 2019 - 2021 including video links and photos. The performance "hear me to feel me" and the video piece "on the deep surface I swim like a fish cathing the mirror of the stars" are their degree projects.

    Download (pdf)
    Portfolio
    Download (mp4)
    film
  • 54.
    Kierkegaard, Elvira
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Vilka förutsättningar främjar samskapande scenkonst?: Ett undersökande i praktik inom ramen för det självständiga arbetet på institutionen för scenkonst, Stockholms Konstnärliga Högskola2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 hpOppgave
  • 55.
    Lilliestierna, Alvin
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    ROM COM - en romantisk komedi2022Independent thesis Basic level (degree of Bachelor), 15 poäng / 22,5 hpOppgave
  • 56.
    Lindström, Maja
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Platsen på golvet där ljuset faller in genom fönstret: att arbeta fram en föreställning som inte repeteras2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
  • 57.
    Lundström, Göran
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Gjutning av lösa delar2008Bok (Annet vitenskapelig)
  • 58.
    Mag, Eszter
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Taming Amorphalia: An interactive documentation about the development of ProjectMorpheo through fiction2023Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    Taming is an experiment and a written assignment about the development of ProjectMorpheo, which was my degree project at Stockholm University of the Arts.

    ProjectMorpheo is a participatory experience designed to explore the fragile connections between the content of our dreams and the physical materials that surround us. To give a chance for contemplation the project uses meditation and an experimental form of a contemporary puppetry technique: material animation.

    Taming Amorphalia is a fictional documentation of the intrapersonal happenings, the experiments and experiences that influenced me during the development of ProjectMorpheo. The aim is to introduce the intuitive process behind the project through the form of a text based RPG. 

  • 59.
    Marklund, Yenny
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    FESTFOLK: en devisad arbetsmetod2022Independent thesis Basic level (Higher Education Diploma (Fine Arts)), 15 poäng / 22,5 hpOppgave
    Abstract [en]

    Devising, creating a universe from scratch viewed from the eyes of the makeup and wigdesigner.

  • 60.
    Maza Garcia, Joseph Luis
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Hur kan flerspråkighet användas dramaturgiskt inom etablerade musikaler för att nå ut till nya publik grupper?2022Independent thesis Advanced level (degree of Master of Fine Arts (One Year)), 10 poäng / 15 hpOppgave
    Abstract [en]

     This master thesis researches the possibility for the established musicals to reach via translanguaging to new audiences of underrepresented language groups. The essay focuses on the musical In the Heights and the Spanglish fenomenon. The tools given can be used as a tool for any cultural and group including activities. There are suggestions on how to handle the dramaturgy and how to elaborate the scripts without using translations and text machines on stage. It also reflects on what hurdles and difficulties you might find during the process. It touches the subject of cultural appropriation, stereotypes and how to avoid and deal with these matters in a respectful way.

    Fulltekst (pdf)
    fulltext
  • 61.
    Mirstam, Thomas
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    En bok om mestadels blått2016 (oppl. 1)Bok (Annet vitenskapelig)
    Abstract [sv]

    Hur skulle vi tala om färger­na om inte den stora pesten brutit ut i London 1665?

    Om inte en hemförlovad ung student gjort den avgörande observationen att färg är ljusets primära egenskap - vad skulle filosofer, diktare och må­lare då strida om? Eller enas kring? Den här boken är en hyllning till Isaac Newton.

  • 62.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Aesthetic and performative considerations of Christina Milian's Music Video Dip it Low2007Inngår i: Essays on Sound and Vision / [ed] Stan Hawkins, John Richardson, Helsinki: Helsinki University Press, 2007, s. 327-360Kapittel i bok, del av antologi (Fagfellevurdert)
    Fulltekst (pdf)
    fulltekst
  • 63.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    An imminent danger of collapse2018Inngår i: Innside/utside. Verk Produksjoner / [ed] Ingrid Eggen, Anette Therese Pettersen, Runa Borch Skolseg, Oslo: Uten Tittel , 2018, 1, s. 3-11Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [no]

    Boka ser på tekstens og dramaturgens rolle i teaterkompaniet Verk.

    Fulltekst (pdf)
    fulltext
  • 64.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Artaud's Double - Criitical remarks upon Jacques Derrida's "The theatre of cruelty and the closure of representation"2007Inngår i: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 18, nr 1, s. 9-16Artikkel i tidsskrift (Fagfellevurdert)
    Fulltekst (pdf)
    fulltekst
  • 65.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Artaud´s Double - Critical remarks upon Jacques Derrida's "The theatre of cruelty and the closure of representation"2007Annet (Fagfellevurdert)
    Abstract [en]

    The essay traces two separate lines of argumentation in Artaud's The Tneater and its Double: one concerning the establishment of theatre as a modern art form, the other a metaphysically motivated critique of rationality. The first of these lines is read as adaptable to Clement Greenberg's scenario of modernist painting; the other is read as a forerunner to Jacques Derrida's project of deconstruction. The focal point of the discus­sion is Derrida's essay "The theatre of cruelty and the closure of representation". Tracing Derrida's reading the essay shows how his conclusions on Artaud's project are based upon an identification of technical and philosophical arguments: his written efforts to establish theatre as a modern art form are cited in support of the anti-rational project that he wanted to canalize through the theatre aad vice versa. This identification of discourses leads Derrida to discard the theatre of cruelty as logically impossible, despite providing aa essential contribution to understanding Artaud's concept of the Double. The essay then suggests a modified reading in which Artaud 's two discourses are read as independent of aad irreducible to each other, still taking Derrida's understanding of the Double into account. The essay argues that once such a separation is made, the theatre of cruelty may be read as a relation of original difference, aad thus logically possible.

    Fulltekst (pdf)
    fulltekst
  • 66.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Curating Time-Based Art in Oslo2017Inngår i: International journal of aesthetics and philosophy of culture, ISSN 2501-9929, Vol. 2, nr 2, s. 55-60Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article reflects some experiences of being a curator of live art in a black box theatre,like the Black Box Teater in Oslo. It touches upon the question of curating as such andhow it influences the notion of what theatre is when it is applied to such a context. Therelational aspect of theatre is being examined, using references to Michael Fried andAntonin Artaud.

    Fulltekst (pdf)
    fulltext
  • 67.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    How I learned a poem by heart2019Inngår i: TIme has fallen asleep in the afternoon sunshine: A book on reading,  writing, memory and forgetting in a library of living books / [ed] Mette Edvardsen, Milano: Oslobiennalen , 2019, 1, s. 93-111Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    a book on reading, writing, memory and forgetting in a library of living books 

    Fulltekst (pdf)
    fulltext
  • 68.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    In search of a ritual state2016Inngår i: State State State / [ed] Ingri Fiksdal, Jonas Corell Petersen, Oslo: Jonas Corell Petersen , 2016, 1, s. 39-42Kapittel i bok, del av antologi (Annet vitenskapelig)
    Fulltekst (pdf)
    fulltext
  • 69.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Og så kommer refrenget2016Bok (Annet (populærvitenskap, debatt, mm))
    Fulltekst (pdf)
    fulltekst
  • 70.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst. jon refsdal moe.
    Rant 12017 (oppl. 1)Bok (Annet (populærvitenskap, debatt, mm))
    Abstract [no]

    Rant 1 er litt som Jon Refsdal Moe selv: Den ligner ikke på så mye annet. Boka er sylskarp kulturkritikk, like mye som den er en helstøpt roman. Med en fuck alt-holdning og et kalibrert blikk, skal det meste av omverdenen få gjennomgå i denne forrykende ranten, enten det er «avokado på rug» eller fennikelsorbet på Sentralen, Espresso House eller Joe & The Juice, Generasjon X eller «Livet!» og «Litteraturen!» selv. Jon Refsdal Moe (f. 1974) er for mange kjent som kritiker, tidligere teatersjef på Black Box teater, ph.d i teatervitenskap eller dekan ved Teaterhøgskolen. Dette er hans første bok.

  • 71.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Rant 22019 (oppl. 1)Bok (Annet (populærvitenskap, debatt, mm))
    Abstract [no]

    Jeg har vært i parken og spist blåbærmuffins og rota bort noen timer, og nå sitter jeg og tenker at jeg kanskje kan erfare våren sterkere om jeg selv ikke tar del i den, at sola svir pigmentene i huden sterkere om jeg sitter inne på et støvete kontor og gjør den om til tekst. Men hva er det for en rasjonalisering, egentlig? Den beste måten å erfare våren på er å gidde å gå ut av døra, ut i lufta og ikke sitte inne i mørket og se ut på den, men her sitter jeg likevel, bak en møkkete glassrute, for hva skal jeg ellers gjøre, hvor mange blåbærmuffins skal jeg spise? Hvor mange pappkrus skal jeg skvise inn i den allerede overfylte søppelkassa oppe i parken? Hvor mange tjukke småbarn skal jeg smile til, der de vagger rundt i de møkkete restene av snøfonner, med bollekinn og kjeledress og skinnluer og foreldre som er langt yngre enn meg på benkene, med smale buksebein i kryss og blikket vendt mot telefonen. Jeg ligger her på gulvet med en pute under brystet, og planen var reise innover, men jeg slipper ikke inn, og jeg vet ikke engang hvorfor jeg skal reise, eller hvor jeg er på vei. Jeg har alltid lett etter en vei ut eller en vei inn eller en vei hjem, vekk fra der jeg alltid er, men jeg vet ikke om det finnes noe vekk, jeg vet ikke om det finnes noe utenfor, jeg vet ikke om det finnes noe hjem og jeg tviler også på at det finnes et univers der inne.

  • 72.
    Norlin, Ylva
    Stockholms konstnärliga högskola, Institutionen för scenkonst. Kulturhuset Stadsteatern.
    Lycko-Ken: om materialvalen i scenografin2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 poäng / 22,5 hpOppgave
    Abstract [sv]

    A text about how symbolics of materials can slide between different worlds

  • 73.
    Nurmi, Ann-Sofie
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    ”Finding a greater presence”: What tasks can I use and how can I implement them, to create and enhance "presence" in actors working in text-based theatre, during rehearsals and workshops?2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    I have during my master been looking into finding a “greater presence” in a text based theatre rehearsal and workshop context. I have tried to look at things how they appear in front of me. A dilemma is, that when I afterwards try and look at presence, it has already gone. Therefore I used different tasks that can be recreated in order to try and catch presence again.

    When exploring presence in a rehearsal and workshop context, I found a few clues how to find “presence” and doing tasks in order to find a “greater presence”. These are all helpful for us actors in order to make the rehearsal and workshop space more creative. Could also be helpful in teaching acting.

    I did this research because in teaching acting, I believe that presence is a major component and it is important to find ways to teach it. This essay will give some clues to how one can do this..

    Fulltekst (pdf)
    master essay 2023
  • 74.
    Persson, Ann-Christine
    Stockholms konstnärliga högskola, Institutionen för scenkonst. Nord Universitetet, Senter for praktisk kunnskap, Fakultet for lærerutdanning og kunst- og kulturfag.
    Konsten, staten och kapitalet: En analys av den konstnärliga högskolans sociala fält2021Independent thesis Advanced level (degree of Master (Two Years)), 40 poäng / 60 hpOppgave
    Abstract [sv]

    Denna masteravhandling är en undersökning av min professionsidentitet som administratör vid en konstnärlig högskola, där jag utforskar vilka handlingsutrymmen som finns för mina erfarenheter och mitt omdöme som statlig tjänsteman. Mitt syfte är att undersöka vad som formar och styr medarbetares roller och positioner på en konstnärlig högskola, både för de som verkar inom verksamhetsstödet och de som verkar inom kärnverksamheten. Hur uppfattar de sin egen och andras professionsidentitet och uppdrag? Finns det andra faktorer, än yrkeskategori, som påverkar medarbetarnas omdöme och handling och vad kan det i så fall utgöras av? Finns det sociala strukturer på såväl makroplan som inom individuella professionsidentiteter som påverkar den enskildes uppfattning av lojalitet och plikt inom sitt statliga uppdrag på en konstnärlig högskola? Vilka möjligheter och handlingsutrymmen har den enskilde medarbetaren att tillföra sina egna erfarenheter och omdömen?  

    I min masteravhandling framgår att en diskrepans kan uppstå mellan uppdraget och de egna föreställningarna om yrkesidentiteten. Det är faktorer som kan upplevas som en outtalad maktkamp, ett spänningsfält, mellan framför allt den konstnärliga kärnverksamheten och det förvaltande verksamhetsstödet. De teoretiker jag använder mig av i analysen är framförallt Hannah Arendt och Pierre Bourdieu. I min analys lyfter jag fram vikten av att utrymme ges för den kritiska reflektionen i den enskilda medarbetarens yrkesutövning.

    Fulltekst (pdf)
    Konsten, staten och kapitalet
  • 75.
    Presencer, Alice
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    The Expressions of A Familiar Vessel: Investigating the emotive potential of voice and dance through developing tools of non-linguistic affective expression within my performance practice.2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    ‘The Expression of a Familiar Vessel’ is an investigation into the affective potential of emotional expression. Through the interdisciplinary composition of voice and dance, I am going on a journey through many expressions of varied affective states. By playing with the vastly contrasted physical qualities of voice and dance, there is the opportunity to inspect the latent qualities of emotive meaning within performance.

    The conceptual framework of Affect theory offered valuable insights into experience, emotion, and expression. The value systems of affective discourse favour the varied spheres of experience by rejecting linguistics and challenging the traditional academic convention by enforcing that language is not our primary way of understanding the world.

    I utilised and elaborated upon Tomkins’ list of categorical affective expressions in my performative works, using them as a performance score and building upon them. Therefore, this text is a behind-the-scenes insight into the creation of an affective toolkit of expression and the corresponding performance work that utilises those tools.

    Writing about the non-linguistic enactment of emotion is somewhat contradictory, yet it reinforces the notion of porousness whereby the alternate rationalities of feeling, creating, writing and performing merge through the body’s approach and experience. Still, bodily experience and expression is paramount, and will never be fully captured through text. 

    Fulltekst (pdf)
    fulltext
  • 76.
    Rosanne, Berjawi
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    I jakten på skönhet fann jag avgrunden: Regissörens arbete genom blod, svett & tårar2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 poäng / 22,5 hpOppgave
  • 77.
    Rydén, Simon
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Navigating Noise: randomness, chaos, and cross-pollination in interdisciplinary performance2023Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    This project explored how different art practices from different fields cross-pollinate in the process of making interdisciplinary art. I want to trace how the process of exploration and thinking in different mediums create a dynamic interchange of ideas that leads to the development of new ways of relating to practices. I used different approaches and techniques, from somatic practices to experimenting with digital tools, to understand how different practices interact with and inform each other. The process becomes an intricate system of similarities and feedback loops, where one can reflect and interpret in many different mediums. Referenced documentation can be found in Research Catalogue.

    https://www.researchcatalogue.net/view/2145583/2183542 

    Fulltekst (pdf)
    fulltext
  • 78.
    Sander, PeO
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Ledarskapsmodeller för konstnärligt arbete i produktion2019Bok (Annet vitenskapelig)
    Abstract [sv]

    Det övergripande syftet med arbetet är att undersöka om ett antal modeller medutgångspunkt i projektforskning, men anpassade till scenkonstområdet, är funktionella för att beskriva och utveckla ledarskap inom scenkonstområdet. Arbetet undersöker om dessa modeller eventuellt behöver specifika anpassningarför att kunna tillämpas i ett konstnärligt arbete. Det utforskas även om modellerna behöver utvecklas för att ge en god kommunikation om ledarskap. För att undersöka modellernas användbarhet genomfördes intervjuer med fyra teaterregissörer om deras ledarskap, hur gör de när de leder, i produktion. Materialet analyserades genom att intervjuerna sammanställdes, först ur ett allmänt perspektiv och därefter utifrån en tidsaxel som bygger på en modell för fasindelning av en scenkonstproduktion. Fasindelningen beskriver en produktions faser från start till slut. Resultatet beskriver hur de intervjuade regissörerna tänker kring sitt ledarskap i produktionsarbetet. Det visar också att för att kunna samtala om ledarskap i enproduktion är det nödvändigt att koppla ledarskapet till en specifik fas i produktionens genomförande. De intervjuade regissörerna ger liknande beskrivningar av sin erfarenhet av ledarskap och hur de leder i produktion. Resultatet visar att de modeller som användes i samtalen om ledarskapet är välfungerande för att beskriva och diskutera ledarskap i produktion. Ett par modeller behöver dock utvecklas för att uppnå en ökad funktionalitet. Analysen av intervjuerna visar att det saknades en modell för att grundläggande diskutera värderingar kring sitt eget ledarskap i produktion.

    Fulltekst (pdf)
    Ledarskapsmodeller för konstnärligt arbete i produktion
  • 79.
    Sander, PeO
    Stockholms konstnärliga högskola, Institutionen för scenkonst. Dramatiska institutet.
    Vem ska vara högsta chef i en scenkonstorganisation?2009Bok (Annet vitenskapelig)
    Abstract [sv]

    När jag 2001 fick möjlighet att genom ett konstnärligt utvecklingsprojekt på Dramatiska institutet se närmare på frågan vem ska vara högsta chef på en scenkonstorganisation var jag fast i ett tänkande som utgick från att högsta chefen är antingen en konstnär eller en administratör. Det var då den viktigaste diskussionen för mig. Efter ett tags arbete utifrån frågeställningen valde jag att vända på begreppen, att svara på min egen fråga. Vad jag kom fram till var att den som ska leda en scenkonstorganisation  är den som är bäst lämpad. Inte utifrån yrkestillhörighet utan utifrån kompetens  att driva en organisation efter de visioner som organisationen har.  Utgångspunkten i mitt arbete förändrades till att undersöka några av de faktorer t.ex.  en styrelse eller rekryteringsgrupp behöver ta hänsyn till när en ny chef ska tillsättas.  Vilket ansvar har en chef för visioner, organisation och planering i en verksamhet? Hur  kan en vision, en organisation beskrivas och finns det andra sätt än att vara en ensam  chef? Kan chefer med olika kompetenser dra nytta av varandra?  Diskussionen om vem som ska vara högsta chefen på en scenkonstorganisation och  vad denna person ska ha för kompetens kommer alltid att föras och det kommer alltid att  finnas olika åsikter. Den här texten är inte ett heltäckande arbete där alla aspekter inom  området belyses. Det är en text som är ett resultat av mina tankar, mitt sätt att försöka  hitta vägar till att samtala om vem som ska vara högsta chefen. Eller ska det vara två? 

     

    Frågeställningar

    I den här texten tar jag upp:

    Vad har högsta chefen ansvar för?

    • Inom vilka kompetensområden ska högsta chefen på en scenkonstorganisation verka? När en ny högsta chef ska anställas, vad finns det då för olika kompetensområden att ta ställning till? Vilka områden ansvarar chefen för?

    • Hur kan man beskriva, kommunicera om, scenkonstorganisationens visioner, mål, organisation, planering och ekonomi? Den värld som högste chefen leder och ansvarar för utvecklingen av. Det behövs ett gemensamt språk.

    Kan högsta chefen dela sitt chef- och ledarskap?

    • Finns det något annat sätt att vara chef på än det traditionella, en på toppen. Delat chef- och ledarskap? Delat ansvar mellan konst och ekonomi?

    Fulltekst (pdf)
    fulltext
  • 80.
    Sandström Lehto, Johanna
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Skräckteater för barn och unga2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 poäng / 22,5 hpOppgave
    Abstract [en]

    "A reflection on the process of working with Lyktmannen a horror genre performance for a young audience at Stockholm university of the arts during the spring of 2022. The text discusses the responsibility towards a young audience while working with violent and difficult subjects from a theatre stage."

     

    Fulltekst (pdf)
    Skräckteater för barn och unga
  • 81.
    Stohne, Johan
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Hormone - setting in motion: röst och ljuddesign i samklang2022Independent thesis Basic level (Higher Education Diploma (Fine Arts)), 15 poäng / 22,5 hpOppgave
    Abstract [en]

    a study of how to incorporate the ensemble's voices into the sound design in a dance performance

  • 82.
    Strandmark, Lena
    Stockholms konstnärliga högskola, Institutionen för scenkonst. Dramatiska institutet.
    Modern teatermaskering2007Bok (Annet vitenskapelig)
  • 83.
    Susa, Anja
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Beograd sezdestih godina XX veka, collection of articles: Bitef i pubuna, article2020Inngår i: Beograd sezdesetih godina XX veka, E-ISSN 37273097, Vol. 1, nr 1, s. 172-185Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [sr]

    The article examines the golden period in Yugoslav culture during the 1960ies and the early years of Bitef (Belgrade International Theatre) Festival in relation to the very specific Yugoslav cultural politics which was skilfully balancing betwee the East and the West during the Cold War political fragmentisation of the world. Although a socialst country, Yugoslavia never belonged to either of the blocks and had a very progressive and liberal cultural policy which resulted in the creation of one of the oldest and during the 1960ies and 1970ies - most radical festivals in the world - the Bitef Festival which played a very important role as the meeting point between eastern and western theatre artists untill the fall of Berlin Wall.

  • 84.
    Susa, Anja
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Methamophosen: Feminismus nach #MeToo in Ost und West: Maja und Ich und Maja2022Inngår i: "Methamophosen: Feminismus nach #MeToo in Ost und West" / [ed] Kateryna Stesevych, Kateryna Mischenko, Berlin: Federal Agency for Civic Education , 2022, 1Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    The essay is focusing on the very popular series of chidren books "Martine" by Belgian authors Marcel Marlier and Gilbert Delahaye which was published for decades in most of the European countries.

    The Yugoslav version of the book was translated as "Maja" and it was extremely popular in the socialst Yugoslavia. The purpoese of the artical was to examine the impact of the book on the generations of Yugoslav girls born in the early 1970ies and their identification with the cpitalist model of an ideal self-sustainable childhood as presented in the books.

    The main question of the article is is "How does ideology transform a seemingly apolitical childhood?"

  • 85.
    Suša, Anja
    Stockholms konstnärliga högskola, Institutionen för scenkonst. University of the Arts Helsinki.
    Directing Communitas: Between Duty and ‘Duty Free Art’2022Inngår i: Looking for Direction: Rethinking Theatre Directing Practices and Pedagogies in the 21st Century / [ed] Anja Susa m.fl., Helsingfors: University of the Arts Helsinki , 2022, s. 244-265Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    This essay is motivated by my experience as a theatre director but also as a curator who has often workedin different cultural contexts addressing different culturalcodifications and norms and collective experiences, at thesame time trying to understand them whilst translating theminto performative strategies applicable and understandableto local communities of spectators.Starting from the idea that theatre, ephemeral as itis, always reconstitutes itself with every new encounter between the performers and spectators under seemingly similarand yet always not quite determinable circumstances (evenwhen the performance repeats itself over and over), I wouldlike to explore the ideas related to the flexibility of culturaltransitions between the performers on stage and those inthe audience, who together (re)create the complex notionof Communitas.I am inspired to explore what Jacques Rancierre definesas ‘dissensual community’ (Rancierre, Emancipated Spectator,p. 59) or the community which has a dual body that can be bestdescribed as the relationship between ‘apart’ and ‘together’which is also a paradoxical relation between the present andthe future, but also between art and the art-market.I will try to observe more closely the somewhat confusing role of a contemporary theatre director who is oftentorn apart between filling in the gaps in the process of commodification of artistic labour and being an agent of possibleemancipation within social and artistic paradigms.

    Fulltekst (pdf)
    DIRECTING COMMUNITAS Between Duty and ‘Duty Free Art’
  • 86.
    Suša, Anja
    Stockholms konstnärliga högskola, Institutionen för scenkonst. TKH.
    Ko će maglu i oblake umesiti u kolač; pozorišna avangarda 60-ih i novo pozorište u Srbiji: Ko će maglu i oblake umesiti u kolač; pozorišna avangarda 60-ih i novo pozorište u Srbiji /2004Inngår i: TKH, ISSN 1451-0707, Vol. 1, nr 8, s. 59-74Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [sr]

    The article examines the case of the groundbreaking Yugoslav production of Pupilija Ferkeverk in relation to Ygoslav socio-political landscape and a very unique cultural policy in the 1960ies and 1970ies.

  • 87.
    Suša, Anja
    Stockholms konstnärliga högskola, Institutionen för scenkonst. University of the Arts Helsinki.
    Lavaste, Saana ()
    University of the Arts Helsinki.
    Þorleifsdóttir, Una ()
    University of the Arts Helsinki.
    Looking for Direction: Rethinking Theatre Directing Practices and Pedagogies in the 21st Century2022Collection/Antologi (Fagfellevurdert)
    Abstract [en]

    Looking for direction verbalises lore and embodied knowledge about the art of directing and the art of teaching it. All of the 17 writers are directors, and in most cases, teachers of directing. We are looking for a new way of being/becoming a director, but we still believe that the traditions we carry have a lot to give for the future.The position of a director is a hot spot in theatre today. We need to confront the new questions of power and hierarchy in our work in a very concrete way, as well as the questions of representation and interpretation. How can we create shared meaning on stage when the meta narratives are losing their universality and the audiences interpret meaning more diversely than ever before? We invite you to play with this book, jump around, change it, add something, rewrite it and if you like throw it right back at us in a dialogue.

    Fulltekst (pdf)
    Looking for Direction
  • 88.
    Suša, Anja
    et al.
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Ćirilov, Jovan
    Kriza kapitala- umetnost krize: Kriza kapitala - umetnost krize, uvodni tekst za katalog festivala2009Inngår i: BITEF, ISSN 978-86-84329-16-7, Vol. 1, nr 43, s. 5-5Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    The text is an introductory text for the 43rd edition of the Bitef Festival in 2009.

    The text focuses on the selection for the main program of the festival, examining the effects of the 2008.political crisis on theatre as well as the artistic response to the crisis.

  • 89.
    Szyber, Bogdan
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Fauxthentication: Art Academia and Authorship (or the site-specifics of the Academic Artist)2020Bok (Fagfellevurdert)
    Abstract [en]

    Fauxthentication – Art, Academia, Authorship (or the site-specifics of the Academic Artist) investigates the means of production of the art that can be created within the boundaries of artistic research.

    It explores the factors that constitute its value system, who or what can produce these signs of value, and for what reasons.

    The project examines the conditions that expose the flaws of the increasingly standardised higher education industry, which artistic research today is a part of, through the use of institutional critique, critical interventions and site-specific case studies.

    In a series of performative stagings, Fauxthentication probes the pressures inherent to academic excellence, leading to the grey economy of the higher education industry, that supports and capitalizes on academic fraud, all performed by a global digital proletariat. 
Artistic research is habitually linked to an academised and thus bureaucratised art practice. This project draws critical attention to the risk of it creating its own branch of artistic research art, or ”edu-art”, as well as its own category of artistic research theory; thus prone to becoming self-referential and codified, coagulating into a new ‘ism’ for the initiated. ‘Edu-art-ism’ grapples with artistic quality assessment, systematically addressing solely the theoretical framing of the work.

    The Fauxthentication project acknowledges the complexity of the conditions of artistic research by proposing, through its series of explorative stagings, a challenging new way of viewing and hence transforming the very field that it is a part of.

    Fulltekst (pdf)
    Fauxthentication – Art, Academia & Authorship (or the site-specifics of the Academic Artist) – a graphic novel
    Download (pdf)
    Registreringsblad
    Download (mp4)
    An example of Edu-Art. Grounding with and by Yvette Hammond, David Österberg and CJ Scott
    Download (mp4)
    First domain of influence (upon the Academic Artist) – ACADEMIA. Key note at Reshaping work conference 2020 Academic fraud for Dummies
    Download (mp4)
    Second domain of influence (upon the Academic Artist) – ARTISTIC RESEARCH. The merchandising of artistic research art and ditto research theory
    Download (mp4)
    Third domain of influence (upon the Academic Artist) – THE MATERIALITY. A video documentation of MoAR – Museum of Artistic Research, The Baroque Hall, The Swedish History Museum
  • 90.
    Säther Mahfouf, Sophie
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Hjälpsamhet vs Stjälpsamhet (HELPFULNESS vs NON-HELPFULNESS): An exploration from text learning to performance on stage and for the screen, through the actor’s and director’s point of view.2023Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    This essay explores the perspective of helpfulness versus non-helpfulness from text learning to performance on stage and for the screen, through the actor’s and director’s point of view. It introduces my background and the background of why and how this title and terminology developed, it explores acting, its process, what it is and what one does. It explores and tries to dig into what directing is in theater and in film, and what the director does in various processes and in various formats. It then goes into a combination of the actor's and director's process and lays out a way through which that I have chosen to explore this and giving it a practical approach. It takes a look at the role of the rehearsal for stage and screen, looking at its benefits, its standard use in the industry, and presents exerciseses that were used to learn about when things are helpful and things are harmful. It then presents multiple projects used during these two years, rehearsals and productions of shortfilms and plays, with some stills included from the finished short films. It then presents a conclusion followed by a reference list.

    Download (pdf)
    attachment
  • 91.
    Vestin, Martha
    et al.
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Sneltved, Grete
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    The face and the mask of the actor: Methodica 2003 in cooperation with European Association for Theatre Culture2004Bok (Annet vitenskapelig)
  • 92.
    von Hofsten, Eva
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Respons-Ability: A post-neurotypical approach to audience-performer connectivity within Sensory Theatre2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    This is an empirical study of myself as a present, and non-present, performer with the aim to study in what ways can the connectivity and communication start, evolve and progress within sensory theatre performance for disabled and diverse young audiences. I have examined the areas of performative; space, play, awe, curiosity, anticipation, action, listening and responding. The opportunity of finding my own methodology has included stepping out of my role to embrace failure and disorder, which has been very stimulating and exciting. The challenges have been many but some of them were concerned with how to analyze and evaluate human connection, when the experience is a felt experience, from my perspective as an actor/performer, and not an intellectual proposition. In the results I present a methodological model of performative connection which consists of steps that can loop in different intervals and are correlated and dependent on the others. The conclusion states that the core is found in the one-to-one encounters and the deep human connection between performer and audience participant. The underlining aim of my project and this essay is a theatre practice where all humans are welcomed and celebrated, which promotes a more accepting and inclusive society that embraces disability and challenges traditional conceptions of what theatre should be.

    Fulltekst (pdf)
    fulltext
  • 93.
    Vovalis, Thanos
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Masken i Skandinavisk scenkonst 1960-2010: förslag till maskutställning Kulturhuset Stockholm2010Bok (Annet vitenskapelig)
  • 94.
    Wickholm Thuresson, Emil
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Video/bildmedia, en del av scenografin2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 poäng / 22,5 hpOppgave
  • 95.
    Moe, Jon Refsdal (, )
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Findlay, Iver (, )
    Sandsmark, Marit (, )
    Kerebel, Jean Vincent ()
    Dawson, Jim ()
    Warren, Peter ()
    Heggelund, Victoria ()
    Bratten, André ()
    Every Night in My Dreams: Early Cameroon2021Kunstnerisk output (Granskad)
  • 96.
    Pettersson Thafvelin, Gunilla ()
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Hair, materiality and immanence2022Kunstnerisk output (Granskad)
    Abstract [en]

    A research on materiality and human hair as material. Can a material on itself create narratives and if so, because of its immanent qualities? What constitutes that presumed immanence?

  • 97.
    Lamberg, Linn Hilda (, )
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Sjögren, Eric (, )
    IT TAKES A VILLAGE2021Kunstnerisk output (Ogranskad)
    Abstract [en]

    IT TAKES A VILLAGE was made by Linn Hilda Lamberg and Eric Sjögren for Accelerator as contribution to the group exhibition The Experimental Field, an exhibition on the relationship between the urban and the rural. In the exhibition hall a temporary community center was installed where a utopian Community Council was summoned. The members of the Community Council did not qualify through conventional aspects, such as land ownership or economical influence, but by the hard earned volume of their life experiences.

    The council offered their shared life experience to anyone in need of it. In order to meet the council the visitors applied by submitting a personal concern. One by one, visitors were then called to attend the summit, where the council listened to their worries and if they found it suitable offered advice. All concerns were handled confidentially, no recordings were made and all notes were distroyed. 

    Concept: Linn Hilda Lamberg, Eric Sjögren. Film: Tomas Rajnai, Gustav Ågerstrand. Producer: Sofia Jonsson. Assistant director: Anton Österlund Performers: Annchristine Björk, Adam Blomqvist, Angelina Hammarlund, Nadia Hussein, Sofia Jonsson, Abdul Kahlaf, Yvonne Sjögren, Kim Skjoldager-Nielsen, Stephanie Stjärnlöv, and Anton Österlund.  

    It Takes a Village is a collaboration between O, The non existent Center and Accelerator. 

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    IT TAKES A VILLAGE Still Image 1
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    IT TAKES A VILLAGE Still Image 2
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    IT TAKES A VILLAGE Still Image 3
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    IT TAKES A VILLAGE Still Image 4
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    IT TAKES A VILLAGE Still Image 5
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    IT TAKES A VILLAGE Still Image 6
    Download (pdf)
    INFORMATION 1
    Download (pdf)
    INFORMATION 2
    Download (pdf)
    APPLICATION FORM
    Download (pdf)
    SCORE AGENDA
  • 98.
    Hellwig, Hilda (, )
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Kina2017Kunstnerisk output (Granskad)
    Fulltekst (pdf)
    Artikel
    Fulltekst (pdf)
    Manus
    Download (mp4)
    Kina - film
  • 99.
    Moe, Jon Refsdal (, )
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Findlay, Iver ()
    FIndlay//Sandsmark.
    Sandsmark, Marit (, )
    Kerebel, Jean VIncent ()
    Brokaw, Chris (, )
    Erga, Nils (, )
    Warren, Peter (, )
    Pettersen, Pål Asle (, )
    Heggelund, Victoria ()
    Lowlands (FL)2019Kunstnerisk output (Granskad)
  • 100.
    Moe, Jon Refsdal (, )
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Marstrand vol 22010Kunstnerisk output (Granskad)
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