Sökning: "Theatre Studies"
Visar resultat 16 - 20 av 125 avhandlingar innehållade orden Theatre Studies.
16. Over the Threshold, Into the World : Experiences of Transcendence in the Context of Staged Events
Sammanfattning : The aim of the thesis is to develop an apparatus of theory and method for performance analysis, the purpose of which is to analyse potentials for experiences of transcendence. These experiences are contextualised in terms of the metaphysical, the religious, and the spiritual. LÄS MER
17. Playing Activists and Dancing Anarchists : Men and Masculinities in Cultural Performances in Contemporary Sweden
Sammanfattning : Playing Activists and Dancing Anarchists is a Ph.D. dissertation that aims to analyse men and masculinities in political demonstrations and similar manifestations by conceptualising and analytically approaching such cultural performances as theatrical events. LÄS MER
18. Rättens iscensättning : rum, framträdanden, gränser
Sammanfattning : This dissertation studies legal practice and representation from the perspective of Theatre- and Performance Studies. It aims to describe and analyse the theatrical, ritualistic and spatial aspects of law, its practices, representations and buildings. More specifically, the dissertation explores the trial as a performance. LÄS MER
19. Myt, makt och möte : Om ett genuskulturellt rotsystem betraktat genom en skådespelarutbildning
Sammanfattning : This dissertation concerns a certain experienced (sub)reality, a reality which emerged from something “in between”, from a confluence of factors - the project Gender on Stage, a particular actor education programme and myself in the role of observer. The project Gender on Stage started as an interdisciplinary study between the National Academy of Mime and Acting in Stockholm and the Department of Theatre Studies and the Department of Nordic Languages at Stockholm University. LÄS MER
20. Känsla för skådespelarkonst : mot en förståelse av tysta kunskaper och görandets fenomenologi
Sammanfattning : The primary argument in this thesis is that the common assumption that an actor has emotion inside him- or herself which can be evoked and projected outwards is an outdated misconception. A proposition is made to replace this possessive acting model, which underpins the realist tradition and is based on the popularized aspects of Stanislavsky’s system for actor training, by a situational acting model. LÄS MER