This essay analyzes the production process in connection with the original play Utopia 2012, which premiered at Backa Theatre, Gothenburg, Sweden on 27 October 2012.The aim of the essay is to seek a deeper understanding of this particular production process. No universal process plan was employed when creating Utopia 2012. Therefore, taking into account artistic, technical and administrative aspects of the work, a chronological process map has also been constructed in connection with this essay, in order to clarify each step of the theatrical working process.The theoretical approach is hermeneutic, and the material is based on interviews with key individuals with different professions and functions within the working process in order to gain multifaceted perspectives and results. The interviews took place at Backa Theatre with the exception of those held by telephone with the project?s two producers, both of whom by that time no longer worked at Backa Theatre.The findings of the essay mostly indicate that, with the significant exception of director Mattias Andersson?s artistic vision, no fixed process map nor explicitly articulated common goals were employed in this particular theatre production.

This master?s thesis concerns the performance of professional children?s theatre in public libraries. With qualitative interviews I have looked into how four children?s librarians and two theatre consultants appreciate professional children?s theatre, and furthermore I have looked into their view on the importance of theatre for children. My intentions have also been to investigate their views on the function and status of children?s theatre in public libraries and also the relationship between library and theatre activities for children.

This master?s thesis discusses the term physical theatre from a discourse point of view. It also focuses on aspects of power from a field theory perspective. The main theory used is Pierre Bourdieu?s field theory, and I try to apply this onto critical discourse analysis, mainly taken from Michel Foucault.

This paper is a qualitative study of the pedagogical conditions and the knowledge necessary for the creation and development of an education regarding leadership in the field of amateur theatre.The purpose of the study has been for participants to reflect and create knowledge about the creation and implementation of a course for leaders of amateur theatre.Questions raised in the study concern the students? previous experience of drama, theatre and leadership; their desire to become leaders of theatre; their own view of their need for knowledge for their future leadership; their understanding of the contents of the education and the theoretical perspectives upon which a course in theatre leadership can build. Finally, the participants? perceptions of difficulties and possibilities of working as theatre leaders were investigated.All 13 participants have answered a questionnaire regarding their previous experience of drama, theatre and leadership and also about why they want to become theatre leaders. The participants have also taken part in four focus conversations regarding what they think they learned, how they value the knowledge they gained and what knowledge they feel will be needed in a future leadership.The data has been analyzed hermeneutically to find patterns in the participants? perceptions of their learning.

Our theatre tradition has a long history where men have written most of the plays. If we want that the theatre should be a place, which should be built as much around womens experience as mens experiences, how can we relate to the canon? This is a study based on questions around our theatre tradition. Three women dramatists have been asked questions like: What do you think about the classics? About the women roles? Do the classics inspire you, in your writing? Is there a difference in being a female dramatist than being a male dramatist? Femi-nist theatre- theories have been used to guide us through the canon.

This master?s thesis deals with the issue of children?s theatre at the public library. I want to examine what purpose children?s theatre play for the children according to the children?s librarians, what different factors that may influence the purchase of plays to the public library and what the children?s librarians think of the children?s theatre at the public library at present and in the future. Interviews have been conducted with four children?s librarians, at different libraries, who are somehow involved in the purchase of children?s plays to the library.

This master?s thesis discusses the term physical theatre from a discourse point of view. It also focuses on aspects of power from a field theory perspective. The main theory used is Pierre Bourdieu?s field theory, and I try to apply this onto critical discourse analysis, mainly taken from Michel Foucault.

ABSTRACTIntroduction: Postoperative wound infection is the third most common nosocomial infection in Sweden. The ever-growing problem of antibiotic resistance provides surgical departments a big challenge when it comes to preventing the spread of infection. Operating theatre nurses have a vital role in the prevention of infection. In addition, correct ventilation in the operating theatre is of great importance. The caregiver is responsible for quality assurance of ventilation in the operating theatre, but the work can be delegated to other staff within the department.

AbstractMaterial collected or created through observations, discussions and interviews with a group of students studying theatre in the fist year of upper secondary school formed the base for this paper. The students that took part in the observations showed a variety of motivations for the studies in theatre, but the major aim was to obtain qualifications for further studies at university. Special focus was put on a student with dyslexia attending the course in theatre from the perspective to strengthen general learning abilities. The training and teaching in acting skills as performed in the theatre studio provided the arena for the observations. The aim was to investigate if an interactive process as defined by Lev Vygotskij and the acting method created by Constantin Stanislavski would create social and artistic development among the students in the study.

Muscial theatre for children ? the function of the music in theatrical storytelling for children in Regionteatern Blekinge-Kronoberg. Sweden, Växjö, 2006.The aim of this essay is to examine music in theatre for children. There is not much recent research about the subject so this essay is a way to discern this part of the theatre and to get more people interested in the matter. The survey will focus on how music is used in an institutional theatre (Regionteatern Blekinge-Kronoberg) that works with plays for children.

The form of my essay is that all human communication, can be seen as a practical knowledge, witch can be trained. I describe how I came in to a pedagogic activity, which is aimed to train people?s communicative ability in their working life and in school. This is made in the form of lectures, seminars and training program. In this essay, I even describe my personally background and what it was, that made me work with people outside the theatre.

This essay describes how theatre can be a tool in social work. The essay evaluates the Swed-ish KRAFT-project, a course for unemployed people with the goal to make them grow as in-dividuals by using drama exercises and performing a theatre play in front of an audience. The essay is a quantitative secondary study of the questionnaire used in the KRAFT-project. Through analysing the questionnaire the participants answered this essay tries to explain the results from a social psychological perspective. The essay also discusses how the participants? self-concept and self-esteem could have been affected by the KRAFT-project.

Abstract In the following text we analyse different perspectives in a meeting between a theatre and a visiting school class from grade six in the Swedish Primary School, in order to investigate the conditions for children?s participation and for making children?s own voices heard in professional theatres. Though it is common for Swedish theatre artists to try to understand and interpret children?s perspectives, it is rare for children to be given the opportunity to show their own perspectives in professional theatres in Sweden (Davet 2011 p. 18).

Abstract Project as a method was defined in the American defense industry in the 1950´s and has since then developed to encompass many different areas such as industrial management, administration, research and development and IT etc. In the cultural sector project is a common way of organizing work and within theatre, which is the focus of this study, one can claim that project as a form of work has been used for hundreds of years, if not by definition.Theatre is generally assumed to be an form of art representing creativity and innovation, highly demanding from an individual perspective relative to the project result, i.e. the final performance. Time pressure, fierce competition, limited resources and responsibility to deliver on time with high quality are natural conditions given.The aim of the study is to find out what circumstances and conditions affect and have a clear impact on motivation and creativity in those working professionally within theatre.This study is based upon qualitative interviews with a limited number of employees with different occupations, within a major publicly-funded Swedish theatre institution.Contemporary research indicates both intrinsic and extrinsic motivation as essential for how we experience and commit ourselves to our work, either as two separate forces but also as they interact.Extensive studies further state our individual experience from work, the conditions provided by the organization and social environment as crucial to our work performance. A positive experience from these factors enhance our motivation and creativity.The results of this study show theatre to be an activity supported by strong visions and clear goals where challenge and creativity are essential and where it´s members show strong commitment to the task whether they are beside or on the stage..

The following essay is a study of the theatre-play Min Arm, a translation and performance by Per Lasson for Fria Teatern in Stockholm 2009-2010. Actor, director and playwright Tim Crouch wrote the original script My Arm in English in 2003.With basis in intermedial theory, as defined by Jörgen Bruhn, as well as Hans-Thies Lehmann?s theory on post-dramatic theatre this study investigates the meaning-building processes in Min Arm as a theatrical performance. Concepts of the difference between stage play and performance text are borrowed from and inspired mainly by Eli Rozik?s Generating Theatre Meaning.