The thesis examines ?intermediality? in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ?reality?. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film.

We read different kind of texts every day. We can for example choose to read a book or to watch a film. While we read we can receive and interpret texts. That?s means, for example, that we can have different envisionments about the drama and the film based on it. Based on Langer?s reception theory about ?envisionments?, I?ve wanted to examine and clarify the differences and similarities of envisionments between two texts.

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 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 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.

Japanese horror film has since the late 1990: ies been extremely successful. The success could probably, at least partly, be due to the Japanese narrative style (which in my own opinion is quite suitable and effective in horror films). In what way does the Japanese narrative tradition work in matter of expression? My results point towards a narrative discrepancy between J-horror and American horror film, possibly due to the Japanese narrative tradition ? a narrative tradition under the influence of various forms of ancient Japanese theatre and general Japanese culture..

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.

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.

I den här uppsatsen redogör jag för mitt arbete som C-foto på långfilmen Äta, Sova, Dö där jag jobbade i två månader under våren 2011. Man får följa min väg från förberedelserna jag gjorde inför filmen och mina tidigare erfarenheter i området, till hur det gick för mig på inspelningen. Jag beskriver även min undersökning av idéarbete och produktionsprocesser inom långfilmen ur mitt perspektiv. Jag visar två olika sätt man kan arbeta med idéarbete på film utifrån intervjuerna jag gjorde med regissören Gabriela Pichler för Äta, sova, dö och filmregissören Johan Lundborg på hans film Isolerad. Skildringar gör jag också via intervjuerna jag hade med produktionsbolaget AFOS och teaterregissören Kent R Andersson mot hur idéarbete fungerar under reklamproduktioner och teater.

I den här uppsatsen redogör jag för mitt arbete som C-foto på långfilmen Äta, Sova, Dö där jag jobbade i två månader under våren 2011. Man får följa min väg från förberedelserna jag gjorde inför filmen och mina tidigare erfarenheter i området, till hur det gick för mig på inspelningen. Jag beskriver även min undersökning av idéarbete och produktionsprocesser inom långfilmen ur mitt perspektiv. Jag visar två olika sätt man kan arbeta med idéarbete på film utifrån intervjuerna jag gjorde med regissören Gabriela Pichler för Äta, sova, dö och filmregissören Johan Lundborg på hans film Isolerad. Skildringar gör jag också via intervjuerna jag hade med produktionsbolaget AFOS och teaterregissören Kent R Andersson mot hur idéarbete fungerar under reklamproduktioner och teater. För att lättare visa hur arbetet i de olika produktionerna kan se ut har jag sammanställt produktionsprocesser för varje produktion steg för steg från idé till färdig produkt..