My purpose with this thesis has been to find out how to choreograph a fight sequence in ananimated movie. With the help of professional stuntmen and dancers, I have tried to findmethods and techniques used on stage and in live-action film and apply those to animatedfilms. To successfully identify the techniques used, I conducted a number of interviews andanalyzed literature that deals with the subject of fight Choreography. By the analysis of themethods provided by the choreographers and selected parts of the literature, I have compiled anumber of steps I recommend 3D animators should to take in their efforts to create their ownfight Choreography..

My purpose with this thesis has been to find out how to choreograph a fight sequence in ananimated movie. With the help of professional stuntmen and dancers, I have tried to findmethods and techniques used on stage and in live-action film and apply those to animatedfilms. To successfully identify the techniques used, I conducted a number of interviews andanalyzed literature that deals with the subject of fight Choreography. By the analysis of themethods provided by the choreographers and selected parts of the literature, I have compiled anumber of steps I recommend 3D animators should to take in their efforts to create their ownfight Choreography..

My purpose with this thesis has been to find out how to choreograph a fight sequence in ananimated movie. With the help of professional stuntmen and dancers, I have tried to findmethods and techniques used on stage and in live-action film and apply those to animatedfilms. To successfully identify the techniques used, I conducted a number of interviews andanalyzed literature that deals with the subject of fight Choreography. By the analysis of themethods provided by the choreographers and selected parts of the literature, I have compiled anumber of steps I recommend 3D animators should to take in their efforts to create their ownfight Choreography..

The aim of this thesis is to model my artistic practice on an adaptation of Joseph Campbells monomyth and, using this model, investigate challenges of performativity in art (in public spaces). The overall themes are personal, aesthetic and ethical sovereignty and an uncompromising search for a deepening of the artistic practice. More than anything else it is a map and a story of an artist?s expansion out into an artistic field that is little developed in Sweden. It is my hope that this thesis, by using a thoroughly subjective tone, will contribute to the milieu of performative arts in Sweden as well as widen the ?how? regarding the making of a written thesis..

Hedemyr?s project has been about finding a meaningful position of utterance and a language for her practice. The general theme is performative art in public spaces.This text is a meta-narrative about this development and transformation process. It is also a proposal for choreographic practice as text, and thus a suggestion for what performative text could be.Her master project includes three intertwined parts. The foundation is an ongoing ?doing?.

"The Choreography of fear" is a discourse-analysis study which focus at how young men speaks about fear, threat and violence in the public everyday life. The study adopts socialcontructionism as theoretical approach and also uses theories about gender, hegemony masculinity, fear as a social constructed phenomenon and moral-panic. The study is based on qualitative interview whit young men in age 18-30 and the method is mainly discourse-psychology. The section of Analysis discuss subjects as what and whom the young men consider to be a threat and which areas in the public space they consider to be dangerous and how they choose to handle the menace. The Analysis also focuses on how the informants speak about fear, how they define fear and what they consider arouse fear..

The essay is an effort to examine and define three examples of liminal dance performances through an aesthetic, hermeneutic and semiotic analysis. The examples are three dance or liminal performances, made by three different choreographers and performed at ?Moderna Dansteatern? and ?Dansens Hus? in Stockholm during September and October 2005. In the effort to determine the liminal and cross-over in the performances, the analysis focus on aspects such as: the character of the work, Choreography, the use of scenery, stage light, requisites, conception of place and interior room, the use of costume and mask, the use of different media as text, pictures, film, and music or not using any these, and the interaction with the audience. The analysis depends on a historical background and the use of literature in the subject.

The essay is an effort to examine and define three examples of liminal dance performances through an aesthetic, hermeneutic and semiotic analysis. The examples are three dance or liminal performances, made by three different choreographers and performed at ?Moderna Dansteatern? and ?Dansens Hus? in Stockholm during September and October 2005. In the effort to determine the liminal and cross-over in the performances, the analysis focus on aspects such as: the character of the work, Choreography, the use of scenery, stage light, requisites, conception of place and interior room, the use of costume and mask, the use of different media as text, pictures, film, and music or not using any these, and the interaction with the audience. The analysis depends on a historical background and the use of literature in the subject.

In the project, my ambition was to make a stage design for theater withteenagers as target group. I have worked with the musical theater groupTheater ACTA in Gothenburg and independently from scripts, interpretedand shaped an outline for the basis of the set design of the play?s differentelements. The play, If this was a feel-good movie, is written by Elin Frostand Anna Lundholm, two members of Theater ACTA. The story is aboutthree people in their twenties with different relationships to each other andone week that would change their lives.

Composers? and choreographers? world of ideas. Aspects of the art process. This inquiry is about the artistic process when composing contemporary music and choreographing modern dance. I have studied three composers? and three choreographers? thoughts about the artistic process and the work that leads to a piece of music or a dance.

What causes people to move within and between certain places and not within and between others? How do physical outdoor environments affect the way people act and move? Do different environments generate different body language and mimics in the bodies that inhabit them? In my pursuit for answers to these questions I studied literature and initiated and took part in dialogues in the form of workshops, all of which has resulted into this thesis. My questions have initially arisen from reflections of my own environment and how it not only affects my mental condition, but also my actions. Drawing upon the hermeneutic term ?preconception? I trust that what we label ?truth? is constructed by our lived experience and the society we grow up in.

Transit Objects In the Master Essay I argue around two existing levels in the works presented at the graduation exhibition. On the one hand, it is about influence; on the other hand it is about the phenotypes of purpose-ness. In the introduction, I describe the relationship between the shapes that I have come to call Transit objects, and their on the one hand ideological superstructure; on the other hand, the different aspects of their shapes regarding the imitation I, in creating the objects, performed. In the case with the objects shape-aspects, I stand on the thoughts that I found during my bachelor's work, that is, to express the phenotypes of purpose-ness.When it comes to influence, I speculate about how linguistics, and particularly a branch called neuro-linguistics, illustrates how the arguments that make up our world can be transformed. I use a meta-model and a conversation model as a tool to illustrate this. When I, like that, illustrate the plasticity of meaning, and cognition, I note Catherine Malabous taught (in her book What Should we do with our brain?) on the plasticity of the brain in relation to the neo-liberal systems of capitalism. She argues for how the brain has come to stand model for the organization of different types of networks. I hint the link to a future scenario where the desire to influence takes new forms and uses the latest brain research challenges, more specifically the use of ultrasound for the treatment of pain and other similar conditions. This also can be used as generating various types of seizures, pleasant or unpleasant.