This thesis investigates the communicative role of Scenography in the performing arts for children, with an aim to make the readers understand the ways in which a set design can be optimized so that a young audience can be able to interpret the play and its message.The art of Scenography is complex and includes many elements. The research questions can therefore be grouped into three clusters: one artistic oriented (How does the scenographic process work and what is its relation to the scenic piece at large? In which ways may Scenography be used to support the desiderate interpretation?), one audience oriented (Which work processes enhances the chances of creating dramatic art that is perceived as meaningful to the audience? On what premises can the semiotics of theatre be used in the performing arts for a young audience?) and last a cluster that focuses on Den magiska cirkeln (The Magic Circle) by ung scen/öst (What is told in the show and how is this portrayed in the Scenography? Who is in the target group, and does the audience get the feeling of the performance as intended?).Den magiska cirkeln is used as a case study in the thesis in order to reflect the theoretical material. Methods in the case study includes performance analysis, a survey completed by 178 people in the audience and an interview with scenographer Anna Dolata. 14 performing analyzes of Swedish children?s theatre shows have been made in addition to the case study.The thesis analyses and compares two work logics; the internal logic and the external logic, and it is shown that meaningful interpretations are likelier to happen with an external logical point of view.

We are heading for a line, and its a fine one. This project is a dialogue between you and I; about the dialogue itself. The initial interest was to use literary text to address the visitor in the exhibition space. The purpose was to make man aware of its relation to others and narrative objects. I planned for the dialectical event in every descision.

My diploma thesis has focused on creating a proposal for a Viking center in Stockholm that meets the international interest. A building dedicated solely to the Viking heritage. My ambition has been to give the Viking center an architecture that can serve as Scenography for its exhibitions and to give the visitors a feel for the Vikings that they have been craving.  A boat-shaped building in tribute to the Vikings boat building skills with curved stems of equal height that gives a familiar silhouette to the city.  A wood building constructed of curved beams and wood columns painted with tar..

The purpose of ?The Lake? was to create an experience with music and visuals working with no budget.A personal purpose was that I wanted to explore new areas in design, like Scenography, and combine them with my previous knowledge and skills. My method was to keep my hands busy at all times and use new materials. I also wanted to work with other creators and learn from their methods. Together with a musician I created the music and the concept for the project.

Längst ut på piren i Värtahamnen har jag velat skapa Operastaden, en mikrostadsdel som är en egen värld helt uppbyggd kring opera. Hit skulle alla operarelaterade verksamheter flytta, såsom operahögskolan och baletthögskolan. Mellan byggnaderna skulle folk springa i sina scenkläder, dekorer skulle lastas in och ut, och sångarna skulle värma upp sina stämmor på gården. Platsen skulle genomsyras av operaproduktion, och ta intryck av den dramatiska omgivande produktionsmiljön i hamnen. Inåt platsen skulle allt vara smyckat som dekorer, och scenografier och olika miljöer skulle vara uppbyggda för att vara experimentscener, där det blir oklart om vem som är besökare och vem som är skådespelare.Ta ett bad poolen i Mallis-miljö, eller picnica vid sjön bland tonerna från Verdi, operans förtrollade värld gör att du inte längre behöver bry dig om vad som är fantasi eller vad som är verklighet. Opera är inte längre begränsat till om du har råd att betala en biljett, eller om du är för rastlös för att sitta i stolen genom alla tre akter..

Every place is a stage where people interact. The nature of the stage and its Scenography to some extent shapes the interaction. Considered as a place, the school ground gives rise to many varying expectations. Lower school pupils often have clear ideas of how they are expected to behave and how they are expected to use the place. But as the pupils age, the purpose of the school ground grows less obvious.