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- Bergman Blix, Stina, 1971-
(författare)
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Rehearsing Emotions : The Process of Creating a Role for the Stage
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis takes as its starting point the dramaturgical metaphor of the world as a stage, which is used in sociological role theories. These theories often presume what stage acting is about in order to use it as a simile for every day acting. My intention is to investigate how stage actors actually work with their roles, in particular how they work with emotions, and how it affects their private emotions.The thesis draws on participant observation and interviews with actors during the rehearsal phase of two productions at a large theatre in Sweden. The results show that the inhabiting of a role for the stage is more difficult and painstaking than has been assumed in role theories so far. Shame and insecurity are common, particularly in the start up phase of the rehearsals. Interestingly, these emotions do not disappear with growing experience, but instead become recognized and accepted as part of the work process.The primary focus is the interplay between the actors' experience and expression of emotions, often described in terms of surface and deep acting, concepts which are elaborated and put into a process perspective. Analysis of the rehearsal process revealed that actors gradually decouple the privately derived emotional experiences that they use to find their way into their characters from the emotions that they express on the stage. Thus private experiences are converted to professional emotional experiences and expressions, triggered by situational cues. When the experience has been expressed the physical manifestation can be repeated with a weaker base in a simultaneous experience, since the body remembers the expression. It is important though, that the emotional expression is not completely decoupled from a concomitant experience; then the expression looses its vitality. The ability to professionalize emotions makes the transitions in and out of emotions less strenuous but can infiltrate and cause problems in the actors' intimate relations.
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| 2. |
- Florén, Thomas, 1969-
(författare)
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Talangfabriken : Om organisation av kunskap och kreativitet i skivindustrin
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of this dissertation is to describe, explain and understand how record companies identify and develop new music and new talent. The analysis is carried out on three levels: individual, organizational and sector level. In a record company, this task formally goes to A&R (Artist and Repertoire). This dissertation takes its point of departure in how the capacity for discovering new talent can be understood in terms of knowledge, creativity and competence and how this capacity is affected in the meeting between the record company and the industry.The theoretical framework of the dissertation spans two sociological fields: the sociology of organizations and the sociology of knowledge. While it takes its organizational starting point in the Knowledge Company Approach, it employs a practice-based approach to discuss knowledge. I argue that within the Knowledge company approach there are two contrasting ways to understand knowledge; a distinction is made between knowledge- and creativity-intensive enterprises. The results show that the record industry’s polarized structure can be seen as a result of the Knowledge Company’s typical problems.The A&R’s work is described as including two phases, one intuitive and one analytical. The intuitive assessment is direct, unconscious and without reflection. This ability has been described as "intuition" and "gut feeling". The analytical phase adds analysis and reflection based on knowledge. The results from the interviews with A&R’s reveal the limit of formal and explicit knowledge not only in the choice of music but also in the marketing strategies.The overarching picture is one in which record companies move in a space characterized by tension between dichotomous forces – art and commercialism, creativity and knowledge, culture and economy, chaos and order, but where opposite poles are not mutually exclusive but complementary.
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| 3. |
- le Grand, Elias, 1976-
(författare)
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Class, Place and Identity in a Satellite Town
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The central aim of this study is to examine processes of identity formation among white, working-class youths in a marginalized area located on the outskirts of South London. It is primarily based on long-term ethnographic fieldwork but also on analyses of web sites, newspapers and popular culture. The study contributes to research on ‘chavs’, and on youth (sub)cultures and social class.Identity is conceived as constructed through the dialectical interplay between ‘external’ processes of social categorization and ‘internal’ processes of identification and boundary work. The context of the study is the recent moral panic in Britain over ‘chavs’. In public discourse, the term chav emerged as a way of pathologizing white working-class youths adopting specific visual markers of taste. The study shows that most respondents, and the area in general, were positioned in the stigmatizing discourse on chavs, and the spaces and places that they are associated with. When interpreting the meaning of chav, the respondents drew strong boundaries against the term, and used it to categorize others. In contrast to earlier research, the notion of chav is not related to a subcultural style adopted by socially excluded groups of youths, but primarily a form of categorization serving to pathologize important aspects of the working-class culture in the area.The findings support the contention that spatiality plays an essential role in the formation of classed identities. In light of the stigmatizing perceptions of the area, the study explores the often ambiguous ways in which the respondents negotiated their sense of belonging, community and safety. Moreover, in relation to taste and masculinity, the study demonstrates how the construction and performance of classed identifications and distinctions, and thus symbolic class hierarchies, are related to the spatial context.
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| 4. |
- Sandström, Edvin, 1983-
(författare)
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The Convaluation of Performance Art : A Study of Peer Recognition Among Performance Artists
- 2018
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Processes and forms of valuation, evaluation and valorization are important for bringing contemporary social life in order. In this thesis, I study the values of the small and autonomous avant-garde of the art-world, performance art. In art worlds, arguably, we can expect to find the most extreme cases of activities which constantly aim at transgressing existing ideas of what is valued in this world, i.e., art. Performance art is an activity that contemplates the border between art and non-art, and that as an activity contributes to the constitution of this border. My focus is on the ongoing process, which is seen in a historical light. I look at the social structure that both enables and constitutes values. I argue that this process should be understood as a convaluation (Aspers 2008), a partial order with some temporal extension that enables coordination based on valuation and evaluation processes. I find that the convaluation of performance art is characterized by a switched role structure––meaning that actors operate as both artists and curators and as such, switch from being evaluated to evaluating others. The central value that constitutes the convaluation of performance art is bodily presence.
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