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Dissertations / Theses on the topic 'Political theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Reynolds, Ryan Michael. "Moving targets: Political theatre in a post-political age." Thesis, University of Canterbury. Theatre and Film Studies, 2006. http://hdl.handle.net/10092/898.

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This thesis gauges the contemporary landscape of political theatre at a time in which everything, and consequently nothing, is political. That is, almost all theatres today proclaim a politics, and yet there is widespread resignation regarding the inevitability of capitalism. This thesis proposes a theory of political action via the theatre: radical theatre today must employ a strategy of "moving targets". Theatrical actions must be adaptable and mobile to seek out the moving targets of capital and track down target audiences as they move through public space. In addition, political theatre mu

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2

Al-Masri, Muzna. "Political theatre : football and contestation in Beirut." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18235/.

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This thesis explores the relationships between political elites and their constituencies, looking specifically at the emergence and production of a new type of political elite in post-war Lebanon. Based on micro-level ethnographic research amongst Beirut’s Sunni communities, mainly within Nejmeh Sports Club, I explore the crystallisation of the model of an ‘entrepreneurial elite’ as exemplified by the late Prime Minister Rafic Hariri, who came to be the club’s patron. The most popular football club – and indeed sports club – in Lebanon, Nejmeh embraced members from different social classes, se

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3

Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/19238/1/Angela_Betzien_Exegesis.pdf.

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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative pra

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4

Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19238/.

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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative pra

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5

Clements, Rachel Elizabeth Adelaide. "Hauntology and contemporary British political theatre 1995-2010." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529760.

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6

Eren, Buglalilar. "Theatre And Struggle: A Sociological Analysis Of The Political Theatre In Turkey Between 1960-1971." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614246/index.pdf.

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This thesis investigates the relationship between the social movement and theatre art in Turkey between 1960 and 1971 and investigates how the development of a dependent capitalism influenced the development of the classes and the political theatre. It tries to reveal the convergences between the political ideology of the classes, their organizations and the aesthetic ideology of the field of cultural production. While doing so it investigates the ties between the ideological and practical aspects of the class struggle, the artists&rsquo<br>aesthetic views and their relations of production.

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7

Mundrawala, Asma. "Shifting terrains : the depoliticisation of political theatre in Pakistan." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2353/.

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This dissertation examines the shifts in the practice of political theatre in Pakistan through the study of two theatre groups, the Tehrik e Niswan (The Women's Movement) and Ajoka (Of Today), that emerged in the 80's under General Zia ul Haque's military regime, and through newer theatre groups (Raasti, Murk, Hayat e Nau) and NGO-based theatre training organisations (Interactive Resource Centre, IRC) that were created or were impacted by the advent of neoliberalisation in the country in the 90's. The impact of finances not only influenced the growth of many small theatre groups that prescribe

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8

Johanson, Rachel. "Let Me Be Veiled: Deconstructing Gender in Iran and the United States." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275596670.

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9

Hillman, Rebecca Anne. "(Re)constructing political theatre : negotiating discursive and practical frameworks for theatre as an agent for change." Thesis, University of Reading, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632830.

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The main aim of this research is to offer a reconceptualisation of the efficacy of live performance for instigating social and political change. In order to do so, it explores a range of practical forms and theoretical contexts for creating political performance in Britain. It also formulates new perspectives and methodologies to encourage and add to the production of political performance for the twenty first century. The perceived failure of the organised Left after the end of the Cold War, and the relativism of postmodern theoretical perspectives, has signalled for many the demise of politi

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10

Tapp, Ivey R. "Political Theatre in Public Spaces: Manifesting Identity in Venice, Italy." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/anthro_theses/59.

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The combination of poorly managed mass tourism, rapidly increasing international migration, and a declining economy facilitated a permanent exodus of natives out of the Venetian lagoon. This thesis examines how the community activism group and social network Venessia.com attempts to reclaim a place-based and place-manifested Venetian identity (venezianità) through theatrical public protests. While members are sensitive to an ethic of intercultural awareness, the discourse accompanying their concerns reveals nostalgia for the power and grandeur of Venice’s past that is threatened by a perceiv

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11

Nyoni, Frowin Paul. "Conformity and change : Tanzanian rural theatre and socio-political changes." Thesis, University of Leeds, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436092.

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12

Lease, Bryce Salisbury. "Fantasy or symptom? : desire and the political in Polish theatre." Thesis, University of Kent, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498846.

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13

Seleem, Amany Youssef. "The Interface of Religious and Political Conflict in Egyptian Theatre." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1373973567.

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14

Guy, Bette Margaret. "Aristophanes to Fo : conventions of political satire in Western theatre." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16499/1/Bette_Guy_-_Soft_Murder.pdf.

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Aristophanes to Fo is a study of the principal comedic conventions of Aristophanes' political satire and their relationship to contemporary political satire. A template of these principal conventions is tabulated. This is then compared to, and contrasted with, conventions used in subsequent plays in the genre of political satire, including one written as the practice component of this exegesis. This process determines the influence of Aristophanic conventions on political satire from 4th century BCE Greece to the modern era. There is an analytical emphasis on three 20th century plays as case s

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15

Guy, Bette Margaret. "Aristophanes to Fo : conventions of political satire in Western theatre." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16499/.

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Aristophanes to Fo is a study of the principal comedic conventions of Aristophanes' political satire and their relationship to contemporary political satire. A template of these principal conventions is tabulated. This is then compared to, and contrasted with, conventions used in subsequent plays in the genre of political satire, including one written as the practice component of this exegesis. This process determines the influence of Aristophanic conventions on political satire from 4th century BCE Greece to the modern era. There is an analytical emphasis on three 20th century plays as case s

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16

Pinna, Ilaria. "Theatre and impegno : commitment, struggle and resistance on the Italian stage." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/22011.

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This thesis examines the development of Italian political theatre between 1968 and 2010. It analyses the relationship between political theatre during the 1970s and politically engaged practice in the following decades in terms of continuity rather than rupture, thereby challenging recent theatre historiography and criticism which interpreted the two periods as diametrically opposite: one characterised by profound political engagement and the other by a widespread retreat from the political (riflusso). The analysis of the case studies is grounded on a rigorous contextual approach which places

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17

Torma, Frank Anthony. "A Character Type in the Plays of Edward Bond." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1290984556.

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18

Botham, Paola A. "Redefining political theatre in post Cold-War Britain (1990-2005) : an analysis of contemporary British political plays." Thesis, Coventry University, 2009. http://curve.coventry.ac.uk/open/items/f87298f3-39f6-86d2-9d5f-618aeb1e9eb8/1.

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After the end of the Cold War had signalled for many the demise of political theatre, a re-emergence of British political plays since the turn of the century has become an acknowledged phenomenon. Customary definitions of this cultural practice, however, have become historically and theoretically obsolete. An alternative philosophical framework is needed which breaks with both the unrealistic expectations of the traditional Left and the defeatist limitations of postmodernist positions. This thesis aims to provide a revised definition of political theatre based on the ideas of Jürgen Habermas.

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19

Dubreuil, Raphaëla Jane. "Theatrica and political action in Plutarch's Parallel Lives." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23432.

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This thesis explores Plutarch’s use of metaphors and similes of the theatre in order to represent, explore and criticise political action in his Parallel Lives. Most of the studies available on Plutarch’s use of the theatre have tended to address his understanding and employment of the tragic, that is what is defined as tragedy as a genre from the conventions of language, plot and characterisation. This approach belongs to the textual, literary aspect of theatrical production, the word of the writer, and the interpretation of the reader. Although interlinked with my study, this is not what my

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20

Karoula, Ourania. "Thorn in the body politic : a transatlantic dialogue on the aesthetics of commitment within modernist political theatre." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/5684.

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This thesis investigates the transatlantic manifestation of the debate regarding the aesthetics of commitment in the modernist literary and theatrical tradition. Within the debate theatre occupies a privileged position since (because of its two-fold roles both as theory and performance) it allows a critique both of performative conventions and methods and also a dialectical consideration of the audience’s socio-political consciousness. The debate, often referred to as form versus content – schematically re-written as ‘autonomy’ versus ‘commitment’ – and its transatlantic evaluation are central

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21

Tardi, Rachele. "Representations of Italian left political violence in film, literature and theatre (1973-2005)." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446520/.

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The thesis investigates representations of 'red' political violence in Italy of the so- called anni di piombo and later memory of it in selected films, theatrical works, novels and stories. After the Introduction, which includes a discussion of aims, key concepts and methods, there are four main chapters. Chapter One examines representations of the abduction and killing of Aldo Moro in two thematic groups; those which focus respectively on Moro and the brigatisti during the imprisonment and on the Via Fani massacre and the alleged conspiracy behind it. The analysis of these texts serves as a c

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22

Watson, Donald. "British socialist theatre 1930-1979 : class, politics and dramatic form." Thesis, University of Hull, 1985. http://hydra.hull.ac.uk/resources/hull:7035.

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The field covered contains the major phases of British socialist theatre between 1930 and 1979. It focuses on the issues raised by the concept of socialist theatre, such as those of class, politics and dramatic form, in order to discuss the relationships between agendas of political tasks, the development of suitable forms for their dramatic expression, and the nature of the audiences which have been attracted. The discussion draws on a range of contemporary sources which include unpublished scripts and other material, together with oral evidence from some practitioners. The historical episode

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23

Copteros, Athina. "Workshop theatre in post-apartheid South Africa : a case study." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1007477.

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This is a qualitative study exploring the use of workshop theatre in post-apartheid South Africa, with the objective of making a contribution to the knowledge-base regarding its use in current times. Workshop theatre is changing in response to a new socio-political reality and emerging trends in theatre practice. The case study, of developing a play on Oystercatchers with a Grahamstown group of artists, revealed the difficulties and challenges of using workshop theatre in this dynamic context. Data collection included a focus group, observation, reflective discussion and in-depth interviews th

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24

Maera, Claudia. "Carnivalesque disruptions and political theatre : plays by Dario Fo, Franca Rame, and Caryl Churchill." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299610.

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25

Spedalieri, Francesca. "Seeing the Unseen, Staging the Unspoken: The Gender Politics and Political Language of Emma Dante’s Theatre in the Berlusconi Era (1994-2011)." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1480594504188268.

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26

Desai, I. R. B. "Producing the Mahatma : communication, community and political theatre behind the Gandhi phenomenon 1893-1942." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522879.

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27

Gould, Terence. "A historical study of the political and religious influences on the Alsatian language theatre." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/52299/.

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The object of this thesis is to produce an academically rigorous historical study of the political and religious influences on the Alsatian language theatre. To achieve this end, four research targets were established, designed to produce Conclusions, the evidence of research being listed in the Bibliography. The research targets were each to express a part of the study, being: - Political history and culture of the region. - History and present political situation of the language. - History and politics of the theatre in the language. - Influence of the Church in the theatre in Alsace. Additi

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28

Weir, Antony John. "Theatre as public discourse : a dialogic project." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24167.

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This project aims to develop and explore questions of theatre as public discourse and the representation of England and Englishness in contemporary British theatre during the period 2000-2010. I present a dual focus in this practice-led research process, creating an original creative work, Albion Unbound, alongside an academic thesis. I describe the relationship between play and thesis as ‘dialogic’ with reference to the work of Mikhail Bakhtin. His ideas on language, subjectivity and authorship offer an insightful perspective upon the theory and practice of theatre-making, but Bakhtin himself

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29

Fyffe, Laurie. "Political Theatre Post 911: The Age of Verbatim, of Testimony, & of Learning from Fictional Worlds." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28842.

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The first decade of the 21st century has been marked by a surge of political writing for the stage. Plays written in response to the events surrounding September 11, 2001 reveal an unprecedented level of theatrical experimentation directed specifically at describing the social, religious, and political forces that continue to rransform our post 9/11 world. These experiments have encompassed verbatim theatre; theatre based on real events and people, transcripts, speeches, and photographic evidence. They encompass the theatre of testimony where verbatim techniques are combined with first person

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30

Hayden, Judy A. "Of love and war : the political voice in the early plays of Aphra Behn." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323214.

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31

Overpeck, Deron. "Out of the dark American film exhibition : political action and industrial change, 1966-1986 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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32

Westerlind, Wigstrom Christian Ernst Peter. "Beyond theatre regionalism : when does formal economic integration work in Africa?" Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:e814b5ca-83d8-4bd3-bd38-e849d54357b4.

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For the most part, formal economic integration between African states can be characterised as ‘theatre regionalism’: governments sign regional economic agreements with no intention to implement them. Yet amidst widespread theatre there have been a few instances of actual integration. This thesis sets out to explain this variance: under what conditions do African governments implement – and not just sign – formal agreements on regional economic integration? To answer this question the dominant Eurocentric literature on comparative regionalism is amended with insights from the third worldist lit

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33

Reid, Robert. "Acts of Dissension : how political theatre has been presented in the past and what strategies the playwright can employ to make issues of radical or alternative politics more accessible to a mainstream theatre audience." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16581/1/Robert_Reid_-_Pornography%2C_The_True_Confessions_of_Mandy_Lightspeed.pdf.

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The key focus of this research project is the marginalisation of radical and alternative politics in modern democratic societies, how they have been presented in a mainstream theatrical context and what strategies a political playwright can employ to present the issues of those politics while overcoming such marginalisation. Referencing cultural theorists including Noam Chomsky, Naomi Klein and Howard Zinn, this study argues that contemporary cultures operate within the boundaries of an internalised conservative value set propagated through systems of coercion utilised by the media, governmen

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34

Reid, Robert. "Acts of Dissension : how political theatre has been presented in the past and what strategies the playwright can employ to make issues of radical or alternative politics more accessible to a mainstream theatre audience." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16581/.

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The key focus of this research project is the marginalisation of radical and alternative politics in modern democratic societies, how they have been presented in a mainstream theatrical context and what strategies a political playwright can employ to present the issues of those politics while overcoming such marginalisation. Referencing cultural theorists including Noam Chomsky, Naomi Klein and Howard Zinn, this study argues that contemporary cultures operate within the boundaries of an internalised conservative value set propagated through systems of coercion utilised by the media, governmen

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35

Morelos, Ronaldo. "Symbols and power in the theatre of the oppressed." Thesis, Queensland University of Technology, 1999.

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Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relatio

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36

Kwon, Kyoung-Hee. "John McGrath and the social politics of the late twentieth century." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366616.

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37

George, R. H. "Accommodation and coercion in comedy and tragedy : an analysis of the social and political implications of the development of classical Greek drama." Thesis, University of Essex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336945.

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38

Crawford, Terence Michael. "Real Human in this Fantastical World: Political, Artistic and Fictive Concerns of Actors in Rehearsal: An Ethnography." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13803.

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This study adopts an ethnographic and—in part—autoethnographic stance in the observation of professional rehearsal rooms, with a view to identifying the division of interests and responsibilities of actors working in mainstream Australian theatre. From a position of intense professional locatedness as an actor and acting teacher, I examine and interpret rehearsal practices utilising an ethnographic rubric that embraces the legacies of Pierre Bourdieu, Clifford Geertz, and Michael Jackson, and through the lens of my own experience. The study pursues a centripetal action, beginning with a foc

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39

Valladares, Susan. "English Romantic theatre during the Peninsular War." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:a6dc8702-5827-41c9-bb82-94a52ecb5dee.

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Between 1808 and 1814 England was committed to an expensive and bloody campaign against the French invasion of the Iberian Peninsula. The Peninsular War, as it came to be known, was initially celebrated as a war of national independence that attracted widespread support. Soon after, it was characterised by political scandal and public controversy. Literary scholars have devoted much attention to the political, social and cultural effects of the French Revolution, but have written surprisingly little about the later years of the campaign against Napoleonic France. The principle objective of thi

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40

Lima, Eduardo Luis Campos. "Procedimentos formais do jornal Injunction Granted (1936), do Federal Theatre Project, e de Teatro Jornal: Primeira Edição (1970), do Teatro de Arena de São Paulo." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-06052013-102207/.

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O presente estudo analisa os procedimentos formais do jornal vivo, forma teatral fundamentada na encenação de notícias, conforme o gênero configurou-se nos Estados Unidos e no Brasil. Para tanto, define como objeto, do lado estadunidense, o jornal vivo Injuction Granted (Liminar é Concedida), produzido no âmbito do Federal Theatre Project (Projeto Federal de Teatro), iniciativa do Governo de Franklin Roosevelt para lidar com o desemprego provocado pela Grande Depressão, na década de 1930. Do lado brasileiro, faz-se uma leitura de Teatro Jornal: Primeira Edição, exposição didática de nove técni

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41

Al, Jumaili Abbas Kadhum. "Al Ta'azi performance in Iraq : a study of their literary, social and political significance." Thesis, University of Portsmouth, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311187.

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42

Elliott, Jeremy F. "The origins of the NATO decision of 12 December 1979 on the modernization of long-range theatre nuclear forces (LRTNF)." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304941.

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43

Weiss, Katherine. "Book Review of New Deal Theater: The Vernacular Tradition in American Political Theater by Ilka Saal." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etsu-works/2306.

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44

Smith, Andrew James. "What we can do with what we have got : a dematerialised theatre and social and political change." Thesis, Lancaster University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.726835.

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45

Joyner, Thomas Parnell. "And what rough beast: The political geography of physical impairment in twentieth-century Irish drama and theatre." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3256441.

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46

Grossetti, Adam Gordon. "It made you feel what? Using structure to convey theme : playscript and exegesis." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16630/1/Adam_Grossetti_-_3606202.pdf.

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The exegesis and accompanying playscript 3606202 is concerned with how the structural framework of a play might be manipulated to help deliver a writer's response to global events. The exegesis looks at examples of writers who have responded to global events over the last several decades and examines as a case study the structure of Caryl Churchill's play Far Away. The writer then applies a similar structural blueprint to the writing of his play 3606202 and reflects on the outcomes such a structure achieved. As part of this reflection, the exegesis explores how the writer's desire to respond t

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47

Grossetti, Adam Gordon. "It made you feel what? Using structure to convey theme : playscript and exegesis." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16630/.

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The exegesis and accompanying playscript 3606202 is concerned with how the structural framework of a play might be manipulated to help deliver a writer's response to global events. The exegesis looks at examples of writers who have responded to global events over the last several decades and examines as a case study the structure of Caryl Churchill's play Far Away. The writer then applies a similar structural blueprint to the writing of his play 3606202 and reflects on the outcomes such a structure achieved. As part of this reflection, the exegesis explores how the writer's desire to respond t

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48

Peacock, Martin Henry. "Five approaches to political theatre : Howard Brenton, David Hare, David Edgar, Roger Howard, Caryl Churchill and Howard Barker." Thesis, Loughborough University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.291727.

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49

Celik, Ipek Azime. "Spectacular Regimes and Political Drama: A Comparative Study of Greek and Turkish Theatre in the 1960s and 1970s." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391616872.

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50

Vikström, Eva. "Sverigespel : Kent Anderssons och Bengt Bratts dramatik 1967-71 mot bakgrund av samhälls- och teaterdebatten." Doctoral thesis, Umeå universitet, Litteraturvetenskapliga institutionen, 1989. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-67631.

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The dissertation deals with the Municipal Theatre of Göteborg with special reference to the period between 1967 and 1971, during which the group theatre developed and paved the way for a repertoire of social criticism. The theatre debate is viewed against the background of the socio-economic, ideological, and cultural development of the 1960,s. After describing conditions at the Municipal Theatre of Göteborg under Mats Johansson's management from 1962 onwards, the study concentrates on analysing three group theatre plays produced by Lennart Hjulström: Flotten (spring 1967) by Kent Andersson,

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