GUPEA

Gothenburg University Publications Electronic Archive

GUPEA is a platform for e-publishing of theses, student essays and other research publications.

Communities in Gupea

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Recent Submissions

  • Lycksalighetens ö. : sagospel /
    (1898) Atterbom, Per Daniel Amadeus,
  • Flådd musik
    (2026-06-17) Love Carbin; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
    This project investigates how the body is written in music. The point of departure for the investigation is my site-specific performing arts work Så blev vi liv (2026). In the thesis, I formulate a new compositional method – "flayed music". The method is a synthesis of two historical opposites: Helmut Lachenmann's view of the body as a neutral transmitter of sound, and Charlotte Moorman's political body-art. Through theorizing, making, and contextualizing, I demonstrate how an avant-garde focus on sound can be merged with a queer and vulnerable corporeality. In flayed music, extended techniques are transformed into scenic actions. This creates a double exposure, where the spectator simultaneously perceives a mechanical production of sound and a symbolically charged physical action (such as a blow or a kiss). The result is a performative compositional practice where the performer's identity and bodily presence are inseparable from the sounding material.
  • the woods, the girl, the tree: Exploring the female scream in relation to nature
    (2026-06-17) Monola, Hanna; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
    This project consists of several iterations of a performance, accompanied by an essayistic and poetic text. Together they aim to investigate the female voice and the historical connotations of female sexuality in relation to nature. The project revolves around three tree trunks which I have used as co-performers to explore these questions. By interacting with the trees and lending them my voice within an industrial soundscape, I explore modes of communication between human, nature and machine, as well as the perception of the female body in a performative space.
  • Dialogues: A Solo/Relational Artistic Practice for a Composed Theatre
    (2026-06-17) Panidou, Olga; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
    This artistic research, situated within contemporary theatre and performance, began from a simple story: transitioning from Greece to Sweden, I was confronted with a profound sense of absence, both in my apartment and in the studio—I was alone. This condition became the starting point for exploring how soleness can be translated into relationality. Searching for collaborators, I encountered, instead of people, diverse materials—texts, sounds, physical objects—that I approached as my creative co partners, composing assemblages rooted in resonance rather than hierarchies of reason. I developed a practice towards Composed Theatre by treating theatrical elements as music and vice versa. In this essay, I chose to work with textual materials (quotes) as my main collaborators, to compose and complement my thoughts. The research culminated in a live performance (February 2026) and this essay, proposing a space where being solo expands into a relational and polyphonic artistic practice.
  • Cantus Ignotus
    (2026-06-17) Contreras, Jenny; University of Gothenburg/Academy of Music and Drama; Göteborgs universitet/Högskolan för scen och musik
    Cantus Ignotus is a research project that has become an installative / participatory performance about the meaning of healing, exploring the notion of invisible wounds on bodies and territories through the perspectives of indigenous communities in Abya yala*. The body in movement, the journey and the tree as analogies of catharsis, cleansing, and relief within the transformative process of healing from a decolonial perspective invite us to reflect on the very possibility of relief. Thus, articulating reflections on rituality, song, collective memory and the re-signification of the sacred in contemporary contexts of shared vulnerability.