von Schantz, Ulrika

Ulrika von Schantz

Senior lecturer

Visa sidan på svenska
Works at Department of Humanities and Social Sciences Education
Telephone 08-120 765 61
Visiting address Svante Arrhenius väg 20 A, plan 3
Room P 338
Postal address Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik 106 91 Stockholm


A selection from Stockholm University publication database
  • 2018. Ulrika von Schantz, Ketil Thorgersen. Journal of Artistic and Creative Education 12 (1), 41-50

    The rise of information and communication technology goes hand in hand with what might be considered a democratic revolution of the teaching profession. The teacher and the school are no longer defining what can be considered valuable knowledge. Basic didactic issues in teaching (what, how, and why) change fundamentally as students express that they 'just do' and 'find' through social media, online resources and software for creation, reflection and presentation. Learning theories and proven teaching models suddenly become superfluous, so concepts such as truth and values must be considered in a new light.

    Drama in education involves processing issues through evocative and emotionally engaging design. This fundamental purpose is often formulated as an intention to stimulate critical thinking. However, despite this explicitly democratic intent, drama activities are always site-specific insofar as issues of portrayal, reflection and discussion are staged within the framework of a pedagogical idea. A thought is never free, leaving us with the question of to what extent thinking through drama can be called ‘emancipated’. Additionally, drama is still ruled by contextual and physical laws so much so that bodies and voices are limited, gender specific and spatially located. Therefore, emotions are at play and pedagogical setting are carefully prepared and managed by the teacher.

    The aim of this article is to make a Deleuzian investigation of into the possibilities and challenges of how best to extend aesthetic bodily communicative and performative spaces in relation to digital technology in drama education. Hence, we are trying to navigate the rhizomatic experience of believing that we know in which direction we need to go, given that whilst we educate drama students they are also educating us.

    Groups of children and youngsters seem to be rhizomatic ‘by nature’, subversively searching for adventures on their own, finding leaks, exploring ‘forbidden’ areas, conquering cyber space, creating their own drama, while at the same time playing the game of the machine. Virtual life can in these circumstances be both phantasmagoric and uncontrollable.

  • 2018. Ulrika von Schantz, Ketil Thorgersen, Anne Lidén.

    Denna antologi De estetiska ämnenas didaktik. Utmaningar, processere och protester vänder sig till alla som är intresserade av estetiska ämnen, skapande och lärande. Den riktar sig särskilt till verksamma lärare, blivande lärare och lärarutbildare i estetiska ämnen samt till forskare och forskarstuderande inom det estetiska fältet. Boken presenterar olika kritiska och nya granskande perspektiv på estetiska och konstnärliga lärprocesser genom texter om barn, elever, lärare och studenter i varierande skapande verksamheter och verkstäder. Texterna berör alltifrån förskola, grundskolans yngre och senare åldrar, gymnasiet och kulturskolan till universitetsutbildning och internationella jämförelser. I antologin diskuterar forskare, universitetslärare och erfarna pedagoger forskningsfrågor kring estetiska uttryck och ämnen, lärprocesser och reflektioner ur ett praktiknära perspektiv.

    Författarna är alla knutna till eller verksamma inom de estetiska ämnena vid institutionen för de Humanistiska och Samhällsvetenskapliga ämnenas didaktik (HSD) på Stockholms universitet. Boken speglar universitetslärares olika forskningspraktiker, såsom forskning av professorer och lektorer, post-dok forskare och doktorander samt adjunkters FoU projekt. Antologin presenterar deras vetenskapliga studier och forskningsresultat av undervisning inom de estetiska ämnenas teori och praktik, undersökningar baserade på teoretisk och empirisk forskning som intervjuer, enkäter, observationer. Samtliga artiklar har genomgått en oberoende vetenskaplig granskningsprocess.

  • 2018. Ulrika von Schantz. De estetiska ämnenas didaktik, 201-231
  • 2018. Ulrika von Schantz. Æstetik og pædagogik, 165-191
  • 2018. Ulrika von Schantz. Nordic Theatre Studies 29 (2), 221-226
  • 2016. Ulrika von Schantz.
  • 2014. Ulrika von Schantz. DRAMA (2), 16-23
  • 2013. Ulrika von Schantz. Meningsskapande fritidshem, 33-56
  • 2011. Ulrika von Schantz. Drama, 185-207
  • 2010. Ulrika von Schantz.
  • 2007. Ulrika von Schantz. Tidskrift för genusvetenskap (1-2)
  • Thesis (Doc) Myt, makt och möte
    2007. Ulrika von Schantz (et al.).

    This dissertation concerns a certain experienced (sub)reality, a reality which emerged from something “in between”, from a confluence of factors - the project Gender on Stage, a particular actor education programme and myself in the role of observer. The project Gender on Stage started as an interdisciplinary study between the National Academy of Mime and Acting in Stockholm and the Department of Theatre Studies and the Department of Nordic Languages at Stockholm University. It was supported by the Swedish Research Council, and its purpose was to investigate gender in actor education. Actor education is situated between traditional theatre history and trends about the future, between aesthetic ideals and a commercial market. In addition, as was described in the outline of the project, actor education must deal with a long history of male dominance. Actor education could be visualised as the epitome of a cultural production of gender, a site where one has to explicitly deal with discourses of body and language, male and female, self and other, memories and emotions, pleasure and desire. I have stressed gender in actor education as being deeply interrelated with the notion of cultural hegemony, historical discourses of acting as well as gender, myths, and unconscious themes. Beside theories of Simone de Beauvoir, Judith Butler, Sue Ellen Case and Julia Kristeva, the study invokes post-structural notions of “present absence” as well as Freud’s ideas on repression in terms of “the uncanny”. Stanislavsky’s theories of fantasy emotion and the Brechtian concepts of Verfremdung and Gestus were likewise taken into consideration. To resolve problems of confidentiality and ethics, I discuss certain significant observations, considering them to be unique situations, but also representative and symbolic acts. In discussing the gender construction, I put myself into play in the role of observer as a certain persona – a kind of converse representative and a “faceted mirror of the invisible”.

  • 2004. Ulrika von Schantz.
  • 2002. Ulrika von Schantz. Nordic Theatre Studies 15, 28-43

    This article concerning constructions of identities among stucents and teachers at a Swedish University College of Acting, written during a time of fieldwork, treats the delicate role of being 'the participant observer'. Setting out from the concepts of 'anthropology as biography' and 'authority in ethnography' through a brief outline of certain feminist ideas to a double-acting use of Brechtian thought, the discussion ends up stressing the value of narrativity as a form of alternative argumentation. A heading like Acting-Life strikingly points to the blurred borders between life and acting in the every day life of a person involved in actor  education. Identities are, at least partly, constructed in interaction; and at a place like this, the immediate resources available in identitywork, are the features of fictive, dramatic characters. Masks and role-playing are at stake everywhere in every day life of society, but here the use of them is as congenial as of urgent necessity- surely displayed by the text. In this  context, the notions of sex and gender, tightly interwoven in traditional, artistic and historical thought, mixed with old myhs and rebellion ideas, will be as complicated as it is challenging to elaborate.

Show all publications by Ulrika von Schantz at Stockholm University

Last updated: October 10, 2020

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