Emotions, real and played are a function of the theatrical situation. But how do these emotions work? Can emotions be shared between actors and audiences? Are the acted emotions the same as the felt emotions? Have “real” emotions a stronger impact than played emotions? How does a member of an audience deal with strong feelings?

In this volume of Nordic Theatre Studies we will meet some attempts to answer questions like these. In the articles, there are examples from different situations, perspectives, places and times. (Continue reading the introduction by RIkard Hoogland in NTS vol 21…)

CONTENTS
Henri Schoenmakers
I am the Other (Sometimes). The Dynamics of Involvement Processes during the Reception of Theatrical Events
Anneli Saro
Theatrical expectations and experiences in Estonia
Stina Bergman Blix
Emotional participation: The use of the observer’s emotions as a methodological tool when studying professional stage actors rehearsing a role for the stage
Anette Storli Andersen and Jon Nygaard
Naród Sobie – Theatre as the Nation in Itself: Three case studies of theatre and national emotions
Martynas Petrikas
Anatomy of Hatred: Constituents of Theatrical Failure
Edgaras Klivis
Nostalgia as Political Emotion: Eastern European Subjectivities in the (Post)Soviet Theatre Context
Valda !akare
Non-verbal Representation of Emotions in the Recent History of the Latvian Theatre
Piret Kruuspere
Estonian Memory Theatre of the 1990s: Emotional Scale from Fear to Laughter
Dirk Gindt
Anxious Nation and White Fashion: Suddenly Last Summer in the Swedish folkhem
Tiina Rosenberg
Queer Feelings: Reflections on Zarah Leander and Gay Diva Worship
Leif Dahlberg
Emotional Tropes in the Courtroom: On Representation of Affect and Emotion in Legal Court Proceedings
Book Reviews