the Point with Shakespeare is that everyone knows his plays. But it actually gets much more fun when the pieces in the children's and young adult books are completely their own.
When the theater is in the children and young people, it is almost always Shakespeare. In Martin Widmarks ”Fängelsemysteriet” play ”Hamlet”, in Martin Olczaks ”Megakillen. A star at the theatre”, it is ”Macbeth”. Go to the booksellers, it is ”Romeo and Juliet”, for example, in Johan Rundbergs ”knocked Out Romeo”, Rachel Wings ”Hate Romeo” or Emmy Abrahamssons ”the Only way is up” and ”Steal the show”. Sara Bergmark Elfgren ”A midsummer night's dream” to his ”Norra Latin” where teaterelever sets up the play in the present but where it is also told about a fateful elevuppsättning in the 1940s.
contemporary playwrights that are interesting for children - and booksellers? No women? Emmy Abrahamsson mentions in any case of Sarah Kane, but is mentioned only classics such as Chekhov or Euripides. No Mirja Unge, Sara Stridsberg, Martina Montelius, Kristina Quiet or Margareta Garpe. Not even Alfrida Agrell, if you need to have with an old-timer.
we are very grateful to reflect the novel's action in the play, and so it is often used when ”Romeo and Juliet” captures the love in the double edition. Aristotle, the first teaterteoretikern from ancient Greece, would le pleased about this: ”everything is interrelated and form a unity”, as he puts it.
have whined about the way to throw in a piece, which at any time, without linking it to the document. As in Moa Eriksson Sandberg's latest, ”the Truth about Esther Gråbergs disappearance”, which seems to play ”Hamlet” mostly because it is the only piece that the readers are assumed to know.
In a book about the teaterelever? It is a little as to omit the words ”halter” and ”bridle” out of a hästbok, in order to not scare away any stall uninterested.
There are exceptions, particularly for mellanåldrarna. In Ingelin Angerborns ”Heart of dust” play spänningspjäsen ”The mysterious house”, a drama that does not exist outside of fiction. So is it also in Marten Melins ”Spöksystrar. The terrible vengeance”, and both titles are also such as children are wont to give the pieces they find and play for themselves, at home.
it becomes best when someone pushes with the whole genre, Sören Olsson and Anders Jacobsson makes in ”Bert gets stage fright”. Where would Bert that the group will play ”Åsa-Nisses hit”, but soon finds themselves in depicting the rain in the drama with the name ”Hidden mystery”.
It is actually the only piece that you get a little craving to watch. ”Hidden mystery”, soon on a amatörteaterscen near you?