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LARS RING Swedish theatre is, of course, not uniform – quite the contrary. It offers a medley of

semi-official theatrical institutions, differing artistic and social visions, attempts to play

to the gallery, theatre for children that can be both pedagogical and ferocious,

community theatres, amateur productions, regional theatres and young, angry groups

in revolt. All of it is performed under particular circumstances, with various

underlying premises and for specific audiences. Summarising Swedish theatre is all but

impossible. The most effective and the simplest solution is to superimpose a screen

of some kind over its entirety, as provided by the decennial or millennial changes, the

Annual Review of the Theatre or the proceedings of a theatre biennale, so as to allow

patterns to emerge.