ABSTRACT
Swedish theatre has during the last decades gone through a transformation. The male predominance of directors, playwrights, and theatre managers has been challenged. International cooperation has been more common and stage art forms are now more merged, where especially new circus has played a central role. Swedish theatre is highly subsidized, but despite this the neoliberal agenda has affected the theatre with the enforcement of reporting and measurement systems. The school system has partly been privatized which has exacerbated the situation for theatre for young people. The central question now for the Swedish theatre is how to attract new audiences.
