Stockholm: genre

Overview of Stockholm’s Genre

Stockholm, authored by Bryony Lavery, is often described as a psychodrama
The play delves into the complexities of human emotions and the dark aspects of love, mimicking the intricate workings of the human mind
It also combines elements of physical theatre, incorporating intense dance sequences as a narrative mechanism

At the core of psychodrama is the intention to give a voice to internal experiences. In Stockholm, the internal world of both Kali and Todd are explored allowing the audience to journey into their troubled minds
Conflict is a key feature of psychodrama, and Stockholm portrays an intense internal and interpersonal conflict that shapes its narrative
The exploration of real-life trauma is also a characteristic aspect of psychodrama seen in Stockholm

Stockholm also employs elements of melodrama, with its high emotional intensity, exaggerated characters and dramatic situations
The elements of physical theatre are cleverly integrated into Stockholm. For instance, the climactic dance sequence elucidates the power struggle between Kali and Todd
Additionally, traces of tragedy can be perceived in Stockholm’s storyline, given the destructive and inevitable collapse of Kali and Todd’s relationship

The genre influences the play’s exploration of themes like control, possessions, and codependency
The psychodrama format presents a deep, introspective look at the mental state of the characters and their relationships
The usage of physical theatre and dance-based storytelling echoes the theme of Stockholm syndrome

The genre instigates the audience to feel a wide range of emotions, from unease to sympathy for the characters
The psychodrama genre aids in decoding the complexity of the characters’ thoughts, feelings, and motives
The genre also fosters a form of theatre that provokes thought, encouraging the audience to reflect on the underlying messages about toxic relationships