The browser you are using is not supported by this website. All versions of Internet Explorer are no longer supported, either by us or Microsoft (read more here:

Please use a modern browser to fully experience our website, such as the newest versions of Edge, Chrome, Firefox or Safari etc.

Portrait of Hedvig Jalhed. Photo.

Hedvig Jalhed


Portrait of Hedvig Jalhed. Photo.

Reich of Ran

Other contributions

  • Hedvig Jalhed
  • Mattias Petersson
  • Marko Wramen
  • Anna Thorbjörnsson
  • Petra Hjortsberg

Summary, in English

One of my research questions is how ludo-immersive opera can be understood and interpreted. Reich of Ran was conceived as an etude of how to design comprehensible rules for playing visitors. This developed into a turn-based ’micro opera’ with forked paths. Each visitor got to experience the opera alone with the opera character (played by me) and a live-electronic musician. Thus, there could be no sense of being watched and evaluated by non-active players (voyeurs). Since the ludic concept aimed to be as basic as could be, I decided that the challenge was to offer a problem with opacity. This opacity was manifested in the language of the characters, as an artistic expression concealing clues of what to do and why to succeed. The verbal content of the communication was given different audial expressions without altering either the character or the message. The visitors displayed a ‘lusory attitude’ to different extent, as some acted as fictional characters with manners that corresponded to the opera singer’s character and the setting. The balance between easy participation and the challenge of non-naturalistic interaction became evident through the project.

Publishing year




Document type

Artistic work


  • Performing Arts


  • opera
  • immersion
  • interaction
  • play