Film 16:9 & Installation // 66:00 min
D The Time Stroll
Film & Walk - 2020 <!-- Google tag (gtag.js) --> <script async src="://www.googletagmanager.com/gtag/js?id=G-TCYDJK6LMY"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-TCYDJK6LMY'); </script
Scenography & Costume
A Selection 2013 - 2025
Kattpromenaden
BOOK Sandra Lundberg
DIRECTOR Emily Magorrian
SET DESIGN & COSTUME Sofia Romberg
MASK Linda Hyllengren
LIGHT DESIGN Thabiso Kubheka Persson
SOUND DESIGN & COMPOSER Börn Lönnroos
PERFORMERS Bernard Cauchard / Karin Li Körsbärsdal / Magdalena Eshaya
DRAMATIC ADVISER Erik Gripenholm
PHOTO Sören Vilks
Dramaten 2024
Frankas monster
PLAY Emelie Östergren
DIRECTOR Carl Johan Karlson
SET DESIGN & COSTUME Sofia Romberg
MASK Linda Hyllengren
LIGHT DESIGN Jesper Larsson
SOUND DESIGN & COMPOSER Christoffer Karlsson
PERFORMERS Melinda Kinnaman / Tanja Lorentzon / Elle Kari Bergenrud
DRAMATIC ADVISER Anna Kölen
PHOTO Sören Vilks
Dramaten 2024
Hör så tyst det är
IDÉA & CONCEPT Nyxxx
SET DESIGN & COSTUME Sofia Romberg
MASK Hanna Elwe
PERFORMER Gabriela Anselmo / Jannie Östergren
DRAMATIC ADVISER Sofia Westerlund
Regionteatern Blekinge & Kronoberg / tour
BIBU 2022
Slutet enligt Rut
PLAY Jesper Weithz
DIRECTOR Nora Nilsson
SET DESIGN & COSTUME Sofia Romberg
MASK Rebecca Afzelius
SOUND DESIGN Christoffer Karlsson
LIGHT DESIGN Imre Zsibrik
PERFORMERS Cecilia Nilsson/Per Burell/Catherine Parment
PHOTO Märta Thisner
Riksteatern 2017
Akta dig för Rödluvan
PLAY Emelie Östergren
Örebro Länsteater 2018
PLAY Emelie Östergren
DIRECTOR Carl Johan Karlson
SET DESIGN & COSTUME Sofia Romberg
MASK Giovanni Indelicato
SOUND DESIGN Christer Christensson
LIGHT DESIGN Ronny Andersson
PERFORMERS Christer Christensson / Emelie Florén / Linus Lindman / Maria Simonsson
PHOTO Kicki Nilsson, ICON Photography
Örebro Länsteater 2018
Det finns ingenting att vara rädd för
PLAY & DIRECTOR Sara Giese, (based on the book by Johan Heltne)
Uppsala Stadsteater 2017
PLAY & DIRECTOR Sara Giese, (based on the book by Johan Heltne)
SET DESIGN & COSTUME Sofia Romberg
SOUND DESIGN Anna Haglund
LIGHT DESIGN Johan Sundén
MASK Anne-Charlotte Reinhold
PERFORMERS Tomas Andersson / Björn Elgerd / Jakob Fahlstedt / Anna Haglund / Mikaela Knapp / Anna Lundqvist / Slaven Spanovic / Cilla Thorell
PHOTO Jonas Jörnberg
Uppsala Stadsteater 2017
Skimrande Vattnet
PLAY Johanna Emanuelsson
DIRECTOR Carl Johan Karlson
SET DESIGN & COSTUME Sofia Romberg
MASK
Helena Andersson
SOUND DESIGN Christoffer Karlsson
LIGHT DESIGN
Hebbe Hertzberg
PERFORMERS Lisa Hu Yu /
Dasha Nikiforova / Marika Holmström
PHOTO Markus Gårder
Riksteatern
Det Normala Livet
PLAY Christian Lollike
DIRECTOR Carl-Johan Karlsson
SET DESIGN Sofia Romberg
COSTUME DESIGN Jasminda Blanco
MASK Giovanni Indelicato
SOUND DESIGN
Christoffer Karlsson
LIGHT DESIGN Johan Sundén
PERFORMERS Marika Holmström / Peter Järn / Maria Simonsson
Örebro Länsteater
Uppgång & Fall
PLAY & DIRECTOR Sara Giese, (book by Liv Strömqvist)
Uppsala Stadsteater
PLAY & DIRECTOR Sara Giese, (book by Liv Strömqvist)
SET DESIGN / COSTUME / VIDEO Sofia Romberg
MASK Anna Lilja
COMPOSER Pelle Lindroth
LIGHT DESIGN Pontus Eklund
PERFORMERS Moa Silen / Gloria Tapia / Göran Engman / Bashkim Neziraj / Cilla Thorell
POSTER Klara G
Uppsala Stadsteater
Treasure Hunting “ WUK, Vienna ”
Treasure Hunting is a participatory practice expanding and exploring the format of a Treasure Hunt initiated by Charlotta Ruth. Participation resembles playing a computer game in a live environment. In Treasure Hunting you co-create your own and others journey with an emphasis on intuitive interpretation of tasks and clues.
Practiced with co-creators/time-donators:
Laura Weiss / Sofia Romberg / Julian Vogel / Johannes Burström / Dominik Grünbühel / Marina Losin / Johanna Wolff / Johanna Pfabigan / Alessandra Kopp as well as 80 Treasure Hunting participants and 40 video Treasure Hunters at WUK season opening.
Treasure Hunting “ DOCH, Stockholm ”
BY Charlotta Ruth Grünbühel
Practiced with co-creators/time-donators:
Frank Martin Engström / Dominik Grünbühel / Peter Mills / Sofia Romberg,
supervisor/time-donator Marco Muniz as well as testers/time-donators.
Hejdå Elever, Hej Pengar
DIRECTOR Lisa Lie
SADA
DIRECTOR Lisa Lie
PLAY Hanna Borglund / Lisa Lie
SET DESIGN Sofia Romberg
COSTUME Jasminda Blanco
MASK Daniela Mengarelli
SOUND DESIGN Christoffer Karlsson
LIGHT DESIGN Johan Sundén
PERFORMERS Tove Sahlin / Nina Jeppson / Wilhelm Grotenfelt / Johanna Karlsson / Elin Skärstrand / Martin Hamberg / Otto Stockhaus / Sofia Romberg & the rat Ramon
PHOTO José Figueroa
SADA
Grattis
DIRECTOR Eva Molin
SADA
DIRECTOR Eva Molin
PLAY Gunnar Eriksson
SET DESIGN / COSTUME / LIGHT / PHOTO Sofia Romberg
PERFORMERS Lou Kauppi / Jonatan Rodriguez / Figge Norling
SADA
Through the Looking Screen
5,3 x 3 m (16:9) Curtain Installation
2022
Made from discarded theater silk-curtains, re-colored black while letting its past stitchings and patterns still shine through. The hole in the middle is cut out and possible to step through. The title and work draws inspiration from the book Through the Looking-Glass, and What Alice Found There by Lewis Carrol (1871).
I am drawn to re-use and mis-use the tools from the theatre - off stage. The curtain has historically been used within the playhouses as a division between audience (reality) and the stage (fiction). Curtains are
often also used for more practical reasons: making the sound environment less brute, controlling the light and making hiding spaces for props and actors. The curtains I worked with here are about three decades old and have an immaterial archive of their own that I
wanted to display by placing it in a setting where you can view it from both sides in a day-light setting.
The curtain was also part of the play “The Opening Night” directed by the artist Iris Smeds 2023
at The Art Academy. We were asked to use a work of our own and create a script/life around it, all our parts were then assembled
and became material for the play that Iris wrote. I used the curtain as a point of departure and wrote it a monologue that I shared from the stage wrapped around it.
Made from discarded theater silk-curtains, re-colored black while letting its past stitchings and patterns still shine through. The hole in the middle is cut out and possible to step through. The title and work draws inspiration from the book Through the Looking-Glass, and What Alice Found There by Lewis Carrol (1871).
I am drawn to re-use and mis-use the tools from the theatre - off stage. The curtain has historically been used within the playhouses as a division between audience (reality) and the stage (fiction). Curtains are
often also used for more practical reasons: making the sound environment less brute, controlling the light and making hiding spaces for props and actors. The curtains I worked with here are about three decades old and have an immaterial archive of their own that I
wanted to display by placing it in a setting where you can view it from both sides in a day-light setting.
The curtain was also part of the play “The Opening Night” directed by the artist Iris Smeds 2023
at The Art Academy. We were asked to use a work of our own and create a script/life around it, all our parts were then assembled
and became material for the play that Iris wrote. I used the curtain as a point of departure and wrote it a monologue that I shared from the stage wrapped around it.
and became material for the play that Iris wrote. I used the curtain as a point of departure and wrote it a monologue that I shared from the stage wrapped around it.
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CREDITS LilaRo Skrädderikompani & Riksteatern
Lightspiel
Animation (Loop) 01:00 min
2023
Lightspiel consists of an animation of red colored still images picked from a Super-8 film capturing an eclipse. This is the first filmed solar eclipse that we know about and was filmed by the magician and astronomy enthusiast Nevil Maskelyne in North Carolina on May 28th 1900. This animation is intended to be presented as a projection in different scales and on different surfaces.
Original still from footage by Nevil Maskelyne,
restored by BFI National Archive.
Image from the performance lecture day at School of Economics, Stockholm, with Prof. Wontag. Here the film was projected accompanied with shadow play performad by Jaana-Kristiina Alakoski & Elmer Blåvarg. Photo by Neil Bhat.
Hus, trädgård och så vidare bortåt
Film 16:9 & Installation // HD 66:00 min
2023
”The everyday imposes its monotony. It is the invariable constant of the variations it envelops. The days follow one after another and resemble one another, and yet - here lies the contradiction at the heart of everydayness - everything changes.”
From Henri Lefvebres essay ”The Everyday and Everydayness” 1987
House, Garden and So Forth Beyond was filmed between the summer of 2021 and 2022 in the house and garden that belonged to my grandparents Sture and Reetta. With a single camera placed on furniture, flower boards, the ground documenting the ebb and flow of everyday encounters between generations, internal and external events, still and active life, intimacy and loss, without a hierarchy in-between.
This visual setting of “the flow of time” during a one year time frame is accompanied by sounds from the films mainly disconnected from the images; The radios disparate tableau, fragments from conversations and environmental sounds. The captions is a montage from transcriptions of our voices, milieu and sound descriptions and from a manual regarding Super-8 screening.
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The installation was built in a newly emptied storage room for tech equipment at the Royal Institute of Art. I was interested to work in a space with its own personal traces, caught in an in-between - about to move in or out? I covered parts of the floor with a paper often used during renovations, and placed a soft carpet on another part for its domestic and welcoming quality along with garden sun chairs. In the back of the space I built an installation with props from my grandparents home, as well with objects from the original space. Here I placed a screen with the sibling piece Ljusår that consits of my grandfathers Super-8 recordings viewed from the monitor of a Vu-Editor, while its beeing scrolled through. The main film was projected on four connected screens covered in thin cotton, letting the construction shine through and the image bleed out and reflect on the surfaces behind and above it.
Camera & Editing : Sofia Romberg
Super - 8 : Sture Romberg
Text Animation : Rahul Gunnarsson
Sound Design : Jon Lennblad & Sofia Romberg
Special thanks to my professor Ming Wong & the input from the student group of performance in the expanded field at the Royal Institut of Art during this process, aswell the awing technical support from Caio Marques De Oliveira and Astrid Braide Eriksson <3
”The everyday imposes its monotony. It is the invariable constant of the variations it envelops. The days follow one after another and resemble one another, and yet - here lies the contradiction at the heart of everydayness - everything changes.”
From Henri Lefvebres essay ”The Everyday and Everydayness” 1987
From Henri Lefvebres essay ”The Everyday and Everydayness” 1987
House, Garden and So Forth Beyond was filmed between the summer of 2021 and 2022 in the house and garden that belonged to my grandparents Sture and Reetta. With a single camera placed on furniture, flower boards, the ground documenting the ebb and flow of everyday encounters between generations, internal and external events, still and active life, intimacy and loss, without a hierarchy in-between.
This visual setting of “the flow of time” during a one year time frame is accompanied by sounds from the films mainly disconnected from the images; The radios disparate tableau, fragments from conversations and environmental sounds. The captions is a montage from transcriptions of our voices, milieu and sound descriptions and from a manual regarding Super-8 screening.
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The installation was built in a newly emptied storage room for tech equipment at the Royal Institute of Art. I was interested to work in a space with its own personal traces, caught in an in-between - about to move in or out? I covered parts of the floor with a paper often used during renovations, and placed a soft carpet on another part for its domestic and welcoming quality along with garden sun chairs. In the back of the space I built an installation with props from my grandparents home, as well with objects from the original space. Here I placed a screen with the sibling piece Ljusår that consits of my grandfathers Super-8 recordings viewed from the monitor of a Vu-Editor, while its beeing scrolled through. The main film was projected on four connected screens covered in thin cotton, letting the construction shine through and the image bleed out and reflect on the surfaces behind and above it.
Camera & Editing : Sofia Romberg
Super - 8 : Sture Romberg
Text Animation : Rahul Gunnarsson
Sound Design : Jon Lennblad & Sofia Romberg
Special thanks to my professor Ming Wong & the input from the student group of performance in the expanded field at the Royal Institut of Art during this process, aswell the awing technical support from Caio Marques De Oliveira and Astrid Braide Eriksson <3
This visual setting of “the flow of time” during a one year time frame is accompanied by sounds from the films mainly disconnected from the images; The radios disparate tableau, fragments from conversations and environmental sounds. The captions is a montage from transcriptions of our voices, milieu and sound descriptions and from a manual regarding Super-8 screening.
The installation was built in a newly emptied storage room for tech equipment at the Royal Institute of Art. I was interested to work in a space with its own personal traces, caught in an in-between - about to move in or out? I covered parts of the floor with a paper often used during renovations, and placed a soft carpet on another part for its domestic and welcoming quality along with garden sun chairs. In the back of the space I built an installation with props from my grandparents home, as well with objects from the original space. Here I placed a screen with the sibling piece Ljusår that consits of my grandfathers Super-8 recordings viewed from the monitor of a Vu-Editor, while its beeing scrolled through. The main film was projected on four connected screens covered in thin cotton, letting the construction shine through and the image bleed out and reflect on the surfaces behind and above it.
Camera & Editing : Sofia Romberg
Super - 8 : Sture Romberg
Text Animation : Rahul Gunnarsson
Sound Design : Jon Lennblad & Sofia Romberg
Special thanks to my professor Ming Wong & the input from the student group of performance in the expanded field at the Royal Institut of Art during this process, aswell the awing technical support from Caio Marques De Oliveira and Astrid Braide Eriksson <3