In 2009, I co-taught the advanced undergraduate class Teateraktivism — Genus, feminism och queer (Theatre Activism — Gender, Feminism, and Queer) together with Mikael Strömberg, then Ph.D. Student in Theatre and Performance Studies. It was divided in two parts. The first part of the course was a theoretical journey through foundational feminist, gender, and queer theories, especially as they related to theatre and performances. In the second part of the class, students were able to apply and reflect on the usability of the theories in relation to actual theatre, opera, and dance performances, as well as drag shows, etc. Students were assigned and evaluated on their attempts to create “queer dramaturgies” in this second part. Some students took a more general approach to the assignment and tried to think how theatre can, in fact, be intersectionally queer and feminist, while others looked at more small-scale projects and tried to understand how they succeeded/failed in reaching standards they had set up. A lot of the students keep doing amazing work in Stockholm today, for instance in Dramalabbet’s performance of Our Golden Girl, a new play about the uncertain gender identity of a sports athlete.