Joséphine Wistedt
Actor, director, playwright
Joséphine Wistedt is an actor, director, and playwright, trained at the Stockholm Academy of Dramatic Arts and at th École De Théâtre Jacques Lecoq in Paris. With broad experience from theatres including Norrlandsoperan, Riksteatern, Turteatern, Orionteatern, and Kalmar Länsteater, she has established herself as a versatile artist within Swedish performing arts — and occasionally in front of the camera. She has also worked internationally, for example as choreographer for the Finnish production The Chicken Trial with a Scottish ensemble at the Edinburgh Fringe Festival, and as director of the critically acclaimed Paradisdoktrinen at Viirus / Teater Mestola in Helsinki.
As an actor, she has taken on lead or title roles at theaters all over Sweden. Alongside her acting, she has written, directed, and choreographed her own work — including Metropol, VitaNova AB, and Mamsell, malströmmarna och jag — described by Dagens Nyheter as performed with "intense presence and total physical control."
In recent years Joséphine has been exploring the relationship between text and movement, and has through several projects developed her own narrative form within the field of immersive theatre. Her artistry moves freely between the playful and the existential, with a pronounced interest in the intersection of absurdity, darkness, and humour.
Contact: jvanderfalk@gmail.com
Said about Joséphine's direction, choreography and acting
"There is more to discover here; what in video game terminology is called 'replayability.' And above all there's an ambitious playfulness that presses close against everyday life and widens its cracks. Homo ludens is endangered but lives and thrives — even by the new Slussen."
— Samuel Levander, Dagens Nyheter on VitaNova AB, Svärmen, 2025"Metropol is at its most wonderful when the four actors fall out of their perfect stage personas and tumble into dance, when the facades crack and the bodies speak. That's when they emerge fully, quirky and irresistible. Even so, experiencing Metropol is truly something."
— Svenska Dagbladet on Metropol, Svärmen, 2022"I was also fascinated by the dialogue between word and dance. It wasn't merely an aesthetic device — it sharpened the understanding of the characters and their situation. I would feel enormously proud if this production were to travel to Spain and be staged there, without a doubt."
— Juan Mayorga on NATTDJUR, Aliasteatern, in the journal Lyktan“Joséphine Wistedt makes the anxiety-ridden, rigid Vivi with an impressive range of expression.”
— Barometern on Jaktlycka, Kalmar länsteater, 2024"The packaging is incredibly well made. Nothing has been left to chance, and the many details with which the Stadsgården terminal has been furnished make it a complete experience. (…) It's liberating to experience performing arts that take over a specific place and transform it into an experience allowed to take its time. So I truly recommend bringing your very best set of genes to 'Metropol' and get a shot at eternal life!"
— Scenkonstguiden on Metropol, Svärmen, 2022"We see an intimate and nerve-charged monologue from the inner landscape of late adolescence, in the turbulent, fragile shift from young to grown. About the first great love, the first great grief, and the first great self-realization — she will, after all, manage to get through life."
— Maina Arvas, Dagens Nyheter on Klara Livet, Ö2 Scenkonst. 2021“Much of this is owed to the fine acting. Both Py Huss-Wallin and Josephine Wistedt deliver exceptionally fine performances throughout. Above all, though, Josephine Wistedt's skillful expressive artistry deserves to be highlighted. Her training as a mime actress comes through especially well here.”
— Tidningen Kulturen on Det rasar, Orionteatern/ Dramalabbet, 2018“Actor Joséphine Wistedt, who also wrote the script, plays both characters with intense presence and total physical control. The Dramaten actress Elin Klinga keeps surfacing in my mind — there's something similar in the phrasing, in the vulnerable intensity. And yet Joséphine Wistedt is entirely her own; this may well be the role of her life.”
— Dagens Nyheter on Mamsell, malströmmarna och jag, Svärmen/Ö2 Scenkonst, 2021“Josephine Wistedt gets to tell the individual experiences of many others, short scenes lit up by strong emotions. These are often simple, direct texts allowed to speak for themselves, and the duo on stage delivers them with concise sharpness, a focused concentrate of loss. /…/ It's a controlled, beautiful production about how fragile — and how strong — we all are, because we are part of so many other people's lives and feelings.”
— Svenska Dagbladet on Det rasar, Orionteatern/ Dramalabbet, 2018