Theatre Design & Technology - Fall 2017 - 41
That Gustaf expended so much money on costumes is
perhaps not surprising as he was one of the most extravagant sartorial kings in Swedish history, with a strong
interest in the latest and most lavish French fashions,
which he saw during his own travels. Gustaf used dress
and historicizing elements, such as the famous Swedish National Dress, to underscore his relationship with
the past (see: Rangström L 2002; Rangström L 1997;
Bergman 1937). He used his regular travels to enhance
his political status and international relationships, but
also to acquire historical inspirations for his own theatre
productions in Sweden.
The costume drawings for Thetis och Pelée (Image 1)
indicate that Gustaf III wanted to have Greek costumes
for the choir through text underneath each rendering;
for example, "Grekiska Grigare, Chor i Thetis och Pelée"
means Greek Soldier, Choir in Thetis and Pelée. The male
costumes greatly resemble the conventional theatrical
heroic costume seen across Western Europe since the
late Renaissance, which originates from the ancient
Greek and Roman soldiers' clothing. In theatrical use,
this heroic costume includes features of the soldier's
body-fitting breastplate with hanging panels suspended
from the waist. It is worn over a knee-length tunic and
typically includes a plumed helmet. The interpretation
of the Greek soldier's clothing in Thetis och Pelée shows
two types of breastplates: one close-fitting, depicting a
heroine's muscular upper body, and one resembling fish
skin pattern. The second costume drawing also shows
additional notes for two different patterns; these most
likely refer to the shape of the black and white patterned garments worn over the tunics.
The great success of Thetis och Pelée encouraged
Gustaf III to build an opera house in Stockholm. It
opened in 1782 on the premises where the Royal Opera still stands today (Cassirer 1991: 30). The first ballet
master at the Royal Opera was Louis Gallondier, who
had been working as a choreographer in most of the
court productions and founded the Royal Ballet School
in Sweden (Ralf 1974: 9-10, Hadorph 1999: 21, author's
translation). Gustaf III's appreciation and value of costumes can be seen in his decision to commission a costume wardrobe at the new opera house. The wardrobe
was a place in which costumes were properly stored and
sometimes manufactured. Designer Jean Erik Rehn was
appointed as the wardrobe manager. This is a significant
development because until then costumes were made
by the court tailors or ordered from outside the court.
Neither of the court theatres had a special wardrobe for
theatrical costumes.
MFA
BA
Theatre
Acting, Costume Design,
Costume Techology, Directing
Lighting Design, Scenic Design
& Theatre Technology
BFA
Musical Theatre &
Contemporary Dance
theatre.indiana.edu
MA/PhD
Graduate Assistantships
Studies in History, Theory, & Literature
Active Graduate Community
Travel & Conference Funding
Nationally Recognized Faculty
Ten Production Season
Professional Summer Theatre
Member of U/RTA & USITT
NAST Accredited
INDIANA UNIVERSITY
DEPARTMENT OF THEATRE, DRAMA & CONTEMPORARY DANCE
F
a
l
l
2 0 1 7
theatre design
& technology
41
http://theatre.indiana.edu
Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2017
Contents
Theatre Design & Technology - Fall 2017 - Cover1
Theatre Design & Technology - Fall 2017 - Cover2
Theatre Design & Technology - Fall 2017 - 1
Theatre Design & Technology - Fall 2017 - 2
Theatre Design & Technology - Fall 2017 - Contents
Theatre Design & Technology - Fall 2017 - 4
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