Theatre Design & Technology - Fall 2017 - Public - 40

Images 1-2: Costume sketches, drawn by Jean Erik Rehn, were done mostly from Gustaf
III's visions for the characters. These drawings depict the Greek choir. Photos courtesy of
the Royal Opera.

Ulrika a few months earlier. The Dulondels settled into
private upstairs apartments in the theatre house. The
theatre group was highly respected at the court and influenced Gustaf III's life in many ways. The Dulondels
performed for and with Gustaf III, and Madame Dulondel's son Louis became Gustaf 's first dancing teacher.
Furthermore, Pierre Léfebvre, Madame Dulondel's
brother-in-law was, Gustaf 's fencing teacher (Hadorph
1999, 17 and 19; Forslund 2015).
Consequently, opera and theatre played key roles in
Gustaf III's life. At the age of three, he acted for the
first time on stage and his involvement continued in
various theatrical productions throughout his life. After
his coronation, Gustaf III immediately began to renew
the Swedish theatre life by promoting Swedish actors
40

theatre design

& technology

F

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2 0 1 7

and Swedish language in productions. By the end of
the 1780s, he had founded the Royal Opera (focusing
on ballet and opera) and the Royal Swedish Dramatic
Theatre (Kungliga Svenska Dramatiska Teatern; performing comedies, tragedies, and dramas). Although he
had been highly influenced by the Dulondels and other
French theatre groups all his life, one of his first acts as
a king was an order for the grand marshal Nils Bielke
to dismiss all French theatre groups from the court. This
action supported his aim to create an entirely new theatrical tradition in which plays could be used to influence the minds of his court and nation to enhance his
political status (Fogelmarck, 1991: 47). To improve the
development of Swedish language writing and to spread
the honor of Swedish language around the world, Gustaf III founded a Swedish Academy in 1786 (where the
Nobel Prize in Literature has been awarded since 1901).
The Academy had started a few years earlier in weekly
gatherings by small elite groups, called "Society for the
Improvement of the Swedish language" (Cassirer 1991:
31). Gustaf himself was very productive in playwriting
around the same time. For example, between the years
1782 and 1783 he wrote five plays in Swedish (Gustaf
Adolfs Ädelmod, Helmfelt, Frigga, Gustaf Adolf och Ebba
Brahe and Drottning Cristina). Between 1788 and 1792,
the Royal Swedish Dramatic Theatre performed four
plays that were written by Gustaf III: Siri Brahe och Johan Gyllenstjerna (1788), Helmfelt (also called Den Återfundne sonen, 1789), Gustaf Adolfs Ädelmod (1789), and
Birger Jarl (1790) (Carlborg-Mannberg & HjertstrandMalmros 1991: 136-143, author's translation).
For each production Gustaf III wrote, he was very
keen to contribute to the visual designs. One example
is Thetis och Pelée, Gustaf 's first opera, which he wrote
shortly after his coronation. It premiered at the Bollhuset (Ball House) in 1774 and was the first Swedish
opera with music by the court Kapellmeister Francesco
Antonio Uttini (Cassirer 1991: 29-30). During the production of Thetis och Pelée, Gustaf was eagerly involved
in choosing costumes for the opera. He had made notes
about what kinds of costumes he preferred for each
character and the drawings were then made by court
designer Jean Erik Rehn. Moreover, the king allowed
a remarkable costume budget for Thetis och Pelée. Invoices in his estate inventory show how much money
was put into the materials and labor for this particular
production. The costumes were either made at the court
or provided by Gustaf III from his own wardrobe (Eriksson 1974: 14, 19, author's translation). This was not at
all a common practice in theatres during that time; for
example, in France, actors had to acquire their own costumes for the plays in which they were involved.
Providing his own clothing and hiring court tailors to make new ones for the performances show how
highly he respected the visual quality of the costumes.



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2017 - Public

Contents
Theatre Design & Technology - Fall 2017 - Public - Cover1
Theatre Design & Technology - Fall 2017 - Public - Cover2
Theatre Design & Technology - Fall 2017 - Public - 1
Theatre Design & Technology - Fall 2017 - Public - 2
Theatre Design & Technology - Fall 2017 - Public - Contents
Theatre Design & Technology - Fall 2017 - Public - 4
Theatre Design & Technology - Fall 2017 - Public - 5
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