Theatre Design & Technology - Fall 2017 - 39
The King and
His Costumes
Discoveries in the archives of Gustaf III of Sweden provide unique
performance costumes for scholars' examination
K
BY MAARIT KALMAKURKI
ing Gustaf III of Sweden (1746-1792), known as the "Theatre King,"
differed from his predecessors by having a keen interest in and talent
for performing arts; he especially valued the role of costumes in court
performances. In addition to supporting theatrical arts by founding theatres and funding performances, Gustaf III altered theatrical traditions
in Sweden through his attention to and financial support of production
processes. An avid performer and devotee of masquerades, he was, perhaps fittingly, assassinated while in costume in 1792, despite his courtiers' attempts to use costumes to fool
the shooter. Extant archival material including costumes and designs reveals the depth of
his involvement in productions, and his desire to support performance throughout Swedish culture while linking it to contemporary and classical European traditions. Included
amid this special archive of clothing is his bloodstained costume, with the clearly visible
hole from the fatal shot.
While Gustaf III, as a playwright and an actor,
has attracted wide scholarly interest outside the Nordic
countries, English-language publications on his highly
active role in the costume design process of the plays
and operas are lacking. The research presented here
focuses on his involvement in designing performance
costumes at the Swedish court during his reign and features costume drawings executed according to his vision
and detailed photographs of some unique extant performance costumes, now in the collections of the Royal
Opera and Royal Armory (Livrustkammaren) in Stockholm. The author conduced this research in Stockholm
during spring and autumn 2015 and used a range of
sources for the content that follows, including produc-
tion programs, estate inventories, and visual analyses of
the historical extant costumes.
EARLY INFLUENCES
Gustaf III, the son of King Adolf Fredrik and Queen
Lovisa Ulrika, reigned in Sweden following his father's death from 1771 to 1792. The Drottningholm
Court Theatre started to be used again during Queen
Lovisa Ulrika's tenure. Because she was keen to renew
the theatrical life in Stockholm, in 1753 she founded a
court theatre, Confidencen, in the Ulriksdal castle; the
first performance was Le Philosophe Marié, staged by a
French Dulondel Theatre group, who had been commissioned to migrate to Stockholm by Queen Lovisa
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theatre design
& technology
39
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
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Theatre Design & Technology - Fall 2017 - Cover3
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
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