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104 Nordic Theatre Studies Vol. 27: No. 1 ABSTRACT Te Transnationalism

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104 Nordic Theatre Studies Vol. 27: No. 1 ABSTRACT Te Transnationalism ABSTRACT !e Transnationalism of Swedish and Russian National !eatres in the Second Half of the Eighteenth Century: How Foreign Performative Art Sharpened the Aesthetics of National Identity In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of thea- tre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in the revival of the theatrical arts, while aiming at the same time to preserve their national identities. !e general tendency in all European countries of “second theatre culture” was toward transnationalism, i.e. the acceptance of the inter-penetration between the various European cultures with the unavoidable impact of French and Italian theatres. !e historical plays of the two royal dramatists – Gustav III and Catherine II – were based on nation- al history and formulated following models of mainly French and English drama. !e monarchs resorted to the help of French, Italian and German composers, stage designers, architects, choreographers and actors to produce their plays. However, such cooperation only emphasized Swedish as well as Russian national- ism. Despite many similarities, Gustav III and Catherine II di"ered somewhat in how each positioned their own brand of nationalism. By delving deeper into the details of the formation of the national theatres by these monarchs, I will explore similarities and di"erences between their two theatres. Keywords: Gustav III, Catherine II, Swedish eighteenth-century theatre, Russian eighteenth-century theatre, national theatre, transnationalism, mobile artists. BIOGRAPHY Maria Berlova is a lecturer in European Art History at the Russian University of !eater Arts (GITIS, Moscow, Russia). She also works as a Senior Researcher at the State Institute for Art Studies. Right now she is working on two book projects: Performing Power. Political Masks of Gustav III in English and !eater of the King in Russian. Berlova received her MA in theater studies at GITIS in 2006, and PhD in 2011. She obtained her second PhD from Stockholm Univer- sity in 2013. Her research interests are European theater history of the eighteenth century, particularly Swedish and Russian theater history. [email protected] 104 Nordic Theatre Studies vol. 27: no. 1 Nordic Theatre Studies vol. 27: no. 1 The Transnationalism of Swedish and Russian National Theatres in the Second Half of the Eighteenth Century How Foreign Performative Art Sharpened the Aesthetics of National Identity MARIA BERLOVA Both Swedish and Russian theatres of the second non of the formation of national theatres in Swe- half of the eighteenth century consolidated their den and Russia under the guidance of King Gustav nationalism by appealing to various national cul- III, who reigned from 1771 to 1792, and Empress tures and absorbing them. One of the achievements Catherine the Great, who reigned from 1762 to of the Enlightenment was the rise in popularity of 1796. !e similarity between the two monarchs is theatre and its transnationalism. !e openness of not only in being cousins, but also in that both were national cultures and their exposure to mutual in- playwrights and builders of their national theatres.2 #uence in the eighteenth century favoured an ease !e individual histories of the two monarch-play- of communication and a nomadism of ideas across wrights’ processes of creating the Swedish and Rus- geographical and cultural boundaries, factors which sian national theatres are rather similar from the played important roles in the development of the perspective of the transnationalism of their national theatre of the period.1 !e French and Italian the- cultures. !e historical plays of the two royal dram- atres, with comparatively older traditions, were es- atists were based on national history and formulat- pecially in#uential in Europe. In the second half of ed following models of mainly French and English the eighteenth century several European countries, drama. Both Gustav III and Catherine II resorted like Russia, Sweden, Poland, Hungary and others, to the help of French, Italian and German compos- decided to follow France and Italy’s example and ers, stage designers, architects, choreographers and participate in the revival of the theatrical arts, while actors. !us, the cultural nationalism of both mon- aiming at the same time to preserve their nation- archs was a by-product of international collabora- al identities. !e general tendency in all European tion. However, such cooperation only emphasized countries of “second theatre culture” was toward Swedish as well as Russian nationalism. Its consol- transnationalism, i.e. the acceptance of inter-pen- idation was in fact the result of an assimilation of etration between the various European cultures various national cultures. Despite many similarities, with the unavoidable impact of French and Italian Gustav III and Catherine the Great di"ered some- theatres. !us the nationalism of culturally devel- what in how each positioned their own brand of na- oping countries in the age of Enlightenment had tionalism. Gustav III was more eager to form a na- a pan-European legacy source with contemporary tional theatre in Swedish, while the Russian version tendencies. in the hands of Catherine the Great was far more In this article, I intend to study the phenome- open to foreign companies performing in their Nordic Theatre Studies vol. 27: no. 1 Nordic Theatre Studies vol. 27: no. 1 105 native-languages: Italian or French. Nevertheless, gered because Peleus has two serious rivals, the gods the Russian Empress felt a greater concern for the Jupiter and Neptune. In the $nale, the betrothal be- originality of national identity in her plays than her tween !etis and Peleus is celebrated on Olympus.3 Swedish cousin. By delving deeper into the details Swedish poet Johan Wellander put Gustav’s libretto of the formation of the national theatres by these into rhyme, but the composer and conductor of the monarchs, I will explore further similarities and dif- opera was Italian, Francesco Uttini (1723-95). Ut- ferences between their two theatres. tini performed with the Italian company in Stock- First, consider the national theatre of Gustav III. holm in 1750 and thereafter stayed on and actively Similar to his mother Queen Lovisa Ulrika (1720- worked in Sweden for the rest of his life. Despite 82), Gustav had been passionate about theatre since his Italian training, the composer had to follow the childhood. As a youngster Gustav acted in court French model of tragédie lyrique, which had $ve acts performances and later, as a king, he took on the with song and dance divertissements at the end of role of a performer both on the court stage as well each act. !e ballet scenes in the opera were staged as in his politics. !eatre often appeared at crucial and rehearsed by Louis Gallodier (ca. 1734-1803), a moments in Gustav’s life. On March 1, 1771 in the French ballet dancer and choreographer, who stayed midst of a performance at the Opera in Paris, Gus- on in Stockholm after the French company was tav was informed his father had died and that he dismissed by Gustav III in 1771 because the King was now King of Sweden. In 1792, Gustav was as- wanted to cut down on expenses and promote the sassinated at the masquerade at the Opera in Stock- national theater. Gallodier spent the majority of his holm, as immortalized by Giuseppe Verdi’s opera career in Sweden, where he had a great in#uence on Un ballo in maschera (A Masked Ball). the development of the ballet in Sweden as master In August 1772, Gustav carried out a blood- of the Royal Swedish Ballet. In accordance with the less coup d’état aimed at the centralization of royal genre of tragédie lyrique, the opera !etis and Peleus power where he successfully performed his role of abounded in spectacular scenic e"ects. As a model monarch by referring to his kingly predecessors for the scenery, Gustav chose examples of French Gustav Vasa (1496-1560) and Gustav II Adolph scenery from the seventeenth century, for instance (1594-1632). Five months later, in January 1773, that of Jean Berain. !us, the $rst Swedish national the Swedish Opera was established and his inaugu- opera was national only in that it was presented in ration took place in Bollhuset or “!e Ball House” the Swedish language (not Italian or French) and which was built in 1627 for ball sports and later featured Swedish singers and dancers. Also, a Swed- used as a theatre. ish twist in this opera was that Gustav III deviated From the very beginning Swedish opera was an from the French model by presenting Neptune as international enterprise. Although the language of a good lord, which made for a transparent parallel the country’s $rst national opera, !etis och Pelée with the mild king Gustav III. But from all other (!etis and Peleus), was Swedish, the opera itself was perspectives, the opera was a synthesis of French modelled on a French one, a strategy which later and Italian theatrical arts.4 To understand the real became characteristic of Gustavian theatre. !e signi$cant di"erence between Gustavian musical genre of the opera – tragédie lyrique – was typical- theatre and that of Catherine the Great it must be ly French. !e Sun King was an immutable model remembered that the main genre in Russian of that for the Swedish King, who even openly borrowed time was not tragédie lyrique, but opéra comique; this French court rituals.
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