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The Digital Enchantment of Drottningholm ISSN 2002-3898 © Willmar Sauter and Nordic Theatre Studies DOI: https://doi.org/10.7146/nts.v26i1.109745 Published with support from Nordic Board for Periodicals in the Humanities and Social Sciences (NOP-HS) The Digital Enchantment of Drottningholm Willmar Sauter ABSTRACT How can we relate to a historical playing culture? In this essay, a counter-factual visit to the palaces and parks of Drottningholm outside Stockholm is presented. By means of digital technologies, this World Heritage Site could be animated with historical figures from the eighteenth century, thus giving a living picture of past playing. Even though such an encounter with the past is fully possible from a technical point of view, the realization of this project poses a number of practical and theoretical questions: How can the picture of eighteenth-century court life be broadened to include social perspectives of class, gender and ethnicity? What artistic decisions have to be taken to visualize the activities around the park and in the palace? What forms of interactions provided by the technology are suitable for various groups of visitors? Some answers to these questions are hinted at in this essay, but the general question of a poetics of playing remains in the abyss between the historical period and the contemporary access to it. Neither Friedrich von Schiller?s treatise on the aesthetic education of man nor Emanuel Kant?s rational view of judgment bridge the gap of historical distance. Could Hans-Georg Gadamer?s idea of the melting of historical horizons ever become a reality in the experiences of future visitors? Eventually, this project might only provide some pleasures of a poetry of playing. Keyw ords: 18th century playing culture, Drottningholm Court Theatre, interactive tourism, concepts of historical periods. BIOGRAPHY Willmar Sauter, Professor of Theatre Studies at Stockholm University, has studied audiences and reception processes over a number of years. He has also written on Swedish theatre history, from Bronze Age rock carvings to multimedia and digital performances. His interest in the theories of the theatrical event is documented in his book The Theatrical Event (2000) and summarized in Eventness (2006). He has recently published a book on the Drottningholm Court Theatre and the activities there in the eighteenth as well as in the twentieth centuries (2014, together with David Wiles). Willmar Sauter is a founding member and the first chairman of the Association of Nordic Theatre Scholars. He has been the President of the International Federation for Theatre Research (IFTR/ FIRT). He has also served Stockholm University as Dean of the Faculty of the Humanities and as chair of the Research School of Aesthetics. [email protected] 92 Nordic Theatre Studies 8 vol.26: no.1 The Digital Enchantment of Drottningholm WILLMAR SAUTER Imagine the park of the Drottningholm Palace served as a summer residence for royal families since being populated by the court of Gustav III! Imagine the late seventeenth century. The Chinese Pavilion, a guitar player singing the songs of Carl Michael the theatre and other buildings have been added Bellman right at the entrance to the baroque garden during the eighteenth century. The personages and behind the palace. Imagine a group of dancers ex- figures from the historical past appear, however, by ecuting a graceful minuet on the stage of the leafy means of digital devices such as the newest Google hedge theatre. At the side of the park, underneath Glass or so-called Igloo-devices with a built in pic- some mighty oak trees, servants are preparing coffee ture frame; comparable to the 3D-glasses of former for the royal party. In the Chinese pavilion, we see times.1 The sounds that are transmitted simultane- the King himself engaged in card playing and gos- ously consist of contemporary music, songs, dia- siping with Badin, the inspiring ‘moor’ and prank- logues and the imagined voice of Hedvig Elisabeth ster of the court. Walking over to the English park, a Charlotta, the King’s observant sister-in-law, who is boat appears in the artificial pond, rowed by Gustav our cicerone to the past. Mauritz Armfelt courting a new lady-in-waiting. The aim of this project is to re-create the playing Outside the stage entrance of the theatre, the ac- culture of eighteenth-century court life by means of tors of the French troupe rehearse the dialogue of digital, interactive playing, accessible for every in- a Voltaire tragedy. In the open space between the terested visitor of the premises of Drottningholm. palace and the theatre, we follow a Gustavian car- Instead of becoming a voyeur of the past, the be- ousel, a mixture of military exercise and medieval holder of the Digital Enchantment of Drottningholm fairytale. Even inside the palace itself we meet guests is invited to actively participate in an encounter in the stairway preparing for the evening’s masquer- with the Gustavian world. One of the major ques- ade while the young pages joke with the maids of tions of this project is whether a historical poetics of honour. Imagine that we, visitors from a digital age, playing existed and to what extent it is possible to could meet all these people from the eighteenth share a poetics of past playing. century just by walking through the premises of It might be necessary to distinguish between a Drottningholm. poetics of playing and the poetry of playing. A poet- Magic? Reality, or at least some kind of reality? ics of playing can be described as the general frames, Let me call it ‘augmented reality’ or a digitally ex- which constitute any kind of playing – theorized tended experience of reality. The park, the pavilion, in classical treaties, e.g. by Friedrich von Schiller2, the theatre and the palace are certainly solid reality, Johan Huizinga3 and Roger Caillois4. Within these all part of the World Heritage Site of Drottning- frames, many kinds of playing can be identified by holm. The domain of the Drottningholm Palace, specifying the exact context, in which playing takes situated on an island northwest of Stockholm, has place. By asking questions concerning social per- Nordic Theatre Studies vol. 26: no. 1 Nordic Theatre Studies vol. 26: no. 1 93 spectives, aesthetic aspects and immersive options would we wish to have to wait for a royal invitation that a particular instance in history offers and re- to attend a performance at the theatre. The Digital quires, a playing culture can be studied in depth. Enchantment of Drottningholm offers an alternative Through research and thorough investigations, the for experiencing the full enjoyment of the esprit of basis for an adequate presentation of the past can the Gustavian period, not as a one-time event, but be established. The presentation itself raises ques- providing continuously available access to the in- tions of aesthetic transformations that today’s digi- tellectual, aesthetic and social conditions of Drot- tal techniques allow for. New functions are desirable tningholm court life.5 and necessary to promote the immersive participa- tion of the modern beholder. In practice, the visitors of Drottningholm have A POETICS OF PLAYING hired special equipment at the Palace Kiosk for an There is no doubt that this project invites the visi- affordable sum and strolled off to the park on their tors to participate in a playful interaction with the own. Every time they get close to one of the sites eighteenth century. The doyen of playing theories, of the programme, a sensor realizes their presence the Dutch academic scholar Johan Huizinga, re- and starts the appropriate scene. The order of the ferred especially to the late eighteenth century as events is chosen by the visitor, but the locations are a period of playfulness, as did the Russian theatre pointed out on a GPS-map that is easy to follow. If director Nicolai Evreinov and the semiotician Yuri you want to visit the same scene several times, the Lotman6. Huizinga emphasized that playing had no equipment will follow your intentions. In addition, purpose, i.e. that playing had no immediate aim picnic baskets are available in order to enhance the for the survival of human beings, but he acknowl- full enjoyment of all the senses – and you might get edged nevertheless that a number of functions of hungry from the view of the well-filled confidence playing can be observed. This distinction between table at the Chinese pavilion (a magic Tischlein- purpose and functions seems relevant, even though deck-dich machinery, that can be observed from the his definition of playing has been completed by later kitchen where it is prepared for the King’s dinner scholars such as Roger Caillois. Caillois clarified a guests). number of Huizinga’s play forms as distinctive play- For the court of Gustav III, a theatre or opera ing modes, notably agon – competitive games, alea performance was never an isolated event. The au- – chance plays, mimicry – pretended playing, and diences at the so-called Opera House at Drottning- ilynx – playing that creates vertigo and dizziness. holm were the courtiers and the many lower-rank- This is today a well-known classification of playing, ing pages, attendants and even servants at court, still referred to in theories of computer games. Sev- who spent entire days and weeks in the company eral of Caillois’ categories could be applied to the of the King. Few were the invited visitors who trav- project, although it is obvious that mimicry dom- elled to Drottningholm to attend only a theatrical inates the Digital Enchantment of Drottningholm; performance. Theatrical entertainments – in the the question is, however, who is pretending, and, in theatre as well as in the park – were integrated into consequence of Huizinga’s quest of the playfulness the daily routines of court life.
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