Now and Then: French Cultural Influence in Swedish Theatre and the Path of Theatre in Sweden Until Modern Times
Abstract
Once upon a time in eighteenth-century Sweden, French language
theatre was the main type of theatre that you could find.
To the unsuspecting drama enthusiast, the idea of French theatre in
Sweden is strange. However, the presence of French theatre makes
sense because French culture was enormously influential at this
time in Scandinavia. In fact, the French theatre troupes overtaking
Swedish theatres in the eighteenth century were invited by Louisa-
Ulrika, Queen of Sweden and wife of King Adolph-Frederick, in
1753. This invitation sparked an upheaval in Swedish theatre that was
finally settled in 1771 by King Gustav III and Sweden soon began
producing its own theatre again after an eighteen-year pause (Senelick
65). Sweden would encounter more pauses in theatre development
after the departure of French troupes. In examining the process of
winning Swedish theatre back for the Swedish language, it will prove
useful to understand more about the political and cultural atmosphere
in Sweden in the eighteenth and nineteenth centuries. However, it
is also important to note that Sweden has since recovered from the
French influence to become a country responsible for producing
brilliant theatrical artists.
The French culture (specifically French theatre) was
extremely popular in Sweden in the eighteenth century and this
influence sparked the beginning of the downfall of Swedish-language
theatre. As stated in National Theatre in Northern and Eastern Europe,
“The taste for French theatre became so general and seductive that
people forgot there had ever been a Swedish theatre, and thought it
foolish to believe there ever could be. . .” (Senelick 65). It is fair to say that the influence of French culture during this time period could be
likened to a fad, or fashionable trend. In The History of World Theater:
From the English Restoration to the Present, Felicia Londré states, “By the
eighteenth century, the courts of both Denmark and Sweden were
eagerly receiving French troupes that would lend them prestige”
(Londré 119). The popular Neoclassical theatre style in France was
especially influential not only in Sweden, but in all of Scandinavia.
Swedish plays and theatre were very much in their infancy, and
remained so due to the invitation of Queen Louisa to a “. . .mediocre
French troupe in 1753. . .” (Senelick 5). The troupe performed in
what would later become the National Theatre. Their presence
ousted a Swedish language troupe, called the Stenborg troupe, and
made French language theatre the main entertainment.