'China' as theatrical locus: Performances at the Swedish court, 1753--1770 (Lovisa Ulrika, Queen, consort of Adolf Fredrik, King of Sweden, Adolf Fredrik, King of Sweden).

摘要

The eighteenth-century European fascination with China manifested itself in festivities at the Swedish court during the reign of King Adolf Fredrik and Queen Lovisa Ulrika. This study describes several events: (1) in 1753, a Chinese fete given on the queen's birthday when a Chinese ballet and a tribute to the monarchs were performed, and for which the composer Per Brant arranged five Chinese melodies published by Du Halde and the artist Johan Pasch prepared a stage decoration; (2) in 1757, performances of an Italian opera seria, namely a setting by Francesco Antonio Uttini of Metastasio's L'eroe cinese; (3) in 1759, a previously unknown performance of Metastasio's Le cinese, including Uttini's setting of an aria from that azione teatrale; (4) in 1766, a performance of the French opera comique , Les Chinois, an adaptation by the librettists Favart and Naigeon of Sellitti's Il cinese rimpatriato, during the festivities for the wedding of Crown Prince Gustaf and Sophia Magdalena, Princess of Denmark; (5) in 1770, two performances of Les Chinois during the visit of the queen's brother, Prince Henry of Prussia. Public performances of Les Chinois and of Voltaire's drama, L'orphelin de la Chine, in the 1760s are also noted.; This study indicates that the monarchs played an important part in organizing such activities, augmenting the resources at the Swedish court with a court kapell, a French theatrical troupe, and an Italian opera company, as well as by building a Chinese pavilion and various theatres at Drottningholm. Moreover, the study suggests that the queen, who was actively involved in the organization of festivities, including the choice of repertoire, used such occasions to express not only her interest in China but also her dissatisfaction with the political situation in Sweden. She also tried to influence and educate her children by these performances, whose allegorical import was far from obscure. The study pursues the vogue for chinoiserie to the reign of Gustaf III and notes its recurrence in recent times. The dissertation includes a comprehensive bibliography and extensive footnotes that suggest further research possibilities.