https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/api.php?action=feedcontributions&feedformat=atom&user=Julia+Stina+Skoglund 2026-08-10T19:28:26Z User contributions MediaWiki 1.43.9 https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1970 2026-04-24T09:08:32Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Skärmavbild 2026-03-04 kl. 14.13.42.png|thumb|Auditorium in Bergen Theatre (belongs to Det Dramatiske Selskabs Arkiv)&lt;ref&gt;https://marcus.uib.no/instance/manuscript/ubb-ms-0230-a-10-b-16.html&lt;/ref&gt;]]<br /> [[File:Det Dramatiske Selskab.jpg|thumb|https://marcus.uib.no/search/?q=Det+dramatiske+selskab+1867|alt=Det Dramatiske Selskab, vedtekter fra 9.mars 1867]]<br /> Det Dramatiske Selskab i Bergen (&quot;The Dramatic Society in Bergen&quot;) was an amateur theatre group founded on February 25th 1794 in Bergen, Norway.&lt;ref&gt;Ellen Karoline Gjervan, “Privat teateraktivitet, dilletanteri eller amatørteater? Dramatiske selskaper i Norge 1780-1830,” in ''Lidenskap eller levebrød? Utøvende kunst i endring rundt 1800'', ed. Randi M. Selvik et al. (Fagbokforlaget, 2015), 198.&lt;/ref&gt; The society was inspired by another successor, Det Harmoniske Selskab (&quot;The Harmonic Society&quot;), which was founded in 1765. Several members of Det Harmoniske Selskab were founding members of Det Dramatiske Selskab, and the initiator was artillery captain Carl von Kühle.<br /> <br /> == Organizational Structure ==<br /> <br /> === Memberships ===<br /> Membership in “Det Dramatiske Selskab i Bergen” was an exclusive title tied to a level of responsibility, though the process of becoming a member went through multiple changes during the society’s years. New members were elected by nomination and votation, given the nominees had a sitting member present to vouch for their character and integrity. No new members could be nominated without a proponent present, as the proponent was also responsible for (and could be held financially responsible for) the new member’s actions within the first trial period of their membership.<br /> <br /> Women received much the same membership process as previously described, though women were only allowed when accompanied by a parent, husband or next-of-kin who could vouch for her – given that he was a member, or in the process of being initiated.<br /> <br /> In the book of legislation from 1795, it is stated that a member that wishes to pay the membership fee in two installments will be allowed to do so. Though the membership fee amount is not stated, the order of which the payment is to be made is. The first installment is to be made on Michaelmas (29th of september) and the second half is to be paid on new years day. Once the full membership fee is paid a receipt will be issued.&lt;ref name=&quot;:0&quot;&gt;Det Dramatiske Selskab i Bergen. (1795). Om selskabet i almindelighed, dets lovgivning og myndighed. N/A. Page 38.&lt;/ref&gt; <br /> <br /> === Elections and representatives ===<br /> The society’s rule books show that the structure of the organisation has changed a lot over time. Early documents from 1795 and 1803 suggest three leading directors, who initially had hierarchical positions, but later developed more equal and separated responsibilities, all which were elected by general vote whenever an opening appeared. The society also had many «æmbetsmend», individuals with specific roles and positions of trust, such as secretary, librarian, inspectors, treasurer and several other duties. Later documents from 1867 show a change in structure, where the society would elect 12 representatives (''Representantskabet''), which then would elect a board (''Bestyrelse'') during their yearly general assembly. The board could be elected from within the representative group or the general members. Every year half of the sitting representatives had to be replaced, while the other half of them could stay in their positions. This structural change can be explained by the change in role the society had during the mid-1800s. In the 1867 document it specifies that the society’s purpose is to maintain a physical space for performing dramatic arts in Bergen, without mentioning the production of any such performances for themselves.&lt;ref&gt;Det Dramatiske Selskab i Bergen. (1820). Lover for det dramatiske selskab i Bergen. Chr. Dhal, R.G, Bergen.&lt;/ref&gt; <br /> <br /> == Laws of the Society ==<br /> The society had strict laws and extensive rule books which detailed how to become a member, each member's responsibilities, and the responsibilities of any elected directors or representatives. They also describe the general affairs of the society, role division for projects, and penalties for unacceptable behaviour or inattendence. Penalties in the form of fines were common. Each member was expected to be active, and to step into service of the society if elected for such a position. <br /> <br /> === Fines ===<br /> As the roles had been assigned the society valued disclosure and promptness during the production period. Only the board and the people involved in the production were allowed inside the building. The society also introduced fines to the ensemble if standards were not met:<br /> <br /> 5 § If the stage actor failed to be dressed in character within the time of the show and had not reported his presence to the Observateur, he was fined 8 Shilling per 15 minutes late. If the absence lasted all day, the fine was 1 Riksdaler the first strike and the second time they were laid off.&lt;ref name=&quot;:0&quot; /&gt;<br /> <br /> 6 § If the stage actor was spotted wearing their costumes outside of the theatre's stage rooms, then he was fined 1 Mark&lt;ref name=&quot;:0&quot; /&gt;<br /> <br /> 7 § As soon as an act were to begin, the director had to place the stage actor next to the scenery. If the actor walked away from their spot too early, they were fined 8 shilling.&lt;ref name=&quot;:0&quot; /&gt;<br /> <br /> == The Theatre Building ==<br /> In the beginning, the society performed in an assembly hall called Tetingsalen – a venue which previously had been used by Det Harmoniske Selskab, and thus was known well by the members. From 1800 til 1828, they performed in Komediehuset. <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> [[File:Leiekontrakt 1874.png|thumb|Rental contract between Det Dramatiske Selskab and Theaterforeningen i Bergen&lt;ref&gt;Kontrakt. 1874-04-14. https://marcus.uib.no/instance/manuscript/ubb-ms-0230-a-10-d-01-07.html&lt;/ref&gt;]]<br /> Det Dramatiske Selskab functioned as a private society driven by a group of upper classmen, and this in turn meant that the entire operation of the theatre, both in terms of funding and creative production, was driven by its members. As this circumstance began to cause economical issues, the society started renting out both their scenic equipment and facilities as of 1828, meaning the actual production of theatre was outsourced to differing companies. An undated rental contract, which outlines the broad terms of the theatre's lease, does however show how members of Det Dramatiske Selskab still enjoyed certain privileges, such as having the right to claim as many seats as wished, before the general public had access, when guest companies set up productions with seats on a subscription basis.&lt;ref&gt;Leiekontrakt. https://marcus.uib.no/instance/manuscript/ubb-ms-0230-a-11-d.html&lt;/ref&gt; <br /> <br /> Included on this page is a picture of a letter: an example of a specific rental contract between Det Dramatiske Selskab and Theaterforeningen (&quot;The Theatre Association&quot;) in Bergen detailing the conditions of their agreement. The contract states that Theaterforeningen will rent all of Det Dramatiske Selskabs equipment and facilities from the 15th of April until the 31st of May 1874. Theaterforeningen was to pay 180 speciedaler in rent to compensate. Below is a transscription of the contract translated into English: <br /> <br /> &quot;The Dramatic Society in Bergen leases hereby in the period from April 15th until May 31st its theatre with accompanying decorations, wardrobe, books, musical archives, stage props, etc. to the Theatre Association in Bergen with the purpose of staging scenic productions there. <br /> <br /> As rent in the abovementioned timeframe the Theatre Association pays the Dramatic Society 180 - one hundred and eighty - speciedalers, and complies furthermore with the usually binding conditions for the lease of the Theatre.<br /> <br /> Bergen April 14th 1874<br /> <br /> On behalf of The Dramatic Society's board<br /> <br /> M. K. Chrefeldt<br /> <br /> On behalf of the Theatre Assocation<br /> <br /> F. C. Prahs, Theodor Blehn&quot;&lt;ref&gt;Kontrakt. 1874-04-14. https://marcus.uib.no/instance/manuscript/ubb-ms-0230-a-10-d-01-07.html&lt;/ref&gt;<br /> <br /> Det Dramatiske Selskab still exists today as AS Bergen Teater og Det Dramatiske Selskab, and Den Nationale Scene AS pays a yearly symbolic sum of 200 kroner (as of 2009) to rent the house at Engen. It is worth mentioning that Den Nationale Scene AS is responsible for the expenditure and insurance for the building.&lt;ref&gt;Bækken, Danbolt, Hofstad, Klemsdal. (2009). ''Hundre år på Engen''. Den Nationale Scene AS. Side 3.&lt;/ref&gt;<br /> <br /> == Sociability, Celebrations, and Songs ==<br /> Celebrations were an important part of sociability within amateur dramatic societeis, and Det dramatiske selskab in Bergen is no exception here.<br /> <br /> === 1830 Jubilee song ===<br /> [[File:Stiftelsesdag sanghefte.png|thumb|Front page of the leaflet]]<br /> The song was sung on the 36th anniversary celebration of the society. It is taken from a leaflet. <br /> <br /> The song references the ancient Greek oracle Thalia who is the oracle of theatre and the Underworld river of Lethe which is the river of forgetfullness. The running theme throughout is one about the time that hasn't gone past. The jubilee references acts of joy, giving, and friendship. It describes the current moment that the subjects of the song are within, and is then a celebration of art, theatre, the society and the celebration itself. <br /> <br /> {| class=&quot;wikitable mw-collapsible&quot;<br /> |+Jubilee Song text<br /> !Original (interpretation)<br /> !Bokmål (interpretation)<br /> !English (interpretation)<br /> |-<br /> |Sang<br /> Det dramatiske Selskab<br /> <br /> i Bergen<br /> <br /> paa<br /> <br /> StiftelsesDagen den 25de Februar<br /> <br /> 1830<br /> <br /> Trykt hos Chr. Dahl, K. S<br /> |Sang<br /> Det dramatiske Selskap<br /> <br /> i Bergen<br /> <br /> på<br /> <br /> Stiftelsesdagen den 25te februar<br /> <br /> 1830<br /> <br /> Trykt hos Chr. Dahl, K. S<br /> |Song<br /> The Dramatic Society<br /> <br /> In Bergen<br /> <br /> at<br /> <br /> Establishment day the 25th of February<br /> <br /> 1830<br /> <br /> Printed at Chr. Dahl. K. S<br /> |-<br /> |Mel. harmonia! du som lærte o s. v.<br /> |Mel. harmonia! du som lærte o s. v.<br /> |Mel. Harmony! You who learnt e t.c<br /> |-<br /> |Vær velkommen hver, som finder<br /> Glæde i de gamle Minder!<br /> <br /> See! i Tidens Strøm, som rinder,<br /> <br /> Speile de sig os forbi.<br /> <br /> <br /> Selv bag Tidens Forhæng lyder<br /> <br /> Vennens Røst, og hjertet fryder;<br /> <br /> Blomsten, som hans Fodspor pryder,<br /> <br /> Og dens Duft er ei forbi<br /> <br /> <br /> Dem, som fordum paa vor Scene<br /> <br /> Kunst og Venskab monn' forene,<br /> <br /> Savner ei Thalia ene -<br /> <br /> Hjertets Savn er ei forbi.<br /> <br /> <br /> Held os, Venner! end vi skue<br /> <br /> Under Templets gamle Bue<br /> <br /> Glimt af fordums Altarlne -<br /> <br /> Tiden er dog ei forbi.<br /> <br /> <br /> Den har varmet, vederqvæget,<br /> <br /> Den har Hjertet tidt bevæget,<br /> <br /> Den har mangen Vunde Læget,<br /> <br /> Held os! den er ei forbi.<br /> <br /> <br /> De, som huld i Aften bragte<br /> <br /> Nye Offer', Luen vafte;<br /> <br /> Den Kjærminde, de os rakte<br /> <br /> Er med Dagen ei forbi.<br /> <br /> <br /> Hulde Døttre, Sønner bolde<br /> <br /> O Thalia! aldrig kolde<br /> <br /> Vestas lig vedligeholde<br /> <br /> Luen, som er ei forbi!<br /> <br /> <br /> Men maa Templet Du tillukke,<br /> <br /> Skal sig ei i Lethe dukke<br /> <br /> Hjertet og sin Tak udlukke<br /> <br /> Den er evig ei forbi.<br /> |Vær velkommer hver, som finner <br /> Gleder i de gamle minner!<br /> <br /> Se! I tiden strøm, som renner,<br /> <br /> Speilte de seg oss forbi<br /> <br /> <br /> <br /> Selv bak Tidens Forheng lyder <br /> <br /> Vennens Røst, og hjertet fryder;<br /> <br /> Blomster, som hans prydende fotspor <br /> <br /> Og dens Duft er ei (ikke) forbi<br /> <br /> <br /> <br /> Dem, som før på scenen var<br /> <br /> Kunst og Vennskap man forener<br /> <br /> savner ei (ikke) Thalia ene<br /> <br />     hjertets Savn er ei (ikke) forbi<br /> <br />      <br /> <br /> Hold oss Venner! Om vi ser<br /> <br /> under Temelets gamle Bue<br /> <br /> Glimt av fortidens Altarlne (bitter dram)<br /> <br />     tiden er da ei (ikke) forbi<br /> <br /> Den har varmet, hentet seg inn <br /> <br /> Den har beveget mange Hjertet <br /> <br /> Den har leget mange sår,<br /> <br />    Hold oss! den er ei (ikke) forbi.<br /> <br /> <br /> De, som tok med kjøtt til kvelden<br /> <br /> Nye offer`, ''viftet med luen (hatten?)''<br /> <br /> Den Kærminde, som ble overrakt til oss<br /> <br />     Er med Dagen ei (ikke) forbi.<br /> <br /> <br /> Trofaste Døttre, ''sønner ball''<br /> <br /> O Thalia! Aldri bukke<br /> <br /> ''vedlikehold den beste kroppen'' <br /> <br />     Luen (hatten), som er ei (ikke) forbi!<br /> <br /> <br /> Men du må lukke tempelet<br /> <br /> Skal ikke dukke i Lethe (Hades elv)<br /> <br /> Hjertet og sin ... utilukket <br /> <br />     den er evig ei (ikke) forbi <br /> <br /> |Be welcome he who finds<br /> joy in old memories! <br /> <br /> look in times stream that runs<br /> <br /> mirrors those who go past<br /> <br /> <br /> even behind times curtains sounds <br /> <br /> friends voices, and hearts delight <br /> <br /> the flower that his footsteps adorns<br /> <br /> and its smell hasn't gone past<br /> <br /> <br /> those who past scenes were on<br /> <br /> art and friendship unites<br /> <br /> doesn't miss Thalia<br /> <br /> ...<br /> <br /> Hold us, friends! if we see<br /> <br /> under the tempels old bow<br /> <br /> glimce of the past alters<br /> <br /> times then hasn't gone past<br /> <br /> <br /> That has warmed, quicked up<br /> <br /> it has moved many hearts<br /> <br /> it has formed many wounds<br /> <br /> hold us it hasn't gone past<br /> <br /> <br /> those who brought meat this evening<br /> <br /> new audience wave their flame<br /> <br /> ...that was brought to us<br /> <br /> with days hasn't gone past<br /> <br /> <br /> Steadfast daughters, bold sons<br /> <br /> O Thalia, never bow<br /> <br /> Maintain heart of body<br /> <br /> The flame that hasn't gone past<br /> <br /> <br /> But you who closed the temple<br /> <br /> shall not dive in the Lethe<br /> <br /> The heart and its .. exclude<br /> <br /> that hasn't eternal gone past<br /> |}<br /> <br /> == Sources ==</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1969 2026-04-24T09:06:32Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Skärmavbild 2026-03-04 kl. 14.13.42.png|thumb|Auditorium in Bergen Theatre (belongs to Det Dramatiske Selskabs Arkiv)&lt;ref&gt;https://marcus.uib.no/instance/manuscript/ubb-ms-0230-a-10-b-16.html&lt;/ref&gt;]]<br /> [[File:Det Dramatiske Selskab.jpg|thumb|https://marcus.uib.no/search/?q=Det+dramatiske+selskab+1867|alt=Det Dramatiske Selskab, vedtekter fra 9.mars 1867]]<br /> Det Dramatiske Selskab i Bergen (&quot;The Dramatic Society in Bergen&quot;) was an amateur theatre group founded on February 25th 1794 in Bergen, Norway.&lt;ref&gt;Ellen Karoline Gjervan, “Privat teateraktivitet, dilletanteri eller amatørteater? Dramatiske selskaper i Norge 1780-1830,” in ''Lidenskap eller levebrød? Utøvende kunst i endring rundt 1800'', ed. Randi M. Selvik et al. (Fagbokforlaget, 2015), 198.&lt;/ref&gt; The society was inspired by another successor, Det Harmoniske Selskab (&quot;The Harmonic Society&quot;), which was founded in 1765. Several members of Det Harmoniske Selskab were founding members of Det Dramatiske Selskab, and the initiator was artillery captain Carl von Kühle.<br /> <br /> == Organizational Structure ==<br /> <br /> === Memberships ===<br /> Membership in “Det Dramatiske Selskab i Bergen” was an exclusive title tied to a level of responsibility, though the process of becoming a member went through multiple changes during the society’s years. New members were elected by nomination and votation, given the nominees had a sitting member present to vouch for their character and integrity. No new members could be nominated without a proponent present, as the proponent was also responsible for (and could be held financially responsible for) the new member’s actions within the first trial period of their membership.<br /> <br /> Women received much the same membership process as previously described, though women were only allowed when accompanied by a parent, husband or next-of-kin who could vouch for her – given that he was a member, or in the process of being initiated.<br /> <br /> In the book of legislation from 1795, it is stated that a member that wishes to pay the membership fee in two installments will be allowed to do so. Though the membership fee amount is not stated, the order of which the payment is to be made is. The first installment is to be made on Michaelmas (29th of september) and the second half is to be paid on new years day. Once the full membership fee is paid a receipt will be issued.&lt;ref name=&quot;:0&quot;&gt;Det Dramatiske Selskab i Bergen. (1795). Om selskabet i almindelighed, dets lovgivning og myndighed. N/A. Page 38.&lt;/ref&gt; <br /> <br /> === Elections and representatives ===<br /> The society’s rule books show that the structure of the organisation has changed a lot over time. Early documents from 1795 and 1803 suggest three leading directors, who initially had hierarchical positions, but later developed more equal and separated responsibilities, all which were elected by general vote whenever an opening appeared. The society also had many «æmbetsmend», individuals with specific roles and positions of trust, such as secretary, librarian, inspectors, treasurer and several other duties. Later documents from 1867 show a change in structure, where the society would elect 12 representatives (''Representantskabet''), which then would elect a board (''Bestyrelse'') during their yearly general assembly. The board could be elected from within the representative group or the general members. Every year half of the sitting representatives had to be replaced, while the other half of them could stay in their positions. This structural change can be explained by the change in role the society had during the mid-1800s. In the 1867 document it specifies that the society’s purpose is to maintain a physical space for performing dramatic arts in Bergen, without mentioning the production of any such performances for themselves.&lt;ref&gt;Det Dramatiske Selskab i Bergen. (1820). Lover for det dramatiske selskab i Bergen. Chr. Dhal, R.G, Bergen.&lt;/ref&gt; <br /> <br /> == Laws of the Society ==<br /> The society had strict laws and extensive rule books which detailed how to become a member, each member's responsibilities, and the responsibilities of any elected directors or representatives. They also describe the general affairs of the society, role division for projects, and penalties for unacceptable behaviour or inattendence. Penalties in the form of fines were common. Each member was expected to be active, and to step into service of the society if elected for such a position. <br /> <br /> === Fines ===<br /> As the roles had been assigned the society valued disclosure and promptness during the production period. Only the board and the people involved in the production were allowed inside the building. The society also introduced fines to the ensemble if standards were not met:<br /> <br /> 5 § If the stage actor failed to be dressed in character within the time of the show and had not reported his presence to the Observateur, he was fined 8 Shilling per 15 minutes late. If the absence lasted all day, the fine was 1 Riksdaler the first strike and the second time they were laid off.&lt;ref name=&quot;:0&quot; /&gt;<br /> <br /> 6 § If the stage actor was spotted wearing their costumes outside of the theatre's stage rooms, then he was fined 1 Mark&lt;ref name=&quot;:0&quot; /&gt;<br /> <br /> 7 § As soon as an act were to begin, the director had to place the stage actor next to the scenery. If the actor walked away from their spot too early, they were fined 8 shilling.&lt;ref name=&quot;:0&quot; /&gt;<br /> <br /> == The Theatre Building ==<br /> In the beginning, the society performed in an assembly hall called Tetingsalen – a venue which previously had been used by Det Harmoniske Selskab, and thus was known well by the members. From 1800 til 1828, they performed in Komediehuset. <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> [[File:Leiekontrakt 1874.png|thumb|Rental contract between Det Dramatiske Selskab and Theaterforeningen i Bergen&lt;ref&gt;Kontrakt. 1874-04-14. https://marcus.uib.no/instance/manuscript/ubb-ms-0230-a-10-d-01-07.html&lt;/ref&gt;]]<br /> Det Dramatiske Selskab functioned as a private society driven by a group of upper classmen, and this in turn meant that the entire operation of the theatre, both in terms of funding and creative production, was driven by its members. As this circumstance began to cause economical issues, the society started renting out both their scenic equipment and facilities as of 1828, meaning the actual production of theatre was outsourced to differing companies. An undated rental contract, which outlines the broad terms of the theatre's lease, does however show how members of Det Dramatiske Selskab still enjoyed certain privileges, such as having the right to claim as many seats as wished, before the general public had access, when guest companies set up productions with seats on a subscription basis.&lt;ref&gt;Leiekontrakt. https://marcus.uib.no/instance/manuscript/ubb-ms-0230-a-11-d.html&lt;/ref&gt; <br /> <br /> Included on this page is a picture of a letter: an example of a specific rental contract between Det Dramatiske Selskab and Theaterforeningen (&quot;The Theatre Association&quot;) in Bergen detailing the conditions of their agreement. The contract states that Theaterforeningen will rent all of Det Dramatiske Selskabs equipment and facilities from the 15th of April until the 31st of May 1874. Theaterforeningen was to pay 180 speciedaler in rent to compensate. Below is a transscription of the contract translated into English: <br /> <br /> &quot;The Dramatic Society in Bergen leases hereby in the period from April 15th until May 31st its theatre with accompanying decorations, wardrobe, books, musical archives, stage props, etc. to the Theatre Association in Bergen with the purpose of staging scenic productions there. <br /> <br /> As rent in the abovementioned timeframe the Theatre Association pays the Dramatic Society 180 - one hundred and eighty - speciedalers, and complies furthermore with the usually binding conditions for the lease of the Theatre.<br /> <br /> Bergen April 14th 1874<br /> <br /> On behalf of The Dramatic Society's board<br /> <br /> M. K. Chrefeldt<br /> <br /> On behalf of the Theatre Assocation<br /> <br /> F. C. Prahs, Theodor Blehn&quot;&lt;ref&gt;Kontrakt. 1874-04-14. https://marcus.uib.no/instance/manuscript/ubb-ms-0230-a-10-d-01-07.html&lt;/ref&gt;<br /> <br /> Det Dramatiske Selskab still exists today as AS Bergen Teater og Det Dramatiske Selskab, and Den Nationale Scene AS pays a yearly symbolic sum of 200 kroner (as of 2009) to rent the house at Engen. It is worth mentioning that Den Nationale Scene AS is responsible for the expenditure and insurance for the building.&lt;ref&gt;Bækken, Danbolt, Hofstad, Klemsdal. (2009). ''Hundre år på Engen''. Den Nationale Scene AS. Side 3.&lt;/ref&gt;<br /> <br /> == Sociability, Celebrations, and Songs ==<br /> Celebrations were an important part of sociability within amateur dramatic societeis, and Det dramatiske selskab in Bergen is no exception here.<br /> <br /> === 1830 Jubilee song ===<br /> [[File:Stiftelsesdag sanghefte.png|thumb|Front page of the leaflet]]<br /> The song was sung on the 36th anniversary celebration of the society. It is taken from a leaflet. <br /> <br /> The song references the ancient Greek oracle Thalia who is the oracle of theatre and the Underworld river of Lethe which is the river of forgetfullness. The running theme throughout is one about the time that hasn't gone past, as a jubilee it references acts of joy, giving, friendship. And that acts to describe the current moment that the subjects of the song are within. It then is a celebration of art, theatre, the society and the celebration itself. As the society was also one that hosted parties and not just theatre. <br /> <br /> {| class=&quot;wikitable mw-collapsible&quot;<br /> |+Jubilee Song text<br /> !Original (interpretation)<br /> !Bokmål (interpretation)<br /> !English (interpretation)<br /> |-<br /> |Sang<br /> Det dramatiske Selskab<br /> <br /> i Bergen<br /> <br /> paa<br /> <br /> StiftelsesDagen den 25de Februar<br /> <br /> 1830<br /> <br /> Trykt hos Chr. Dahl, K. S<br /> |Sang<br /> Det dramatiske Selskap<br /> <br /> i Bergen<br /> <br /> på<br /> <br /> Stiftelsesdagen den 25te februar<br /> <br /> 1830<br /> <br /> Trykt hos Chr. Dahl, K. S<br /> |Song<br /> The Dramatic Society<br /> <br /> In Bergen<br /> <br /> at<br /> <br /> Establishment day the 25th of February<br /> <br /> 1830<br /> <br /> Printed at Chr. Dahl. K. S<br /> |-<br /> |Mel. harmonia! du som lærte o s. v.<br /> |Mel. harmonia! du som lærte o s. v.<br /> |Mel. Harmony! You who learnt e t.c<br /> |-<br /> |Vær velkommen hver, som finder<br /> Glæde i de gamle Minder!<br /> <br /> See! i Tidens Strøm, som rinder,<br /> <br /> Speile de sig os forbi.<br /> <br /> <br /> Selv bag Tidens Forhæng lyder<br /> <br /> Vennens Røst, og hjertet fryder;<br /> <br /> Blomsten, som hans Fodspor pryder,<br /> <br /> Og dens Duft er ei forbi<br /> <br /> <br /> Dem, som fordum paa vor Scene<br /> <br /> Kunst og Venskab monn' forene,<br /> <br /> Savner ei Thalia ene -<br /> <br /> Hjertets Savn er ei forbi.<br /> <br /> <br /> Held os, Venner! end vi skue<br /> <br /> Under Templets gamle Bue<br /> <br /> Glimt af fordums Altarlne -<br /> <br /> Tiden er dog ei forbi.<br /> <br /> <br /> Den har varmet, vederqvæget,<br /> <br /> Den har Hjertet tidt bevæget,<br /> <br /> Den har mangen Vunde Læget,<br /> <br /> Held os! den er ei forbi.<br /> <br /> <br /> De, som huld i Aften bragte<br /> <br /> Nye Offer', Luen vafte;<br /> <br /> Den Kjærminde, de os rakte<br /> <br /> Er med Dagen ei forbi.<br /> <br /> <br /> Hulde Døttre, Sønner bolde<br /> <br /> O Thalia! aldrig kolde<br /> <br /> Vestas lig vedligeholde<br /> <br /> Luen, som er ei forbi!<br /> <br /> <br /> Men maa Templet Du tillukke,<br /> <br /> Skal sig ei i Lethe dukke<br /> <br /> Hjertet og sin Tak udlukke<br /> <br /> Den er evig ei forbi.<br /> |Vær velkommer hver, som finner <br /> Gleder i de gamle minner!<br /> <br /> Se! I tiden strøm, som renner,<br /> <br /> Speilte de seg oss forbi<br /> <br /> <br /> <br /> Selv bak Tidens Forheng lyder <br /> <br /> Vennens Røst, og hjertet fryder;<br /> <br /> Blomster, som hans prydende fotspor <br /> <br /> Og dens Duft er ei (ikke) forbi<br /> <br /> <br /> <br /> Dem, som før på scenen var<br /> <br /> Kunst og Vennskap man forener<br /> <br /> savner ei (ikke) Thalia ene<br /> <br />     hjertets Savn er ei (ikke) forbi<br /> <br />      <br /> <br /> Hold oss Venner! Om vi ser<br /> <br /> under Temelets gamle Bue<br /> <br /> Glimt av fortidens Altarlne (bitter dram)<br /> <br />     tiden er da ei (ikke) forbi<br /> <br /> Den har varmet, hentet seg inn <br /> <br /> Den har beveget mange Hjertet <br /> <br /> Den har leget mange sår,<br /> <br />    Hold oss! den er ei (ikke) forbi.<br /> <br /> <br /> De, som tok med kjøtt til kvelden<br /> <br /> Nye offer`, ''viftet med luen (hatten?)''<br /> <br /> Den Kærminde, som ble overrakt til oss<br /> <br />     Er med Dagen ei (ikke) forbi.<br /> <br /> <br /> Trofaste Døttre, ''sønner ball''<br /> <br /> O Thalia! Aldri bukke<br /> <br /> ''vedlikehold den beste kroppen'' <br /> <br />     Luen (hatten), som er ei (ikke) forbi!<br /> <br /> <br /> Men du må lukke tempelet<br /> <br /> Skal ikke dukke i Lethe (Hades elv)<br /> <br /> Hjertet og sin ... utilukket <br /> <br />     den er evig ei (ikke) forbi <br /> <br /> |Be welcome he who finds<br /> joy in old memories! <br /> <br /> look in times stream that runs<br /> <br /> mirrors those who go past<br /> <br /> <br /> even behind times curtains sounds <br /> <br /> friends voices, and hearts delight <br /> <br /> the flower that his footsteps adorns<br /> <br /> and its smell hasn't gone past<br /> <br /> <br /> those who past scenes were on<br /> <br /> art and friendship unites<br /> <br /> doesn't miss Thalia<br /> <br /> ...<br /> <br /> Hold us, friends! if we see<br /> <br /> under the tempels old bow<br /> <br /> glimce of the past alters<br /> <br /> times then hasn't gone past<br /> <br /> <br /> That has warmed, quicked up<br /> <br /> it has moved many hearts<br /> <br /> it has formed many wounds<br /> <br /> hold us it hasn't gone past<br /> <br /> <br /> those who brought meat this evening<br /> <br /> new audience wave their flame<br /> <br /> ...that was brought to us<br /> <br /> with days hasn't gone past<br /> <br /> <br /> Steadfast daughters, bold sons<br /> <br /> O Thalia, never bow<br /> <br /> Maintain heart of body<br /> <br /> The flame that hasn't gone past<br /> <br /> <br /> But you who closed the temple<br /> <br /> shall not dive in the Lethe<br /> <br /> The heart and its .. exclude<br /> <br /> that hasn't eternal gone past<br /> |}<br /> <br /> == Sources ==</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1927 2026-03-04T13:21:50Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Skärmavbild 2026-03-04 kl. 14.13.42.png|thumb|Auditorium in Bergen Theatre (belongs to Det dramatiske selskabes Arkiv)&lt;ref&gt;https://marcus.uib.no/instance/manuscript/ubb-ms-0230-a-10-b-16.html&lt;/ref&gt;]]<br /> Det Dramatiske Selskab i Bergen (&quot;The Dramatic Society in Bergen&quot;) was an amateur theatre group founded on February 25th 1794 in Bergen, Norway.&lt;ref&gt;Ellen Karoline Gjervan, “Privat teateraktivitet, dilletanteri eller amatørteater? Dramatiske selskaper i Norge 1780-1830,” in ''Lidenskap eller levebrød? Utøvende kunst i endring rundt 1800'', ed. Randi M. Selvik et al. (Fagbokforlaget, 2015), 198.&lt;/ref&gt; The society was inspired by another successor, Det Harmoniske Selskab (&quot;The Harmonic Society&quot;), which was founded in 1765. Several members of Det Harmoniske Selskab were founding members of Det Dramatiske Selskab.<br /> <br /> == Organization Structure ==<br /> insert text here<br /> <br /> == Laws of the Society ==<br /> insert text here<br /> <br /> == The Theatre Building ==<br /> In the beginning, the society performed in an assembly hall called Tetingsalen - a venue which previously had been used by Det Harmoniske Selskab, and thus was known well by the members. From 1800 til 1828, they performed in Komediehuset. <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> [[File:Leiekontrakt 1874.png|thumb|text&lt;ref&gt;https://marcus.uib.no/instance/manuscript/ubb-ms-0230-a-10-b-16.html&lt;/ref&gt;]]<br /> Det Dramatiske Selskab functioned as a private company driven by a group of upper classmen, and membership was an exclusive feat to obtain. This however meant that the entire operation of the theatre, both in terms of funding and creative production, was driven by its members. As this circumstance began to cause economical issues, the company started renting out both their scenic equipment and facilities as of 1828, meaning the actual production of theatre was outsourced to differing companies. An undated rental contract, which outlines the broad terms of the theatre's lease, does however show how members of Det Dramatiske Selskab still enjoyed certain privileges, such as having the right to claim as many seats as wished, before the general public had access, when guest companies set up productions with seats on a subscription basis.&lt;ref&gt;Leiekontrakt. Marcus. Spesialsamlingene ved Universitetsbiblioteket i Bergen. ubb-ms-0230-a-11-d.&lt;/ref&gt; <br /> <br /> Included on this page is a picture of a letter: an example of a specific rental contract between Det Dramatiske Selskab and Theaterforeningen (&quot;The Theatre Association&quot;) in Bergen detailing the conditions of their agreement. The contract states that Theaterforeningen will rent all of Det Dramatiske Selskabs equipment and facilities from the 15th of April until the 31st of May 1874. Theaterforeningen was to pay 180 speciedaler in rent to compensate. Below is a transscription and translation of the contract into English. <br /> <br /> &quot;The Dramatic Society in Bergen leases hereby in the period from April 15th until May 31st its theatre with accompanying decorations, wardrobe, books, musical archives, stage props, etc. to the Theatre Association in Bergen with the purpose of staging scenic productions there. <br /> <br /> As rent in the abovementioned timeframe the Theatre Association pays the Dramatic Society 180 - one hundred and eighty - speciedalers, and complies furthermore with the usually binding conditions for the lease of the Theatre.<br /> <br /> Bergen April 14th 1874<br /> <br /> On behalf of The Dramatic Society's board<br /> <br /> M. K. Chrefeldt<br /> <br /> On behalf of the Theatre Assocation<br /> <br /> F. C. Prahs, Theodor Blehn&quot;&lt;ref&gt;Kontrakt. 1874-04-14. Marcus. Spesialsamlingene ved Universitetsbiblioteket i Bergen. ubb-ms-0230-a-10-d-01-07.&lt;/ref&gt;<br /> <br /> == Sociability, Celebrations, and Songs ==<br /> <br /> === 1830 Jubilee song ===<br /> The song was sung on the 36th anniversary celebration of the society. <br /> <br /> {| class=&quot;wikitable mw-collapsible&quot;<br /> |+Jubilee Song text<br /> !Original<br /> !Bokmål<br /> !English<br /> |-<br /> |Sang<br /> Det dramatiske Selskab<br /> <br /> i Bergen<br /> <br /> paa<br /> <br /> StiftelsesDagen den 25de Februar<br /> <br /> 1830<br /> <br /> Trykt hos Chr. Dahl, K. S<br /> |Sang<br /> Det dramatiske Selskab<br /> <br /> i Bergen<br /> <br /> paa<br /> <br /> StiftelsesDagen den 25de Februar<br /> <br /> 1830<br /> <br /> Trykt hos Chr. Dahl, K. S<br /> |<br /> |-<br /> |Mel. harmonia! du som lærte o s. v.<br /> |Mel. harmonia! du som lærte o s. v.<br /> |<br /> |-<br /> |Vær velkommen hver, som finder<br /> Glæde i de gamle Minder!<br /> <br /> See! i Tidens Strøm, som rinder,<br /> <br /> Speile de sig os forbi.<br /> <br /> <br /> Selv bag Tidens Forhæng lyder<br /> <br /> Vennens Røst, og hjertet fryder;<br /> <br /> Blomsten, som hans Fodspor pryder,<br /> <br /> Og dens Duft er ei forbi<br /> <br /> <br /> Dem, som fordum paa vor Scene<br /> <br /> Kunst og Venskab monn' forene,<br /> <br /> Savner ei Thalia ene -<br /> <br /> Hjertets Savn er ei forbi.<br /> <br /> <br /> Held os, Venner! end vi skue<br /> <br /> Under Templets gamle Bue<br /> <br /> Glimt af fordums Altarlne -<br /> <br /> Tiden er dog ei forbi.<br /> <br /> <br /> Den har varmet, vederqvæget,<br /> <br /> Den har Hjertet tidt bevæget,<br /> <br /> Den har mangen Vunde Læget,<br /> <br /> Held os! den er ei forbi.<br /> <br /> <br /> De, som huld i Aften bragte<br /> <br /> Nye Offer', Luen vafte;<br /> <br /> Den Kjærminde, de os rakte<br /> <br /> Er med Dagen ei forbi.<br /> <br /> <br /> Hulde Døttre, Sønner bolde<br /> <br /> O Thalia! aldrig kolde<br /> <br /> Vestas lig vedligeholde<br /> <br /> Luen, som er ei forbi!<br /> <br /> <br /> Men maa Templet Du tillukke,<br /> <br /> Skal sig ei i Lethe dukke<br /> <br /> Hjertet og sin Tak udlukke<br /> <br /> Den er evig ei forbi.<br /> |Vær velkommen hver, som finder - Vær velkommer hver, som finner<br /> Glæde i de gamle Minder! - Gleder i de gamle minner!<br /> <br /> See! i Tidens Strøm, som rinder, - Se! I tiden strøm, som renner,<br /> <br /> Speile de sig os forbi. - Speilte de seg oss forbi<br /> <br /> <br /> Selv bag Tidens Forhæng lyder - Selv bak Tidens Forheng lyder <br /> <br /> Vennens Røst, og hjertet fryder; - Vennens Røst, og hjertet fryder;<br /> <br /> Blomsten, som hans Fodspor pryder, - Blomster, som hans prydende fotspor <br /> <br /> Og dens Duft er ei forbi - Og dens Duft er ei (ikke) forbi<br /> <br /> <br /> Dem, som fordum paa vor Scene - Dem, som før på scenen var<br /> <br /> Kunst og Venskab monn' forene, - Kunst og Vennskap man forener<br /> <br /> Savner ei Thalia ene - - savner ei (ikke) Thalia ene<br /> <br />     Hjertets Savn er ei forbi. - hjertets Savn er ie (ikke) forbi<br /> <br />      <br /> <br /> Held os, Venner! end vi skue - Hold oss Venner! Om vi ser<br /> <br /> Under Templets gamle Bue - under Temelets gamle Bue<br /> <br /> Glimt af fordums Altarlne - - Glimt av fortidens Altarlne (bitter dram)<br /> <br />     Tiden er dog ei forbi. - tiden er da ei (ikke) forbi<br /> <br /> <br /> Den har varmet, vederqvæget, - Den har varmet, hentet seg inn <br /> <br /> Den har Hjertet tidt bevæget, - Den har beveget mange Hjertet <br /> <br /> Den har mangen Vunde Læget, - Den har leget mange sår,<br /> <br />     Held os! den er ei forbi. - Hold oss! den er ei (ikke) forbi.<br /> <br /> <br /> De, som huld i Aften bragte - De, som tok med kjøtt til kvelden <br /> <br /> Nye Offer`, Luen vafte; - Nye offer`, ''viftet med luen (hatten?)''<br /> <br /> Den Kjærminde, de os rakte - Den Kærminde, som ble overrakt til oss<br /> <br />     Er med Dagen ei forbi. - Er med Dagen ei (ikke) forbi.<br /> <br /> <br /> Hulde Døttre, Sønner bolde - Trofaste Døttre, ''sønner ball''<br /> <br /> O Thalia! aldrig Folde - O Thalia! Aldri bukke<br /> <br /> Bestas lig vedligeholde - ''vedlikehold den beste kroppen'' <br /> <br />     Luen, som er ei forbi! - Luen (hatten), som er ei (ikke) forbi!<br /> <br /> <br /> Men maa Templet Du tillukke, - Men du må lukke tempelet<br /> <br /> Skal sig ei i Lethe dukke - Skal ikke dukke i Lethe (Hadels elv)<br /> <br /> Hjertet og sin Taf udlukke - Hjertet <br /> <br />     Den er evig ei forbi. - den er evig ei (ikke) forbi <br /> <br /> |<br /> |}<br /> <br /> == Sources ==</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=File:Sk%C3%A4rmavbild_2026-03-04_kl._14.13.42.png&diff=1926 2026-03-04T13:19:30Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Tilskuerpladsene i Bergens Theater.</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1898 2026-03-04T12:20:43Z

<p>Julia Stina Skoglund: /* The Theatre Building */</p> <hr /> <div>Det Dramatiske Selskab i Bergen (The Dramatic Society in Bergen) was an amateur theatre group founded on 25 February 1794 in Bergen, Norway.&lt;ref&gt;Ellen Karoline Gjervan, “Privat teateraktivitet, dilletanteri eller amatørteater? Dramatiske selskaper i Norge 1780-1830,” in ''Lidenskap eller levebrød? Utøvende kunst i endring rundt 1800'', ed. Randi M. Selvik et al. (Fagbokforlaget, 2015), 198.&lt;/ref&gt; The society was inspired by another successor, Det Harmoniske Selskab (The Harmonic Society), which was founded in 1765. Several mebers of Det Harmoniske Selskab were founding members of Det Dramatiske Selskab.<br /> <br /> == Organization Structure ==<br /> insert text here<br /> <br /> == Laws of the Society ==<br /> insert text here<br /> <br /> == The Theatre Building ==<br /> In the beginning, the society performed in an assembly hall called Tetingsalen - a venue which previously had been used by the harmonic Society, and thus was known well by the members. From 1800 til 1828, they performed in Komediehuset. <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> [[File:Leiekontrakt 1874.png|thumb]]<br /> This letter is a rental contract between the &quot;Det dramatiske Selskab&quot; in Bergen and &quot;Theaterforeningen&quot;. The contract says that &quot;Theaterforeningen&quot; will rent all of &quot;Det dramatiske Selskabs&quot; scenic equipment and their facilities from the 15th of April until the 31st of May 1874. &quot;Theaterforeningen&quot; was to pay 180 &quot;speciedaler&quot; in rent. <br /> <br /> The implication for the rental contract is that &quot;Det dramatiske Selskap&quot; in this period of their existence needed economical support in order to sustain the company. Until 1828, the company was privately driven by a group of upper classmen an catered to the upper class. However, in 1828, the organization began renting out their facilities in the manner described in the letter after they went bankrupt. They thus had to outsource the actual production of theatre to separate companies.<br /> <br /> A transscription and translation of the contract:<br /> <br /> == Socibility, Celebrations, and Songs ==<br /> <br /> == Sources ==</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1897 2026-03-04T12:17:28Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Det Dramatiske Selskab i Bergen (The Dramatic Society in Bergen) was an amateur theatre group founded on 25 February 1794 in Bergen, Norway.&lt;ref&gt;Ellen Karoline Gjervan, “Privat teateraktivitet, dilletanteri eller amatørteater? Dramatiske selskaper i Norge 1780-1830,” in ''Lidenskap eller levebrød? Utøvende kunst i endring rundt 1800'', ed. Randi M. Selvik et al. (Fagbokforlaget, 2015), 198.&lt;/ref&gt; The society was inspired by another successor, Det Harmoniske Selskab (The Harmonic Society), which was founded in 1765. Several mebers of Det Harmoniske Selskab were founding members of Det Dramatiske Selskab.<br /> <br /> == Organization Structure ==<br /> insert text here<br /> <br /> == Laws of the Society ==<br /> insert text here<br /> <br /> == The Theatre Building ==<br /> lokaler var fra 1800 til 1828 i Komediehuset <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> [[File:Leiekontrakt 1874.png|thumb]]<br /> This letter is a rental contract between the &quot;Det dramatiske Selskab&quot; in Bergen and &quot;Theaterforeningen&quot;. The contract says that &quot;Theaterforeningen&quot; will rent all of &quot;Det dramatiske Selskabs&quot; scenic equipment and their facilities from the 15th of April until the 31st of May 1874. &quot;Theaterforeningen&quot; was to pay 180 &quot;speciedaler&quot; in rent. <br /> <br /> The implication for the rental contract is that &quot;Det dramatiske Selskap&quot; in this period of their existence needed economical support in order to sustain the company. Until 1828, the company was privately driven by a group of upper classmen an catered to the upper class. However, in 1828, the organization began renting out their facilities in the manner described in the letter after they went bankrupt. They thus had to outsource the actual production of theatre to separate companies.<br /> <br /> A transscription and translation of the contract:<br /> <br /> == Socibility, Celebrations, and Songs ==<br /> <br /> == Sources ==</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1896 2026-03-04T12:15:32Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Det Dramatiske Selskab i Bergen (The Dramatic Society in Bergen) was an amateur theatre group founded on 25 February 1794 in Bergen, Norway.&lt;ref&gt;Ellen Karoline Gjervan, “Privat teateraktivitet, dilletanteri eller amatørteater? Dramatiske selskaper i Norge 1780-1830,” in ''Lidenskap eller levebrød? Utøvende kunst i endring rundt 1800'', ed. Randi M. Selvik et al. (Fagbokforlaget, 2015), 198.&lt;/ref&gt;<br /> <br /> == Organization Structure ==<br /> insert text here<br /> <br /> == Laws of the Society ==<br /> insert text here<br /> <br /> == The Theatre Building ==<br /> lokaler var fra 1800 til 1828 i Komediehuset <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> [[File:Leiekontrakt 1874.png|thumb]]<br /> This letter is a rental contract between the &quot;Det dramatiske Selskab&quot; in Bergen and &quot;Theaterforeningen&quot;. The contract says that &quot;Theaterforeningen&quot; will rent all of &quot;Det dramatiske Selskabs&quot; scenic equipment and their facilities from the 15th of April until the 31st of May 1874. &quot;Theaterforeningen&quot; was to pay 180 &quot;speciedaler&quot; in rent. <br /> <br /> The implication for the rental contract is that &quot;Det dramatiske Selskap&quot; in this period of their existence needed economical support in order to sustain the company. Until 1828, the company was privately driven by a group of upper classmen an catered to the upper class. However, in 1828, the organization began renting out their facilities in the manner described in the letter after they went bankrupt. They thus had to outsource the actual production of theatre to separate companies.<br /> <br /> A transscription and translation of the contract:<br /> <br /> == Socibility, Celebrations, and Songs ==<br /> <br /> == Sources ==</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1892 2026-03-04T12:13:38Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Det Dramatiske Selskab i Bergen (The Dramatic Society in Bergen) was an amateur theatre group founded on 25 February 1794 in Bergen, Norway.&lt;ref&gt;Lidenskap eller levebrød? Utøvende kunst i endring rundt 1800&lt;/ref&gt;<br /> <br /> == Organization Structure ==<br /> insert text here<br /> <br /> == Laws of the Society ==<br /> insert text here<br /> <br /> == The Theatre Building ==<br /> lokaler var fra 1800 til 1828 i Komediehuset <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> insert text here<br /> <br /> == Socibility, Celebrations, and Songs ==<br /> <br /> == Sources ==</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1891 2026-03-04T12:13:24Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Det Dramatiske Selskab i Bergen (The Dramatic Society in Bergen) was an amateur theatre group founded on 25 February1794 in Bergen, Norway.&lt;ref&gt;Lidenskap eller levebrød? Utøvende kunst i endring rundt 1800&lt;/ref&gt;<br /> <br /> == Organization Structure ==<br /> insert text here<br /> <br /> == Laws of the Society ==<br /> insert text here<br /> <br /> == The Theatre Building ==<br /> lokaler var fra 1800 til 1828 i Komediehuset <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> insert text here<br /> <br /> == Socibility, Celebrations, and Songs ==<br /> <br /> == Sources ==</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1890 2026-03-04T12:09:25Z

<p>Julia Stina Skoglund: /* Laws (&quot;lover&quot;) of the Society */</p> <hr /> <div>Det Dramatiske Selskab i Bergen (The Dramatic Society in Bergen) was an amateur theatre group founded in 1794 in Bergen, Norway.<br /> <br /> == Organization Structure ==<br /> insert text here<br /> <br /> == Laws of the Society ==<br /> insert text here<br /> <br /> == The Theatre Building ==<br /> lokaler var fra 1800 til 1828 i Komediehuset <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> insert text here<br /> <br /> == Socibility, Celebrations, and Songs ==<br /> <br /> == Sources ==</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1888 2026-03-04T12:03:47Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Det Dramatiske Selskab i Bergen (The Dramatic Society in Bergen) was an amateur theatre group founded in 1794 in Bergen, Norway.<br /> <br /> == Organization Structure ==<br /> insert text here<br /> <br /> == Laws (&quot;lover&quot;) of the Society ==<br /> insert text here<br /> <br /> == The Theatre Building ==<br /> lokaler var fra 1800 til 1828 i Komediehuset <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> insert text here<br /> <br /> == Socibility, Celebrations, and Songs ==<br /> <br /> == Sources ==</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1881 2026-03-04T11:44:10Z

<p>Julia Stina Skoglund: structure</p> <hr /> <div>Det Dramatiske Selskab i Bergen (The Dramatic Society in Bergen) was an amateur theatre group frounded in 1794 in Bergen, Norway.<br /> <br /> == Organization Structure ==<br /> insert text here<br /> <br /> == Laws (&quot;lover&quot;) of the Society ==<br /> insert text here<br /> <br /> == The Theatre Building ==<br /> lokaler var fra 1800 til 1828 i Komediehuset <br /> <br /> === Renting out of the Theatre Building and Rental Contracts ===<br /> insert text here<br /> <br /> == Socibility, Celebrations, and Songs ==<br /> insert text here</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Det_Dramatiske_Selskab_i_Bergen&diff=1879 2026-03-04T11:32:16Z

<p>Julia Stina Skoglund: Created page with &quot;Test&quot;</p> <hr /> <div>Test</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Nyk%C3%B6pings_Amat%C3%B6rs%C3%A4llskap&diff=1241 2024-11-11T14:34:26Z

<p>Julia Stina Skoglund: Created page with &quot;Nyköpings amatörsällskap An amateur theatre society that was active in Nyköping, Exact dates are unknown, supposedly toward the end of the 19th/beginning of the 20th century.&quot;</p> <hr /> <div>[[File:Nyköpings_Amatörsällskap.jpg|thumb|Nyköpings amatörsällskap]]<br /> An amateur theatre society that was active in Nyköping, Exact dates are unknown, supposedly toward the end of the 19th/beginning of the 20th century.</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Gustav_III&diff=1096 2023-11-28T10:22:07Z

<p>Julia Stina Skoglund: </p> <hr /> <div>King Gustav III, was not only King of Sweden from 1771 until 1792, but he was also an avid lover of theatre, and an amateur theatre practitioner himself.</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Gustav_III&diff=1095 2023-11-28T10:21:29Z

<p>Julia Stina Skoglund: Created page with &quot;King Gustav III, King of Sweden from 1771 until 1792,&quot;</p> <hr /> <div>King Gustav III, King of Sweden from 1771 until 1792,</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=L%C3%B6fholmens_Theaters%C3%A4llskap&diff=1064 2023-10-20T13:56:56Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Löfholmens theatersällskap (alternative spellings: Lövholmens theatersällskap) [Löfholmen's Theatre Society] was a Swedish amateur theatre group active between 1828 to 1830&lt;ref&gt;Bæckström, Arvid. Löfholmens theatersällskap 1828-1830. Stockholm: Nordiska museet, 1954.&lt;/ref&gt;. <br /> <br /> == History ==<br /> The society can be counted into the category of country house theatre. They converted an old shed into a theatre, which they used during the summer months. <br /> <br /> In 1830, there were 65 members, whereof 12 were women (five married, seven unmarried) and 53 men. Two thirds of the members were in their twenties or younger; the oldest member was 48 years old.&lt;ref&gt;See Bæckström, p 11.&lt;/ref&gt; <br /> <br /> Some members were musicians by profession. <br /> <br /> The society even had its own coat of arms. <br /> <br /> == Repertoire ==<br /> Over the course of three years, the group performed 10 nights: three in 1828 as well as in 1829, and four in 1830). In total, they performed 18 plays, with three renewals in 1830. <br /> <br /> == Publications ==<br /> Besides producing and performing theatre, the society also published a magazine called ”Löfholms Argus”, with 6 issues published in 1828, 10 in 1829, and 7 in 1830. <br /> <br /> <br /> == Directors ==<br /> <br /> == Actors ==<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> [[Category:Sweden]]<br /> [[Category:Clubs, Societies and Institutions]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=882 2023-09-25T13:59:13Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Blå Porten karta 1844-45.jpg|thumb|Map over Blå Porten from 1844-45. The first theatre building of Djurgårdsteatern is shown in the low right corner.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on Djurgården, an island then outside of the city of Stockholm, active between 1801 to 1929.<br /> <br /> == History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ==<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. De Broen did not make use of the privilege right away, as he was still employed at the Royal Stage and therefore would not have been allowed to act at his own theatre. It was only a few years later, when he resigned from his position due to issues with his memory, that he decided to take build the theatre.&lt;ref&gt;Ullberg, Hans: Djurgårdsteatern. En teaters historia 1801-1929, Stockholm: Höjerings, 1993, p. 9.&lt;/ref&gt;<br /> <br /> In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;the summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> == Theatre Building ==<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> == Performances ==<br /> The theatre opened for the first time on 17 June 1801. The opening programme consisted among others of ''Foyern'' by Mårten Altén and ''Den sköna Rosette eller Tidens seger'' (The fair Rosette or The Victory of Time) by Marc Antoine Legrand.<br /> <br /> On 28 June, Märta Helena Reenstjerna, also known as Årstafrun (The Årsta Lady), visited the theatre. She watched both the latter mentioned play by Legrand, as well as a performance of Goldoni's commedia dell'arte play ''Två herrars dräng'' (The Servant of Two Masters). ''Den självkäre'' (Narcisse) by French enlightenment philsopher Jean Jaques Rousseau was also performed.<br /> <br /> For an incomplete list of performances from 1841 onwards, please refer to:https://sv.wikipedia.org/wiki/Djurgårdsteaterns_uppsättningar<br /> <br /> == Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ==<br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993<br /> [[Category:Clubs, Societies and Institutions]]<br /> [[Category:Sweden]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=875 2023-09-25T12:54:36Z

<p>Julia Stina Skoglund: /* History[1] */</p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Blå Porten karta 1844-45.jpg|thumb|Map over Blå Porten from 1844-45. The first theatre building of Djurgårdsteatern is shown in the low right corner.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on Djurgården, an island then outside of the city of Stockholm, active between 1801 to 1929.<br /> <br /> == History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ==<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. De Broen did not make use of the privilege right away, as he was still employed at the Royal Stage and therefore would not have been allowed to act at his own theatre. It was only a few years later, when he resigned from his position due to issues with his memory, that he decided to take build the theatre.&lt;ref&gt;Ullberg, Hans: Djurgårdsteatern. En teaters historia 1801-1929, Stockholm: Höjerings, 1993, p. 9.&lt;/ref&gt;<br /> <br /> In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> == Theatre Building ==<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> == Performances ==<br /> The theatre opened for the first time on 17 June 1801. The opening programme consisted among others of ''Foyern'' by Mårten Altén and ''Den sköna Rosette eller Tidens seger'' (The fair Rosette or The Victory of Time) by Marc Antoine Legrand.<br /> <br /> On 28 June, Märta Helena Reenstjerna, also known as Årstafrun (The Årsta Lady), visited the theatre. She watched both the latter mentioned play by Legrand, as well as a performance of Goldoni's commedia dell'arte play ''Två herrars dräng'' (The Servant of Two Masters). ''Den självkäre'' (Narcisse) by French enlightenment philsopher Jean Jaques Rousseau was also performed.<br /> <br /> For an incomplete list of performances from 1841 onwards, please refer to:https://sv.wikipedia.org/wiki/Djurgårdsteaterns_uppsättningar<br /> <br /> == Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ==<br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993<br /> [[Category:Clubs, Societies and Institutions]]<br /> [[Category:Sweden]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=John_Hall%27s_Amateur_Theatre_Society&diff=838 2023-07-07T12:08:08Z

<p>Julia Stina Skoglund: Julia Stina Skoglund moved page John Hall&#039;s Amateur Theatre Society to John Halls Amatörteater: english to swedish title</p> <hr /> <div>#REDIRECT [[John Halls Amatörteater]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=John_Halls_Amat%C3%B6rteater&diff=837 2023-07-07T12:08:08Z

<p>Julia Stina Skoglund: Julia Stina Skoglund moved page John Hall&#039;s Amateur Theatre Society to John Halls Amatörteater: english to swedish title</p> <hr /> <div>{{Page in progress}}<br /> <br /> In the Gothenburg of the late 18th century , the bourgeoise had a vivid interest in amateur theatre. One of the prominent figures in amateur theatre circles around that time was John Hall (*15 february 1735 probably in Gothenburg, † 2 october 1802 in Gothenburg) a well-situated bourgeois salesman whose family was of Scottish origin. <br /> <br /> Probably in 1775, Hall built a private theatre in his home, which was used for the purpose of private bourgeois amateur theatre.&lt;ref&gt;Dag Nordmark,  &quot;Teater utanför Stockholm&quot;, in Ny svensk teaterhistoria 1. Teater före 1800, Stockholm: Gidlunds, 236.&lt;/ref&gt; The theatre salon is said to have been situated close to the garden, in the west of the house. Hall also arranged balls that followed the theatre performances.&lt;ref&gt;https://kronhuset.se/visualisering-vastra-nordstan/handelse-3/&lt;/ref&gt; Hall is said to have played an important role in Gothenburg's cultural life.&lt;ref&gt;https://sok.riksarkivet.se/sbl/mobil/Artikel/13548&lt;/ref&gt; The theatre was torn down in the 1960's.&lt;ref&gt;https://samlingar.goteborgsstadsmuseum.se/carlotta/web/image/blob/824101/Arkeologisk%20rapport%202013_11.pdf&lt;/ref&gt;<br /> [[File:Östra Hamngatan 17-19 - GSM GhmD 10289.jpg|thumb|Hallska huset - John Hall's house in Gothenburg]]<br /> <br /> <br /> Moreover, Hall bult Gunnebo slott, a countryhouse or rather, small castle, on the countryside south of Gothenburg.&lt;ref&gt;https://larsgahrnskriver.wordpress.com/2009/10/22/herrskapet-hall-pa-gunnebo-en-fargstark-och-intressant-familj/&lt;/ref&gt; <br /> [[File:Gunnebo slott September 2012 10.jpg|thumb|Gunnebo slott]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=L%C3%B6fholmens_Theaters%C3%A4llskap&diff=810 2023-07-07T08:31:59Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Löfholmens theatersällskap (alternative spellings: Lövholmens theatersällskap) [Löfholmen's Theatre Society] was a Swedish amateur theatre group active between 1828 to 1830&lt;ref&gt;Bæckström, Arvid. Löfholmens theatersällskap 1828-1830. Stockholm: Nordiska museet, 1954.&lt;/ref&gt;. <br /> <br /> == History ==<br /> The society can be counted into the category of country house theatre. They converted an old shed into a theatre, which they used during the summer months. <br /> <br /> In 1830, there were 65 members, whereof 12 were women (five married, seven unmarried) and 53 men. Two thirds of the members were in their twenties or younger; the oldest member was 48 years old.&lt;ref&gt;See Bæckström, p 11.&lt;/ref&gt; <br /> <br /> Some members were musicians by profession XX <br /> <br /> == Repertoire ==<br /> Over the course of three years, the group performed 10 nights: three in 1828 as well as in 1829, and four in 1830). In total, they performed 18 plays, with three renewals in 1830. <br /> <br /> == Publications ==<br /> Besides producing and performing theatre, the society also published a magazine called ”Löfholms Argus”, with 6 issues published in 1828, 10 in 1829, and 7 in 1830. <br /> <br /> <br /> == Directors ==<br /> <br /> == Actors ==<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> [[Category:Sweden]]<br /> [[Category:Clubs, Societies and Institutions]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=L%C3%B6fholmens_Theaters%C3%A4llskap&diff=805 2023-07-07T08:13:17Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Löfholmens theatersällskap (alternative spellings: Lövholmens theatersällskap) [Löfholmen's Theatre Society] was a Swedish amateur theatre group active between 1828 to 1830&lt;ref&gt;Bæckström, Arvid. Löfholmens theatersällskap 1828-1830. Stockholm: Nordiska museet, 1954.&lt;/ref&gt;. <br /> <br /> == History ==<br /> The society can be counted into the category of country house theatre. They converted an old shed into a theatre, which they used during the summer months. <br /> <br /> In 1830, there were 65 members, whereof 12 were women (five married, seven unmarried) and 53 men. <br /> <br /> == Repertoire ==<br /> Over the course of three years, the group performed 10 nights: three in 1828 as well as in 1829, and four in 1830). In total, they performed 18 plays, with three renewals in 1830. <br /> <br /> == Publications ==<br /> Besides producing and performing theatre, the society also published a magazine called ”Löfholms Argus”, with 6 issues published in 1828, 10 in 1829, and 7 in 1830. <br /> <br /> <br /> == Directors ==<br /> <br /> == Actors ==<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> [[Category:Sweden]]<br /> [[Category:Clubs, Societies and Institutions]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=L%C3%B6fholmen%E2%80%99s_Theatre_Society&diff=803 2023-07-07T08:12:41Z

<p>Julia Stina Skoglund: Julia Stina Skoglund moved page Löfholmen’s Theatre Society to Löfholmens Theatersällskap: decsion to use original names instead of translations</p> <hr /> <div>#REDIRECT [[Löfholmens Theatersällskap]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=L%C3%B6fholmens_Theaters%C3%A4llskap&diff=802 2023-07-07T08:12:41Z

<p>Julia Stina Skoglund: Julia Stina Skoglund moved page Löfholmen’s Theatre Society to Löfholmens Theatersällskap: decsion to use original names instead of translations</p> <hr /> <div>Löfholmens theatersällskap (alternative spellings: Lövholmens theatersällskap) was a Swedish amateur theatre group active between 1828 to 1830&lt;ref&gt;Bæckström, Arvid. Löfholmens theatersällskap 1828-1830. Stockholm: Nordiska museet, 1954.&lt;/ref&gt;. <br /> <br /> == History ==<br /> The society can be counted into the category of country house theatre. They converted an old shed into a theatre, which they used during the summer months. <br /> <br /> In 1830, there were 65 members, whereof 12 were women (five married, seven unmarried) and 53 men. <br /> <br /> == Repertoire ==<br /> Over the course of three years, the group performed 10 nights: three in 1828 as well as in 1829, and four in 1830). In total, they performed 18 plays, with three renewals in 1830. <br /> <br /> == Publications ==<br /> Besides producing and performing theatre, the society also published a magazine called ”Löfholms Argus”, with 6 issues published in 1828, 10 in 1829, and 7 in 1830. <br /> <br /> <br /> == Directors ==<br /> <br /> == Actors ==<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> [[Category:Sweden]]<br /> [[Category:Clubs, Societies and Institutions]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Nyk%C3%B6pings_Teater&diff=795 2023-07-07T07:16:48Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Presumably in September 1800, Nyköpings Teater (Nyköping's Theatre) was opened. <br /> <br /> The theatre's first manager was Johan Peter Strömberg. Some members of his company (''sällskap'') had other jobs besides being active at the theatre. For example, Chirstian Möller taught the violin and gave singing lessons - albeit only to women - accompanied by the piano.&lt;ref&gt;See A. E. Falck, Nyköpings teater: ett bidrag till svenska landsortsteaterns historia, G. Österbergs tryckerei aktiebolag, 1935, p. 22&lt;/ref&gt; Christ. Carlsten and Miss Ungert both worked as hatmakers, and Maria C. Strömberg started giving dance lessons after the last theatre season.&lt;ref&gt;See Falck, loc. cit..&lt;/ref&gt; Maria Elisbateh Bong worked amongst others as a textile-printmaker as well as produced parasols.&lt;ref&gt;See Falck, ibid., p. 23.&lt;/ref&gt;<br /> <br /> On 4 July 1829, there was a performance of two plays (''Den häftige firaren'' and an epiloque with dance and couplets. It is deemed likely that the performers were amateurs.</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Nyk%C3%B6pings_Teater&diff=794 2023-07-07T07:15:07Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Presumably in September 1800, Nyköpings Teater (Nyköping's Theatre) was opened. <br /> <br /> The theatre's first manager was Johan Peter Strömberg. Some members of his company (''sällskap'') had other jobs besides being active at the theatre. For example, Chirstian Möller taught the violin and gave singing lessons - albeit only to women - accompanied by the piano.&lt;ref&gt;See A. E. Falck, Nyköpings teater: ett bidrag till svenska landsortsteaterns historia, G. Österbergs tryckerei aktiebolag, 1935, p. 22&lt;/ref&gt; Christ. Carlsten and Miss Ungert worked as a hatmaker, and Maria C. Strömberg started giving dance lessons after the last theatre season.&lt;ref&gt;See Falck, loc. cit..&lt;/ref&gt; Maria Elisbateh Bong worked amongst others as a textile-printmaker as well as produced parasols.&lt;ref&gt;See Falck, ibid., p. 23.&lt;/ref&gt;<br /> <br /> On 4 July 1829, there was a performance of two plays (''Den häftige firaren'' and an epiloque with dance and couplets. It is deemed likely that the performers were amateurs.</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Nyk%C3%B6pings_Teater&diff=424 2023-05-25T08:50:12Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Presumably in September 1800, Nyköpings Teater (Nyköping's Theatre) was opened. <br /> <br /> The theatre's first manager was Johan Peter Strömberg. Some members of his company (''sällskap'') had other jobs besides being active at the theatre. For example, Chirstian Möller taught the violin and gave singing lessons - albeit only to women - accompanied by the piano.&lt;ref&gt;See A. E. Falck, Nyköpings teater: ett bidrag till svenska landsortsteaterns historia, G. Österbergs tryckerei aktiebolag, 1935, p. 22&lt;/ref&gt; Christ. Carlsten and Miss Ungert worked as a hatmaker, and Maria C. Strömberg started giving dance lessons after the last theatre season.&lt;ref&gt;See Falck, loc. cit..&lt;/ref&gt; Maria Elsibateh Bong worked amongst others as a textile-printmaker as well as produced parasols.&lt;ref&gt;See Falck, ibid., p. 23.&lt;/ref&gt;<br /> <br /> On 4 July 1829, there was a performance of two plays (''Den häftige firaren'' and an epiloque with dance and couplets. It is deemed likely that the performers were amateurs.</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Nyk%C3%B6pings_Teater&diff=423 2023-05-25T08:49:49Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Presumably in September 1800, Nyköpings Teater (Nyköping's Theatre) was opened. <br /> <br /> The theatre's first manager was Johan Peter Strömberg. Some members of his company (''sällskap'') had other jobs besides being active at the theatre. For example, Chirstian Möller taught the violin and gave singing lessons - albeit only to women - accompanied by the piano.&lt;ref&gt;See A. E. Falck, Nyköpings teater: ett bidrag till svenska landsortsteaterns historia, G. Österbergs tryckerei aktiebolag, 1935, p. 22&lt;/ref&gt; Christ. Carlsten and Miss Ungert worked as a hatmaker, and Maria C. Strömberg started giving dance lessons after the last theatre season.&lt;ref&gt;See Falck, loc. cit..&lt;/ref&gt; Maria Elsibateh Bong worked amongst others as a textile-printmaker as well as produced parasols.&lt;ref&gt;See Falck, ibid., p. 23.&lt;/ref&gt;<br /> <br /> On 4 July 1829, there was a performance of two plays (''Den häftige firaren'' and an epiloque with dance and couplets.</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Nyk%C3%B6pings_Teater&diff=421 2023-05-24T09:43:35Z

<p>Julia Stina Skoglund: </p> <hr /> <div>Presumably in September 1800, Nyköpings Teater (Nyköping's Theatre) was opened. <br /> <br /> The theatre's first manager was Johan Peter Strömberg. Some members of his company (''sällskap'') had other jobs besides being active at the theatre. For example, Chirstian Möller taught the violin and gave singing lessons - albeit only to women - accompanied by the piano.&lt;ref&gt;See A. E. Falck, Nyköpings teater: ett bidrag till svenska landsortsteaterns historia, G. Österbergs tryckerei aktiebolag, 1935, p. 22&lt;/ref&gt;</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Nyk%C3%B6pings_Teater&diff=416 2023-05-24T09:16:58Z

<p>Julia Stina Skoglund: Created page with &quot;Presumably in September 1800, Nyköpings Teater (Nyköping&#039;s Theatre) was opened.&quot;</p> <hr /> <div>Presumably in September 1800, Nyköpings Teater (Nyköping's Theatre) was opened.</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=John_Halls_Amat%C3%B6rteater&diff=411 2023-04-12T09:50:39Z

<p>Julia Stina Skoglund: </p> <hr /> <div>{{Page in progress}}<br /> <br /> In the Gothenburg of the late 18th century , the bourgeoise had a vivid interest in amateur theatre. One of the prominent figures in amateur theatre circles around that time was John Hall (*15 february 1735 probably in Gothenburg, † 2 october 1802 in Gothenburg) a well-situated bourgeois salesman whose family was of Scottish origin. <br /> <br /> Probably in 1775, Hall built a private theatre in his home, which was used for the purpose of private bourgeois amateur theatre.&lt;ref&gt;Dag Nordmark,  &quot;Teater utanför Stockholm&quot;, in Ny svensk teaterhistoria 1. Teater före 1800, Stockholm: Gidlunds, 236.&lt;/ref&gt; The theatre salon is said to have been situated close to the garden, in the west of the house. Hall also arranged balls that followed the theatre performances.&lt;ref&gt;https://kronhuset.se/visualisering-vastra-nordstan/handelse-3/&lt;/ref&gt; Hall is said to have played an important role in Gothenburg's cultural life.&lt;ref&gt;https://sok.riksarkivet.se/sbl/mobil/Artikel/13548&lt;/ref&gt; The theatre was torn down in the 1960's.&lt;ref&gt;https://samlingar.goteborgsstadsmuseum.se/carlotta/web/image/blob/824101/Arkeologisk%20rapport%202013_11.pdf&lt;/ref&gt;<br /> [[File:Östra Hamngatan 17-19 - GSM GhmD 10289.jpg|thumb|Hallska huset - John Hall's house in Gothenburg]]<br /> <br /> <br /> Moreover, Hall bult Gunnebo slott, a countryhouse or rather, small castle, on the countryside south of Gothenburg.&lt;ref&gt;https://larsgahrnskriver.wordpress.com/2009/10/22/herrskapet-hall-pa-gunnebo-en-fargstark-och-intressant-familj/&lt;/ref&gt; <br /> [[File:Gunnebo slott September 2012 10.jpg|thumb|Gunnebo slott]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=John_Halls_Amat%C3%B6rteater&diff=407 2023-04-12T09:09:07Z

<p>Julia Stina Skoglund: </p> <hr /> <div>In the Gothenburg of the late 18th century , the bourgeoise had a vivid interest in amateur theatre. One of the prominent figures in amateur theatre circles around that time was John Hall (*15 february 1735 probably in Gothenburg, † 2 october 1802 in Gothenburg) a well-situated bourgeois salesman whose family was of Scottish origin. <br /> <br /> Probably in 1775, Hall built a private theatre in his home, which was used for the purpose of private bourgeois amateur theatre.&lt;ref&gt;Dag Nordmark,  &quot;Teater utanför Stockholm&quot;, in Ny svensk teaterhistoria 1. Teater före 1800, Stockholm: Gidlunds, 236.&lt;/ref&gt; The theatre salon is said to have been situated close to the garden, in the west of the house. Hall also arranged balls that followed the theatre performances.&lt;ref&gt;https://kronhuset.se/visualisering-vastra-nordstan/handelse-3/&lt;/ref&gt; Hall is said to have played an important role in Gothenburg's cultural life.&lt;ref&gt;https://sok.riksarkivet.se/sbl/mobil/Artikel/13548&lt;/ref&gt; The theatre was torn down in the 1960's.&lt;ref&gt;https://samlingar.goteborgsstadsmuseum.se/carlotta/web/image/blob/824101/Arkeologisk%20rapport%202013_11.pdf&lt;/ref&gt; <br /> <br /> Moreover, Hall bult Gunnebo slott, a countryhouse or rather, small castle, on the countryside south of Gothenburg.&lt;ref&gt;https://larsgahrnskriver.wordpress.com/2009/10/22/herrskapet-hall-pa-gunnebo-en-fargstark-och-intressant-familj/&lt;/ref&gt; &lt;references /&gt;</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=John_Halls_Amat%C3%B6rteater&diff=404 2023-04-12T08:56:08Z

<p>Julia Stina Skoglund: </p> <hr /> <div>In the Gothenburg of the late 18th century , the bourgeoise had a vivid interest in amateur theatre. One of the prominent figures in amateur theatre circles around that time was John Hall, a well-situated bourgeois salesman originally from Scotland. Probably in 1775, Hall built a private theatre in his home, which was used for the purpose of private bourgeois amateur theatre.&lt;ref&gt;Dag Nordmark,  &quot;Teater utanför Stockholm&quot;, in Ny svensk teaterhistoria 1. Teater före 1800, Stockholm: Gidlunds, 236.&lt;/ref&gt; The theatre salon is said to have been situated close to the garden, in the west of the house. Hall also arranged balls that followed the theatre performances.&lt;ref&gt;https://kronhuset.se/visualisering-vastra-nordstan/handelse-3/&lt;/ref&gt; The theatre was torn down in the 1960's.&lt;ref&gt;https://samlingar.goteborgsstadsmuseum.se/carlotta/web/image/blob/824101/Arkeologisk%20rapport%202013_11.pdf&lt;/ref&gt; &lt;references /&gt;</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=John_Halls_Amat%C3%B6rteater&diff=379 2023-03-31T15:31:53Z

<p>Julia Stina Skoglund: Created page with &quot;In the Gothenburg of the late 18th century , the bourgeoise had a vivid interest in amateur theatre. One of the prominent figures in amateur theatre circles around that time was John Hall, a well-situated bourgeois. Probably in 1775, Hall built a private theatre in his home, which was used for the purpose of private bourgeois amateur theatre.&lt;ref&gt;Dag Nordmark,  &quot;Teater utanför Stockholm&quot;, in Ny svensk teaterhistoria 1. Teater före 1800, Stockholm: Gidlunds, 236.&lt;/ref&gt;...&quot;</p> <hr /> <div>In the Gothenburg of the late 18th century , the bourgeoise had a vivid interest in amateur theatre. One of the prominent figures in amateur theatre circles around that time was John Hall, a well-situated bourgeois. Probably in 1775, Hall built a private theatre in his home, which was used for the purpose of private bourgeois amateur theatre.&lt;ref&gt;Dag Nordmark,  &quot;Teater utanför Stockholm&quot;, in Ny svensk teaterhistoria 1. Teater före 1800, Stockholm: Gidlunds, 236.&lt;/ref&gt; The theatre salon is said to have been situated close to the garden, in the west of the house. <br /> <br /> Hall also arranged balls that followed the theatre performances.&lt;ref&gt;https://kronhuset.se/visualisering-vastra-nordstan/handelse-3/&lt;/ref&gt;</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=378 2023-03-31T08:37:40Z

<p>Julia Stina Skoglund: /* Performances */</p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Blå Porten karta 1844-45.jpg|thumb|Map over Blå Porten from 1844-45. The first theatre building of Djurgårdsteatern is shown in the low right corner.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on Djurgården, an island then outside of the city of Stockholm, active between 1801 to 1929.<br /> <br /> == History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ==<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> == Theatre Building ==<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> == Performances ==<br /> The theatre opened for the first time on 17 June 1801. The opening programme consisted among others of ''Foyern'' by Mårten Altén and ''Den sköna Rosette eller Tidens seger'' (The fair Rosette or The Victory of Time) by Marc Antoine Legrand.<br /> <br /> On 28 June, Märta Helena Reenstjerna, also known as Årstafrun (The Årsta Lady), visited the theatre. She watched both the latter mentioned play by Legrand, as well as a performance of Goldoni's commedia dell'arte play ''Två herrars dräng'' (The Servant of Two Masters). ''Den självkäre'' (Narcisse) by French enlightenment philsopher Jean Jaques Rousseau was also performed.<br /> <br /> For an incomplete list of performances from 1841 onwards, please refer to:https://sv.wikipedia.org/wiki/Djurgårdsteaterns_uppsättningar<br /> <br /> == Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ==<br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993<br /> [[Category:Clubs, Societies and Institutions]]<br /> [[Category:Sweden]]</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Swedish_Royal_Theatre_Monopoly&diff=309 2023-02-01T10:53:07Z

<p>Julia Stina Skoglund: </p> <hr /> <div>In 1798, Gustav IV Adolf decided that within the city limits of Stockholm, only theatres funded by the court should be open. In practice, this resulted in the Swedish Royal Dramatic theatre and Opera being the only (professional) theatres within the city allowed to produce and showcase performances.<br /> <br /> The monopoly was abolished in 1842. <br /> <br /> == References ==<br /> Hallgren, Karin: ''Borgerlighetens teater: om verksamhet, musiker och repertoar vid Mindre teatern i Stockholm 1842-63''. Acta Universitatis Upsaliensis, Diss. Uppsala: Univ., Uppsala, 2000.<br /> <br /> Nordmark, Dag: &quot;På Djurgårdsteatern.&quot; In: Forser, Tomas, Lagerroth, Ulla-Britta &amp; Nordin Hennel, Ingeborg (eds.). ''Ny svensk teaterhistoria 2. 1800-talets teater.'' Hedemora: Gidlund, 2007, 29-32.<br /> <br /> &quot;Majestätsbrott&quot;, https://sverigesradio.se/artikel/4116247<br /> <br /> http://demokratimuseum.se/2020/02/07/tro-vad-du-vill/</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Swedish_Royal_Theatre_Monopoly&diff=308 2023-02-01T10:50:23Z

<p>Julia Stina Skoglund: Created page with &quot;In 1798, Gustav IV Adolf decided that within the city limits of Stockholm, only theatres funded by the court should be open. In practice, this resulted in the Swedish Royal Dramatic theatre and Opera being the only (professional) theatres within the city allowed to produce and showcase performances. The monopoly was abolished in 1842. == References == Hallgren, Karin: &#039;&#039;Borgerlighetens teater: om verksamhet, musiker och repertoar vid Mindre teatern i Stockholm 1842-63...&quot;</p> <hr /> <div>In 1798, Gustav IV Adolf decided that within the city limits of Stockholm, only theatres funded by the court should be open. In practice, this resulted in the Swedish Royal Dramatic theatre and Opera being the only (professional) theatres within the city allowed to produce and showcase performances.<br /> <br /> The monopoly was abolished in 1842. <br /> <br /> == References ==<br /> Hallgren, Karin: ''Borgerlighetens teater: om verksamhet, musiker och repertoar vid Mindre teatern i Stockholm 1842-63''. Acta Universitatis Upsaliensis, Diss. Uppsala: Univ., Uppsala, 2000.<br /> <br /> Nordmark, Dag: &quot;På Djurgårdsteatern.&quot; In: Forser, Tomas, Lagerroth, Ulla-Britta &amp; Nordin Hennel, Ingeborg (eds.). ''Ny svensk teaterhistoria 2. 1800-talets teater.'' Hedemora: Gidlund, 2007, 29-32.<br /> <br /> http://demokratimuseum.se/2020/02/07/tro-vad-du-vill/</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=196 2022-12-21T12:30:57Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Blå Porten karta 1844-45.jpg|thumb|Map over Blå Porten from 1844-45. The first theatre building of Djurgårdsteatern is shown in the low right corner.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on Djurgården, an island then outside of the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> === Theatre Building ===<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Performances ===<br /> The theatre opened for the first time on 17 June 1801. The opening programme consisted among others of ''Foyern'' by Mårten Altén<br /> <br /> ''Den sköna Rosette eller Tidens seger'' (The fair Rosette or The Victory of Time) by the frenchman Marc Antoine Legrand.<br /> <br /> On 28 June, Märta Helena Reenstjerna, also known as Årstafrun (The Årsta Lady), visited the theatre. She watched both the latter mentioned play by Legrand, as well as a performance of Goldoni's commedia dell'arte play ''Två herrars dräng'' (The Servant of Two Masters). ''Den självkäre'' (Narcisse) by French enlightenment philsopher Jean Jaques Rousseau was also performed.<br /> <br /> For an incomplete list of performances from 1841 onwards, please click here: https://sv.wikipedia.org/wiki/Djurgårdsteaterns_uppsättningar<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=195 2022-12-21T12:30:26Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Blå Porten karta 1844-45.jpg|thumb|Map over Blå Porten from 1844-45. The first theatre building of Djurgårdsteatern is shown in the low right corner.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on Djurgården, an island then outside of the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> === Theatre Building ===<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Performances ===<br /> The theatre opened for the first time on 17 June 1801. The opening programme consisted among others of ''Foyern'' by Mårten Altén<br /> <br /> ''Den sköna Rosette eller Tidens seger'' (The fair Rosette or The Victory of Time) by the frenchman Marc Antoine Legrand.<br /> <br /> On 28 June, Märta Helena Reenstjerna, also known as Årstafrun (The Årsta Lady), visited the theatre. She watched both the latter mentioned play by Legrand, as well as a performance of Goldoni's commedia dell'arte play ''Två herrars dräng'' (The Servant of Two Masters). ''Den självkäre'' (Narcisse) by French enlightenment philsopher Jean Jaques Rousseau was also performed.<br /> <br /> For an incomplete list of performances from 1841 onwards, please click here: https://sv.wikipedia.org/wiki/Djurgårdsteaterns_uppsättningar<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=193 2022-12-21T12:23:20Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Blå Porten karta 1844-45.jpg|thumb|Map over Blå Porten from 1844-45. The first theatre building of Djurgårdsteatern is shown in the low right corner.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on Djurgården, an island then outside of the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> === Theatre Building ===<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Performances ===<br /> The theatre opened for the first time on 17 June 1801. The opening programme consisted among others of ''Foyern'' by Mårten Altén<br /> <br /> ''Den sköna Rosette eller Tidens seger'' (The fair Rosette or The Victory of Time) by the frenchman Marc Antoine Legrand.<br /> <br /> On 28 June, Märta Helena Reenstjerna, also known as Årstafrun (The Årsta Lady), visited the theatre. She watched both the latter mentioned play by Legrand, as well as a performance of Goldoni's commedia dell'arte play ''Två herrars dräng'' (The Servant of Two Masters). ''Den självkäre'' (Narcisse) by French enlightenment philsopher Jean Jaques Rousseau was also performed.<br /> <br /> For an incomplete list of performances from 1841 onwards, please click here:https://sv.wikipedia.org/wiki/Djurgårdsteaterns_uppsättningar<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=192 2022-12-21T12:21:36Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Blå Porten karta 1844-45.jpg|thumb|Map over Blå Porten from 1844-45. The first theatre building of Djurgårdsteatern is shown in the low right corner.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on Djurgården, an island then outside of the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> === Theatre Building ===<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Performances ===<br /> The theatre opened for the first time on 17 June 1801. The opening programme consisted among others of ''Foyern'' by Mårten Altén<br /> <br /> ''Den sköna Rosette eller Tidens seger'' (The fair Rosette or The Victory of Time) by the frenchman Marc Antoine Legrand.<br /> <br /> On 28 June, Märta Helena Reenstjerna, also known as Årstafrun (The Årsta Lady), visited the theatre. She watched both the latter mentioned play by Legrand, as well as a performance of Goldoni's commedia dell'arte play ''Två herrars dräng'' (The Servant of Two Masters).<br /> <br /> For an incomplete list of performances from 1841 onwards, please click here:https://sv.wikipedia.org/wiki/Djurgårdsteaterns_uppsättningar<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=190 2022-12-21T12:12:11Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Blå Porten karta 1844-45.jpg|thumb|Map over Blå Porten from 1844-45. The first theatre building of Djurgårdsteatern is shown in the low right corner.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on Djurgården, an island then outside of the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> === Theatre Building ===<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=189 2022-12-21T12:11:31Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Blå Porten karta 1844-45.jpg|thumb|Map over Blå Porten from 1844-45. Djurgårdsteatern is shown in the low right corner.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on Djurgården, an island then outside of the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> === Theatre Building ===<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=186 2022-12-21T12:05:20Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Lusthusporten, Djurgårdsteatern karta 1797.jpg|thumb|Map showing the first building of Djurgårdsteatern from 1797.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on Djurgården, an island then outside of the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> === Theatre Building ===<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=185 2022-12-21T12:04:33Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Lusthusporten, Djurgårdsteatern karta 1797.jpg|thumb|Map showing the first building of Djurgårdsteatern from 1797.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on the island of Djurgården in the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9.&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> === Theatre Building ===<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> The first building was ready in 1801, and was refered to as &quot;spektakelladan&quot; (spectacle-barn) or &quot;baraquen&quot; (the barrack) due to its primitive nature. The architecture was simple as were the materials that were mostly donated, such as planks from wrecked ships and other thrown away material.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 9-10.&lt;/ref&gt; The theatre was built in a hurry, as there were rumors of a circus director with plans to also play theatre – a possible competitor to de Broen and his privilege to erect and manage a theatre.&lt;ref&gt;Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993, p. 10.&lt;/ref&gt;<br /> <br /> <br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=177 2022-12-21T10:58:46Z

<p>Julia Stina Skoglund: /* Theatre Building */</p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Lusthusporten, Djurgårdsteatern karta 1797.jpg|thumb|Map showing the first building of Djurgårdsteatern from 1797.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on the island of Djurgården in the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg p 9&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> === Theatre Building ===<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> [[File:Djurgårdsteatern 1929.jpg|thumb|Djurgårdsteatern burns 1929]]<br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=176 2022-12-21T10:58:12Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Lusthusporten, Djurgårdsteatern karta 1797.jpg|thumb|Map showing the first building of Djurgårdsteatern from 1797.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on the island of Djurgården in the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg p 9&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> <br /> === Theatre Building ===<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=175 2022-12-21T10:57:21Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Lusthusporten, Djurgårdsteatern karta 1797.jpg|thumb|Map showing the first building of Djurgårdsteatern from 1797.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on the island of Djurgården in the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg p 9&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, indicating that most of the performers were amateurs.<br /> <br /> However, it was also often used as a stage for traveling theatre troupes passing through Stockholm. Also, many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. <br /> <br /> After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen. Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until she passed on the leadership of the theatre to Karl Wildner, the husband of her sister-in-law, in 1815.<br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund https://www.amateur-theatre-wiki.gwi.uni-muenchen.de/index.php?title=Djurg%C3%A5rdsteatern&diff=172 2022-12-21T10:54:48Z

<p>Julia Stina Skoglund: </p> <hr /> <div>[[File:Christina Margareta Cederberg.jpg|alt=The image shows Christina Margareta Cederberg wearing a costume. She stands upright and looks to the left.|thumb|Christina Margareta Cederberg]]<br /> [[File:Lusthusporten, Djurgårdsteatern karta 1797.jpg|thumb|Map showing the first building of Djurgårdsteatern from 1797.]]<br /> [[File:Storhertiginnan av Geroldstein. Djurgårdsteatern 1867.jpg|thumb|Storhertiginnan av Geroldstein. Djurgårdsteatern 1867]]<br /> Djurgårdsteatern (English: The Djurgården Theatre) was a theatre on the island of Djurgården in the city of Stockholm, active between 1801 to 1929.<br /> <br /> === History&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> In 1795, Abraham de Broen (1759–1804), actor at the Royal Dramatic Theatre, asked for the permission to build and run a theatre. A theatre-privilege was given to himself, his wife and their children for as long as they wished to use it. In 1798, a new theatre monopoly was stated, which banned all theatres except the royal ones inside the city border of Stockholm.<br /> <br /> When the Djurgårdsteatern was opened in 1801, however, it was located on Djurgården, at the time an island outside the city itself, and furthermore, it was not what was counted as a &quot;real theatre&quot;; it was what was called a &quot;summer theatre&quot;, active only in summers (from 1 May until 1 October),&lt;ref&gt;Ullberg p 9&lt;/ref&gt; and often called &quot;The Summer stage&quot;. Thereby, it did not threaten the royal monopoly.<br /> <br /> The staff at the theatre was described as &quot;former footmen and maids&quot;, and it was often used as a stage for travelling theatre troupes passing through Stockholm, but many of the actors from the Royal Dramatic theatre and the Royal Swedish Opera made guest performances, making their débuts and started their careers here. The actors at Djurgårsteatern also toured on the country side. It was described as a smaller, more informal and less high pitched theatre. After the death of Abraham de Broen, it was managed by his widow Maria Elisabeth Grundt and his son, actor Isaac de Broen.<br /> <br /> Christina Margareta Cederberg took over the theatre after the death of her husband Isaac in 1814, until her . <br /> <br /> In the 1830s, Djurgårdsteatern entered a new age when it was the place of the abolishment of the royal theatre privilege in Stockholm. After the great theatre strike on the Royal Dramatic theatre by the actor couple Ulrik Torsslow and Sara Torsslow in 1834, the Torsslow couple left the royal theatre along with many other stars, who started to perform the Djurgårdsteatern in summer and in ''Kirsteinska huset'', a concert house, in winter. The director of the Djurgården theatre, Isaac de Broen's brother-in-law Karl Wildner, married to Debora Aurora de Broen, then transferred the old theatre privilege of the de Broen-family on Torsslow and Pierre Deland, who worked on abolishing the old theatre regulation. In the 1841–1842 season, Torsslow stated, that he would start to play on Djurgårsteatern in the winters as well, no matter if he was stopped or not, and as the government did not wish to stop him, the old regulation was formally abolished in 1842. This quickly led to the establishment of several new theatres, such as ''Mindre teatern'' (or ''Nya teatern'') in 1842, ''Södra teatern'' (1852) and ''Ladugårdslandsteatern'' (1856).<br /> [[File:Anna Pettersson, rollporträtt - SMV - H6 097.tif|thumb|Anna Pettersson in the title role in Yngste löjtnanten at Djurgårdsteatern 1885.]]<br /> In 1863, Djurgårdsteatern burnt down, and the de Broen's privilege was abolished, but it was rebuilt again in 1866-67 and continued with its activity until it burnt down again in 1929.<br /> <br /> === Directors&lt;ref&gt;https://en.wikipedia.org/wiki/Djurgårdsteatern&lt;/ref&gt; ===<br /> <br /> * 1801-1804: Abraham de Broen<br /> * 1804-1809: Maria Elisabet de Broen (widow of Abraham)<br /> * 1809-1814: Isaac de Broen (son of Maria Elisabet)<br /> * 1814-1815: Christina Margareta Cederberg (widow of Isaac)<br /> * 1815-1835: Karl Wildner (married to Isaac's sister Debora Aurora de Broen)<br /> * 1835-1837: Pierre Deland (Isaac's son-in-law)<br /> * 1835-1849: Ulrik Torsslow (1835-37 jointly with Deland)<br /> * 1849-1861: Pierre Deland (second term)<br /> &lt;references /&gt;<br /> <br /> === Sources ===<br /> <br /> * Ullberg, Hans, Djurgårdsteatern: en teaters historia 1801-1929, Höjerings bokförlag, Stockholm, 1993</div>

Julia Stina Skoglund