“In Gustavian theatre the 1780s are crucial. It is then the scenography, too, begins to undergo a most interesting development, the artist chiefly associated with it being of course Louis-Jean Desprez. Working, we can only assume, in very close collaboration with Gustaf himself, he introduces a series of novelties emanating in a first place from new dramatic ideas, which in turn give birth to a new and, in one respect, esoteric visual and symbolic language”[1].

What is “novelty”? This text by Barbro Stribolt introduces a attempt to analyse Desprez’ contribution to the development of scenographic art in Sweden. The article clearly expresses that novelty can only be understood, and perceived, in opposition to something which was here before. Thus, the 2002 project of the Desprez Programme is starting to investigate about the context existing in Sweden prior to Desprez’ arrival, and more especially about sceneries painted before 1784.

For this investigation, the study will focus on one of the two major influences likely to be noticed in Swedish sceneries of the time. Before future investigation about French influence and Dugourc, this project focuses on a selection of sets which reflect an Italian taste. In this influence, the contribution of the Bibiena is of importance.

Desprez’ so-called ‘innovations’ are reactions to two separate characteristics of the pre-existing scenographies. The first one is (in Desprez’ and Gustave III’s work) the intention to create specific and new sceneries, each time adapted to the plot told in the drama. This is a reaction to the use of ‘standardized’ sceneries which could be used for scenes belonging to dramatic categories. The study will take in account the existence of a typology of baroque sceneries, lasting until the middle of the Eighteenth Century. Four sets in particular are studied: a Garden, an Encampment, a Ionic Temple, which might have been used in Drottningholms Slottsteater, and a Prison which has been associated with the Court Theatre at Gripsholm.

The second innovation concerns the position of sceneries on stage. Following attempts to vary those placements will thus be studied. In this field, the Bibienas’ legacy, which includes not only designs but also theoretical writings and architectural project, is to be studied carefully. But, more than those elements which interpretation still remains difficult, the possibility to see the Swedish sceneries actually built (possibly by them) should be still the best way to appreciate their conception of the scenography.