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The pantomime ballet Mirza och [and] Lindor was performed at the Stockholm Royal Opera in January 1793. The programme stated that ‘the scene is set on the island of Saint Barthélemy’.1 Sweden had recently acquired its only Caribbean colony from France. Upon taking possession of the island in March 1785, Sweden became a slave nation for the first time since the abolishment of serfdom in the fourteenth century. The ballet was a localised performance of Maximilien Gardel’s Parisian success Mirsa. As its cast list included several enslaved persons, Swedish slaves were thus represented on Stockholm stages. Although this was the first time Saint Barthélemy was used as a stage setting in a Stockholm theatre, it was far from the first time slavery and colonialism appeared on Swedish stages. Stockholm slavery theatre consisted of plays common to stages all over Europe, as well as originals by Swedish authors. Stockholm stages participated in what Elizabeth Maddock Dillon defines as an ‘Atlantic performative common’, where plays circulated and were adapted to local conditions.2 Mirza och Lindor is a typical example of such circulation: the year after the Stockholm premiere, it was performed in Charleston by a troop of fugitives from the rebellions at Saint-Domingue, the French colony that became independent Haiti within a decade. I will give a brief introduction to slavery and colonialism in Stockholm’s Swedish-language theatre during 1774–1816, the same decades in which Sweden’s colonial ambitions reached their apogee. The subject is unchartered territory in Swedish theatre and literary history. The aim of this chapter is to establish an inventory of relevant plays, a necessary step before making a detailed analysis of the Stockholm repertoire.3 In addition to the ‘Atlantic common’‚ I

Moors in the Caribbean, Sámi in the Seraglio: Swedish Theatre and Slavery Around 1800