Exhibition: Kårspexet Kristina – From Synopsis to Premiere

What is spex?
The word spex is a short form used by students for the word spektakel (spectacle), which in turn is derived from the latin word spectaculum meaning stage play.

There is a lot of variation within spex, but as a rule it can be summarised as humorous musical theatre with improvisation and audience participation. The audience can affect what happens on stage, either through utrop (shouting) or by clapping their hands and stomping their feet. Based on the audience participation, the actors then respond with either something rehearsed beforehand, as is the case with musical encores, or by improvisation based on a suggestion from the audience.

The first spexes were put on in Uppsala in the middle of the 1800s, as a part of student life at student nations at Uppsala University. From there it quickly spread to both Stockholm and Lund. Today there are spex organisations all over the country, and since the 1930s there are even spexes in Finland.

The history of Kårspexet
Kårspexet is one of Swedens oldest still active spexes, as well as the first spex made by students at a technological institution. Kårspexet started as a part of the organisation Svenska teknologföreningen (STF) that was formed by students at KTH, then Teknologiska institutet, in 1861. The interest for theatre and music was big amongst students already at that time, and it would not take long before the organisation put on their first big spex, or as it was commonly referred to at that time sällskapsspektakel. In 1867 they put on the spex Rudolf eller Blodbadet på Sicilien in La Croix salong by Brunkebergstorg. During the following thirty years they put on several big spexes, amongst them Ayapanas dom and Erik XIV.

Svenska teknologföreningen was formed as an organisation for students at KTH, but as time went on the organisation changed to also include alumni from KTH. During the first 50 years of the organisations existence its organisational structure changed several times, but for the most part its members were divided into sektioner (chapters). The first chapter was made up of the students (and was thus also referred to as the student chapter or studentsektionen), and the second chapter was made up of the alumni.

Tekniska högskolans studentkår (THS student union) was formed in 1902 and for the first 8 years of its existence the union and student chapter of STF would co-exist. It was however decided in 1910 that the student chapter of STF would be absolved, and its functions be taken over by THS, including the spex. The spex was now a kårspex (student union spex).

Following this there would be a few years of yearly spexes, followed by a period of less regularity. During the first half of the century spexes would be put on where the ticket sales would go towards a certain purpose. Purposes such as the THS building fund, which was then used for the building of the student union building Nymble, and relief for the students of Vienna that had been hit hard in the aftermath of the first world war.

During the 1960s spexes were put on more regularly again, the spex Marilyn eller det tredje korståget even featured in a television segment on SVT in 1968.

In 1969 it was feared that Kårspexet had played its last show ever, but the work started again in 1976 as a part of the preparations for the student union’s 75th anniversary, and the spex Osquar eller En teknolog vid kung Arthurs hov was put on during the spring of 1977. Since then there has been a new production of Kårspexet every year, excluding 1978 and 2021. Kårspexet has participated in several spex competitions over the years, including Spexiaden 1992, where Kårspexet won, and Spex-SM, where Kårspexet has won several titles over the years, and where in 2017 Kårspexet won the title Sveriges bästa spex (Sweden’s best spex).

History and history
We have a long-standing tradition in Kårspexet of utilising historical events. We have depicted history from the 1400s B.C.E. and into the 1900s C.E. and followed the historical figures’ feelings, intrigues and fashion. We have eaten godly apples with vikings, been to Egypt with pharaohs, burnt down Stockholm Castle, and had a revolution in France.

But how do we really approach history as a student organisation? Historical events are like a compass that lead us on the way towards our show. We perhaps should go northward and follow the history meticulously, but it is more fun to go southeast and bend the history a bit. Does that mean that we enrich stories, make them bizarre and a farce? Yes. Does that mean we try to handle history in a respectful way? Yes.

We don’t have any written rules about how each year of spex members should handle history and the historical figures we sculpt together, but as all parts of Kårspexet participate in the creation of a show with one or more historical figures that shines, we take care of them with warmth, creativity and respect and make them our own “historical” characters. History is as many know an interpretation. It has been depicted by humans that have written stories, accounts and chronicles. It is often said that history is written by the victors, and that is true to an extent. That is also a reason why we alter events, people and their historical persona. It is an interpretation we in Kårspexet create together. It is not absolutely factual, but we hope that it is amusing enough for there to be some inaccuracies.

The scriptwriting process
The script process looks different from year to year. Some spend a lot of time on research of historical material, and some read some facts and create a synopsis that describes what the spex will be about. The process is in multiple steps over many months where much of it is about reworking, cutting and developing things further. It is not only jokes and building characters that are in focus but also the input of others. The decor group may want something specific on stage that is especially fun. The music production wants good transitions for music numbers. The costum group wants to make costumes for the time period and potential character colors. The process is long and develops for every new group that sits down to write. Like the history, the script is an interpretation of events and every group in the spex will have to interpret it and work together to create the spex.

In the scriptwriting process that became Kristina we wanted to focus on her life, her history and her love. Kristina's love for Ebba Sparre captured us. Kristina wrote in a letter from Rome: “The envy that the stars feel about human happiness hinders me from complete happiness, as I can’t be happy as long as I’m apart from you.” Kristina had reached a place she wanted to be, she could live in Rome without the pressure of having a husband and have to rule Sweden, but Ebba was missed. We bent the story and gave them a happy ending where they could be together.

Kårspexet Kristina eller gruvlig lektyr och lebbigt äventyr
The year is 1654 and Kristina, king of Sweden, has decided to abdicate and move to Rome with her love Ebba Sparre. However, she has not told this to chancellor Axel Oxenstierna before her mother queen dowager Maria Eleonora returns from many years in Germany in order to get Kristina to marry and produce an heir. Prospective suitors are Kalle, Johan and Magnus who all would like Kristina’s hand in marriage and a place on the throne. How can Kristina avoid marriage, abdicate and move to Rome now? The solution comes in the form of a treasure hunt for a bible which legend proclaim contains the former and future royal lineage. Kristina can in this way know which of the boys she should leave the throne to so Maria Eleonora and Oxenstierna can feel safe in knowing Sweden will have a new legitimate king.

When you costume a spex there are many aspects to keep in mind: when and where are we, how are the characters as people and so on. The first step is therefore to learn more about the time, look at paintings, extant garments or modern depictions such as in films to determine how typical silhouettes, colours, fabrics, and garments look to create a believable world. As the spex Kristina is full of characters important in Swedish history there are plenty of portraits and clothes they have worn to pull from in the design.

After you have established a historical base it is time to design for the theater. Common tactics are to give the characters defining colours, like Kristina’s purple and Maria Eleonora’s red, and to mirror character traits in silhouette and fit; strict and rigid or naïve and bubbly. This is also the time to pull inspiration from characters in film and other media. Maria Eleonora has elements of The Red Queen from Alice in Wonderland in her hair and make-up while Kristina has a hairstyle reminiscent of Katniss Everdeen from The Hunger Games.

When the designs are complete it is time to sew them. We use a mix of historical patterns and modern techniques to recreate correct silhouettes while keeping ease of movement necessary for dancing and ensure ease of taking them on and off. Finally the costumes are decorated with beads, trim and accessories based on the status and traits of the characters and what they will need according to the script.

Building set decorations for a spex often starts with deciding what to convey and the feeling of the scenography. Should a room feel big and empty or small and messy? It is also important to clearly convey when the spex is set. However sometimes we decide to depart from this. The environment around Falu mine in the spex Kristina was inspired by the area around the modern mine to make it more recognisable. The set design can also reflect the characters of the spex like Kristina’s bedroom with lots of books, a desk, scientific illustrations and of course a portrait of Ebba Sparre.There are also limitations such as the size and shape of the stage, entrances and exits for the actors, space for dancing while still keeping set dressings away from the edge of the stage. The scenography sometimes also needs to fill functions set by the script. For example wandering around a mine looking for clues. This was solved with the help of small walls on wheels with magnets to put a variety of signs on.

Sometimes we also come up with solutions just because it would be a fun thing to do, like lowering people into a mine in a barrel like they did at the time the spex is set. After much pondering we decided to have a big barrel on the floor and hoist up the backdrop. To accomplish this we designed a 50% longer backdrop where the top third depicted Falu village and the lower two thirds was Falu mine. This was then slowly raised when the characters was lowered into the mine.

The first thing the Music Production does is to take the script and figure out where musical numbers are best suited, as well as figuring out what these should convey. There are a few different kinds of numbers we usually want to feature, these are:

Overture: An instrumental number. Often a medley of the other numbers in the spex.
The opening number: The establishing number. Answering: Where, when, who and why.
The “I want” song: Here we establish the wants of the protagonist.
The love interest’s song: The protagonists love interest sings about their feelings on the situation and relationship.
The villain number: The villain gets to sing about their evil plan and how they will achieve it.
The sidekick number: Here the sidekicks get to sing about what they want. Often a comic relief number.
Act final: Our big number before the intermission where we up the anti to get a cliffhanger.
A cappella: The 11 o’clock number. The actors are singing without the orchestra about how desperate the situation is and
what to do.
FinalFinal: We are at the end and everything worked out, which needs to be celebrated.

With these musical numbers we follow the structure established in operas, Disney films and musicals. When the feelings become too much, break out in song. The Music Productions job is to find points in the script where this happens, and figure out what song would best suit the situation. After the songs have been chosen, it is time to arrange the music for our orchestra. The composition of the orchestra changes from year to year, but can as a rule be divided in the following sections: the string section (violin, viola, cello), the brass section (trombone, trumpet, French horn), the woodwind section (clarinet, saxophone) and the rhythm section (drums, keyboard, piano, guitar, bass). The arrangements are made with the musicians and singers abilities in mind, whilst still leaving room for their personal growth. After the arrangements have been made, they are given lyrics. These are written by one or more lyricwriters in co-operation with the director of the spex in order to best portray the feelings of the characters and mood in the present situation. When the lyrics are done, the choreographer comes in and makes the music come to life through movement.