Karolina Bock
| Karolina Bock | |
|---|---|
 |
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| Born |
Karolina Sofia Richter August 28, 1792 Stockholm, Sweden |
| Died | 22 March 1872 (aged 79) Sweden |
| Other names | Karolina Richter, Karolina Svanberg |
| Spouse(s) | Johan Gabriel Svanberg, Carl Friedrich Bock |
Karolina Sofia Bock née Richter (August 28, 1792, Stockholm – 22 March 1872), was a Swedish stage actress and singer. She was the principal and drama teacher of the Dramatens elevskola twice: from 1831 to 1834 and from 1841 to 1856. During her career, she belonged to the elite of stage artists in Sweden and was particularly popular in comedy.
Karolina Richter was born to the hautboist Carl Johan Richter and Magdalena Sofia Rytting. She was a student of the Dramatens elevskola at the Royal Swedish Opera between 1806 and 1810. As such, she was instructed by Sofia Lovisa Gråå, and belonged to those female stage artists of her generation referred to as "The Grå Girls".
Karolina Bock was engaged at the Djurgårdsteatern and the Nya komiska teatern of Isak de Broen in 1813-14. From 1814 until her retirement in 1863, she was engaged at the Royal Dramatic Theatre.
Among her most successful parts were: the title role in Min tante Aurore by Boieldieu, Veneranda in Slottet Montemero, Mrs Slammerström in Bildhuggaren, Aunt Vivika in General Eldhjelm, Mrs Griponiai in Brodertvisten by Kotzebue, Mrs Miller in Kabal och kärlek, Viarda in Preciosa, Mrs von Fromuth i Porträttet, Mrs Wunschell in Grefvarne Klingsberg, Theodolinda in Doktor Wespe, Mrs Darmantiéres in Dottersonen, Margarita in Mazarin, Fadette in Syrsan (the dramatisation of La Petite Fadette by George Sand), Mrs Malapropp in Rivalerna, Mrs Harleigh in Jane Eyre and Gunilla Fipps in Mäster Smith. On 26 June 1863, Bock retired after having made her final performance in her favorite part: the grandmother in Porträttet.
Karolina Bock came to belong to the elite of Swedish actors generation and had a successful career, being "an often used and well seen actress, who never spoiled a part but were terrific in most and always gave her figures a sharply lined characteristic. Particularly in her interpretation of old women's parts she developed in to a talent of the first order." She was seldom given the main parts as she was not regarded as a suitable heroine, but established herself well in her specialty as old women in comedies and never lacked assignments. It was said that she had a rare quality: she knew her own limitations.
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