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'Gustava Charlotte Slottsberg', (1760–1800), was a Swedish ballerina-dancer, one of the first native dancers on the Swedish Opera and one of the most successful ones. In a time when the majority of the professional dancers in Sweden where from France and Italy, she represented native talent in this profession.
Charlotte Slottsberg danced as a child on smaller stages and at travelling theatre-companies around the city of Stockholm together with her mother and her aunts, who were also dancers. It appears she was later educated by the dancers in the French theatre-company hired to perform at the court of queen Louisa Ulrika of Prussia, and at the age of thirteen in 1773, she was formally hired at the Royal Opera as a second-dancer.
In 1773, she played at the first Swedish-speaking Opera-performance, with the Primadonna Elisabeth Olin and Carl Stenborg in the main parts; She played the part of Virtue, which she did very well, though it was seen as quite ironic as she was said to already have had a large number of love affairs. She was good friends with Elisabeth Olin's daughter Betty Olin, who played the part of Love, and the two girls where described by the actor Lars Lalin, who played Jupiter, as ''"Illbred devil-kids"''; Charlotte Slottberg had a lot of confidence, and did not care much about good behaviour; she is described as vulgar, rude and a tease, and she certainly knew well how to attract attention - She is described racing through the streets of Stockholm in a fancy carriage after black horses. She was widely regarded as a courtesan, and she did have rich lovers she benefited finacially from, but she was also fully supported by her career as a dancer.
Just as her colleague, Sophie Hagman, she became a mistress of one of the princes, duke Charles, the later king Charles XIII of Sweden, and she is mainly remembered for this. She was not as official mistress as Sophie Hagman, nor as liked by the court as she was (she is mentioned quite condescendingly by Hedwig Elizabeth Charlotte of Holstein-Gottorp), and neither was she the only mistress of prince Charles (who was talked about as having a harem of mistresses), but she does seem to have had a great influence over him. She gave him a great interest in culture, made him write plays, and cheered him up when he was depressed, though it is not known if she ever had any political influence.
She continued her career as a dancer in parallel; she was more successful than any other native dancer in Sweden of her time, and was in 1787 made premier-dancer.

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★ Carin Österberg, "'Svenska Kvinnor'", ''(Swedish women) (In Swedish)'', 1990.