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Francesco Bigottini

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27: 215:"I have nearly all my sets and machines for my plays, and I would thus also furnish you with all that I have, sets, machines, ropes, pulleys, scrap and all the other "diableries", if you would be furnish me with the wood". They finally took him on as a harlequin for the 1774–1775 season, with his contract stipulating that he would "lend all his machines and sets". 232:
wrote: "His metamorphoses are very numerous and very surprising. Mr Bigottini is admired for the variety of his changes, by their speed and attack with which he executes them, by the contrast he makes between his different rĂ´les, and by the varied talents he develops. This actor sings, in a strong
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wrote "On Wednesday 26 April , an Italian harlequin called Bigottini made his début in "Arlequin Scanderberg" and "Arlequin Hulla"; in the former, he played a rôle as a master of music very well, and played very badly in "Arlequin Hulla"; he was sent packing shortly afterwards". Bigottini left for
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and pleasing manner, airs of his own composition.". However, after the suppression of the Italian theatrical genre in Paris at the start of 1780, Bigottini was dismissed with a compensation corresponding to his previous salary.
321: 261: 56: 306: 244:, but had to give up this post 11 months later due to his own financial difficulties. He left for the provinces and set himself up in 311: 296: 241: 291: 316: 78: 49: 276: 301: 219: 155: 237: 39: 43: 35: 159: 196:, Bigottini travelled towards Spain and spent three years playing at the Italian opera-house in 60: 281: 286: 139: 8: 249: 185:
wrote that he was the "first inventor of the machines used in the metamorphosis in the
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in Geneva" (that is, the transformation of a cottage into a splendid castle).
270: 212: 123: 107: 248:, where he devoted himself to painting and had a child, the future dancer 135: 204: 164: 143: 131: 245: 201: 147: 197: 110:
active in Italy, the Netherlands, France, Switzerland and Spain.
172: 127: 151: 103: 207:. In one of his letters, he wrote to that theatre's heads, 193: 99: 240:, Louis Hamoir and Jean-Nicolas Le Mercier to head the 218:On 18 February 1777, he made a second début at the 134:rôles. From the 1750s Bigottini appeared in the 268: 48:but its sources remain unclear because it lacks 322:18th-century French dramatists and playwrights 200:, from which he negotiated to be taken on at 175:from 1766 to 1768, where he printed his play 16:Italian actor, playwright and set designer 262:His rôles, plays and productions on CESAR 79:Learn how and when to remove this message 106:) was an Italian actor, playwright, and 177:L'Origine d'Arlequin, avec sa naissance 269: 236:In January 1780, he collaborated with 167:in 1760, where he put on his own play 130:in 1741, where the latter was playing 226:, a play he had written himself. The 20: 13: 307:Italian dramatists and playwrights 163:the French provinces and acted in 14: 333: 255: 25: 312:18th-century French male actors 297:Emigrants from the Papal States 126:says he first met Bigottini in 242:Théâtre des Variétés-Amusantes 1: 292:Writers from the Papal States 7: 10: 338: 102:- after 1794, probably in 317:French male stage actors 34:This article includes a 142:and France, playing in 113: 63:more precise citations. 224:Arlequin esprit follet 277:Male actors from Rome 238:François Duval-Malter 205:Théâtre de la Monnaie 302:Immigrants to France 140:Austrian Netherlands 171:(1761). He was in 96:François Bigottini 36:list of references 229:Mercure de France 192:After playing in 182:Mercure de France 89: 88: 81: 329: 250:Émilie Bigottini 150:in 1756, and in 84: 77: 73: 70: 64: 59:this article by 50:inline citations 29: 28: 21: 337: 336: 332: 331: 330: 328: 327: 326: 267: 266: 258: 220:Théâtre-Italien 169:Coraline Protée 156:Théâtre-Italien 116: 85: 74: 68: 65: 54: 40:related reading 30: 26: 17: 12: 11: 5: 335: 325: 324: 319: 314: 309: 304: 299: 294: 289: 284: 279: 265: 264: 257: 256:External links 254: 115: 112: 87: 86: 44:external links 33: 31: 24: 15: 9: 6: 4: 3: 2: 334: 323: 320: 318: 315: 313: 310: 308: 305: 303: 300: 298: 295: 293: 290: 288: 285: 283: 280: 278: 275: 274: 272: 263: 260: 259: 253: 251: 247: 243: 239: 234: 231: 230: 225: 221: 216: 214: 210: 206: 203: 199: 195: 190: 188: 184: 183: 178: 174: 170: 166: 161: 157: 153: 149: 145: 141: 137: 133: 129: 125: 124:Carlo Goldoni 121: 111: 109: 105: 101: 97: 93: 83: 80: 72: 62: 58: 52: 51: 45: 41: 37: 32: 23: 22: 19: 282:1710s births 235: 227: 223: 217: 191: 186: 180: 179:(1766). The 176: 168: 119: 117: 108:set designer 95: 91: 90: 75: 69:January 2013 66: 55:Please help 47: 18: 287:1794 deaths 187:Fée Urgelle 136:Netherlands 61:introducing 271:Categories 160:Gueullette 158:in 1757. 209:Vitzthumb 165:Marseille 146:in 1754, 144:Rotterdam 132:harlequin 98:(c.1717, 92:Francesco 246:Toulouse 202:Brussels 148:Brussels 120:Mémoires 213:Compain 154:at the 118:In his 57:improve 173:Geneva 128:Rimini 222:, in 198:Cádiz 152:Paris 104:Paris 42:, or 211:and 194:Lyon 114:Life 100:Rome 94:or 273:: 252:. 138:, 122:, 46:, 38:, 82:) 76:( 71:) 67:( 53:.

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list of references
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Rome
Paris
set designer
Carlo Goldoni
Rimini
harlequin
Netherlands
Austrian Netherlands
Rotterdam
Brussels
Paris
Théâtre-Italien
Gueullette
Marseille
Geneva
Mercure de France
Lyon
Cádiz
Brussels
Théâtre de la Monnaie
Vitzthumb
Compain
Théâtre-Italien

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