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to "the poor ladies, who on account of their big skirts was in terrifying danger", while the whole building was burning around them. In the end, the fire lead to the death of four people: a maid, a boy and two "servants", outside of the material losses, which were a catastrophe for the actors because their living quarters were in the same building and they thereby lost all their possessions. By the quick alarm of
Baptiste, however, more lives were saved than what was otherwise estimated to have been the case, and Marie Baptiste was therefore seen as a heroine and awarded a pension by the
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In 1776, they returned to Sweden, where they did not succeed in their intention to start a theater school with their daughter Marie Louise as principal, but Gustav III restored the pension previously awarded her for her role in the theater fire evacuation, and her spouse was engaged as a violinist at
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After this, panic occurred as the fire spread quickly in the wooden building, and
Leijonhufvud described how a nobleman took the princess under one arm and another nobleman the two youngest princes, how the queen and the crown prince argued about who were to leave first, and how he himself gave way
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The 4th act had just been performed and the orchestra played some music... at last, the theater called for silence with the customary clap; and at that moment. Madame
Baptiste came rushing through the theater and made a gesture, which illustrated all her despair; no one thought anything but that it
218:. On 25 August 1762, in the middle of the fifth act of the play performed in honor of the queen's name's day, Maria Baptiste rushed out on stage and cried out that the theater was on fire. The incident is described in a letter from the nobleman Knut Henrik Leijonhufvud to
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during the winters. It was a significant theater with about twenty members, patronized by the royal court and the aristocracy. Her spouse was engaged as the French language teacher of the heir to the throne,
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after his succession to the throne. The
Baptiste family, consisting of Marie Baptiste, her spouse and their four children, left Sweden and toured Europe, but was not able to secure a contract in any theater.
353:
Jonsson, Leif & Ivarsdotter, Anna (red.), Musiken i
Sverige. 2, Frihetstid och gustaviansk tid 1720-1810, Fischer, Stockholm, 1993 (Music in Sweden. The age of Liberty and the Gustavian age 1720–1810)
261:. They belonged to the little group of French artists that staged French language plays for the Swedish royal court of Gustav III in a smaller scale for five years, until the engagement of the
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The French
Theater was organized in accordance to a strict hierarchical categorization system. Marie Baptiste was contracted to play the female leading roles of tragedies and comedies of the
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Fredrik August
Dahlgren: Förteckning öfver svenska skådespel uppförda på Stockholms theatrar 1737-1863 och Kongl. Theatrarnes personal 1773-1863. Med flera anteckningar.
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was a part of the play. Having noticed that it had no effect, she was the only one to have the composure to return and then she only said with half muffled voice,
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Gunilla
Roempke (1994). Gunilla Roempke. red. Vristens makt – dansös i mätressernas tidevarv. Stockholm: Stockholm Fischer & company.
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Marie
Baptiste was born as Marie Dumont or Marie Du Mont in Bordeaux in France. She was active as an actress with the stage name
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1786) was a French stage actress and singer. She is most known for her career in Sweden, where she was a leading member of the
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in 1781. When her husband lost his position at the Royal orchestra in 1786, he and Marie
Baptiste left Sweden permanently.
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179:, while her husband was contracted to play supporting roles. Marie Baptiste attracted particular appreciation as a
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Forser, Tomas & Heed, Sven Åke (red.), Ny svensk teaterhistoria. 1, Teater före 1800, Gidlund, Hedemora, 2007
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Oscar Levertin: Teater och drama under Gustaf III, Albert Bonniers förlag, Stockholm, Fjärde Upplagan (1920).
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Oscar Levertin: Teater och drama under Gustaf III. Albert Bonniers förlag, Stockholm, Fjärde Upplagan (1920)
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The French Du Londel theater in Sweden performed for the Royal Swedish court in the palace theaters of
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Christensson, Jakob (red.), Signums svenska kulturhistoria. Frihetstiden, Signum, Lund, 2006
106:, she married her colleague, the actor Jacques Anselme Baptiste (1732-?) and became known as
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Calendrier électronique des spectacles sous l’ancien régime et sous la révolution.
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240:. In 1769, Marie Baptiste renounced her pension in exchange for a capital sum.
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130:. Louis Du Londel recruited eight new members to the Theater in his journey to
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110:. She became the mother of two daughters and two sons, notably her daughter
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Marie Baptiste was also a singer, and performed in several concerts at the
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In 1756, Marie Baptiste and her spouse where engaged by theater director
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Marie Baptiste is remembered in connection to the fire of the first
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Löfgren, Lars, Svensk teater, Natur och kultur, Stockholm, 2003
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In 1771, the French Du Londel theater was dissolved by king
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in Paris. She had one of her biggest successes in
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49:Mademoiselle le Prévost, Mademoiselle le Prevot.
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183:, and Prince Gustav compared her to the
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231:- and saved herself immediately.
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391:Svenskt kvinnobiografiskt lexikon
412:18th-century Swedish actresses
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417:18th-century French actresses
263:French Theater of Gustav III
216:Drottningholm Palace Theatre
143:Drottningholm Palace Theater
33:Marie Dumont, Marie Du Mont.
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220:Carl Christoffer Gjörwell
86:in the mid 18th-century.
128:French theater in Sweden
118:French theater in Sweden
57:Jacques Anselme Baptiste
432:Actresses from Bordeaux
206:between 1759 and 1771.
102:. In February 1754 in
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238:Riksdag of the Estates
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100:Mademoiselle le Prevot
427:Age of Liberty people
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112:Maria Louise Baptiste
250:Gustav III of Sweden
158:Crown Prince Gustav
16:French opera singer
190:Gabrielle de Vergy
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169:Comédie-Italienne
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269:See also
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175:of the
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