[19] But the character seems to have been regarded as unimportant by this company, since he appears infrequently in its new plays. One of the gadflies of Aestheticism, W. S. Gilbert, introduced Harlequin and Pierrot as love-struck twin brothers into Eyes and No Eyes, or The Art of Seeing (1875), for which Thomas German Reed wrote the music. Lecture at the Italian Institute in London, 1950; cited in Storey. Other Works [3] His physical insularity; his poignant lapses into mutism, the legacy of the great mime Deburau; his white face and costume, suggesting not only innocence but the pallor of the dead; his often frustrated pursuit of Columbine, coupled with his never-to-be-vanquished unworldly naïveté—all conspired to lift him out of the circumscribed world of the commedia dell'arte and into the larger realm of myth. Students of Modernist painting and sculpture are familiar with Pierrot (in many different attitudes, from the ineffably sad to the ebulliently impudent) through the masterworks of his acolytes, including Pablo Picasso, Juan Gris, Georges Rouault, Salvador Dalí, Max Beckmann, August Macke, Paul Klee, Jacques Lipchitz—the list is very long (see Visual arts below). "Wherever we look in the history of its reception, whether in general histories of the modern period, in more ephemeral press response, in the comments of musical leaders like, For direct access to these works, go to the footnotes following their titles in, Hughes’ "A Black Pierrot" was set to voice and piano by. An important factor that probably hastened his degeneration was the multiplicity of his fairground interpreters. (See also Pierrot lunaire below. Not only actors but also acrobats and dancers were quick to seize on his role, inadvertently reducing Pierrot to a generic type. [16] Columbine laughs at his advances;[17] his masters who are in pursuit of pretty young wives brush off his warnings to act their age. In 1897, Craig, dressed as Pierrot, gave a quasi-impromptu stage-reading of Hans Christian Andersen’s story "What the Moon Saw" as part of a benefit for a destitute and stranded troupe of provincial players. "The retirement of Hamoche in 1733", writes Barberet, "was fatal to Pierrot. Thanks to the international gregariousness of Modernism, he would soon be found everywhere.[103]. This is the case in many works by minor writers of the, "Pierrot-like tone": Taupin, p. 277. When Gustave Courbet drew a pencil illustration for The Black Arm (1856), a pantomime by Fernand Desnoyers written for another mime, Paul Legrand (see next section), the Pierrot who quakes with fear as a black arm snakes up from the ground before him is clearly a child of the Pierrot in The Ol’ Clo's Man. Parfaict, François and Claude, and Godin d'Abguerbe (1767). [22] The result, far from "regular" drama, tended to put a strain on his character, and, as a consequence, the early Pierrot of the fairgrounds is a much less nuanced and rounded type than we find in the older repertoire. "[43] He altered the costume: freeing his long neck for comic effects, he dispensed with the frilled collaret; he substituted a skullcap for a hat, thereby keeping his expressive face unshadowed; and he greatly increased the amplitude of both blouse and trousers. Carman's "The Last Room. [78] Craig's involvement with the figure was incremental. His character in contemporary popular culture—in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. )[56] Legrand often appeared in realistic costume, his chalky face his only concession to tradition, leading some advocates of pantomime, like Gautier, to lament that he was betraying the character of the type.[57]. Pierrot es un personaje de la Comédie Italienne, a partir de Pierotto o Pedrolino, máscara secundaria de la Commedia dell'Arte del siglo XVI, cuya personalidad se atribuye al cómico Giuseppe Giratoni en el siglo XVII. Cf. In booklet accompanying CDs: Nye, Edward (2014): "Jean-Gaspard Deburau: romantic Pierrot". (She seems to have been especially endearing to Xavier Privas, hailed in 1899 as the "prince of songwriters": several of his songs ["Pierrette Is Dead", "Pierrette's Christmas"] are devoted to her fortunes.) He, along with his fellow commedia masks,[33] was beginning to be "poeticized" in the early 1700s: he was being made the subject, not only of poignant folksong ("Au clair de la lune", sometimes attributed to Lully),[34] but also of the more ambitious art of Claude Gillot (Master André's Tomb [c. 1717]), of Gillot's students Watteau (Italian Actors [c. 1719]) and Nicolas Lancret (Italian Actors near a Fountain [c. 1719]), of Jean-Baptiste Oudry (Italian Actors in a Park [c. 1725]), and of Jean-Honoré Fragonard (A Boy as Pierrot [1776–1780]). Much of that mythic quality ("I'm Pierrot," said David Bowie: "I'm Everyman")[4] still adheres to the "sad clown" of the postmodern era. "Jean Gaspard Deburau: the immortal Pierrot." The accomplished comic actor Jean-Baptiste Hamoche, who had worked at the Foires from 1712 to 1718,[30] reappeared in Pierrot's role in 1721, and from that year until 1732 he "obtained, thanks to the naturalness and truth of his acting, great applause and became the favorite actor of the public. 1639-1697), until the troupe was banished by royal decree in 1697. Švehla, Jaroslav (1977). The defining characteristic of Pierrot is his naïveté: he is seen as a fool, often the butt of pranks, yet nonetheless trusting. ': Stephen Dedalus, Pierrot". Official Sites, View agent, publicist, legal and company contact details on IMDbPro. See Lawner; Kellein; also the plates in Palacio, and the plates and tailpieces in Storey's two books. The penetration of Pierrot and his companions of the commedia into Spain is documented in a painting by Goya, Itinerant Actors (1793). )[65] It was in part through the enthusiasm that they excited, coupled with the Impressionists’ taste for popular entertainment, like the circus and the music-hall, as well as the new bohemianism that then reigned in artistic quarters like Montmartre (and which was celebrated by such denizens as Adolphe Willette, whose cartoons and canvases are crowded with Pierrots)—it was through all this that Pierrot achieved almost unprecedented currency and visibility towards the end of the century. For an account of the English mime troupe The Hanlon Brothers, see France above. For a full discussion of the connection of all these writers with Deburau's Pierrot, see Storey. In. "'Marked you that? Although he lamented that "the Pierrot figure was inherently alien to the German-speaking world", the playwright Franz Blei introduced him enthusiastically into his playlet The Kissy-Face: A Columbiade (1895), and his fellow-Austrians Richard Specht and Richard Beer-Hofmann made an effort to naturalize Pierrot—in their plays Pierrot-Hunchback (1896) and Pierrot-Hypnotist (1892, first pub. Of the three books that Peters published before his death (of starvation)[97] at the age of forty-two, his Posies out of Rings: And Other Conceits (1896) is most notable here: in it, four poems and an "Epilogue" for the aforementioned Dowson play are devoted to Pierrot. Even Chaplin's Little Tramp, conceived broadly as a comic and sentimental type, exhibits a wide range of aspirations and behaviors. So, too, are Honoré Daumier's Pierrots: creatures often suffering a harrowing anguish. At the end of the play the line, "Yes, and yet I dare say he is just as dead", must not be said flippantly or cynically, but slowly and with much philosophic concentration on the thought.[120]. Ludwig Tieck's The Topsy-Turvy World (1798) is an early—and highly successful—example of the introduction of the commedia dell'arte characters into parodic metatheater. But as he seemed to expire on the theatrical scene, he found new life in the visual arts. (Pierrots were legion among the minor, now-forgotten poets: for samples, see Willette's journal The Pierrot, which appeared between 1888 and 1889, then again in 1891.) [62] Sarah Bernhardt even donned Pierrot's blouse for Jean Richepin's Pierrot the Murderer (1883). The fin-de-siècle world in which this Pierrot resided was clearly at odds with the reigning American Realist and Naturalist aesthetic (though such figures as Ambrose Bierce and John LaFarge were mounting serious challenges to it). Pierrot, under the flour and blouse of the illustrious Bohemian, assumed the airs of a master and an aplomb unsuited to his character; he gave kicks and no longer received them; Harlequin now scarcely dared brush his shoulders with his bat; Cassander would think twice before boxing his ears. Otra de las versiones más aceptadas sobre los orígenes del personaje de Pierrot, es la que lo relaciona con el personaje del campesino enamorado "Pierrot", de, Watteau sintetizó en este cuadro la confusa mezcla de identidad que había en su época entre dos personajes de la, https://es.wikipedia.org/w/index.php?title=Pierrot&oldid=128076778, Wikipedia:Artículos con identificadores VIAF, Wikipedia:Artículos con identificadores BNE, Wikipedia:Artículos con identificadores BNF, Wikipedia:Artículos con identificadores GND, Wikipedia:Artículos con identificadores LCCN, Licencia Creative Commons Atribución Compartir Igual 3.0. Paul Wilson. Costa's pantomime L'Histoire d'un Pierrot (Story of a Pierrot), which debuted in Paris in 1893, was so admired in its day that it eventually reached audiences on several continents, was paired with Cavalleria Rusticana by New York's Metropolitan Opera Company in 1909, and was premiered as a film by Baldassarre Negroni in 1914. A Cercle Funambulesque was founded in 1888, and Pierrot (sometimes played by female mimes, such as Félicia Mallet) dominated its productions until its demise in 1898. As the diverse incarnations of the nineteenth-century Pierrot would predict, the hallmarks of the Modernist Pierrot are his ambiguity and complexity. Mic claims that an historical connection between Pedrolino and "the celebrated Pierrots of [Adolphe] Willette" is "absolutely evident" (p. 211). . As early as 1673, just months after Pierrot had made his debut in the Addendum to "The Stone Guest", Scaramouche Tiberio Fiorilli and a troupe assembled from the Comédie-Italienne entertained Londoners with selections from their Parisian repertoire. The Pierrot bequeathed to the twentieth century had acquired a rich and wide range of personae. In the main, Pierrot's inaugural years at the Foires were rather degenerate ones. It looks like we don't have any Biography for Pierrot Labat yet.. Be the first to contribute! Pierrot es un personaje de la Comédie Italienne, a partir de Pierotto o Pedrolino, máscara secundaria de la Commedia dell'Arte del siglo XVI, cuya personalidad se atribuye al cómico Giuseppe Giratoni en el siglo XVII. Ha valamelyik cikkből kerültél ide, arra kérünk, lépj vissza, és pontosítsd benne a hivatkozást , hogy ne erre az egyértelműsítő lapra, hanem közvetlenül a kívánt jelentésre mutasson! Otras fuentes dan como primer gran "Pierrot" al actor italiano Fabio Antonio Sticotti (1676-1741), que lo adaptó al gusto francés junto con su hijo, Antonio-Jean Sticotti (1715?-1772), que lo llevó luego a Alemania. Another was William Theodore Peters, an acquaintance of Ernest Dowson and other members of the Rhymers' Club and a driving force behind the conception and theatrical realization of Dowson's Pierrot of the Minute (1897; see England above). )[112], In music, historians of Modernism generally place Arnold Schoenberg's 1912 song-cycle Pierrot lunaire at the very pinnacle of High-Modernist achievement. Inspired by the French Symbolists, especially Verlaine, Rubén Darío, the Nicaraguan poet widely acknowledged as the founder of Spanish-American literary Modernism (modernismo), placed Pierrot ("sad poet and dreamer") in opposition to Columbine ("fatal woman", the arch-materialistic "lover of rich silk garments, golden jewelry, pearls and diamonds")[101] in his 1898 prose-poem The Eternal Adventure of Pierrot and Columbine. [63] Edmond de Goncourt modeled his acrobat-mimes in his The Zemganno Brothers (1879) upon them; J.-K. Huysmans (whose Against Nature [1884] would become Dorian Gray's bible) and his friend Léon Hennique wrote their pantomime Pierrot the Skeptic (1881) after seeing them perform at the Folies Bergère. [42] He was often the servant of the heavy father (usually Cassander), his mute acting a compound of placid grace and cunning malice. Biography submission guide. He generally assumes one of three avatars: the sweet and innocent child (as in the children's books), the poignantly lovelorn and ineffectual being (as, notably, in the Jerry Cornelius novels of Michael Moorcock), or the somewhat sinister and depraved outsider (as in David Bowie's various experiments, or Rachel Caine's vampire novels, or the S&M lyrics of the English rock group Placebo). En su origen italiano, "Pedrolino", uno de los zanni (criados o siervos) secundarios, era, al igual que "Trivellino", un habilidoso bailarín y, como tal, fue interpretado por Giovanni Pellesini, actor de la compañía «Gelosi» (Los Celosos). La propia vida de Deburau inspiró el personaje de "Baptiste", que más tarde fue interpretado por Jean-Louis Barrault en la película Les Enfants du paradis (1945) de Marcel Carné. The mime "Tombre" of Jean Richepin's novel Nice People (Braves Gens [1886]) turned him into a pathetic and alcoholic "phantom"; Paul Verlaine imagined him as a gormandizing naïf in "Pantomime" (1869), then, like Tombre, as a lightning-lit specter in "Pierrot" (1868, pub. El éxito de este personaje entre artistas e intelectuales del siglo XX lo subrayan obras como el Pierrot Lunaire de Arnold Schoenberg (pieza musical sobre 21 poemas de Albert Giraud),También en el XIX por Robert Schumann es la segunda pieza de su celebre "Carnaval" Op 9. las múltiples representaciones plásticas de pintores y escultores de los siglos XIX y XX, o en el mundo del cine, la película de Godard Pierrot el loco. But in the 1720s, Pierrot at last came into his own. Pierrot (/ ˈ p ɪər oʊ /, US also / ˌ p iː ə ˈ r oʊ /; French: ) is a stock character of pantomime and commedia dell'arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a diminutive of Pierre (Peter), via the suffix -ot. "[119] In her own notes to Aria da Capo, Edna St. Vincent Millay makes it clear that her Pierrot is not to be played as a cardboard stock type: Pierrot sees clearly into existing evils and is rendered gaily cynical by them; he is both too indolent and too indifferent to do anything about it. They originated in the Smethwick area in the late 1890s and played to large audiences in many parks, theaters, and pubs in the Midlands. Charles himself eventually capitulated: it was he who played the Pierrot of Champfleury's Pantomime of the Attorney. 2,5 mil Me gusta. It was doubtless these popular entertainers who inspired the academic Walter Westley Russell to commit The Pierrots (c. 1900) to canvas. In the 1880s and 1890s, the pantomime reached a kind of apogee, and Pierrot became ubiquitous. )[91] Like most things associated with the Decadence, such exotica discombobulated the mainstream American public, which regarded the little magazines in general as "freak periodicals" and declared, through one of its mouthpieces, Munsey's Magazine, that "each new representative of the species is, if possible, more preposterous than the last. [13] Thereafter the character—sometimes a peasant,[14] but more often now an Italianate "second" zanni—appeared fairly regularly in the Italians’ offerings, his role always taken by one Giuseppe Giaratone (or Geratoni, fl. He was an embodiment of comic contrasts, showing, imperturbable sang-froid [again the words are Gautier's], artful foolishness and foolish finesse, brazen and naïve gluttony, blustering cowardice, skeptical credulity, scornful servility, preoccupied insouciance, indolent activity, and all those surprising contrasts that must be expressed by a wink of the eye, by a puckering of the mouth, by a knitting of the brow, by a fleeting gesture. . However, his most important contribution to the Pierrot canon was not to appear until after the turn of the century (see Plays, playlets, pantomimes, and revues below). In Achmet and Almanzine (1728) by Lesage and Dorneval,[27] for example, we are introduced not only to the royal society of far-off Astrakhan but also to a familiar and well-drawn servant of old—the headstrong and bungling Pierrot. He was the naïve butt of practical jokes and amorous scheming (Gautier); the prankish but innocent waif (Banville, Verlaine, Willette); the narcissistic dreamer clutching at the moon, which could symbolize many things, from spiritual perfection to death (Giraud, Laforgue, Willette, Dowson); the frail, neurasthenic, often doom-ridden soul (Richepin, Beardsley); the clumsy, though ardent, lover, who wins Columbine's heart,[102] or murders her in frustration (Margueritte); the cynical and misogynistic dandy, sometimes dressed in black (Huysmans/Hennique, Laforgue); the Christ-like victim of the martyrdom that is Art (Giraud, Willette, Ensor); the androgynous and unholy creature of corruption (Richepin, Wedekind); the madcap master of chaos (the Hanlon-Lees); the purveyor of hearty and wholesome fun (the English pier Pierrots)—and various combinations of these. On the French players in England, and particularly on Pierrot in early English entertainments, see Storey. [50] In 1860, Deburau was directly credited with inspiring such anguish, when, in a novella called Pierrot by Henri Rivière, the mime-protagonist blames his real-life murder of a treacherous Harlequin on Baptiste's "sinister" cruelties. [21] Sometimes he spoke gibberish (in the so-called pièces à la muette); sometimes the audience itself sang his lines, inscribed on placards held aloft by hovering Cupids (in the pièces à écriteau). "[31] But Pierrot's triumph was short-lived. On these pantomimes and on late nineteenth-century French pantomime in general, see Storey. [106] (Laforgue, he said, "was the first to teach me how to speak, to teach me the poetic possibilities of my own idiom of speech. [38] The formula has proven enduring: Pierrot is still a fixture at Bakken, the oldest amusement park in the world, where he plays the nitwit talking to and entertaining children, and at nearby Tivoli Gardens, the second oldest, where the Harlequin and Columbine act is performed as a pantomime and ballet. The best known and most important of these settings is the atonal song-cycle derived from twenty-one of the poems (in Hartleben's translation) by Arnold Schoenberg in 1912, i.e., his Opus 21: Dreimal sieben Gedichte aus Albert Girauds Pierrot lunaire (Thrice-Seven Poems from Albert Giraud's Pierrot lunaire—Schoenberg was numerologically superstitious). Pierrot (/ˈpɪəroʊ/, US also /ˌpiːəˈroʊ/; French: [pjɛʁo]) is a stock character of pantomime and commedia dell'arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a diminutive of Pierre (Peter), via the suffix -ot. [47], As the Gautier citations suggest, Deburau early—about 1828—caught the attention of the Romantics, and soon he was being celebrated in the reviews of Charles Nodier and Gautier, in an article by Charles Baudelaire on "The Essence of Laughter" (1855), and in the poetry of Théodore de Banville. [186] This "Pierrot"—extinct by the mid-twentieth century—was richly garbed, proud of his mastery of English history and literature (Shakespeare especially), and fiercely pugnacious when encountering his likes.