220:
156:
108:
17:
647:, on its second and first evening of performances respectively, "when the statutes were being conscientiously observed." And, despite their explicit inclusion in the statutes, no plays from the Théâtre de la Foire or the Comédie-Italienne were mounted: the theater of the past was shouldered aside by "the Wagnerian tradition". "Modernity" reigned, in other words—but it was modernity of a rather pallid kind. "The Cercle", writes Storey, "was, despite its intentions, the very triumph of banality." He summarizes the plots of several of its pantomimes:
543:" were to be applied to the pantomime. Hugounet later even went so far as to interview the composers of the Cercle on their response to "the Wagnerian tradition." The upshot was predictable: Margueritte and Najac withdrew from the Cercle, and Margueritte's friend Beissier followed suit. The result was an organization that was very different from what they had imagined: the Cercle strove to please its public—while encouraging its authors to embrace what was then the theatrical vanguard. As such, it would seem to its critics both
1229:(At the Cat's Neck). Columbine has forced one of her bracelets over her pet cat's head, and, when it cannot be removed from its neck, her lover Harlequin picks up a cleaver: "The cat's head comes off like a champagne cork, and the bracelet, thrown up around a crimson fountain, goes rolling into the bloody grass." Columbine then wipes off the bracelet on the "immaculate" blouse of the horrified bystander (and husband), Pierrot. The pantomime appears in Paul Margueritte; the quotations are translations by Storey (1985), p. 262.
196:
284:, and in the late 1880s, at the end of his career, at a children's theater, the Théâtre-Vivienne. Both venues represented a considerable step down from the Folies-Nouvelles. One of the historians of French pantomime, Robert Storey, writes that Legrand, in these years, "seems to have been forgotten by his public, the pantomime itself suffering death-throes at the capital while struggling for rebirth in the south of France." When the mime made an appearance, around 1880, in a pantomime at the Variétés, he struck
531:(Pink-Beard, 1889) into an "old melodrama rejuvenated by indecent innuendoes." And, like Margueritte, he "had wanted", as Storey observes, "a close circle of associates, committed to the pantomime in a spirit of comradeship". The Larchers had grander plans: as Félix told Paul Hugounet, "we wanted—still while preserving the Cercle form, such as I had sketched out in the statutes—to approximate a theatrical organization, which, in our opinion, had the only chance of succeeding." The Larchers' model was the
89:
134:
208:
368:. Such also had been the pure-hearted Pierrot of Legrand, a collection of whose pantomimes was published—in the same year as Najac's treatise—by two fraternal men of the theater, Eugène and Félix Larcher. In undertaking their collaboration, the Larchers discovered talents and ambitions in themselves, vis-à -vis the pantomime, that neither knew he possessed. Eugène, in incarnating the Pierrot of one of Legrand's pantomimes,
345:(Pierrot the Skeptic, 1881) presented its readers with a dandified Pierrot even more savage than Margueritte's or Richepin's assassin: for he not only murders his tailor and executes a mannikin he has lured to his chambers, but also sets fire to the rooms themselves to obliterate all evidence of his crimes. Such waggish ferocity delighted the young
605:... the majority of us thought it impossible on the stage. On one point everyone was in agreement: the murder of the bird, an act of coldblooded cruelty, rendered Isabelle utterly odious. The author yielded easily: he even admitted the possibility of another dénouement and, at the following meeting, he brought us the one that ends the play today.
539:—"with this difference: we resisted the intervention of amateur actors." Their ambitions went farther: the "conventional and unintelligible gestures of the old pantomime" were to be suppressed; the music was to follow closely the business on stage, putting "the utterance of the gesture into the orchestra"; in short, "the best theories of
621:"The reforms of the Cercle", writes Robert Storey, "were in fact very timid reforms. Pathos was permissible—was, indeed, encouraged—but rarely cruelty or irreverence." And obscenity, of course, was out of the question. This helps, in part, to explain the Cercle's ignoring two of its own statutes. The Pierrot of
706:. In it, a provincial Pierrot, seeking his fortunes in Paris, is disabused of his illusions by the decadence of the city and of his mistress, the faithless Phrynette; he returns to his home, a prodigal, to beg the forgiveness of Mère and Père Pierrot. Not only did the panto find audiences in London, at the
690:
Although the Cercle left behind no enduring monuments of the theater, it provided a stage, orchestra, and audience to thirty-nine authors who, over the course of fourteen evenings of production, presented sixty-five playlets performed by and before (along with the paying public) its some hundred and
555:
As
Larcher's words and especially his allusion to Wagner suggest, his focus was almost exclusively upon the pantomime, and his chief intention was to persuade the Cercle to "modernize" it. Hougunet seems to have been eager to push the pantomimic envelope, but his work proved problematic. On the one
522:
On the elastic boards of a house with scenery painted by the most fervid colorists and pervaded by strains of the "enervating and caressing" music of the most suave musicians, it would charm me if, for the amusement of a few simple—or very complicated—souls, there could be presented the prodigious
586:
On the other hand, there was intelligible pantomimic territory into which the authors of the Cercle could not trespass. In expanding its membership far beyond the "close circle of associates" desired by their fellow-founders, the
Larchers, perhaps inadvertently, ensured that mass opinion and mass
517:
As
Tristan Rémy has pointed out, "each of the promoters"—that is, the founders of the Cercle— "had personal projects, projects that were disparate, that were even opposed to one another". Margueritte was doubtful that any "society", such as the Cercle aspired to be, could appreciate the kinds of
176:
591:(Pierrot-Confessor, 1892), a piece by Galipaux and Pontsevrez, what Hugounet called the "terrible representatives of the Censorship of the Cercle" appointed two auditors to make cuts in the libretto and so stave off potential offense. The final curtain of Hugounet's own
279:
had to seek out audiences elsewhere. Deburau died young, in 1873, having taken his art to
Marseille and Bordeaux, where he founded a so-called school of pantomime. Legrand, after working in Bordeaux and abroad, found employment in the 1870s at the Tertulia, a Parisian
587:
taste ruled. The result was, inevitably, censorship, which meant that not radical modernity but a certain mediocrity prevailed. When, for example, a jealous
Pierrot disguised in a cassock sneaked into the priest's side of the confessional in
364:—and reminded its readers that, in devising such an entertainment, "One must ... not forget that one is in good company." Najac's ideal Pierrot, consequently, is innocent of all "indecent or funereal ideas", like those that motivate Pierrot
299:(Pierrot, Murderer of His Wife), a pantomime he had devised the previous year for the audiences of his amateur theatricals in Valvins, to several writers, hoping to renew interest in the genre. It apparently found a receptive spirit in
485:, Edouard Stoullig). Its first evening of performances, in May 1888, at a small concert hall at 42, rue de Rochechouart, consisted of a prologue with verses by Jacques Normand accompanied by the miming of Paul Legrand; a pantomime,
738:. Finally, it brought to the fore the possibilities of "modern" pantomime, sometimes arguing, through articles in the press or lectures given under the auspices of the Cercle, that the genre should dispense with its ties to the
384:. He persuaded them to join him as founding members of the Cercle and drew up the goals of the society. Paul Hugounet, whom Storey calls the "most energetic publicist and chronicler" of the Cercle, summarized those goals in his
729:
The Cercle opened up other avenues, as well. It both welcomed the work of mimes outside Paris, such as that of Hacks from
Marseille and Mourès from Bordeaux, and allowed female mimes the freedom to assume male roles:
609:
The new version ends as a comedy: the husband and his lover, Columbine, having expired in a suicide pact, are brought back to life by one of
Isabelle's electrical machines, and, as they stagger about like robots, the
394:
2. To encourage the development of the modern pantomime by providing authors and musical composers the opportunity of producing publicly their works in this genre, whatever the artistic tendencies of those works may
1291:), but Storey (1985) notes that the Goby collection represents Charles's pantomimes (i.e., his somewhat sanitized versions of his father's pieces) much more accurately than Jean-Gaspard's originals (p. 11. n. 25).
419:
5. To stage, eventually, new comedies, in verse or in prose, on the formal condition that these works have some express and relationship, in their general makeup, to the old
Italian comedies or the
429:
The Cercle grew rapidly. By the time of its first constitutive assembly in
February 1888, it boasted seventy-five members, including many of the leading celebrities of the day, among them actors (
271:, who reinvented Pierrot as the sensitive soul so familiar to post-nineteenth-century devotees of the figure, earned warm admiration from his public (including Gautier) for his performances at the
601:), who has already been guilty of strangling a canary, plotting the dissection of her unfaithful husband. Although this ending, as FĂ©lix Larcher recalled, "pleased some by its very boldness",
1194:"In this work, at least," wrote Georges Roussel, "there is an idea. I must admit that I could not grasp it. But a friend assured me that it was very interesting": "Critique dramatique",
852:, who soon saw him as a rival. Legrand left for the Folies-Nouvelles in 1853, where he performed until 1859. For a detailed account of his career, see Storey (1985), pp. 37-71, 304-305.
748:
by Eugène
Larcher had entertained the Cercle audience with a provincial maid's misadventures in Paris). Thus did the work of the Cercle anticipate such twentieth-century creations as
691:
fifty members. It even had significant successes, producing pantomimes that moved to stages outside the Bodinière and even outside the country. One of the most notable of these was
380:
Through friendships and professional contacts, FĂ©lix was introduced to Najac, Paul Margueritte, and Fernand Beissier, a colleague of Margueritte's who had written the preface for
635:
fully reveled in it. It is not, therefore, surprising that, during the ten years of the Cercle's existence, it produced only one "classical" pantomime (J.-G. Deburau's
356:
While these writers were refining an art that elevated Pierrot to criminal heights, others were imagining a pantomime animated by a much more conventional Pierrot. The
1633:
577:, to renounce the pleasures of the senses—all nourishment, love, and even life itself. He does so and is granted the "treasure of his dreams". Even the reviewer of
80:(1890), which was filmed twice, first in 1907, then in 1916, making history as the first European feature-length movie and the first complete stage-play on film.
505:, who would later create memorable Pierrots for the Cercle. Almost all subsequent performances would be held at the small Théâtre d'Application, later called
1225:
The distance between the pantomimes of the Cercle and those of Paul Margueritte may be gauged by comparing these remarks with a scene from Margueritte's
372:(The Butterfly), found that he was a more-than-competent mime, and FĂ©lix was inspired by his brother's performance to conceive the Cercle Funambulesque.
219:
718:
starred in a New York revival in 1925). It was, moreover, instrumental in offering a footing to the fledgling art of film: Carré directed the first
523:
and tragicomic farces of life, love, and death, written exclusively by authors who had no connection whatsoever with the Society of Men of Letters.
1073:(Harlequin-Barber), "was announced on the program for the first soirée, but the reviews make it clear that the piece was omitted" (p. 287, n. 11).
295:
It would be the self-assumed task of one of those brothers, Paul Margueritte, to revive the pantomime. In 1882, Paul sent his just-published
631:
399:
126:
1446:
1083:
1046:
1029:
1016:
1003:
267:, playing at the same theater, revived for the grateful enthusiasts of the genre his father's agility and gaity; and Charles's rival
1673:
1654:
1604:
826:
Deburau reigned as the star of the Funambules from about 1825 to his death in 1846; on his pantomime, see Storey (1985), pp. 3-35.
655:); he botches his own suicide and then, stuffing the noose in his pocket for luck, is emboldened to court Colombine ( Boussenot's
836:
719:
225:
862:
155:
275:. But, by the early 1860s, interest in the pantomime, at least in the capital, had begun to flag, and both Legrand and Deburau
963:
1718:
527:
Najac, on the other hand, was repulsed by Margueritte's criminal Pierrot and offended when the Cercle turned his pantomime
1713:
60:. It included among its approximately one hundred and fifty subscriber-members such notables in the arts as the novelist
107:
16:
797:
315:
was its titular Pierrot). And other forces were at work to promote the pantomime with the general public. In 1879, the
234:
1458:
Storey (1985), pp. 286, 292. On female mimes in late-19th-century French pantomime, see especially Rolfe, pp. 149-53.
489:(Columbine Pardoned), written by Paul Margueritte and Beissier, its Pierrot mimed by Paul himself; Najac's pantomime
1689:
1425:
1033:
1708:
696:
28:
726:
as Père Pierrot, it premièred as the first European feature-length film and the first uncut stage-play on screen.
404:
133:
46:(1888–1898)—roughly translatable as "Friends of the Funambules"—was a Parisian theatrical society that produced
626:
1436:
See RĂ©my (1964), pp. 122-123. His dating of the film to 1906 is an error (repeated by Storey , p. 292, n. 23).
1066:
195:
707:
328:
1288:
1498:
518:
pantomime that he had written or wished to write. His ideal was what he called the "Théâtre-Impossible":
740:
677:
421:
52:
667:). ... Sometimes his drama has a hackneyed lesson to teach: Woman is fickle (Camille de Saint-Croix's
233:
From about 1825 to 1860, the theater-goers of Paris were witness to a Golden Age of Pantomime. At the
88:
1489:
1367:
1284:
801:
622:
414:
259:
242:
238:
1666:
Pierrots on the stage of desire: nineteenth-century French literary artists and the comic pantomime
1287:
in the Goby collection. Hugounet (1889) ascribes the authorship of the pantomime to J.-G. Deburau (
796:, a mime. But by the late nineteenth century, the word would have conjured up specifically the old
360:(1887), by the mime and scenarist Raoul de Najac, championed the pantomime as a recreation for the
308:
250:
532:
148:
1614:
1354:
564:
353:(Pierrot the Cut-up, 1882), in which Pierrot is guilty of similar (if not homicidal) enormities.
289:
1530:
Les Soirées Funambulesques: notes et documents inédits pour servir à l'histoire de la pantomime
651:
Pierrot loses his fiancée when his "art"—of thievery—inspires him to reckless heights (Najac's
1669:
1650:
1600:
1344:
792:
of the eighteenth and nineteenth centuries was a rope-dancer and sometimes, as in the case of
731:
714:
in 1916, but it was revived in Paris in various commercial theaters well into the late 1920s (
502:
478:
446:
438:
320:
703:
536:
474:
285:
272:
175:
160:
20:
207:
1626:
749:
715:
442:
312:
264:
180:
506:
466:
340:
254:
69:
835:
His tenure at the theater was, however, short-lived: he left it in 1855 (see Hugounet ,
458:
336:
1643:
769:
761:
574:
540:
470:
454:
434:
346:
324:
137:
111:
73:
65:
61:
1501:
Mimes et Pierrots: notes et documents inédits pour servir à l'histoire de la pantomime
1702:
984:
For a detailed account of the founding of the Cercle, see Storey (1985), pp. 285-286.
723:
711:
482:
462:
332:
300:
184:
1386:
793:
757:
597:
430:
268:
932:
A fairly detailed synopsis in English can be found in Storey (1985), pp. 219-221.
560:(Pierrot's End, 1891) appears to have succumbed. Here, true to the ideals of the
203:(1890–1911). Theatre Collection of the New York Public Library at Lincoln Center.
765:
561:
450:
316:
47:
319:, a troupe of English acrobatic mimes, had performed to great acclaim at the
1544:
Nos Tréteaux: charades de Victor Margueritte, pantomimes de Paul Margueritte
1377:
753:
1326:
Storey (1985), pp. 291-292. The titles may be translated, respectively, as
579:
551:
Implementation of statutes: impact of reformist tendencies and censorship
245:"the most perfect actor who ever lived", created, in his celebrated mute
744:
and venture into "realistic" territory (as early as 1889, the pantomime
583:, usually an ally of the Symbolists, could not make sense of the piece.
556:
hand, there was the threat of unintelligibility, to which his pantomime
1363:
246:
115:
57:
292:, rare admirers of his art, as "a survivor of a quite distant epoch".
223:
Atelier Walery, Paris: Georges Wague as Père Pierrot in the 1907 film
1385:("Earth's the right place for love" is a quotation from "Birches" by
1349:
962:
Félix was at the time a drama critic; Eugène was the director of the
568:
1579:
Mime, Mask & Marionette: A Quarterly Journal of Performing Arts
675:). ... Sometimes it is tearful, in the manner of the old-fashioned
1372:
218:
206:
194:
174:
154:
132:
106:
87:
15:
1308:
is reprinted, with notes and commentary, in Spielmann and Polanz.
1300:
Appearing originally in Volume III of the anonymously published
848:
He débuted at the Funambules in the same year, 1847, as Deburau
1588:, introduction et notes par Gustave Fréjaville. Paris: Plon.
1154:
Paul Hugounet, "Comment fut fondé le Cercle Funambulesque",
1141:
Paul Hugounet, "Comment fut fondé le Cercle Funambulesque",
493:(The Love of Art), with Eugène Larcher as Harlequin; and a
1158:, IV (September 15, 1892), 406; tr. Storey (1985), p. 287.
1145:, IV (September 15, 1892), 407; tr. Storey (1985), p. 287.
923:, No. 46 (1963), 103; cited in Storey (1985), pp. 217-218.
919:
O.R. Morgan, "Huysmans, Hennique et 'Pierrot sceptique'",
734:, "the brightest star of the Cercle", was the prodigal of
1596:
Le Mauvais Example, LĂ©andre hongre, LĂ©andre ambassadeur
1238:
Larcher and Hugounet, p. 20; tr. Storey (1985), p. 289.
1577:
Rolfe, Bari (1978). "Magic Century of French Mime".
1407:
Storey (1985) gives a detailed synopsis (pp. 292-293).
1125:
1123:
513:
Dissentions, defections, and "the Wagnerian tradition"
1551:
Petit Traité de pantomime à l'usage des gens du monde
863:
section devoted to Charles Deburau in Hugounet (1889)
659:); he plays out a dream of heroic exploit that leads
358:
Petit Traité de pantomime à l'usage des gens du monde
249:, a legendary, almost mythic figure, immortalized by
1198:, III (May 1, 1891), 156; tr. Storey (1985), p. 289.
595:(1890) finds physician Isabelle (like Hermonthis, a
349:, who, upon reading the pantomime, produced his own
167:, December 7, 1888, inspired by Paul Margueritte's
1642:
1592:Spielmann, Guy, and Dorothée Polanz, eds. (2006).
211:Raoul de Najac as Pierrot. Reproduced in Najac's
331:novelist and future creator of the arch-aesthete
1509:La Fin de Pierrot, pantomime mystique en un acte
1362:("Woman is fickle" is an allusion to the famous
671:); Earth's the right place for love (Beissier's
335:, to collaborate on a pantomime with his friend
1117:Najac (1909), p. 38; tr. Storey (1985), p. 290.
1108:, February 25, 1891; tr. Storey (1985), p. 291.
1095:RĂ©my (1954), p. 212; tr. Storey (1978), p. 120.
953:Najac (1887), p. 27; tr. Storey (1985), p. 290.
159:Pierrot tickles Columbine to death. Drawing by
1668:. Princeton, N.J: Princeton University Press.
1649:. Princeton, N.J: Princeton University Press.
1528:Larcher, Félix, and Paul Hugounet (1890–93).
1247:See the plot-summary in Storey (1985), p. 289.
477:), and critics and historians of the theater (
817:, January 25, 1847; tr. Storey (1985), p 111.
56:, particularly by the exploits of its French
8:
1216:Written in collaboration with G. Villeneuve.
567:, Pierrot is urged by Hermonthis, a kind of
241:, called by the eminent poet and journalist
96:: Jean-Gaspard Deburau as Pierrot Gourmand,
103:. Engraving in Harvard Theatre Collection.
1694:Unpub. Master's Thesis, Boston University.
1137:
1135:
1061:Storey (1985) notes that a scene from the
1057:
1055:
1632:CS1 maint: multiple names: authors list (
1572:Georges Wague: le mime de la Belle Epoque
1521:Larcher, Félix and Eugène, eds. (1887).
376:Founding, statutes, and first productions
1546:. Paris: Les Bibliophiles Fantaisistes.
1467:See Storey (1985), pp. 296-297, 310-311.
949:
947:
861:On the founding of this school, see the
625:often flirted with the obscene, and the
1371:from the beginning of the third act of
781:
311:in 1883 (it would hardly go unnoticed:
1622:
1612:
1104:Paul Margueritte, "Eloge de Pierrot",
392:1. To revive the classical pantomime .
191:, 1883. Bibliothèque nationale, Paris.
1692:The Evolution of Pantomime in France.
1645:Pierrot: a critical history of a mask
1586:L'Homme Blanc: souvenirs d'un Pierrot
921:Bulletin de la Société J.-K. Huysmans
804:forged his career (see next section).
7:
1492:Pantomimes de Gaspard et Ch. Deburau
307:, also a pantomime, appeared at the
1690:Levillain, Adele Dowling (1945).
874:See Storey (1985), pp. 71, 304-305.
36:Les Affiches illustrées (1886-1895)
1207:Larcher and Hugounet, pp. 113-114.
34:. Reproduced in Ernest Maindron,
14:
710:in 1891, and in New York, at the
263:(1945). After his death, his son
1342:" is a quotation from the aria
1265:See Storey (1985), p. 24, n. 66.
941:See Storey (1978), pp. 145, 154.
892:Quoted in Storey (1985), p. 181.
695:(Pierrot the Prodigal, 1890) by
407:, as well as the works known as
229:. Bibliothèque nationale, Paris.
1348:at the end of the first act of
1176:See Storey (1985), pp. 290-291.
768:'s Freddie the Freeloader, and
501:(Ambassador Leander), starring
413:4. To present the plays of the
199:Anon.: poster for Hanlon-Lees'
397:3. To return to the stage the
1:
1525:. Paris: Librairie Théâtral.
1416:Storey (1985), p. 292, n. 23.
1274:See Storey (1978), pp. 79-80.
865:, and also SĂ©verin, pp. 36ff.
469:, Jules Garnier), composers (
169:Pierrot, Murderer of His Wife
141:
119:
97:
1542:Margueritte, Paul (1910).
966:: see Storey (1985), p. 285.
722:in 1907. Featuring the mime
382:Pierrot assassin de sa femme
297:Pierrot assassin de sa femme
1535:Margueritte, Paul (1925).
140:: Paul Legrand as Pierrot,
1735:
1641:Storey, Robert F. (1978).
1523:Pantomimes de Paul Legrand
1516:La Musique et la pantomime
1490:Goby, Emile, ed. (1889).
616:Resurrections My Specialty
215:(Paris: Emile-Paul, 1909).
76:. Among its successes was
1556:Najac, Raoul de (1909).
1549:Najac, Raoul de (1887).
964:Théâtre de la Renaissance
614:reveals her new shingle:
1514:Hugounet, Paul (1892).
1507:Hugounet, Paul (1891).
1499:Hugounet, Paul (1889).
901:Paul Margueritte, p. 77.
1664:Storey, Robert (1985).
1570:RĂ©my, Tristan (1964).
1563:RĂ©my, Tristan (1954).
1185:Hugounet (1891), p. 32.
1167:Hugounet (1892), p. 51.
708:Prince of Wales Theatre
23:: poster for pantomime
1537:Le Printemps tourmenté
1503:. Paris: Fischbacher.
1476:Storey (1985), p. 297.
1317:Storey (1985), p. 291.
1302:Théâtre des Boulevards
1256:Storey (1985), p. 289.
1129:Storey (1985), p. 287.
993:Storey (1985), p. 288.
975:Storey (1985), p. 286.
910:Storey (1985), p. 283.
798:Théâtre des Funambules
683:
607:
525:
427:
403:and farces of the old
235:Théâtre des Funambules
230:
216:
204:
192:
172:
152:
130:
127:Bibliothèque nationale
104:
39:
38:(Paris: Boudet, 1896).
1581:, 1.3 (fall): 135-58.
1560:. Paris: Emile-Paul.
1539:. Paris: Flammarion.
1336:The Conscript's Dream
1332:The Hanged Man's Rope
1067:Jean-François Regnard
883:Storey (1985), p. 71.
649:
603:
520:
390:
222:
210:
198:
178:
158:
136:
114:: Charles Deburau as
110:
91:
19:
1714:19th-century theatre
1599:. Paris: Lampsaque.
1565:Jean-Gaspard Deburau
1398:RĂ©my (1954), p. 212.
802:Jean-Gaspard Deburau
686:Notable achievements
623:Jean-Gaspard Deburau
260:Children of Paradise
239:Jean-Gaspard Deburau
189:Pierrot the Murderer
44:Cercle Funambulesque
1558:Souvenirs d'un mime
1553:. Paris: Hennuyer.
1340:alla gloria militar
665:La Rève du conscrit
661:alla gloria militar
645:LĂ©andre Ambassadeur
499:LĂ©andre Ambassadeur
497:of the boulevards,
409:improvised comedies
405:Théâtre de la Foire
251:Jean-Louis Barrault
213:Souvenirs d'un mime
1719:Commedia dell'arte
1625:has generic name (
1584:SĂ©verin (1929).
1567:. Paris: L'Arche.
1426:Levillain, p. 519.
1355:Marriage of Figaro
1283:It appears as the
1028:Hugounet (1889),
741:commedia dell'arte
678:comédie-larmoyante
589:Pierrot confesseur
487:Colombine pardonée
422:commedia dell'arte
290:Victor Margueritte
231:
217:
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193:
173:
153:
131:
105:
68:, the illustrator
53:commedia dell'arte
40:
1709:Theatre of France
1574:. Paris: Girard.
1445:Hugounet (1889),
1368:La donna è mobile
1285:opening pantomime
1082:Hugounet (1889),
1045:Hugounet (1889),
1034:Levillain, p. 278
1015:Hugounet (1889),
1002:Hugounet (1889),
736:L'Enfant prodigue
720:celluloid version
693:L'Enfant prodigue
657:La Corde de pendu
629:of the boulevard
558:La Fin de Pierrot
415:Comédie-Italienne
386:Mimes et Pierrots
342:Pierrot sceptique
243:Théophile Gautier
226:L'Enfant prodigue
92:Auguste Bouquet:
78:L'Enfant prodigue
25:L'Enfant prodigue
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1494:. Paris: Dentu.
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653:L'Amour de l'art
637:Pierrot Coiffeur
491:L'Amour de l'art
437:), playwrights (
305:Pierrot assassin
273:Folies-Nouvelles
161:Adolphe Willette
146:
143:
124:
121:
102:
99:
94:Pierrot's Repast
72:, and the actor
50:inspired by the
21:Adolphe Willette
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1518:. Paris: Kolb.
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1328:The Love of Art
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716:Laurette Taylor
688:
639:) and only one
553:
515:
443:Jacques Normand
418:
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351:Pierrot fumiste
313:Sarah Bernhardt
181:Sarah Bernhardt
179:Atelier Nadar:
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64:, the composer
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5:
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772:'s Poor Soul.
770:Jackie Gleason
762:Monsieur Hulot
732:FĂ©licia Mallet
687:
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575:Gustave Moreau
552:
549:
514:
511:
503:FĂ©licia Mallet
479:LĂ©opold Lacour
471:Jules Massenet
455:J.-K. Huysmans
449:), novelists (
447:FĂ©lix Galipaux
445:, Paul Eudel,
439:Jules Lemaître
435:Coquelin cadet
377:
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347:Jules Laforgue
325:J.-K. Huysmans
321:Folies-Bergère
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74:Coquelin cadet
66:Jules Massenet
62:J.-K. Huysmans
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475:Francis Thomé
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460:
459:LĂ©on Hennique
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754:Little Tramp
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329:Naturalistic
323:, inspiring
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282:café-concert
281:
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269:Paul Legrand
258:
255:Marcel Carné
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70:Jules Chéret
51:
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1047:pp. 241-242
1017:pp. 238-239
766:Red Skelton
663:( Ferdal's
593:Doctoresse!
562:avant-garde
451:Champfleury
370:Le Papillon
317:Hanlon-Lees
145: 1857
123: 1855
101: 1830
1703:Categories
1484:References
1106:La Lecture
612:doctoresse
565:Symbolists
545:au-courant
165:Le Pierrot
84:Background
48:pantomimes
27:(1890) by
1615:cite book
1594:Parades:
1378:Rigoletto
815:La Presse
790:funambule
388:of 1889:
366:sceptique
309:Trocadéro
1383:The Moon
1196:La Plume
1156:La Plume
1143:La Plume
800:, where
580:La Plume
339:. Their
303:, whose
257:'s film
151:, Paris.
129:, Paris.
1381:), and
1364:canzone
837:p. 107)
673:La Lune
632:parades
537:Antoine
400:parades
265:Charles
247:Pierrot
201:Superba
171:(1881).
116:Pierrot
58:Pierrot
1672:
1653:
1603:
1447:p. 245
1350:Mozart
1306:parade
1289:p. 242
1084:p. 239
1030:p. 239
1004:p. 238
641:parade
627:Gilles
569:Salomé
541:Wagner
495:parade
362:salons
327:, the
1373:Verdi
776:Notes
746:Lysic
138:Nadar
112:Nadar
1670:ISBN
1651:ISBN
1634:link
1627:help
1601:ISBN
850:fils
788:The
699:fils
681:....
572:Ă la
288:and
286:Paul
277:fils
42:The
31:fils
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1358:),
1352:'s
1065:of
813:In
760:'s
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395:be.
253:in
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183:in
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1006:.
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425:.
417:.
411:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
