292:, turns up nothing so ambitious as this. Instead, one finds what Adriane Despot concluded were the usual sorts of productions on Jean-Gaspard's stage: "light, small-scale, nonsensical adventures enlivened with comic dances, ridiculous battles, and confrontations placed in a domestic or otherwise commonplace setting." But what the Goby collection represents is not so much Jean-Gaspard's pantomimes as Charles's own (or sometimes Charles's versions of the former). As Champfleury notes in his preface to the volume, it reproduces only "a repertoire easy to perform in the course of many peregrinations through the provinces". The mature Jean-Gaspard never played in the provinces; Charles sought work frequently there. To secure that work, he had to travel light, and to make do with the theaters that were offered him. And there were few opportunities for spectacular effects, even if he could have exploited them, on the French stages outside Paris.
183:
1869, he played at the
Alcazar in Marseille, and it was there that a young disciple of Pierrot, Louis Rouffe, first saw him perform, and was enchanted. Rouffe, who had begun performing—first in comedy, then in pantomime—at the age of seventeen, was remarked by Charles as a burgeoning talent, and when Charles, sensing his own early death, accepted the directorship of the Alcazar du Quartier de La Bastide in Bordeaux, he summoned Rouffe to his side as his understudy. There Rouffe performed for one season after Charles's death in 1873; then he returned to Marseille, where he found loyal audiences for the next ten years before tuberculosis cut his own life short. With his success and subsequent tutelage of younger mimes was born the southern "school" of pantomime.
100:
515:, by an anonymous librettist for the Funambules). Pierrot, in love with a duchess, runs a sword through the back of an old-clothes man and steals his bag of wares. Rigged out in his ill-gotten finery, he courts the duchess—and he wins her. But at their wedding, the ghost of the peddler rises up from the floor, pulls Pierrot to his chest for a dance, and impales him on the tip of the sword. Pierrot dies as the curtain falls. This is the first unarguably "tragic" Pierrot of the nineteenth century, or of any century previous (Gautier had obviously had "high" drama in mind: he titled his review "Shakspeare at the Funambules", invoking memories of
466:
300:, which appears as the last piece in the Goby collection. Here we are in that "commonplace setting", an attorney's office, that Despot describes above, confronting a "light, small-scale" adventure. Pierrot is the clerk of Cassander, an attorney, and is in love with Columbine, the office assistant. Since Cassander is away for most of the piece, the lovers can indulge their appetites, and the pantomime turns out to be little more than a vehicle for comically arch and sweet amorous dalliance. It is, in fact, an ideal vehicle for the mime for whom Champfleury wrote his first pantomimes, Paul Legrand.
481:(1891), which concludes with Pierrot's death. He seems to have considered his début as something of an audacity: he remarked that, when he brought the pantomime to Marseille, his audience received Pierrot's dying with stunned silence, before deciding to applaud the piece (Charles Deburau, whose Pierrot never flirted with the tragic, would have regarded it as apostasy). But he was bent upon forging his own way with Pierrot's character: it had annoyed him, after Rouffe's death in 1885, to be congratulated on resuscitating his master's spirit in his performances. "I wanted to be
329:
punches the old man, knocking him to the ground. Columbine, indignant, slaps
Harlequin's face. Pierrot, after having helped Cassander up, tries to goad Harlequin into a fight. The latter refuses. "I don't fight with a valet", he says. And to calm Cassander, he gives him an enormous watch. Cassander softens, and shushes Pierrot, who wants to swoop down on his rival. In the midst of this brawl, Cassander receives the blows of the two combatants. Columbine, to calm Pierrot, whom she loves, gives him her flower without being seen by Harlequin.
123:, feeling burdened by the hardships of the performer, discouraged Charles's taking a professional interest in the theater. He apprenticed him, when he reached maturity, first to a clock-maker, then to a firm that specialized in painting on porcelain. Charles was indifferent to both professions. When Jean-Gaspard died, the director of the Funambules, Charles-Louis Billion, offered Charles his father's role, Pierrot, and, after tentative experiments in minor parts, he made his formal début in November 1847. That début was in
22:
407:
646:; fewer still in Séverin's pantomimes to come. The '90s (or, rather, certain aspects of the '90s—collectively called the Decadence—to which Séverin wished to appeal) had little sympathy with the naive and innocent figure of either of the Deburaux' creation. What stirred it was what had visited Gautier's prescient imagination when, a half-century earlier, he had dared to conceive a murderous and mortal Pierrot. It seems almost inevitable that, in 1896, Séverin would perform in
447:
146:, was just beginning to make a reputation for himself; Charles had been conscripted as his replacement, in fact, while Legrand fulfilled an engagement at the Adelphi in London. When he returned, he and Charles fell into a rivalry, which persisted until Legrand left the theater in 1853. Two years later, Charles accepted an engagement at the DĂ©lassements-Comiques, and he was not to return to the Funambules until 1862, when he appeared in its last two pantomimes,
600:, Margueritte's anti-hero is a murderer, though one of an impressive ingenuity: to leave no trace of his crime, he tickles the soles of his Columbine's feet until she literally laughs to death. Yet, like his criminal predecessors, he pays very dearly for that crime: for as he turns, drunken, into bed after enacting all the details of the fateful act, he sets his bedclothes alight with his candle and then perishes in the flames.
438:". All of this suggests that, although Rouffe undertook formal study with Charles, he had been more impressed, in various ways, by the Legrand who had played at the Alcazar in Bordeaux from 1864 to 1870. And the career of Rouffe's student SĂ©verin Cafferra (or simply "SĂ©verin", as he preferred) represents a betrayal of Charles's pantomimic traditions in still other important respects.
264:
430:. According to Hugounet, Rouffe was determined that "his art should not remain imprisoned in the bands of tradition. He set himself the task of enlarging it and making it enter the current of modern thought, thereby realizing the program traced by Champfleury in his book on the Funambules." Hugounet goes on to remark that Rouffe's work was an "eloquent albeit mute response to
230:." Gautier was more tactful, but the criticism was the same: "Deburau has the sharper mask, the cleaner technique, the livelier leg." Why then did Charles fail to find audiences in Paris? The answer seems to lie in the reasons for Legrand's success there. Legrand created a Pierrot wholly different from that of either of the Deburaux,
208:
swallow the bigger morsels, has a kind of jeering disdain, an
English "sneer", that is very piquant. A clown's agility animates this slender body, with its delicate limbs, on which the white blouse with its big buttons floats freely; he moves with ease, suppleness, and grace, marking without stressing the rhythm of the music....
541:—when the Commander's statue pays a visit to his murderer). Gautier's "review" was widely admired by the literati, and it was instrumental in taking the character of Pierrot one step beyond the tearful, sentimental creation of Legrand (Legrand, himself, deplored such a step, tolerating "the macabre, the terrible", as he told
179:, Charles's engagement was cancelled not four months after its premiere. "The less-than-tepid reception till then accorded the pantomime", in the words of L.-Henry Lecomte, the chief historian of the theater, "convinced the administration of the Fantaisies-Parisiennes to abandon the genre at about this time".
426:
enjoyed little of the publicity of his
Parisian predecessors. Unlike Charles Deburau, he left none of his work in print, and, unlike his student SĂ©verin, he did not live long enough to write his memoirs. But the little that is known of him suggests an independent spirit, closer to Legrand than to Deburau
87:. He is routinely credited with founding a southern "school" of pantomime; indeed, he served as tutor to the Marseille mime Louis Rouffe, who, in turn, gave instruction to SĂ©verin Cafferra, known simply as "SĂ©verin". But their art was nourished by the work of other mimes, particularly of Charles's rival,
336:
of blood gushes from
Cassander's nostrils. Columbine goes to the old man's aid. Cassander wants to strike Pierrot, but the latter, who has already thrown out his line, tells him: "Stay back; they're biting." Then he says to Columbine: "Pick up your mandolin and play us a tune; that attracts the fish."
362:
The whale again starts to thrash about. Pierrot discovers a little chest at his feet. He opens it; it is full of gold, which the whale has swallowed during a shipwreck. He plays with the gold pieces; he is enchanted: now he can marry
Columbine. But how to get out of here? "Some cable", he shouts, "if
303:
For if
Charles consistently outdid his rival in cleanness of technique and liveliness of leg, Legrand took all the honors when it came to sentimental comedy. Charles's mask was "sharp", but Legrand's art, wrote Gautier, was "more consummate, more extensive, more varied". When, rarely, their Pierrots
335:
Pierrot responds: "I'm going to catch you a nice fish, and I've got everything here to cook it with." He shows off the eggs in the basket; he takes up his rod. Good heavens: there's no bait. He spots a fly on
Cassander's nose. "Just what I need", he says. "Don't move." He traps the fly, but a stream
425:
How
Charles shaped the career of Louis Rouffe (1849–85) is still a matter of speculation. A mime who never played in Paris—at thirty-six, he died even younger than Charles, and all hopes of performing in the capital were defeated—Rouffe is a shadowy figure in the history of French pantomime, having
568:
perform one evening (or, rather, a
Deburau refracted through "Shakspeare at the Funambules"), Servieux slowly begins to construct in his mind "a genius of evil, grandiose and melancholic, of an irresistible seductiveness, cynical one instant and clownish the next—in order to raise himself up still
386:
Just when Harlequin is about to make the cross, the justice pushes him away, throws off his wig and robe. It's Pierrot! Columbine is about to fling herself into his arms, when Cassander stops her. Pierrot falls to his knees and reveals his chest full of gold. Cassander consents to their union, and
246:
Pierrot is not content to rouse laughter: he also calls forth tears: the times demand it, we have become extremely sensitive, we want Pierrot to have an old mother, a sweet fiancée, a sister to rescue from the snares of a seducer. The egoistic, lazy, gluttonous, cowardly Pierrot of old offends the
328:
Pierrot is burdened with a large frying pan, a basket full of eggs, a bundle of sticks, and a fishing rod. He is jealous of Harlequin, to whom Cassander wants to give his daughter. Without Harlequin's seeing him do it, he annoys him with his fishing line. Thinking Cassander is to blame, Harlequin
182:
It was abroad—notably in Egypt for ten months (1860–61)—and in the provinces that Charles found admiring audiences. The Alcazar theaters in Bordeaux and Marseille were especially welcoming. He spent two years at the former after his Egyptian tour and assumed its directorship in 1870. From 1867 to
349:
The whale grows visibly larger, taking up the entire stage. Little by little, the side facing the audience disappears, revealing the interior of the monster, Pierrot within, having fainted away. The whale thrashes with intestinal convulsions, and its jolts end by drawing Pierrot from his stupor.
274:
Charles's pantomime was, by contrast, old-fashioned: he apparently had no desire to part with his father's conception of Pierrot. Unfortunately, once he left the Théâtre des Funambules, he did not have the resources to sustain public interest in the figure. The stage of the Funambules had been
295:
As a consequence, he watered down a repertoire that was already overly familiar, at least to Parisian audiences (to the provincials, he was a welcome, even marvelous, diversion). He also, as a consequence, thrust himself into dramatic territory for which his talents were not altogether suited.
207:
The mask is the same in appearance, as it should be for a traditional character; yet a wholly original wit sends the grimaces wrinkling across it. Deburau is young, thin, elegant; his features are delicate and distinct, his eyes expressive—and his little mouth, which he knows how to distend to
166:
as the Théâtre Deburau, but the venture was a failure, and in 1859, to recover his debts, he left Paris on a tour of the provinces. His last major attempt to win over audiences at the capital was in 1865, when he signed on at the Fantaisies-Parisiennes, then co-administered by the novelist and
635:
In fact, SĂ©verin must have known of some or even all of these developments, certainly "Shakspeare at the Funambules" (or the Funambules piece that it spawned), maybe the Margueritte pantomime. What role did Charles Deburau play in all this? Very little apparently. After instructing Rouffe in
161:
Charles did not prosper in the capital. According to Paul Hugounet, a contemporary of the mime and one of his earliest biographers, he left the DĂ©lassements-Comiques only a year after his engagement, a lawsuit pending between him and its director. In the following year, 1858, he opened the
283:, "an arrangement that permitted the changes of scene, the transformations, the perpetual variety of a vision ceaselessly metamorphosed for the pleasure of the eyes and to the heart's content". The spectacular piece with which Charles débuted there had been set in such a fairyland:
370:
Cassander, Columbine, and Harlequin reenter to learn of Pierrot's fate. Columbine laments; Cassander consoles her; Harlequin is jubilant. "Come", Harlequin says: "Let's get married." Cassander responds: "To the Justice of the Peace!". "So be it!", says Columbine, tearfully.
1296:), claims that Jean-Gaspard appeared in the pantomime but did not like the role: he faked an injured foot that he complained made it difficult for him to perform the physical comedy involved, thereby no doubt ensuring the piece's short run. See Storey's discussion in
353:"Where am I?. I can't see clearly ... Ah!". He takes some matches from his basket and lights a candle. "What a weird room! But it's warm: that's good. Ah, but I'm hungry." He lights the bundle of sticks, breaks the eggs, makes an omelet, and eats it with delight.
380:), writes the document out while down on one knee. Cassander signs, as does Columbine. At the moment of signing, Harlequin declares to the justice that he does not know how to write. "Make a cross", says the justice, "but you'll need some money for that."
287:
was, as noted above, a "grand pantomime-harlequinade-fairy play" that was "in three parts and twelve changes of scene, mixed with dances, transformations, and sumptuous costumes". A glance into the volume of pantomimes that Emile Goby published in 1889,
434:, who reproached Paul Legrand for his wish to express in pantomime that which lay outside its domain—ideas". Like Legrand, Rouffe often performed in character costume, setting aside Pierrot's white blouse and trousers, thereby earning him the epithet "
275:
designed expressly for what Champfleury called "the largest and grandest" (and also the most popular) of the pantomimes in Jean-Gaspard's repertoire: the "pantomime-fairy play". It had three traps, "neither more nor less than that of the Opéra", as
366:
Suddenly there can be heard the sound of music, which calms the whale. But Pierrot, carried away by the tune, starts to dance. This exasperates the monster, which regurgitates him little by little into the light. Pierrot is saved!
1439:) in 1856 at the Folies-Nouvelles. Their revision had a happy ending: Pierrot brings the peddler back to life by pulling the sword from his back and, for his act of charity, is united connubially with the duchess. See Lecomte,
342:
At that instant, a huge whale breaks the surface. Terrified, it utters a frightful cry. Cassander wakes up; Columbine and Harlequin stop what they are doing; everyone is on the point of running away. Pierrot shouts for help.
935:(1827), in which it is announced that "the drama"—by which Hugo means the drama inspired by Shakespeare, where that marriage seemed to him most fully in evidence—is (or, rather, should be) the reigning art of the day.
569:
higher after having fallen". Pierrot's new-found villainy is put to good use when his Columbine grows too familiar with Harlequin: Pierrot decapitates his rival—in reality, not fiction—in the middle of a pantomime.
506:
Pierrot had died a famous death much earlier in the century, when Gautier, an unabashed lover of pantomime and especially of Jean-Gaspard's art, had invented a piece at the Funambules and then "reviewed" it in the
202:
It was inevitable that, as a mime, he should be compared to his father. Gautier seemed to sum up the general consensus when he wrote, in 1858, that "the son recalls the father...but without servile imitation":
304:
were paired together, as they were twice in their early Funambules years, Charles played the "funny" or "clever" Pierrot, Paul the Pierrot of sincerity and feeling, who evoked not just laughter but tears. The
998:
Les Trois Planètes, ou la Vie d'une rose, grande pantomime arlequinade féerie, dialoguée dans le genre anglais, en trois parties et douze changemens à vue, mêlée de danses, transformations et travestissemens
1031:
Hugounet mentions the names of many towns in which Charles performed, including Tours, Dôle, Mâcon, Châlons, Melun, Bourg, Belfort, Beaume, Nevers, Lyon, and of course Bordeaux and Marseille. See Hugounet,
255:
They find him, he wrote, in Legrand, and, through his Pierrot, "he great marriage of the sublime and the grotesque of which Romanticism dreamed has now been realized....". For at Legrand's theater, the
951:
erred in writing that Charles Deburau had reformed his father's Pierrot.... he son, apart from several great qualities that only the first of the Deburaux possessed, was the exact copy of his father" (
623:" was gathering force in France, and Margueritte's Pierrot (and others like him) would be in the forefront of the movement. The ground was, then, more than amply prepared for the success of SĂ©verin's
955:). A full dozen years after he had left the Funambules and was performing at the Fantaisies-Parisiennes, half of his repertoire consisted of modified versions of his father's pantomimes; see Storey,
322:
Harlequin wants to kiss his fiancée; she spurns him. "After our marriage", she says. Harlequin: "Oh, well. Give me your corsage flower." She refuses: "After our marriage ...". He pursues her ...
242:, Legrand's Pierrot seemed fashionably (if deplorably) "modern". "The old pantomime no longer exists", he declared; "now we have a...neo-Pierrotism, if such an expression is permissible":
346:
At that moment, the whale opens its enormous mouth, pulls on the line, and Pierrot is drawn plunging into the animal's belly. Cassander, Harlequin, and Columbine run off in terror.
1073:
For the well-read public, the only pantomime in the collection for which the authorship would have been known is Champfleury's—a fact that may explain its placement in the volume.
821:
739:
The Funambules reopened on the Boulevard de Strasbourg in 1867; ten years later, it was still producing pantomimes, though of a very impoverished kind (see Storey,
99:
339:
Harlequin, to ingratiate himself with Columbine, starts to dance. Pierrot delightedly sees his line drawn under the water. "I've got one, it's taken the bait!".
1139:, Deburau is "the clever Pierrot" and Legrand "the loyal Pierrot": document F 1091, unnumbered MS, p. 5, Archives Nationales de France, Paris. Cited in Storey,
1135:: Dechaume, n.d.) is opaque on this point—Charles was the "funny" Pierrot in the first pantomime, Legrand the "sympathetic" one. In the censor's manuscript of
603:
Margueritte sent copies of his pantomime to several writers who he hoped would take notice; he performed it at a number of venues—most importantly before
374:
A justice makes his appearance. "Draw up the contract", says Cassander. And the justice, who is none other than Pierrot (after the manner of M. Loyal in
636:
pantomimic technique, and after Rouffe's in turn instructing SĂ©verin, he disappeared as an agent of direction of their pantomime, the currents of the
1738:
714:(now in the Bibliothèque Spoelberch de Lovenjoul as MS C491, f. 530) makes it clear that the premiere was postponed until November (see Storey,
493:, "Pierrot could suffer and even die, like every human being." But the fate that awaited his titular hero was not so novel as SĂ©verin implied.
248:
1412:
was published in 1882 (Paris: Schmidt); it went through a second edition in 1886 (Paris: Calmann-LĂ©vy). SĂ©verin's mention of the piece in his
260:, "ne oscillates by turns between sadness and joy; peals of laughter break from every breast; gentle tears moisten every barley-sugar stick."
1645:
Storey, Robert (1978b). "Shakespeare at the Funambules: a translation of Théophile Gautier's 'Shakspeare aux Funambules' and a commentary".
841:
On the developments of the pantomime in the south of France, see SĂ©verin, pp. 36ff. Storey summarizes these developments (in English) in
710:(Paris: Gallet, 1847), notes on its titlepage that it was produced at the Funambules on October 6, 1847; but a letter from Billion to
155:
1743:
1662:
1636:
1514:
465:
948:
557:
186:
Charles had always wished to be more than a performer. According to Hugounet, he dreamed of becoming a Professor of Mime at the
642:
bearing it into metamorphoses of which he could not have imagined or, probably, condoned. Few traces of his art are visible in
592:(1847)—"The tale of Pierrot, who tickled his wife/And thus made her, with laughter, give up her life"—gave him a plot, and his
1733:
1688:
131:-fairy play" in the old style of his father's day, with feuding supernatural agents, magic talismans, energetic mayhem, and
931:, p. 66. Delord's reference to the "marriage of the sublime and the grotesque" is an allusion to Victor Hugo's preface to
564:, a novella in which a young mime, Charles Servieux, conceives of his Pierrot as a "fallen angel". After watching Deburau
212:
His technique was universally praised, usually by unflattering reference to that of his rival, Legrand. In an article in
805:
On Legrand's tours of both Egypt and the provinces, as well as his engagements in Bordeaux and Marseille, see Hugounet,
1505:
Echinard, Pierre (1991). "Louis Rouffe et l'école marseillaise de pantomime dans la deuxième moitié du XIX siècle". In
104:
76:
1723:
489:; "I began to write plays ." He was pleased with the innovations he brought to his art: "Henceforth", he wrote, after
1704:
1413:
1728:
1580:
Histoire des théâtre de Paris: Les Fantaisies-Parisiennes/L'Athénée/Le Théâtre Scribe/L'Athénée-Comique: 1865–1911
1541:
Pantomimes de Gaspard et Ch. Deburau ... Préface par Champfleury, avec une étude sur la pantomime par Paul Hippeau
1309:
Pierrot can be deemed "tragic" only in a "realistic" pantomime, and Gautier's "review" sets the solitary precedent
1230:
Nothing in the extant scenarios in which Charles performed suggests that his Pierrot was potentially doom-laden.
588:, one day stumbled upon Rivière's novella, which fired his romantic imagination. Two lines from Gautier's play
1292:
It is not at all characteristic of Deburau's art. In fact, the chronicler of the Funambules, Louis PĂ©ricaud (
1162:
in 1833. Reproduced in Goby, pp. 27-33. (Scenic introductions have been omitted and paragraphing simplified.)
581:
276:
91:, and by earlier developments in nineteenth-century pantomime that were alien to the Deburaux' traditions.
1748:
1592:
1210:
1189:
1061:
1057:
1045:
1041:
1037:
1033:
859:
810:
806:
777:
765:
753:
728:
675:
187:
21:
1555:
973:
1753:
1489:
1083:
1763:
1758:
1538:
1153:
711:
176:
67:
54:
406:
1655:
Pierrots on the stage of desire: nineteenth-century French literary artists and the comic pantomime
108:
1283:
1282:). But it is now inseparable from the Deburau legend, having been included in Sacha Guitry's play
616:
356:
But the flames burn the whale, which thrashes about convulsively. And that makes Pierrot seasick.
1498:
Despot, Adriane. (1975). "Jean-Gaspard Deburau and the pantomime at the Théâtre des Funambules".
604:
1684:
1658:
1632:
1510:
1275:
944:
691:
655:
620:
511:
of September 4, 1842 (the "review" was then, only a few weeks later, turned into a pantomime,
446:
431:
658:, Gautier's ex-son-in-law, that was derived (once more) from "Shakspeare at the Funambules".
1428:
612:
542:
257:
1293:
1279:
1274:, p. 42, n. 17. The pantomime was not a success: it ran for only a week at the Funambules (
952:
695:
325:
Cassander and Pierrot enter. Immediately Cassander trips, goes sprawling. He is picked up.
1116:
608:
477:
When Séverin (1863–1930) introduced his mature art to Paris, he did so with the pantomime
217:
220:
was blunt in his assessment, calling Legrand, "as a mime, inferior to Debureau [
62:
1625:
556:
One writer who particularly profited from the piece was the naval officer-cum-novelist
25:
1558:
Mimes et Pierrots: notes et documents inédits pour servir à l'histoire de la pantomime
1717:
596:(1881) was born. Like the Pierrot of "Shakspeare at the Funambules" and of Rivière's
1176:
537:
163:
143:
128:
88:
1507:
Théâtre et spectacles hier et aujourd'hui, Tome 2: Époque moderne et contemporaine
1270:
The librettist was probably the theater's administrator, Cot d'Ordan: see Storey,
1573:
Histoire des théâtres de Paris: Les Folies-Nouvelles: 1854–1859, 1871–1872, 1880
1261:
For a translation of Gautier's "review" into English, see Storey, "Shakespeare".
268:
191:
168:
142:
Unfortunately, his début came at a time when another Pierrot at the Funambules,
1490:
Champfleury (Jules-François-Félix Husson, known as Fleury, known as). (1859).
522:
263:
1056:
For samples of the praise he excited outside Paris, see Hugounet, especially
638:
319:
HARLEQUIN and COLUMBINE come running in; CASSANDER and PIERROT will follow.
136:
132:
84:
72:
1387:
For an English translation and introduction to the pantomime, see Gerould.
1595:
Le Théâtre des Funambules, ses mimes, ses acteurs et ses pantomimes . . .
527:
376:
80:
1509:. Paris: Comité Des Travaux Historiques Et Scientifiques. Pages 547-60.
247:
exquisite delicacy of the younger generations: they must have a Pierrot-
1172:
517:
58:
29:
1378:, pp. 257–260 (where appears the translation of the lines by Gautier).
532:
521:, and he doubtless expected his French readers to recall the end of
1647:
Mime, mask & marionette: a quarterly journal of performing arts
545:, only as "accidental, quickly borne away by fantasy and dream").
464:
445:
405:
175:, for Deburau's début, and, though it was praised by the likes of
98:
20:
71:(1945). After his father's death in 1846, Charles kept alive his
686:
He appeared, for example, as a warrior-pierrot in Jules Viard's
50:
1171:
For Champfleury's direct influence on Legrand's pantomime, see
706:
The published scenario of the pantomime in which he appeared,
222:
194:. But he died too young to realize either of those ambitions.
1619:. Introduction et notes par Gustave Fréjaville. Paris: Plon.
308:
seems to have been written with the latter Pierrot in mind.
580:
The young Paul Margueritte, an aspiring mime, whose cousin
296:
Typical of his post-Funambules pantomimes is Champfleury's
1520:
Gautier, Théophile. (1883). "Shakspeare aux Funambules".
79:, and then, beginning in the late 1850s, at theaters in
1545:(On-line copy lacks both preface and study by Hippeau.)
1427:
But Legrand may have played a significant role: he and
1086:; Storey summarizes it in detail (in English) in his
688:
Pierrot the Married Man and Polichinelle the Celibate
501:
1452:
For an account of his later pantomimes, see Storey,
1127:in the following year. According to Jouhaud in his
154:, before the theater was demolished, a casualty of
1624:
947:noted that, never having seen Baptiste perform, "
584:had sung the praises of both Legrand and Deburau
1527:Gerould, Daniel. (1979). "Paul Margueritte and
1318:RĂ©my, in fact, argues that Legrand appeared in
502:Théophile Gautier's "Shakspeare aux Funambules"
1657:. Princeton, N.J: Princeton University Press.
1631:. Princeton, N.J: Princeton University Press.
1615:SĂ©verin (SĂ©verin Cafferra, known as). (1929).
1374:For the details of its inception, see Storey,
1548:Guigou, Paul. (1893). "Le Mythe de Pierrot".
1418:does not clarify when he first ran across it.
49:– December 19, 1873) was an important French
8:
832:On Rouffe's career, see especially Echinard.
572:
631:Charles Deburau and fin-de-siècle pantomime
1709:Unpub. Master's Thesis, Boston University.
1522:Souvenirs de théâtre, d'art et de critique
790:Histoire . . .: Les Fantaisies-Parisiennes
383:Harlequin gives him a purse full of gold.
238:. To the critic TaxĂŻle Delord, writing in
1322:(p. 174), but Storey disputes the claim (
1158:, written and first performed by Deburau
53:, the son and successor of the legendary
708:Les Trois Planètes, ou la Vie d'une rose
285:The Three Planets, or The Life of a Rose
262:
171:. Champfleury wrote his last pantomime,
125:The Three Planets, or The Life of a Rose
667:
57:, who was immortalized as Baptiste the
1288:(1918) and, more famously, in Carné's
1707:The Evolution of Pantomime in France.
1627:Pierrot: a critical history of a mask
1617:L'Homme Blanc: souvenirs d'un Pierrot
7:
1705:Levillain, Adele Dowling. (1945).
1441:Histoire . . .: Les Folies-Nouvelles
290:Pantomimes de Gaspard et Ch. Deburau
1465:For a full discussion, see Storey,
497:The doomed Pierrot: a brief history
332:"Come, let's eat", says Cassander.
607:and other notables at a soirée of
14:
1102:, December 10, 1849; tr. Storey,
898:, December 10, 1849; tr. Storey,
1335:Margueritte, p. 36; tr. Storey,
1131:(p. 27)—his published scenario (
359:"I must be in a boat", he says.
1739:19th-century French male actors
1482:Banville, Théodore de. (1883).
873:, August 30, 1858; tr. Storey,
479:Poor Pierrot, or After the Ball
156:Haussmann's renovation of Paris
75:legacy, first in Paris, at the
984:Banville, p. 216; tr. Storey,
927:, April 10, 1855; tr. Storey,
886:2nd Year, #55 (April 1, 1855).
611:'s—and in 1888 the impresario
469:Happichy: Séverin in Mendès's
1:
1679:Baugé, Isabelle, ed. (1995).
1410:Pierrot, Murderer of His Wife
1248:SĂ©verin, p. 179; tr. Storey,
877:, p. 59. Cf. note 20, below.
594:Pierrot, Murderer of His Wife
451:
411:
173:The Pantomime of the Attorney
33:
1529:Pierrot assassin of his wife
1348:Rivière, p. 27; tr. Storey,
911:April 10, 1855; tr. Storey,
575:Pierrot assassin de sa femme
1623:Storey, Robert F. (1978a).
1585:Margueritte, Paul. (1925).
1578:Lecomte, L.-Henry. (1912).
1571:Lecomte, L.-Henry. (1909).
1502:, XXVII (October): 364–376.
1500:Educational Theatre Journal
1350:Pierrot: a critical history
1337:Pierrot: a critical history
1115:They performed together in
843:Pierrot: a critical history
619:. In the early 1880s, the "
1780:
1564:Jouhaud, Auguste. (1888).
135:'s triumphant conquest of
1593:PĂ©ricaud, Louis. (1897).
1568:. Paris: Tresse et Stock.
1539:Goby, Emile, ed. (1889).
1535:, XXIII (March): 103–119.
1123:in 1849, and also in his
1018:Goby, p. xi; tr. Storey,
410:Louis Rouffe as Pierrot,
306:Pantomime of the Attorney
298:Pantomime of the Attorney
167:enthusiast of pantomime,
1744:French male stage actors
1653:Storey, Robert. (1985).
1608:Rivière, Henri. (1860).
1556:Hugounet, Paul. (1889).
1492:Souvenirs des Funambules
970:Souvenirs des Funambules
560:. In 1860, he published
107:in its last year on the
1601:RĂ©my, Tristan. (1954).
548:
267:Portrait of Deburau by
1587:Le Printemps tourmenté
1000:(Paris: Gallet, 1847).
474:
462:
422:
387:drives off Harlequin.
271:
253:
210:
116:
105:Théâtre des Funambules
77:Théâtre des Funambules
39:
1649:, 1:3 (fall): 159-79.
1560:. Paris: Fischbacher.
1550:La Revue Hebdomadaire
1524:. Paris: Charpentier.
1494:. Paris: Lévy Frères.
1486:. Paris: Charpentier.
1467:Pierrots on the stage
1454:Pierrots on the stage
1435:for a production (as
1398:Pierrots on the stage
1376:Pierrots on the stage
1363:Pierrots on the stage
1324:Pierrots on the stage
1298:Pierrots on the stage
1290:Children of Paradise.
1272:Pierrots on the stage
1250:Pierrots on the stage
1141:Pierrots on the stage
1104:Pierrots on the stage
1088:Pierrots on the stage
1082:See its full text in
1020:Pierrots on the stage
986:Pierrots on the stage
957:Pierrots on the stage
929:Pierrots on the stage
913:Pierrots on the stage
900:Pierrots on the stage
875:Pierrots on the stage
871:Le Moniteur Universel
847:Pierrots on the stage
822:Deburau célèbre mime.
794:Pierrots on the stage
792:, p. 18; tr. Storey,
741:Pierrots on the stage
716:Pierrots on the stage
690:(1847), according to
468:
449:
409:
391:Apotheosis; fireworks
266:
244:
205:
127:, a "grand pantomime-
102:
28:: Charles Deburau as
24:
1603:Jean-Gaspard Deburau
1589:. Paris: Flammarion.
1200:SĂ©verin, pp. 47, 60.
743:, pp. 181, 320–321).
485:", he writes in his
450:SĂ©verin as Pierrot,
312:Specimen pantomime:
277:Théodore de Banville
68:Children of Paradise
55:Jean-Gaspard Deburau
43:Jean-Charles Deburau
1566:Mes Petits MĂ©moires
1129:Mes Petits MĂ©moires
845:, pp. 115–116, and
615:produced it at the
573:Paul Margueritte's
111:. Deburau stars in
109:Boulevard du Temple
1734:Commedia dell'arte
1724:History of theatre
1612:. Paris: Hachette.
1137:The Three Pierrots
1125:The Three Pierrots
605:Edmond de Goncourt
590:Posthumous Pierrot
475:
463:
423:
272:
188:Paris Conservatory
117:
45:(February 15, 1829
40:
1729:Theatre of France
1683:. Paris: Cicero.
1605:. Paris: L'Arche.
1582:. Paris: Daragon.
1575:. Paris: Daragon.
1437:Death and Remorse
1433:The Ol' Clo's Man
1320:The Ol' Clo's Man
1133:Les Deux Pierrots
712:Théophile Gautier
654:)—a pantomime by
652:The Ol' Clo's Man
582:Stéphane Mallarmé
513:The Ol' Clo's Man
432:Francisque Sarcey
177:Théophile Gautier
152:Pierrot's Memoirs
1771:
1694:
1668:
1642:
1630:
1533:The Drama Review
1470:
1463:
1457:
1450:
1444:
1429:Charles Bridault
1425:
1419:
1407:
1401:
1394:
1388:
1385:
1379:
1372:
1366:
1359:
1353:
1346:
1340:
1333:
1327:
1326:, p. 43, n. 18).
1316:
1310:
1307:
1301:
1268:
1262:
1259:
1253:
1246:
1240:
1239:SĂ©verin, p. 160.
1237:
1231:
1228:
1222:
1221:SĂ©verin, p. 179.
1219:
1213:
1207:
1201:
1198:
1192:
1186:
1180:
1169:
1163:
1150:
1144:
1121:The Two Pierrots
1113:
1107:
1097:
1091:
1080:
1074:
1071:
1065:
1054:
1048:
1029:
1023:
1016:
1010:
1007:
1001:
995:
989:
982:
976:
966:
960:
942:
936:
922:
916:
909:
903:
893:
887:
884:
878:
868:
862:
856:
850:
839:
833:
830:
824:
819:
813:
803:
797:
786:
780:
774:
768:
762:
756:
750:
744:
737:
731:
725:
719:
718:, p. 59, n. 51).
704:
698:
684:
678:
672:
549:Henri Rivière's
543:Paul Margueritte
531:—and perhaps of
473:, poster of 1896
456:
453:
416:
413:
258:Folies-Nouvelles
148:The Golden Bough
113:The Golden Bough
48:
38:
35:
1779:
1778:
1774:
1773:
1772:
1770:
1769:
1768:
1714:
1713:
1701:
1691:
1678:
1675:
1673:Further reading
1665:
1652:
1639:
1622:
1543:. Paris: Dentu.
1479:
1474:
1473:
1464:
1460:
1451:
1447:
1426:
1422:
1408:
1404:
1395:
1391:
1386:
1382:
1373:
1369:
1360:
1356:
1347:
1343:
1334:
1330:
1317:
1313:
1308:
1304:
1269:
1265:
1260:
1256:
1247:
1243:
1238:
1234:
1229:
1225:
1220:
1216:
1208:
1204:
1199:
1195:
1187:
1183:
1170:
1166:
1152:Translation of
1151:
1147:
1117:Auguste Jouhaud
1114:
1110:
1106:, p. 60, n. 52.
1098:
1094:
1081:
1077:
1072:
1068:
1055:
1051:
1030:
1026:
1022:, p. 11, n. 25.
1017:
1013:
1009:Despot, p. 366.
1008:
1004:
996:
992:
983:
979:
967:
963:
959:, p. 60, n. 52.
943:
939:
923:
919:
910:
906:
902:, p. 60, n. 52.
894:
890:
885:
881:
869:
865:
857:
853:
840:
836:
831:
827:
820:
816:
804:
800:
787:
783:
775:
771:
763:
759:
751:
747:
738:
734:
726:
722:
705:
701:
685:
681:
673:
669:
664:
648:Chand d'habits!
633:
609:Alphonse Daudet
578:
554:
504:
499:
471:Chand d'habits!
454:
444:
414:
404:
399:
317:
218:William Busnach
200:
97:
95:Life and career
46:
36:
17:
12:
11:
5:
1777:
1775:
1767:
1766:
1761:
1756:
1751:
1746:
1741:
1736:
1731:
1726:
1716:
1715:
1712:
1711:
1700:
1699:External links
1697:
1696:
1695:
1689:
1674:
1671:
1670:
1669:
1663:
1650:
1643:
1637:
1620:
1613:
1606:
1599:
1590:
1583:
1576:
1569:
1562:
1553:
1546:
1536:
1525:
1518:
1503:
1496:
1487:
1478:
1475:
1472:
1471:
1469:, pp. 306–307.
1458:
1456:, pp. 306–309.
1445:
1420:
1402:
1400:, pp. 283–284.
1389:
1380:
1367:
1354:
1341:
1339:, pp. 119–120.
1328:
1311:
1302:
1263:
1254:
1241:
1232:
1223:
1214:
1202:
1193:
1181:
1164:
1145:
1108:
1092:
1075:
1066:
1049:
1024:
1011:
1002:
990:
977:
961:
945:Louis PĂ©ricaud
937:
917:
904:
888:
879:
863:
851:
849:, pp. 305–306.
834:
825:
814:
798:
781:
776:See Hugounet,
769:
757:
745:
732:
720:
699:
679:
666:
665:
663:
660:
656:Catulle Mendès
632:
629:
577:
571:
553:
547:
509:Revue de Paris
503:
500:
498:
495:
457:, in SĂ©verin,
443:
440:
417:, in SĂ©verin,
403:
400:
398:
395:
363:you please!".
316:
310:
199:
196:
96:
93:
15:
13:
10:
9:
6:
4:
3:
2:
1776:
1765:
1762:
1760:
1757:
1755:
1752:
1750:
1749:French clowns
1747:
1745:
1742:
1740:
1737:
1735:
1732:
1730:
1727:
1725:
1722:
1721:
1719:
1710:
1708:
1703:
1702:
1698:
1692:
1686:
1682:
1677:
1676:
1672:
1666:
1664:0-691-06628-0
1660:
1656:
1651:
1648:
1644:
1640:
1638:0-691-06374-5
1634:
1629:
1628:
1621:
1618:
1614:
1611:
1607:
1604:
1600:
1598:
1597:Paris: Sapin.
1596:
1591:
1588:
1584:
1581:
1577:
1574:
1570:
1567:
1563:
1561:
1559:
1554:
1552:, November 4.
1551:
1547:
1544:
1542:
1537:
1534:
1530:
1526:
1523:
1519:
1516:
1515:2-7355-0220-1
1512:
1508:
1504:
1501:
1497:
1495:
1493:
1488:
1485:
1484:Mes Souvenirs
1481:
1480:
1476:
1468:
1462:
1459:
1455:
1449:
1446:
1442:
1438:
1434:
1430:
1424:
1421:
1417:
1416:
1411:
1406:
1403:
1399:
1393:
1390:
1384:
1381:
1377:
1371:
1368:
1364:
1358:
1355:
1351:
1345:
1342:
1338:
1332:
1329:
1325:
1321:
1315:
1312:
1306:
1303:
1299:
1295:
1291:
1287:
1286:
1281:
1277:
1273:
1267:
1264:
1258:
1255:
1251:
1245:
1242:
1236:
1233:
1227:
1224:
1218:
1215:
1212:
1206:
1203:
1197:
1194:
1191:
1190:pp. 172, 173.
1185:
1182:
1178:
1174:
1168:
1165:
1161:
1157:
1156:
1149:
1146:
1142:
1138:
1134:
1130:
1126:
1122:
1118:
1112:
1109:
1105:
1101:
1096:
1093:
1089:
1085:
1079:
1076:
1070:
1067:
1063:
1059:
1053:
1050:
1047:
1043:
1039:
1035:
1028:
1025:
1021:
1015:
1012:
1006:
1003:
999:
994:
991:
987:
981:
978:
975:
971:
968:Champfleury,
965:
962:
958:
954:
950:
946:
941:
938:
934:
930:
926:
921:
918:
914:
908:
905:
901:
897:
892:
889:
883:
880:
876:
872:
867:
864:
861:
855:
852:
848:
844:
838:
835:
829:
826:
823:
818:
815:
812:
808:
802:
799:
795:
791:
785:
782:
779:
773:
770:
767:
761:
758:
755:
749:
746:
742:
736:
733:
730:
724:
721:
717:
713:
709:
703:
700:
697:
693:
689:
683:
680:
677:
671:
668:
661:
659:
657:
653:
649:
645:
641:
640:
630:
628:
626:
622:
618:
617:Théâtre Libre
614:
610:
606:
601:
599:
595:
591:
587:
583:
576:
570:
567:
563:
559:
558:Henri Rivière
552:
546:
544:
540:
539:
534:
530:
529:
524:
520:
519:
514:
510:
496:
494:
492:
488:
484:
480:
472:
467:
461:(Paris, 1929)
460:
459:L'Homme Blanc
448:
441:
439:
437:
436:l'Homme Blanc
433:
429:
421:(Paris, 1929)
420:
419:L'Homme Blanc
408:
401:
396:
394:
392:
388:
384:
381:
379:
378:
372:
368:
364:
360:
357:
354:
351:
347:
344:
340:
337:
333:
330:
326:
323:
320:
315:
311:
309:
307:
301:
299:
293:
291:
286:
282:
279:wrote in his
278:
270:
265:
261:
259:
252:
250:
243:
241:
237:
233:
229:
225:
224:
219:
215:
209:
204:
197:
195:
193:
189:
184:
180:
178:
174:
170:
165:
159:
157:
153:
149:
145:
140:
138:
134:
130:
126:
122:
114:
110:
106:
101:
94:
92:
90:
86:
82:
78:
74:
70:
69:
64:
60:
56:
52:
44:
31:
27:
23:
19:
1754:French mimes
1706:
1680:
1654:
1646:
1626:
1616:
1610:Pierrot/CaĂŻn
1609:
1602:
1594:
1586:
1579:
1572:
1565:
1557:
1549:
1540:
1532:
1528:
1521:
1506:
1499:
1491:
1483:
1466:
1461:
1453:
1448:
1443:, pp. 65–67.
1440:
1436:
1432:
1423:
1414:
1409:
1405:
1397:
1396:See Storey,
1392:
1383:
1375:
1370:
1362:
1361:See Storey,
1357:
1349:
1344:
1336:
1331:
1323:
1319:
1314:
1305:
1300:, pp. 40–44.
1297:
1289:
1284:
1271:
1266:
1257:
1249:
1244:
1235:
1226:
1217:
1205:
1196:
1184:
1177:Paul Legrand
1167:
1159:
1154:
1148:
1143:, pp. 60-61.
1140:
1136:
1132:
1128:
1124:
1120:
1111:
1103:
1099:
1095:
1090:, pp. 71–72.
1087:
1078:
1069:
1052:
1034:pp. 108, 109
1027:
1019:
1014:
1005:
997:
993:
985:
980:
969:
964:
956:
940:
932:
928:
925:Le Charivari
924:
920:
912:
907:
899:
895:
891:
882:
874:
870:
866:
854:
846:
842:
837:
828:
817:
801:
793:
789:
784:
778:pp. 115–117.
772:
760:
754:pp. 107–108.
748:
740:
735:
723:
715:
707:
702:
687:
682:
670:
651:
647:
644:Poor Pierrot
643:
637:
634:
625:Poor Pierrot
624:
602:
597:
593:
589:
585:
579:
574:
565:
561:
555:
550:
538:Don Giovanni
536:
526:
516:
512:
508:
505:
491:Poor Pierrot
490:
486:
482:
478:
476:
470:
458:
435:
427:
424:
418:
402:Louis Rouffe
397:The "school"
390:
389:
385:
382:
375:
373:
369:
365:
361:
358:
355:
352:
348:
345:
341:
338:
334:
331:
327:
324:
321:
318:
313:
305:
302:
297:
294:
289:
284:
280:
273:
254:
245:
240:Le Charivari
239:
235:
231:
227:
221:
213:
211:
206:
201:
185:
181:
172:
164:Salle Lacaze
160:
151:
147:
144:Paul Legrand
141:
129:harlequinade
124:
120:
118:
112:
89:Paul Legrand
66:
63:Marcel Carné
42:
41:
18:
1764:1873 deaths
1759:1829 births
1681:Pantomimes
807:pp. 109–114
729:pp. 125-26.
455: 1896
415: 1880
269:Jean Pezous
169:Champfleury
37: 1855
16:French mime
1718:Categories
1690:2908369176
1477:References
1352:, p. 112.
1209:Hugounet,
1188:Hugounet,
1155:La Baleine
988:, pp. 8–9.
858:Hugounet,
764:Hugounet,
752:Hugounet,
727:Hugounet,
674:Hugounet,
73:pantomimic
1415:Souvenirs
1365:, p. 257.
1252:, p. 308.
1100:La Presse
896:La Presse
788:Lecomte,
639:Zeitgeist
621:Decadence
487:Souvenirs
314:The Whale
281:Souvenirs
216:of 1855,
214:Le Figaro
198:Pantomime
137:Columbine
133:Harlequin
85:Marseille
1431:revised
1276:PĂ©ricaud
949:Glatigny
933:Cromwell
915:, p. 66.
811:117–120.
796:, p. 63.
692:PĂ©ricaud
528:Don Juan
377:Tartuffe
119:Deburau
81:Bordeaux
65:'s film
1285:Deburau
1211:p. 136.
1173:Pierrot
1058:pp. 114
860:p. 120.
766:p. 109.
696:p. 313.
676:p. 101.
613:Antoine
598:Pierrot
562:Pierrot
551:Pierrot
523:Molière
518:Macbeth
442:SĂ©verin
249:Montyon
115:, 1862.
59:Pierrot
30:Pierrot
1687:
1661:
1635:
1513:
1294:p. 256
1280:p. 256
974:p. 84.
953:p. 494
533:Mozart
226:]
47:
662:Notes
192:Opéra
26:Nadar
1685:ISBN
1659:ISBN
1633:ISBN
1511:ISBN
1175:and
1160:père
1084:Goby
1046:119.
586:fils
566:père
428:fils
236:fils
232:père
228:fils
150:and
121:père
103:The
83:and
51:mime
1531:".
1119:'s
1062:118
1042:117
1038:114
535:'s
525:'s
234:or
223:sic
190:or
61:in
1720::
1278:,
1060:,
1044:,
1040:,
1036:,
972:,
809:,
694:,
627:.
483:me
452:c.
412:c.
393:.
158:.
139:.
34:c.
32:,
1693:.
1667:.
1641:.
1517:.
1179:.
1064:.
650:(
251:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
