Pierrot - Knowledge (XXG)

837: 379: 274: 394: 357: 1714:, another Decadent who, at the age of twenty-two, died even more tragically young than Peters, embarked on a series of Pierrot-themed short—"Pierrot Enamored of Glory" (1897), "Pierrot and His Cats" (1898), "The Nuptials of Pierrot" (1899), "Pierrot's Gesture" (1899), "The Caprices of Pierrot" (1900)—culminating, after the turn of the century (and in the year of Couto's death), with "Pierrot-Gravedigger" (1901). For the Spanish-speaking world, according to scholar Emilio Peral Vega, Couto "expresses that first manifestation of Pierrot as an alter ego in a game of symbolic otherness ...". 1793:, 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. Like the earlier masks of commedia dell'arte, Pierrot now knew no national boundaries. Thanks to the international gregariousness of modernism, he would soon be found everywhere. 2294: 806: 1364: 741: 40: 2036:, who both directed the first production and took on the role, dramatically emphasized the multifacetedness of the character: according to one spectator, Meyerhold's Pierrot was "nothing like those familiar, falsely sugary, whining Pierrots. Everything about him is sharply angular; in a hushed voice he whispers strange words of sadness; somehow he contrives to be caustic, heart-rending, gentle: all these things yet at the same time impudent." 556: 5746: 719: 5645: 691:, formed "an enormous contrast with the exuberance, the superabundance of gestures, of leaps, that ... his predecessors had employed". He altered the costume: he dispensed with the frilled collaret, substituted a skullcap for a hat, and greatly increased the wide cut of both blouse and trousers. Deburau's Pierrot avoided the crude Pierrots—timid, sexless, lazy, and greedy—found in earlier pantomime. 767:, which attracted the fashionable set, unlike the Funambules' working-class audiences. Legrand often appeared in realistic costume, his chalky face his only concession to tradition, leading some advocates of pantomime, such as Gautier, to lament that he was betraying the character of the type. Legrand's Pierrot influenced future mimes. 818: 1225: 1784:

The Pierrot bequeathed to the 20th century had acquired a rich and wide range of personae. 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

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mask, Pierrot paints his face black to commit robbery and murder; then, after restoring his pallor, he hides himself, terrified of his own undoing, in a snowbank—forever. Thus does he forfeit his union with Columbine (the intended beneficiary of his crimes) for a frosty marriage with the moon.

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made their first U.S. appearance in 1858, and their subsequent tours, well into the 20th century, of scores of cities throughout the country accustomed their audiences to their fantastic, acrobatic Pierrots. But the Pierrot that would leave the deepest imprint upon the American imagination was that

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Sand, Duchartre, and Oreglia see a close family resemblance between—if not an interchangeability of—both characters. Mic claims that an historical connection between Pedrolino and "the celebrated Pierrots of Willette" is "absolutely evident" (p. 211). Nicoll writes that Pedrolino is the "Italian

2125:, being a satire on the richer and more respectable Pierrot. Pierrot Grenade was a finely dressed masquerader and deeply supreme scholar/jester proud of his ability to spell any word in his own fashion and quoting Shakespearean characters as Julius Caesar, Mark Anthony, and Othello at length. 234:). Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim and, more rarely, with a conical shape like a dunce's cap. 786: 420:

The character appeared often in the 18th century on Parisian stages. Sometimes he spoke gibberish, sometimes the audience itself sang his lines, inscribed on placards held aloft. He could appear as a valet, a cook, or an adventurer; his character is not strictly defined.

520:(1740–1828). Delpini, according to the popular-theater historian, M. Willson Disher, "kept strictly to the idea of a creature so stupid as to think that if he raised his leg level with his shoulder he could use it as a gun." Pierrot was later displaced by the English 639: 324:", which included Molière's Pierrot. Thereafter the character—sometimes a peasant, 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. 1639-1697). 882:), gymnasts and acrobats who had been schooled in the 1860s in pantomimes from Baptiste's repertoire, traveled (and dazzled) the world well into the 20th century with their pantomimic sketches and extravaganzas featuring riotously nightmarish Pierrots. The 183: 1834:

informed all of Eliot's early poetry. (Laforgue, he said, "was the first to teach me how to speak, to teach me the poetic possibilities of my own idiom of speech.") Prufrock is a Pierrot transplanted to America. Another prominent Modernist,

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An Italian company was called back to Paris in 1716, and Pierrot was reincarnated by the actors Pierre-François Biancolelli (son of the Harlequin of the banished troupe of players) and, after Biancolelli abandoned the role, the celebrated

339:. They present him as an anomaly among busy social personalities around him. Columbine laughs at his advances; his masters who are in pursuit of pretty young wives brush off his warnings to act their age. His isolation bears the pathos of 2268:

is that of a Neapolitan Pulcinella a little altered. In point of fact, the Neapolitan scenarii, in place of Arlecchino and Scapino, admit two Pulcinellas, the one an intriguing rogue and the other a stupid fool. The latter is Pierot's

1582:). 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, 3625:

has defined so admirably as 'the laughter of the soul', is the laughter of Pierrot, more than half a sob, and shaken out of him with a deplorable gesture of the thin arms, thrown wide. He is a metaphysical Pierrot, a

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of the play offers no insight into Pierrot's character. Pierrot's name appears only once: "This scene takes place in the country. I drop the hunting horn at Spezzafer's feet; he blows it; then, on the run, I trip up

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covered it as an event, although it was only a student production. It was found to be "pleasing" because, in part, it was "odd". Not until the first decade of the next century, when the great (and popular) fantasist

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Tiberio Fiorilli and a troupe assembled from the Comédie-Italienne entertained Londoners with selections from their Parisian repertoire. And in 1717, Pierrot's name first appears in an English entertainment: a

1635:, with words of warm praise (and even congratulations to each poet for failing "to saddle his reader with a moral"). So uncustomary was the French Aesthetic viewpoint that, when Pierrot made an appearance in 702:. In 1842, Théophile Gautier published a fake review of a "Shakespeare" pantomime he claimed to have seen at the Funambules. It placed Pierrot in the company of over-reachers in high literature such as 686:

Deburau, from the year 1825, was the only actor at the Funambules to play Pierrot, and he did so in several types of pantomime: rustic, melodramatic, "realistic", and fantastic. His style, according to

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rather savagely (and, as the title indicates, victoriously). Such aggressive ferocity is almost never to be seen, early or late, in the behavioral repertoire of Pierrot. Pierrot can be murderous (see

1738:), 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") in his 1898 prose-poem 1549:

Pierrot and his fellow masks were late in coming to the United States, which, unlike England, Russia, and the countries of continental Europe, had had no early exposure to commedia dell'arte. The

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In the 1880s and 1890s, the pantomime reached a type of apogee, and Pierrot became ubiquitous. Moreover, he acquired a female counterpart, Pierrette, who rivaled Columbine for his affections. A

2335:(1611) and in three of the scenarios in the unpublished "Corsini" collection. Salerno has translated the Scala scenarios; Pandolfi (V, 252–276) has summarized the plots of the "Corsini" pieces. 836: 307:

where he appears. Pierrot, on the other hand, as a "second"' Zanni, stands "on the periphery of the action". He dispenses advice and courts his master's young daughter, Columbine, bashfully.

1789:, often doom-ridden soul (Richepin, Beardsley); the clumsy, although ardent, lover, who wins Columbine's heart, or murders her in frustration (Margueritte); the cynical and misogynistic 698:

types. The plot often hinged on Cassander's pursuit of Harlequin and Columbine, having to deal with a clever and ambiguous Pierrot. Deburau early—about 1828—caught the attention of the

1588:, that "each new representative of the species is, if possible, more preposterous than the last". And yet the Pierrot of that species was gaining a foothold elsewhere. The composers 1249:(a greeting to a dour clown sitting disconsolate with his dog) in 1893. The Pierrot of popular taste also spawned a uniquely English entertainment. In 1891, the singer and banjoist 942:, 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. 733:(or, as he preferred, "Charles" ), assumed Pierrot's blouse the year after his father died. Another important Pierrot of mid-century was Charles-Dominique-Martin Legrand, known as 3734:"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 such as 5479: 1839:, was undisguised in his identification with Pierrot in his earliest poems and letters—an identification that he later complicated and refined through such avatars as Bowl (in 1866:(1921), works that were an early and revealing declaration of the novelist's "fragmented state" (some critics have argued that Pierrot stands behind the semi-autobiographical 2382:, Molière gave 'the white blouse of a French peasant', then I doubt very much that we have to look for traces of his origins in the commedia dell'arte at all": Storey, 1174:

painted Pierrots obsessively, in various poses from prostrate to bowing his head in despondency, sometimes even with a smiling skeleton. The Belgian poet and dramatist

4312: 3218: 5032: 222:. 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 1659:

Of course, writers from the United States living abroad—especially in Paris or London—were aberrantly susceptible to the charms of the Decadence. Such a figure was

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Pierrot lunaire—Schoenberg was numerologically superstitious). This led, among other things, to ensemble groups' appropriating Pierrot's name, such as the English

432:(1725), one meets an engaging Pierrot. The accomplished comic actor Jean-Baptiste Hamoche portrayed him with success. After 1733, he rarely appears in new plays. 5674: 1607:

The fin de siècle world in which this Pierrot resided was clearly at odds with the reigning American Realist and Naturalist aesthetic (although such figures as

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There is no documentation from the 17th century that links the two figures. In fact, what documentation does exist links Pierrot, not with Pedrolino, but with

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are familiar with Pierrot (in many different attitudes, from the ineffably sad to the ebulliently impudent) through the masterworks of his acolytes, including

2081:(1967–70). The Pierrot behind those cycles has invaded worlds well beyond those of composers, singers, and ensemble-performers. Theatrical groups such as the 299:, but the two types have little but their names ("Little Pete") and social stations in common. Both are comic servants, but Pedrolino, as a so-called "first" 3382: 1710:—could be found in the progressive literary scene of Mexico, its parent country, Spain, having been long conversant with the commedia dell'arte. In 1897, 5783: 536:. Casorti's son, Giuseppe (1749–1826), began appearing as Pierrot in pantomimes, which now had a formulaic plot structure. Pierrot is still a fixture at 934:' taste for popular entertainment, such as the circus and the music-hall, as well as the new bohemianism that then reigned in artistic quarters such as 1697:(1896) is most notable here: in it, four poems and an "Epilogue" for the aforementioned Dowson play are devoted to Pierrot (from the mouth of Pierrot 6474: 1108:(1835). Even the embryonic art of the motion picture turned to Pierrot before the century was out: he appeared, not only in early celluloid shorts ( 378: 1084:'s "Pierrot" (1842) to music in 1881 (not published until 1926)—the only precedents among works by major composers being the "Pierrot" section of 5153:

Storey, Robert (Fall 1978). "Shakespeare at the Funambules: a translation of Théophile Gautier's 'Shakspeare aux Funambules' and a commentary".

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Le Théâtre de la Foire ou l'Opéra-Comique, contenant les meilleures pièces qui ont été représentées aux Foires de S. Germain & de S. Laurent

2605:(1725). The new company still produced pieces from the first Comédie-Italienne; they were added to the repertoire in 1718: Gueullette, pp. 87ff. 2021:

As the diverse incarnations of the 19th-century Pierrot would predict, the hallmarks of the modernist Pierrot are his ambiguity and complexity.

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Le Théâtre Italien de Gherardi ou le Recueil général de toutes les comédies et scènes françoises jouées par les Comédiens Italiens du Roy ...

4283: 2921: 3651:"The form in which I began to write, in 1908 or 1909, was directly drawn from the study of Laforgue ...": Eliot, in his Introduction to the 1072:(1886), completely to Pierrot and his world (Pierrots were legion among the minor, now-forgotten poets: for samples, see Willette's journal 878:

But French mimes and actors were not the only figures responsible for Pierrot's ubiquity: the English Hanlon brothers (sometimes called the

3639: 417:(1715–1772). But the character seems to have been regarded as unimportant by this company, since he appears infrequently in its new plays. 1068: 273: 1459:), which debuted in Paris in 1893, was so admired in its day that it eventually reached audiences on several continents, was paired with 1062:

imagined him as a gormandizing naïf in "Pantomime" (1869), then, like Tombre, as a lightning-lit specter in "Pierrot" (1868, pub. 1882).

4464: 3903: 1823: 4879: 4658: 4498: 4221: 4194: 4006: 3987: 2348:, standing on the periphery of the action, commenting, advising, chiding, but rarely taking part in the movement around him": Storey, 2264:. "Dominique" Biancolelli, Harlequin of the first Comédie-Italienne in which Pierrot appeared by name, noted that "The nature of the 1858:

began his career as a chronicler of Pierrot's amorous disappointments and existential anguish in such little-known works as his play

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put three of the "complaints" of his first published volume of poems (1885) into "Lord" Pierrot's mouth—and dedicated his next book,

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made him into a silent, alienated observer of the mysteries of the human condition. Much of that mythic quality ("I'm Pierrot," said

5175: 5143: 5122: 5004: 4812: 4723: 4575: 4444: 3950: 393: 156: 89: 4117:

Les Comédiens du Roi de la Troupe Italienne pendant les deux derniers siècles: documents inédits recueillis aux archives nationales

2243:, p. 88). As late as 1994, Rudlin (pp. 137-38) renames Pierrot "Pedrolino" in a translation of a scene from Nolant de Fatouville's 1296:. Craig's involvement with the figure grew with time. In 1897, Craig, dressed as Pierrot, gave a quasi-impromptu stage-reading of 665:

was a little theater licensed in its early years to present only mimed and acrobatic acts. It was the home, beginning in 1816, of

516:; in the 19th century, the harlequinade was a "play within a play" during the pantomime), finding his most notable interpreter in 7028: 5528: 930:

after reading the scenario by Huysmans and Hennique). It was in part through the enthusiasm that they excited, coupled with the

512:. Thereafter, until the end of the century, Pierrot appeared fairly regularly in English pantomimes (which were originally mute 7003: 5669: 356: 5214:

Vilain, Robert (1997). "An innocent abroad: the Pierrot figure in German and Austrian literature at the turn of the century".

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Pierrot appears among the revelers at various international carnivals. His name suggests kinship with the Pierrot Grenade of

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in its second number, was soon host to Beardsley-inspired Pierrots drawn by E.B. Bird and Frank Hazenplug (the Canadian poet

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of the 1890s (as well as in the poster-art that they spawned). One of the earliest and most influential of these in America,

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Calvert, Dave (2013). "From Pedrolino to a Pierrot: the origin, ancestry, and ambivalence of the British Pierrot Troupe".

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In one of the few extant contemporary illustrations involving Pedrolino—i.e., the frontispiece of Giulio Cesare Croce's

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devoted a section to Pierrot (as well as to Pierrette, his Decadent counterpart) in two ludic pieces for piano—Beach's

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Nouveau Théâtre Italien (Le) ou Recueil général des comédies représentées par les Comédiens Italiens ordinaries du Roi

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have derived original inspiration from it. It has been translated into still more distant media by painters, such as

2105:; and graphic-novelists, such as Antoine Dodé. A passionately sinister Pierrot Lunaire has even shadowed DC Comics' 6933: 6722: 6057: 5482:

Morphing moonlight: gender, masks and carnival mayhem. The figure of Pierrot in Giraud, Ensor, Dowson and Beardsley

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It is in part for this reason—that Pierrot was a late and somewhat alien import to America—that the early poems of

1752: 909: 332: 5417:(Analyzes Pierrots of Arnold Schoenberg and Paul Margueritte in light of late-19th-century notions of "hysteria".) 2344:"Indeed, Pierrot appears in comparative isolation from his fellow masks, with few exceptions, in all the plays of 5769: 1871: 1521: 1353: 1308:

Although he lamented that "the Pierrot figure was inherently alien to the German-speaking world", the playwright

756: 1481:. (Monti would go on to acquire his own fame by celebrating another spiritual outsider much akin to Pierrot—the 1443:

is close enough to a Pierrot to deserve a mention here. Much less well-known is the work of two other composers—

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above). Of the three books that Peters published before his death (of starvation) at the age of forty-two, his

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were mounting serious challenges to it). It is in fact jarring to find the champion of American prose Realism,

31: 4807:. Translated by Edwards, Lovett F. Originally published in Italian; revised in 1964. New York: Hill and Wang. 3149: 2183:); Gautier identified him as "the modern proletarian, the pariah, the passive and disinherited being" (V, 24). 1704:

Another pocket of North-American sympathy with the Decadence—one manifestation of what the Latin world called

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should also be mentioned for his contribution to Pierrot's dissemination in mass-market publications such as

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On the French players in England, and particularly on Pierrot in early English entertainments, see Storey,

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He invaded the visual arts—not only in the work of Willette, but also in the illustrations and posters of

200:, has his origins in the late 17th-century Italian troupe of players performing in Paris and known as the 5345: 3487: 3471: 3411:

Carman's "The Last Room. From the Departure of Pierrot" appeared originally in the August 1899 number of

3141: 6923: 6502: 4851: 3517: 3460: 2901: 1224: 414: 5299:"'Give a man a mask and he'll tell the truth': Arnold Schoenberg, David Bowie, and the mask of Pierrot" 4704: 4686: 2307:

Pedrolino's Great Victory against the Doctor Gratiano Scatolone, for Love of the Beautiful Franceschina

2134: 1711: 1487: 1031: 583: 197: 4732: 3504: 3184: 6356: 5521: 5488: 5336: 5237:

La pantomime moderne, conférence prononcé le 19 janvier 1913, dans la salle de l'Université Populaire

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See Lawner; Kellein; also the plates in Palacio, and the plates and tailpieces in Storey's two books.

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Pierrots on the stage of desire: nineteenth-century French literary artists and the comic pantomime

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For an exhaustive account of the Hanlons' appearances in America (and elsewhere), see Mark Cosdon,

3137: 3055:, pp. 182–188, 217–222; on the influence of Huysmans/Hennique on Laforgue's pantomime, see Storey, 1701:: "Although this pantomime of life is passing fine,/Who would be happy must not marry Columbine"). 1466: 1397: 1293: 1039: 707: 670: 460: 436: 2970:

On the Folies-Nouvelles, Legrand's pantomime, and Champfleury's relationship to both, see Storey,

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For a full discussion of the connection of all these writers with Deburau's Pierrot, see Storey,

2560: 2033: 1912: 1772:. It would set the stage for the later and greater triumphs of Pierrot in the productions of the 1096:'s 1783 "Masquerade" (in which Mozart himself took the role of Harlequin and his brother-in-law, 891: 1213: 740: 737:(1816–1898; see photo at top of page). He began appearing at the Funambules as Pierrot in 1845. 320:(1665). In 1673, the Comédie-Italienne made its own contribution to the Don Juan legend with an 6867: 6818: 6707: 6216: 6047: 5878: 5360: 5283: 5256: 5171: 5139: 5118: 5080: 5000: 4961: 4920: 4894: 4875: 4831: 4808: 4719: 4673: 4654: 4571: 4541: 4522: 4494: 4468: 4440: 4374: 4362: 4348: 4279: 4259: 4217: 4198: 4074: 4048: 4021: 4002: 3983: 3946: 3927: 3276: 3120: 2917: 2850: 2799: 2535: 2527: 2491: 2484: 2460: 2439: 2435: 2248: 2094: 2063: 2032:(1906), called by one theater-historian "the greatest example of the harlequinade in Russia". 1996: 1894: 1727: 1555: 1525: 1336:'s Faust. Still others among their countrymen simply sidestepped the issue of naturalization: 1023: 860: 688: 559: 246: 39: 5324:

Deshmukh, Madhuri (2004). "Langston Hughes as Black Pierrot: a transatlantic game of masks".

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La Commedia dell'Arte, ou le théâtre des comédiens italiens des XVI, XVII & XVIII siècles

4416: 3707:"Pierrot was Faulkner's fictional representation of his fragmented state": Sensibar, p. xvii. 2506: 2478: 2472: 2425:; then I find a blind man ....". MS of the Opéra (Paris), II, 177; cited in Klingler, p. 154. 6913: 6902: 6791: 6571: 6535: 6525: 6269: 6196: 6160: 6132: 6085: 5963: 5679: 5437: 5408: 5310: 5223: 5188:: 5 (this journal-length article is a translated condensation of Švehla's book-length study 5101: 4751: 4510:

Deburau, histoire du Théâtre à Quatre Sous pour faire suite à l'histoire du Théâtre-Français

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was released in 2014; and in 2011 Dodé published the first volume of his projected trilogy,

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things, from spiritual perfection to death (Giraud, Laforgue, Willette, Dowson); the frail,

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The Opera Quotannis production (with Christine Schadeberg) was premiered in 1995; Tetley's

3742:, in pedagogical sources, or in specialized research studies, the overwhelming reaction to 2688: 2404: 2379: 2375: 2180: 1919:-like clown wears the heart of Pierrot, is often argued to have attained the same stature. 1300:'s story "What the Moon Saw" as part of a benefit performance for theater artists in need. 694:

The Funambules Pierrot appealed to audiences in the faery-tale style which incorporate the

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Sad Clowns and Pale Pierrots: Literature and the Popular Comic Arts in 19th-Century France

4338: 4305: 4161: 3847: 3735: 2854: 2446:(1691) in the Gherardi collection. A translated excerpt from the scene appears in Storey, 2222: 2082: 2078: 2070: 2015: 1939: 1908: 1899: 1883: 1836: 1559: 1101: 864: 790: 730: 545: 452: 382: 360: 340: 277: 189: 176: 4387: 995: 975: 951: 840: 821: 674: 5184:Švehla, Jaroslav (1977). "Jean Gaspard Deburau: the immortal Pierrot". Tr. Paul Wilson. 4556: 4151: 4124: 4105: 3077:

For posters by Willette, Chéret, and many other late 19th-century artists, see Maindron.

555: 6963: 6938: 6515: 6446: 6361: 6274: 5546: 5249: 5133: 5074: 4824: 4765: 4367: 4183: 4064: 3365: 3214: 3116: 2025: 2000: 1827: 1773: 1765: 1660: 1608: 1501: 1448: 1386: 1317: 1250: 1150: 1077: 1063: 987: 963: 923: 899: 848: 825: 642: 606: 541: 537: 533: 410: 5348:

Mimes et Pierrots: notes et documents inédits pour servir à l'histoire de la pantomime

1730:, the Nicaraguan poet widely acknowledged as the founder of Spanish-American literary 7018: 6997: 6973: 6918: 6750: 6712: 6697: 6658: 6173: 5972: 5942: 5868: 5853: 5720: 5705: 5449: 4954: 4593: 4455: 4342: 4166: 3739: 3618: 3180: 2513:

in the Gherardi collection. A translated excerpt from this scene appears in Storey,

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worked his magic on the figure, would Pierrot be comfortably naturalized in America.

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put cheeky young men into Pierrot costumes to ape their complacent burgher elders in

1179: 1175: 1141: 1059: 1047: 1015: 1003: 931: 887: 868: 794: 752: 744: 618: 517: 440: 262: 17: 4102:

Les spectacles de la Foire ...: documents inédits recueillis aux archives nationales

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The Commedia dell'Arte of Flaminio Scala: a translation and analysis of 30 scenarios

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in the Gherardi collection. A translated excerpt from this scene appears in Storey,

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Sarabia, Rosa (Fall 1987). "Dario y Lugones: dos visiones modernistas de Pierrot".

5020: 4439:. Translated by Richter, Gregory C. Kirksville, MO: Truman State University Press. 4173: 4144: 3051:

On the influence of the Hanlons on Goncourt and Huysmans and Hennique, see Storey,

2546:), both in the Gherardi collection. Translations of these scenes appear in Storey, 2403:(albeit without its Pierrot) and the inspiration for Molière's play. See Fournier, 2159: 2155: 2110: 2011: 1951: 1947: 1786: 1624: 1612: 1593: 1573: 1402: 1391: 1367: 1337: 1278: 1253:, resolved to create a troupe of English Pierrot entertainers, and called them the 1145: 1097: 1076:, which appeared between 1888 and 1889, then again in 1891). In the realm of song, 955: 734: 718: 575: 513: 44: 5441: 904: 295:

Pierrot is sometimes said to be a French variant of the sixteenth-century Italian

2953:

Many reviewers of his pantomimes make note of this tendency: see, e.g., Gautier,

1683:

and a driving force behind the conception and theatrical realization of Dowson's

1465:

by New York's Metropolitan Opera Company in 1909, and was premiered as a film by

813:, 1890–1911. Theatre Collection of the New York Public Library at Lincoln Center. 6766: 6745: 6702: 6648: 6520: 6482: 6454: 6431: 6376: 6298: 5985: 5921: 5873: 5848: 5700: 5629: 5624: 5619: 5604: 4611: 4507: 4214:

The Hanlon Brothers: from daredevil acrobatics to spectacle pantomime, 1833–1931

4109: 3780:

For direct access to these works, go to the footnotes following their titles in

2318: 2090: 1879: 1819: 1550: 1529: 1440: 1171: 879: 699: 622: 590: 496: 258: 5412: 4637:. With The Hilliard Ensemble, Red Byrd, Juice, Ebor Singers & Paul Gameson 4244: 6958: 6907: 6607: 6589: 6371: 6351: 6292: 6264: 6206: 6201: 6121: 6062: 6024: 5715: 5584: 4795:

Nye, Edward (2016): "The pantomime repertoire of the Théâtre des Funambules",

3759: 3450:

It also contains a short tale of Pierrot by Paul Leclercq, "A Story in White".

3360: 2913: 2777: 2310: 2298: 2261: 1916: 1706: 1309: 1270: 935: 311: 205: 4891:

Pertwee's promenades and Pierrots: one hundred years of seaside entertainment

714:

Pantomime after Baptiste: Charles Deburau, Paul Legrand, and their successors

6968: 6872: 6806: 6635: 6626: 6581: 6566: 6288: 6259: 6168: 6150: 6145: 6016: 6012: 5990: 5937: 5916: 5888: 5863: 5808: 5710: 5634: 5589: 5574: 5564: 5463: 5380: 5207:

L'influence du symbolisme français sur la poésie américaine (de 1910 à 1920)

5017:

Il teatro delle favole rappresentative. New York: New York University Press.

2317:

below), but he is very rarely pugnacious (as he is in the pantomimes of the

2314: 2197: 2149: 2139: 2109:. Pierrot is aptly honored in the title of a song by the British rock-group 2098: 1955: 1935: 1808: 1731: 1589: 1493: 1436: 1332:(1892, first pub. 1984), respectively—by linking his fortunes with those of 1274: 1266: 1204:(1887) offered a definitive portrait of the poet-dreamer. The choreographer 1121: 859:

was founded in 1888, and Pierrot (sometimes played by female mimes, such as

582:(1798) is an early—and highly successful—example of the introduction of the 501: 296: 254: 231: 227: 219: 193: 4457:

The triumph of Pierrot: the Commedia dell'Arte and the modern imagination.

2614:

These developments occurred in 1707 and 1708, respectively; see Bonnassies.

2018:, who conceived the character, in Chaplin's words, as "a sort of Pierrot". 1245:, and various writers referenced him in their poetry. Ethel Wright painted 4333:. Translated by Weaver, Randolph T. London: George G. Harrap and Co., Ltd. 4272:

Dick, Daniella (2013). "'Marked you that?': Stephen Dedalus, Pierrot". In

3086:

For a full discussion of Verlaine's many versions of Pierrot, see Storey,

2279:: MS 13736, Bibliothèque de l'Opéra, Paris, I, 113; cited and tr. Nicoll, 532:

In 1800, a troupe of Italian players led by Pasquale Casorti performed in

6953: 6943: 6928: 6717: 6464: 6416: 6336: 5903: 5858: 4233:

Luigi Riccoboni dit Lélio (un apôtre de l'art du théâtre au XVIII siècle)

4152:

Champfleury (Jules-François-Félix Husson, called Fleury, called) (1859).

3924:

Madder music, stronger wine: the life of Ernest Dowson, poet and decadent

2417: 2215:"Waiting for Bowie, and finding a genius who insists he's really a clown" 1258: 1166:

depicted a grinning Pierrot who witnesses an unromantic backstage scene (

1085: 703: 316: 304: 214: 4691:. Introduction by William Dean Howells. New York: Harper & Brothers. 3771:"... s one of the greatest ballets remains unassailed": Robert, p. 231. 1847:), and, most importantly, Crispin (in "The Comedian as the Letter C" ). 1811:

in the arts. He was a key figure in every art-form except architecture.

6826: 6776: 6548: 6386: 6284: 6188: 6113: 6104: 6020: 5883: 5569: 4863:

Le Théâtre des Funambules, ses mimes, ses acteurs et ses pantomimes ...

4629:

Marsh, Roger (2007b). "The translations". In booklet accompanying CDs:

1886:, again an avatar of his own creator, also shares the same parentage). 1750:

In the last year of the century, Pierrot appeared in a Russian ballet,

1262: 621:, both of whom also showed strong sympathy with the lives of traveling 614: 365:

Gilles (or Pierrot) and Four Other Characters of the Commedia dell'Arte

238: 5315: 5298: 4788:

Nye, Edward (2015-2016): "The romantic myth of Jean-Gaspard Deburau".

3867:

Klee's portrait dates from 1924; Stevenson is the author of the novel

3027: 2062:

in 1884 were set to music several times. The best known version is by

922:(1881) after seeing them perform at the Folies Bergère (and, in turn, 890:

especially, who wrote glowingly of them—were captivated by their art.

491:

As early as 1673, just months after Pierrot had made his debut in the

6492: 6254: 6231: 5730: 5599: 5594: 5497: 2106: 1333: 1093: 587: 549: 5392:

Miming modernity: representations of Pierrot in fin-de-siècle France

5200:. Revised and enlarged edition. New York: E.P. Dutton & Company. 4614:(2007a). "'A multicoloured alphabet': rediscovering Albert Giraud's 2331:

He appears in forty-nine of the fifty scenarios in Flaminio Scala's

2196:; for his image in the art of the Modernists, see, for example, the 1477:(1900), was written by Fernand Beissier, one of the founders of the 1292:

Pierrot's mask claimed the attention of the great theater innovator

5761: 5155:

Mime, Mask & Marionette: A Quarterly Journal of Performing Arts

4985:

Mime, mask & marionette: a quarterly journal of performing arts

3746:

has been an awestruck veneration of its originality": Dunsby, p. 1.

3668:

Lecture at the Italian Institute in London, 1950; cited in Storey,

303:, often acts with cunning and daring. an engine of the plot in the 6877: 6692: 6421: 6279: 6008: 5537: 4767:

The world of Harlequin: a critical study of the commedia dell'arte

2292: 2144: 1790: 1362: 1223: 835: 816: 804: 784: 739: 722: 717: 669:(1796–1846), the most famous Pierrot ever. He was immortalized by 637: 554: 521: 392: 377: 355: 300: 272: 223: 55: 5500:

Pantomime: the history and metamorphosis of a theatrical ideology

3119:, whom he admired, to this list. He probably would have excluded 3102:, p. 213. The score, which is fragmentary, exists as K. 446. 1154:(1892), the first animated movie and the first hand-colored one. 6799: 5833: 5023:(Jean-François-Maurice-Arnauld, Baron Dudevant, called) (1915). 4670:

Gli Sticotti: comici italiani nei teatri d'Europa del Settecento

4278:. Gainesville, FL: University Press of Florida. pp. 69–80. 2957:, October 15, 1855; July 28, 1856; August 30, 1858; tr. Storey, 2101:; fiction-writers, such as Helen Stevenson; filmmakers, such as 1568:(1894–98), which featured a story about Pierrot by the aesthete 1497:, has found a secure place in the standard musical repertoire). 6856: 6324: 5821: 5765: 5510: 3617:"Pierrot-like tone": Taupin, p. 277. Cf. the words of critic 2983:

On late 19th-/early 20th-century French pantomime, see Bonnet,

1995:), which nourished the careers of such important Modernists as 1401:(1895), in a Pierrot costume. In a similar spirit, the painter 1344:(1893) directly from his encounter with the exclusively French 6408: 5466:

Maurice Farina, mime, archiviste et collectionneur (1883-1943)

4781:

Nye, Edward (2014): "Jean-Gaspard Deburau: romantic Pierrot".

3871:(London: Sceptre, 1995); Bruce LaBruce's Canadian/German film 2908:. Princeton University Press. 14 July 2014. pp. 105–126. 2752: 2271: 2179:

Janin called Deburau's Pierrot "the people among the people" (

613:(1793). It foreshadows the work of such Spanish successors as 136: 115: 78: 4956:

Art as spectacle: images of the entertainer since Romanticism

4568:

Harlequin on the moon: commedia dell'arte and the visual arts

4558:

Die Comédie-Italienne in Paris nach der Sammlung von Gherardi

3402:

See reproductions (in poster form) in Margolin, pp. 110, 111.

5097:. Introduction et notes par Gustave Fréjaville. Paris: Plon. 4852:

Parfaict, François and Claude, and Godin d'Abguerbe (1767).

4398:

Histoire de l'art dramatique en France depuis vingt-cinq ans

3781: 3383:"A Chronological Outline of the Hanlon Brothers, 1833-1931". 2819:, pp. 7–35, and Nye (2014), Nye (2015-2016), and Nye (2016). 1269:. They inspired the Will Morris Pierrots, named after their 435:

Pierrot also appeared in the visual arts and in folksongs ("

2192:

On Pierrot in the art of the Decadents and Symbolists, see

1903:

at the very pinnacle of high-modernist achievement. And in

327:

Among the French dramatists writing roles for Pierrot were

310:

His origins among the Italian players in France go back to

148: 139: 124: 118: 81: 5385:. Unpub. Ph.D. diss., University of California, San Diego. 4512:. 1832. Rpt. in 1 vol., Paris: Librairie des Bibliophiles. 424:

In the 1720s, Pierrot came into his own. In plays such as

261:: "I'm Everyman") still adheres to the "sad clown" in the 5506: 4483:

Notes et souvenirs sur le Théâtre-Italien au XVIII siècle

4274:

Ferrer, Daniel, Sam Slote, and André Topia, eds. (2013).

3634:). Eliot read these words in his 1908 edition of Symons' 1558:, a creature who quickly found his home in the so-called 1532:, and three years later he published his only pantomime: 1528:

wrote rapturously in his journal of a performance of the

593:(Pierrot is a member of the audience watching the play). 5394:. Unpub. Master's thesis, Southern Methodist University. 4826:

Pierrot fin-de-siècle, ou, Les métamorphoses d'un masque

2193: 1469:

in 1914. Its libretto, like that of Monti's "mimodrama"

1277:

area in the late 1890s and played to large audiences in

404:, between 1776 and 1780. The Wallace Collection, London. 4538:

Gustav Klimt, art nouveau, and the Vienna secessionists

4344:

Schoenberg: Pierrot Lunaire (Cambridge Music Handbooks)

3888:

The character made his first appearance in issue #676:

3575:

This is the case in many works by minor writers of the

2395:

This was its second such contribution, the first being

2378:, provides the information for this paragraph. "If, as 4216:. Carbondale, IL: Southern Illinois University Press. 2201: 1058:) turned him into a pathetic and alcoholic "phantom"; 863:) dominated its productions until its demise in 1898. 5428:

Sund, Judy (2016). "Why so sad? Watteau's Pierrots".

5015:

Scenarios of the Commedia dell'Arte: Flaminio Scala's

2601:, he appears only once—in Delisle de la Drévetière's 2399:(The Stone Guest, 1658), which was the basis for the 1360:(1900) in the birthplace of Pierrot's comedy, Italy. 1257:

who, as late as the 1950s, performed on the piers of

601:

The penetration of Pierrot and his companions of the

157: 130: 90: 4983:

Rolfe, Bari (1978). "Magic century of French mime".

3278:

How We Met—Edward Gordon Craig and Martin Shaw

1975:, Pierrot was a regular fixture in the plays of the 1324:

made an effort to naturalize Pierrot—in their plays

145: 133: 121: 112: 75: 7034:

Fictional characters introduced in the 17th century

6817: 6790: 6759: 6736: 6680: 6657: 6634: 6625: 6598: 6580: 6557: 6534: 6501: 6473: 6445: 6407: 6344: 6335: 6247: 6187: 6159: 6130: 6112: 6103: 6078: 6038: 5999: 5971: 5962: 5930: 5902: 5841: 5832: 5693: 5652: 5557: 5399:Pedneault-Deslauriers, Julie (2011). "Pierrot L.". 5383:

The music and social politics of Pierrot, 1884-1915

4407:. 6 vols. Amsterdam: Michel Charles le Cene. Vols. 1352:(1899), unapologetically, in a fabulous Paris; and 142: 109: 72: 27:

Stock character of pantomime and commedia dell'arte

5484:. Unpub. doc. diss., University of the Free State. 5422:Pierrot et les artistes: mémoires de l'Ami Pierrot 5248: 4953: 4823: 4764: 4366: 4182: 4165: 4063: 3364:that were closely modeled on the Pierrot poems of 2636:Both in Piron, IV; Storey translates a scene from 2162:character originating in German travelling theater 1807:Pierrot played a seminal role in the emergence of 634:Pantomime of Deburau at the Théâtre des Funambules 4917:The great parade: portrait of the artist as clown 4771:. Cambridge, England: Cambridge University Press. 4131:Carr, Andrew T. (March 1956). "Pierrot Grenade". 3971:Les spectacles forains et la Comédie-Française .. 3850:) was first performed in 1962; Koestenbaum's ten 1312:introduced him enthusiastically into his playlet 1100:, that of Pierrot), and the "Pierrot" section of 249:turned him into a disillusioned foe of idealism; 241:to become an avatar of the disenfranchised. Many 230:(who usually breaks his heart and leaves him for 4911:. Pub. Pierre Dufay. 10 vols. Paris: F. Guillot. 3892:(2008); he resumed his role in ten other issues. 3166:Poem first published in December 1893 number of 2152:– a stock character of German travelling theater 389:, between 1716 and 1736. Musée du Louvre, Paris. 4714:Moore, Marianne (2005). Schulman, Grace (ed.). 4390:Etudes sur la vie et les oeuvres de Molière ... 4373:. Cambridge, Eng.: Cambridge University Press. 4045:Schoenberg and Kandinsky: an historic encounter 2779:Pjerrot fejrer 25 år jubilæum i Tivoli Friheden 1241:Pierrot figured prominently in the drawings of 245:found him amenable to their respective causes: 6804: 4960:. Columbia, MO: University of Missouri Press. 4189:in twentieth-century Russian theatre and drama 4119:. 2 vols. Paris: Berger-Levrault et C. Vols. 3368:do not allude to Pierrot by name. See Storey, 3244:"Pierrot Hero: The Memoirs of Clifford Essex". 2496:(1694). All appear in the Gherardi collection. 1768:, its dancers the members of St. Petersburg's 1740:The Eternal Adventure of Pierrot and Columbine 1667:and who compiled and translated the pieces in 938:(and which was celebrated by such denizens as 5777: 5675:The World Festival of Clowns in Yekaterinburg 5522: 5401:Journal of the American Musicological Society 5170:. Princeton, NJ: Princeton University Press. 5138:. Princeton, NJ: Princeton University Press. 5033:"Pierrot: a silent witness of changing times" 4872:Pierrot/Lorca: white carnival of black desire 4243:(1912). "The actor and the Über-Marionette". 4073:. Princeton, NJ: Princeton University Press. 3441:Summer issue, 1896; cited in Margolin, p. 37. 2315:"Shakespeare at the Funambules" and aftermath 1826:" (1915), owed its existence to the poems of 1192:1884) inspired generations of composers (see 946:Visual arts, fiction, poetry, music, and film 751:(pantomimes performed to off-stage songs) of 237:Pierrot's character developed from that of a 8: 5493:. Unpub. Master's thesis, Boston University. 5239:. Paris: Editions de l'Université Populaire. 4874:. Woodbridge, Suffolk, Eng.: Tamesis Books. 4104:. 2 vols. Paris: Berger-Levrault et C. Vol. 4037:(1997). "The fool as paradigm: Schoenberg's 3890:Batman R.I.P.: Midnight in the House of Hurt 763:Legrand left the Funambules in 1853 for the 5093:Séverin (Séverin Cafferra, called) (1929). 4258:. Stanford, CA: Stanford University Press. 3303:, n.p. (pp. 731-32, 742-44 in PDF download) 510:The Jealous Doctor; or, The Intriguing Dame 291:. National Gallery of Art, Washington, D.C. 6853: 6631: 6341: 6332: 6321: 6109: 5968: 5838: 5829: 5818: 5784: 5770: 5762: 5529: 5515: 5507: 5359:. Lexington, KY: French Forum Publishers. 5216:Publications of the English Goethe Society 4744:Bernardo Couto Castillo. Cuentos completos 4672:. Rome: Edizioni di storia e letteratura. 4584:Lesage, Alain-René, Dorneval (1724–1737). 4047:. Amsterdam: Harwood Academic Publishers. 3551: 3415:; it is reprinted (as "The Last Room") in 3346: 3334: 2687:" ... without the least proof": Fournier, 2068:Dreimal sieben Gedichte aus Albert Girauds 1893:, historians of modernism generally place 1178:also identified with the Zanni: the fifty 605:into Spain is documented in a painting by 5314: 5079:. Austin, TX: University of Texas Press. 5037:Voyages: Journal of Contemporary Humanism 4893:. Newton Abbot (Eng.): Westbridge Books. 4848:. 6 vols. Florence: Sansoni Antiquariato. 4347:. Cambridge: Cambridge University Press. 4311:CS1 maint: multiple names: authors list ( 4185:Pierrot in Petrograd: Commedia dell'Arte/ 3945:. Lanham, Maryland: The Scarecrow Press. 3518:"Posies out of rings, and other conceits" 3223:The Yellow Book, An Illustrated Quarterly 2902:"IV. Pierrot posthume: Théophile Gautier" 2798:The chief historian of the Funambules is 2724: 1760:(1900), its libretto and choreography by 5373:Larcher, Félix and Eugène, eds. (1887). 5303:Intersections: Canadian Journal of Music 4945:George Wague: le mime de la Belle Epoque 4919:. New Haven, CT: Yale University Press. 4485:. Pub. J.-E. Gueullette. Paris: E. Droz. 3605: 1643:, set to music by the American composer 1285:committed these performers to canvas in 38: 4997:Commedia dell'Arte: an actor's handbook 4854:Dictionnaire des théâtres de Paris ... 4651:La pantomime, théâtre mineur: 1880-1945 4454:Green, Martin & Swan, John (1993). 3805: 3793: 3782:Plays, playlets, pantomimes, and revues 3755: 3563: 3301:"Germanic Pantomime: Pierrot in Vienna" 3099: 2172: 2089:to the dramatic stage; dancers such as 2075:Thrice-Seven Poems from Albert Giraud's 2052:The fifty poems that were published by 2024:One of his earliest appearances was in 1695:Posies out of Rings: And Other Conceits 1212:in 1884 in collaboration with the poet 5685:Clandestine Insurgent Rebel Clown Army 4301: 4291: 2712: 2333:Il teatro delle favole rappresentative 2113:: "Thank You Pierrot Lunaire" (1969). 1348:; Rudolf Holzer set the action of his 801:, 1883. Bibliothèque Nationale, Paris. 5135:Pierrot: a critical history of a mask 5106:Portrait de l'artiste en saltimbanque 5095:L'Homme Blanc: souvenirs d'un Pierrot 5043:(winter): unpaginated. Archived from 4846:La Commedia dell'Arte, storia e testo 4792:, 44: 1 & 2 (Fall-Winter): 46-64. 4493:. Woodbridge, UK: The Boydell Press. 4018:Les 100 plus belles images de Pierrot 3858:(New York: Turtle Point Press, 2006). 2995:, pp. 253–315; and Rolfe, pp. 143–58. 2093:have choreographed it; poets such as 2059:Pierrot lunaire: Rondels bergamasques 2010:, a beloved early comic hero was the 331:, Claude-Ignace Brugière de Barante, 253:saw him as a lonely fellow-sufferer; 175: 7: 5491:The evolution of pantomime in France 5339:Pantomimes de Gaspard et Ch. Deburau 5198:The Symbolist Movement in literature 4653:. Paris: Presses Sorbonne nouvelle. 4645:. NMC Recordings: Cat. No. NMC D127. 4235:. Vol. 3 vols. Paris: L' Arche. 3826: 3111:Debussy may have added the operetta 2603:The Falcon and the Eggs of Boccaccio 2474:The Coquette, or The Ladies' Academy 2309:(1621)—the Zanni is shown thrashing 1195: 1080:set both Verlaine's "Pantomime" and 5480:Kreuiter, Allison Dorothy. (2007). 4797:Nineteenth century theatre and film 4595:Les affiches illustrées (1886–1895) 4491:Music theatre in Britain, 1960-1975 4465:Pennsylvania State University Press 3926:. London: Tauris Parke Paperbacks. 3760:Two Clowns: Pierrot meets Petrushka 2870:On the early Pierrots, see Storey, 2488:(Les Originaux, ou l'Italien, 1693) 2416:Harlequin Biancolelli's manuscript- 2194:Pantomime and late 19th-century art 1915:(1911), in which the traditionally 1824:The Love Song of J. Alfred Prufrock 1520:In 1895, the playwright and future 1134:Pierrot's Big Head/Pierrot's Tongue 771:Pantomime and late 19th-century art 7014:Commedia dell'arte male characters 4746:. México City: Factoría Ediciones. 4588:. 10 vols. Paris: Pierre Gandouin. 4369:Joe Grimaldi, his life and theatre 4231:Courville, Xavier de (1943–1958). 3028:"Pierrot fumiste (Jules Laforgue)" 2597:In the last (1753) edition of the 2056:(born Emile Albert Kayenbergh) as 1510:Portrait of Boy in Pierrot Costume 1069:The Imitation of Our Lady the Moon 960:The Swamp Flower: A Sad Human Head 845:Mardi gras (Pierrot and Harlequin) 725:: Charles Deburau as Pierrot, 1854 25: 5489:Levillain, Adele Dowling (1945). 4790:Nineteenth-century French studies 4778:(1753). 10 vols. Paris: Briasson. 4705:Millay, Edna St. Vincent (1921). 4540:. London: Flame Tree Publishing. 4437:Albert Giraud's "Pierrot lunaire" 3762:" by the Israeli Chamber Project. 3542:All collected in Muñoz Fernández. 2202:Works on canvas, paper, and board 1435:Canio's Pagliaccio in the famous 1316:(1895), and his fellow-Austrians 894:modeled his acrobat-mimes in his 867:even donned Pierrot's blouse for 447:), of Gillot's students Watteau ( 5745: 5744: 5643: 5117:. London: Hodder and Stoughton. 4737:. New York: G. P. Putnam's Sons. 4403:Gherardi, Evaristo, ed. (1721). 4400:. 6 vols. Paris: Edition Hetzel. 4396:Gautier, Théophile (1858–1859). 4329:Duchartre, Pierre-Louis (1929). 3962:Lesage et le Théâtre de la Foire 3655:of Ezra Pound; cited in Storey, 3636:Symbolist Movement in Literature 2887:, pp. 104, 110–112, and Storey, 2815:; on his pantomime, see Storey, 1964: 1663:, who consorted with the French 1273:founder. They originated in the 1132:; Ambroise-François Parnaland's 1126:Arrival of Pierrette and Pierrot 972:The Painter Aman-Jean as Pierrot 566:(1793). Museo del Prado, Madrid. 105: 68: 6301:(self styled captain, braggart) 5670:Clowns of America International 5025:The history of the harlequinade 5013:Salerno, Henry F., tr. (1967). 4742:Muñoz Fernández, Ángel (2001). 4709:. New York: Mitchell Kennerley. 4392:. Paris: Laplace, Sanchez et C. 4256:Mozart: a documentary biography 4195:McGill-Queen's University Press 4066:Wallace Stevens: the making of 3817:Cited in Green and Swan, p. 91. 3189:Silhouettes; and, London nights 2940:, August 30, 1858; tr. Storey, 2906:Pierrots on the Stage of Desire 2580:Courville, II, 104; Campardon, 809:Anon.: Poster for Hanlon-Lees' 387:Actors of the Comédie-Italienne 5228:10.1080/09593683.1997.11716298 5190:Deburau, nieśmiertelny Pierrot 4519:Pierrot: melancholie und maske 4145:10.1080/00086495.1956.11829678 3856:Best-Selling Jewish Porn Films 3583:(1888), summarized in Storey, 3581:The Belly and Heart of Pierrot 2674:Barberet, p. 155; tr. Storey, 2623:Barberet, p. 154; tr. Storey, 2486:The Eccentrics, or The Italian 2361:See the discussion in Storey, 2245:Harlequin, Emperor of the Moon 1991:, Blanche Jennings Thompson's 1803:Cultural references to Pierrot 1689: 1130:Pierrette's Amorous Adventures 781:Popular and literary pantomime 457:Italian Actors near a Fountain 1: 7009:Clever Zanni class characters 5442:10.1080/00043079.2016.1143752 5377:. Paris: Librairie Théàtrale. 5297:Carpenter, Alexander (2010). 5278:Baugé, Isabelle, ed. (1995). 5076:The origins of Faulkner's art 5062:Latin American Theatre Review 4687:Merrill, Stuart, tr. (1890). 4090:Popular Entertainment Studies 4043:Boehmer, Konrad, ed. (1997). 3999:La pantomime noire: 1836-1896 3233:– via Internet Archive. 3225:. Vol. XIII. p. 121 3203:– via Internet Archive. 2811:On Deburau's life, see Rémy, 2483:(1692); Houdar de la Motte's 1862:(1920) and the verses of his 1421: 1410: 1375: 1340:took his inspiration for his 824:: Title-page of Hennique and 652: 493:Addendum to "The Stone Guest" 483:), features him prominently. 368: 285: 218:and derives from the Italian 48: 5073:Sensibar, Judith L. (1984). 4979:. New York: Alfred A. Knopf. 4844:Pandolfi, Vito (1957–1969). 4718:. London: Penguin Classics. 4254:Deutsch, Otto Erich (1966). 4249:. London: William Heinemann. 4181:Clayton, J. Douglas (1993). 3978:Bonnet, Gilles, ed. (2008). 3488:"Pierrot at Berkeley Lyceum" 3472:"Mr. Sargent's Pupils Again" 2490:; and Brugière de Barante's 2123:Trinidad and Tobago Carnival 1962:—the list is very long (see 1878:, and another contends that 1416:) and swilling champagne in 1314:The Kissy-Face: A Columbiade 984:Pierrot Playing the Mandolin 322:Addendum to "The Stone Guest 317:Don Juan, or The Stone Guest 6805: 6672:Elderly martial arts master 6367:Hooker with a heart of gold 5132:Storey, Robert F. (1978a). 5027:. Philadelphia: Lippincott. 4909:Œuvres complètes illustrées 4907:Piron, Alexis (1928–1931). 4870:Peral Vega, Emilio (2015). 4716:The poems of Marianne Moore 4668:Meldolesi, Claudio (1969). 4631:Roger Marsh—Albert Giraud's 4605:American poster renaissance 4561:. Strassburg: K.J. Trübner. 4320:Disher, M. Willson (1925). 4041:and the modern artist". In 3696:Pierrot: a critical history 3683:Pierrot: a critical history 3670:Pierrot: a critical history 3657:Pierrot: a critical history 3393:"For a Jest's Sake" (1894). 3370:Pierrot: a critical history 3057:Pierrot: a critical history 2885:Pierrot: a critical history 2753:"Pjerrot i Tivoli Friheden" 2701:Pierrot: a critical history 2676:Pierrot: a critical history 2663:Pierrot: a critical history 2642:Pierrot: a critical history 2625:Pierrot: a critical history 2569:Pierrot: a critical history 2548:Pierrot: a critical history 2515:Pierrot: a critical history 2448:Pierrot: a critical history 2384:Pierrot: a critical history 2363:Pierrot: a critical history 2350:Pierrot: a critical history 1623:(1890), a volume of French 1200:below), and his verse-play 226:, often pining for love of 7050: 5424:. Paris: Sansot, Chiberre. 5413:10.1525/jams.2011.64.3.601 5375:Pantomimes de Paul Legrand 5326:The Langston Hughes Review 4977:The Borzoi book of ballets 4803:Oreglia, Giacomo (1968) . 4763:Nicoll, Allardyce (1963). 4758:. London: Harrap & Co. 4733:Muddiman, Bernard (1921). 4635:fifty rondels bergamasques 4536:Kerrigan, Michael (2015). 4481:Gueullette, T.-S. (1938). 4388:Fournier, Edouard (1885). 4020:. Paris: Musée Cointreau. 3969:Bonnassies, Jules (1875). 3960:Barberet, Vincent (1887). 3185:"Pierrot in Half-Mourning" 3148:(9th ed.). New York: 3127:, a theater score of 1855. 2045: 1800: 1554:of the French and English 1395:of his first "Lulu" play, 1231:: "The Death of Pierrot", 968:Pierrot with a White Pipe 962:); and in the canvases of 333:Antoine Houdar de la Motte 212:(Peter), using the suffix 29: 6863: 6852: 6331: 6320: 5828: 5817: 5799: 5739: 5641: 5544: 5468:. Unpub. Master's thesis. 5464:Driant, Pénélope (2012). 5355:Jones, Louisa E. (1984). 5337:Goby, Emile, ed. (1889). 5113:Stevenson, Helen (1995). 4822:Palacio, Jean de (1990). 4756:Masks, mimes and miracles 4649:Martinez, Ariane (2008). 4641:, Linda Hirst, Joe Marsh 4607:. New York: Castle Books. 4603:Margolin, Victor (1975). 4592:Maindron, Ernest (1896). 4570:. New York: H.N. Abrams. 4246:On the art of the theatre 4115:Campardon, Emile (1880). 4100:Campardon, Emile (1877). 3941:Andrews, Richard (2008). 3758:, p. 137; see also " 3150:E.P. Dutton & Company 2914:10.1515/9781400854820.105 2828:Nye (2016), p. 18, n. 12. 2459:See especially Regnard's 1822:'s "breakthrough work", " 1718:Central and South America 1679:and other members of the 1354:Karl Michael von Levetzow 1342:Pantomime of the Good Man 912:'s bible) and his friend 374:. Musée du Louvre, Paris. 5420:Sentenac, Paul. (1923). 5031:Sansone, Matteo (2017). 4915:Régnier, Gérard (2004). 4861:Péricaud, Louis (1897). 4555:Klingler, Oskar (1902). 4517:Kellein, Thomas (1995). 4154:Souvenirs des Funambules 3980:Pantomimes fin-de-siècle 3621:: "His laughter, which 3191:(2nd ed.). London: 2989:Pantomimes fin-de-siècle 2538:of Houdar de la Motte's 2462:Happy-Go-Lucky Harlequin 2297:Pedrolino scuffles with 2239:equivalent" of Pierrot ( 1989:Behind a Watteau Picture 1987:, Robert Emmons Rogers' 1845:Carlos Among the Candles 1841:Bowl, Cat and Broomstick 1534:The Whiteness of Pierrot 1046:). The mime "Tombre" of 465:Italian Actors in a Park 413:(1676–1741) and his son 32:Pierrot (disambiguation) 7029:Fictional French people 5660:World Clown Association 5346:Hugounet, Paul (1889). 5255:. New York: Doubleday. 5235:Wague, Georges (1913). 5196:Symons, Arthur (1919). 5166:Storey, Robert (1985). 4856:. Vol. 3. Paris: Rozet. 4735:The men of the nineties 4620:Twentieth-Century Music 4463:. University Park, PA: 4435:Giraud, Albert (2001). 4062:Buttel, Robert (1967). 4016:Bordet, Daniel (2003). 3997:Bonnet, Gilles (2014). 3964:. Nancy: P. Sordoillet. 3290:Vilain, pp. 69, 77, 79. 2599:Nouveau Théâtre Italien 2200:canvases reproduced in 2158:– a 17th-century stock 2085:have brought Pierrot's 1981:Edna St. Vincent Millay 1977:Little Theatre Movement 1726:, especially Verlaine, 1722:Inspired by the French 1712:Bernardo Couto Castillo 1673:William Theodore Peters 1639:(1893), a pantomime by 1453:L'Histoire d'un Pierrot 1298:Hans Christian Andersen 954:; in the engravings of 7004:Zanni class characters 6399:Manic Pixie Dream Girl 5823:By ethics and morality 5498:Toepfer, Karl (2019). 4975:Robert, Grace (1946). 4952:Ritter, Naomi (1989). 4943:Rémy, Tristan (1964). 4934:Rémy, Tristan (1954). 4889:Pertwee, Bill (1979). 4805:The Commedia dell'Arte 4785:, 30:2 (May): 107-119. 4700:. Paris: J. Schiffrin. 4696:Mic, Constant (1927). 4566:Lawner, Lynne (1998). 4489:Hall, Michael (2015). 4108:at Archive.org. Vol. 3854:poems appeared in his 3716:Green and Swan, p. 52. 2936:See, e.g., Gautier in 2739:Gyldendals encyklopædi 2507:Scene des remontrances 2397:Il Convitato di pietra 2302: 2247:(1684): see Gherardi, 2048:Pierrot lunaire (book) 1922:Students of modernist 1645:Laura Sedgwick Collins 1506:Vittorio Matteo Corcos 1382: 1283:Walter Westley Russell 1238: 916:wrote their pantomime 852: 833: 814: 802: 760: 726: 663:Théâtre des Funambules 658: 567: 405: 390: 375: 314:'s peasant Pierrot in 292: 60: 5381:Lee, Siu Hei (2018). 5350:. Paris: Fischbacher. 5209:. Paris: H. Champion. 5205:Taupin, René (1929). 4999:. London: Routledge. 4995:Rudlin, John (1994). 4783:New theatre quarterly 4508:Janin, Jules (1881). 4322:Clowns and pantomimes 4212:Cosdon, Mark (2010). 4156:. Paris: Lévy Frères. 3585:Pierrots on the stage 3323:Pierrots on the stage 3254:See Calvert, Pertwee. 3088:Pierrots on the stage 3053:Pierrots on the stage 3006:Pierrots on the stage 2993:Pierrots on the stage 2972:Pierrots on the stage 2959:Pierrots on the stage 2955:Le Moniteur Universel 2942:Pierrots on the stage 2938:Le Moniteur Universel 2889:Pierrots on the stage 2872:Pierrots on the stage 2859:Pierrots on the stage 2839:Pierrots on the stage 2817:Pierrots on the stage 2480:The Level-headed Girl 2296: 2066:, i.e., his Opus 21: 1870:of Faulkner's fellow- 1797:Pierrot and modernism 1685:Pierrot of the Minute 1675:, an acquaintance of 1451:. Costa's pantomime 1366: 1227: 1020:Pierrot and Columbine 1008:Grimaces and Miseries 896:The Zemganno Brothers 839: 820: 808: 788: 743: 721: 641: 580:The Topsy-Turvy World 558: 477:Jean-Honoré Fragonard 473:Pierrot and Harlequin 398:Jean-Honoré Fragonard 396: 381: 359: 337:Jean-François Regnard 276: 269:Origins: 17th century 42: 18:Pierrette (character) 5390:Norman, Ana (2021). 5251:Bob Dylan in America 5047:on 22 September 2020 4936:Jean-Gaspard Deburau 4799:, 43: 1 (May): 3-20. 4324:. London: Constable. 4241:Craig, Edward Gordon 3579:—e.g., Léo Rouanet, 3478:, February 16, 1894. 3418:"Ballads and Lyrics" 2991:; Martinez; Storey, 2813:Jean-Gaspard Deburau 2167:Notes and references 1753:Harlequin's Millions 1633:The Death of Pierrot 1617:William Dean Howells 1479:Cercle Funambulesque 1462:Cavalleria Rusticana 1445:Mario Pasquale Costa 1346:Cercle Funambulesque 1322:Richard Beer-Hofmann 1168:Blowing Cupid's Nose 926:wrote his pantomime 873:Pierrot the Murderer 857:Cercle Funambulesque 799:Pierrot the Murderer 680:Children of Paradise 667:Jean-Gaspard Deburau 648:Jean-Gaspard Deburau 30:For other uses, see 6613:Princess and dragon 6511:Princesse lointaine 6011:(servants, clowns: 5981:Gentleman detective 4626:(1: March): 97–121. 4521:. Munich: Prestel. 4133:Caribbean Quarterly 4035:Brinkmann, Reinhold 3922:Adams, Jad (2002). 3596:See Green and Swan. 3494:, December 8, 1893. 2477:(1691); Palaprat's 2380:Fournier points out 1897:'s 1912 song-cycle 1780:19th-century legacy 1637:Pierrot the Painter 1600:(1894) and Foote's 1598:Children's Carnival 1475:A Clown's Christmas 1467:Baldassarre Negroni 1407:Pierrots with Pipes 1381:. Location unknown. 1372:Pierrots with Pipes 1304:Austria and Germany 1294:Edward Gordon Craig 1190:Moonstruck Pierrot, 1036:Pierrot and the Cat 919:Pierrot the Skeptic 830:Pierrot the Skeptic 671:Jean-Louis Barrault 461:Jean-Baptiste Oudry 445:Master André's Tomb 437:Au clair de la lune 6898:Identity formation 6688:American mappillai 6600:Damsel in distress 6382:Magical girlfriend 6287:(wealthy old men, 5665:Clown Conservatory 5473:2012-05-07 at the 4991:(3: fall): 135-58. 4830:. Paris: Séguier. 4363:Findlater, Richard 4331:The Italian Comedy 4304:has generic name ( 4001:. Paris: Hermann. 3973:. Paris: E. Dentu. 3846:2015-10-08 at the 2985:La pantomime noire 2493:The False Coquette 2436:Act III, scene iii 2346:Le Théâtre Italien 2303: 2221:2017-12-27 at the 2135:Commedia dell'arte 2034:Vsevolod Meyerhold 1649:The New York Times 1457:Story of a Pierrot 1383: 1239: 1208:staged the ballet 1090:Burlesque Overture 1032:Théophile Steinlen 928:Pierrot the Cut-Up 898:(1879) upon them; 892:Edmond de Goncourt 853: 834: 815: 803: 761: 727: 659: 584:commedia dell'arte 568: 406: 391: 376: 293: 243:cultural movements 198:commedia dell'arte 61: 6991: 6990: 6987: 6986: 6868:Adolescent clique 6848: 6847: 6844: 6843: 6840: 6839: 6621: 6620: 6357:Farmer's daughter 6326:By sex and gender 6316: 6315: 6312: 6311: 6308: 6307: 6099: 6098: 5958: 5957: 5879:Mythological king 5759: 5758: 5316:10.7202/1006375ar 5282:. Paris: Cicero. 5262:978-0-385-52988-4 5102:Starobinski, Jean 4938:. Paris: L'Arche. 4752:Nicoll, Allardyce 4633:Pierrot lunaire, 4547:978-1-78361-608-4 4285:978-0-8130-4245-9 4112:at Gallica Books. 3829:, pp. 72–77. 3337:, pp. 17–18. 3168:Harper's Magazine 3121:Jacques Offenbach 3017:See Cosdon, p.49. 2923:978-1-4008-5482-0 2665:, p. 54, note 31. 2638:Trophonius's Cave 2565:Level-Headed Girl 2468:The Wayward Girls 2440:Eustache Le Noble 2095:Wayne Koestenbaum 2064:Arnold Schoenberg 1895:Arnold Schoenberg 1585:Munsey's Magazine 1526:Jacinto Benavente 1500:The portrait and 1330:Pierrot-Hypnotist 1326:Pierrot-Hunchback 1247:Bonjour, Pierrot! 1202:Pierrot-Narcissus 1044:The Black Pierrot 1028:Pierrot's Embrace 1024:Guillaume Seignac 1012:The Saltimbanques 560:Francisco de Goya 426:Trophonius's Cave 202:Comédie-Italienne 16:(Redirected from 7041: 6914:Little green men 6903:Imaginary friend 6854: 6810: 6632: 6572:Mammy stereotype 6526:Yamato nadeshiko 6342: 6333: 6322: 6197:Bug-eyed monster 6161:Social Darwinist 6110: 6086:Good cop/bad cop 5969: 5839: 5830: 5819: 5793:Stock characters 5786: 5779: 5772: 5763: 5748: 5747: 5680:Loldiers of Odin 5647: 5531: 5524: 5517: 5508: 5453: 5430:The Art Bulletin 5416: 5370: 5333: 5320: 5318: 5293: 5266: 5254: 5240: 5231: 5210: 5181: 5162: 5149: 5128: 5109: 5108:. Geneva: Skira. 5090: 5069: 5056: 5054: 5052: 5010: 4980: 4971: 4959: 4948: 4947:. Paris: Girard. 4939: 4930: 4904: 4885: 4841: 4829: 4818: 4772: 4770: 4759: 4747: 4729: 4701: 4689:Pastels in prose 4683: 4664: 4608: 4599: 4598:. Paris: Boudet. 4581: 4562: 4551: 4532: 4504: 4478: 4450: 4431:at Google Books. 4384: 4372: 4358: 4339:Dunsby, Jonathan 4334: 4325: 4316: 4309: 4303: 4299: 4297: 4289: 4269: 4250: 4236: 4227: 4208: 4192: 4177: 4171: 4168:My autobiography 4162:Chaplin, Charles 4148: 4139:(3/4): 281–314. 4097: 4084: 4072: 4058: 4031: 4012: 3993: 3974: 3965: 3956: 3937: 3908: 3899: 3893: 3886: 3880: 3865: 3859: 3836: 3830: 3824: 3818: 3815: 3809: 3803: 3797: 3791: 3785: 3778: 3772: 3769: 3763: 3753: 3747: 3732: 3726: 3725:Dick, pp. 69-80. 3723: 3717: 3714: 3708: 3705: 3699: 3692: 3686: 3679: 3673: 3666: 3660: 3649: 3643: 3615: 3609: 3603: 3597: 3594: 3588: 3573: 3567: 3561: 3555: 3549: 3543: 3540: 3534: 3533: 3531: 3529: 3514: 3508: 3501: 3495: 3485: 3479: 3469: 3463: 3457: 3451: 3448: 3442: 3439: 3433: 3432: 3430: 3428: 3409: 3403: 3400: 3394: 3391: 3385: 3379: 3373: 3356: 3350: 3344: 3338: 3332: 3326: 3319: 3313: 3310: 3304: 3297: 3291: 3288: 3282: 3270: 3264: 3261: 3255: 3252: 3246: 3241: 3235: 3234: 3232: 3230: 3211: 3205: 3204: 3202: 3200: 3193:Leonard Smithers 3177: 3171: 3165: 3162:Internet Archive 3159: 3157: 3134: 3128: 3109: 3103: 3097: 3091: 3084: 3078: 3075: 3069: 3066: 3060: 3049: 3043: 3042: 3040: 3038: 3032:www.laforgue.org 3024: 3018: 3015: 3009: 3002: 2996: 2981: 2975: 2968: 2962: 2951: 2945: 2934: 2928: 2927: 2898: 2892: 2891:, pp. 7, 74–151. 2881: 2875: 2868: 2862: 2848: 2842: 2835: 2829: 2826: 2820: 2809: 2803: 2796: 2790: 2789: 2788: 2786: 2774: 2768: 2767: 2765: 2763: 2749: 2743: 2734: 2728: 2722: 2716: 2710: 2704: 2697: 2691: 2685: 2679: 2672: 2666: 2651: 2645: 2634: 2628: 2621: 2615: 2612: 2606: 2595: 2589: 2582:Comédiens du roi 2578: 2572: 2557: 2551: 2536:Act III, scene i 2524: 2518: 2503: 2497: 2457: 2451: 2432: 2426: 2414: 2408: 2393: 2387: 2372: 2366: 2359: 2353: 2342: 2336: 2329: 2323: 2290: 2284: 2258: 2252: 2236: 2230: 2211: 2205: 2190: 2184: 2177: 2111:The Soft Machine 1960:Jacques Lipchitz 1876:Ernest Hemingway 1864:Vision in Spring 1856:William Faulkner 1814:With respect to 1669:Pastels in Prose 1654:Maxfield Parrish 1629:Paul Margueritte 1621:Pastels in Prose 1570:Percival Pollard 1560:little magazines 1426: 1423: 1415: 1412: 1380: 1377: 1255:seaside Pierrots 1243:Aubrey Beardsley 1229:Aubrey Beardsley 1040:Édouard Vuillard 992:A Carnival Night 940:Adolphe Willette 765:Folies-Nouvelles 657: 654: 611:Itinerant Actors 586:characters into 564:Itinerant Actors 481:A Boy as Pierrot 469:Philippe Mercier 402:A Boy as Pierrot 373: 370: 329:Jean de Palaprat 290: 287: 204:. The name is a 187: 186: 185: 179: 174: 168: 164: 160: 155: 154: 151: 150: 147: 144: 141: 138: 135: 132: 127: 126: 123: 120: 117: 114: 111: 104: 93: 88: 87: 84: 83: 80: 77: 74: 54:. Photograph by 53: 50: 21: 7049: 7048: 7044: 7043: 7042: 7040: 7039: 7038: 6994: 6993: 6992: 6983: 6859: 6836: 6813: 6786: 6755: 6738:Prince Charming 6732: 6728:Superfluous man 6723:Nice Jewish boy 6676: 6653: 6617: 6594: 6576: 6559:Lady-in-waiting 6553: 6530: 6497: 6469: 6441: 6427:Fairy godmother 6403: 6327: 6304: 6243: 6183: 6155: 6126: 6095: 6074: 6053:Gentleman thief 6034: 6027: and 5995: 5954: 5926: 5898: 5824: 5813: 5795: 5790: 5760: 5755: 5754: 5735: 5689: 5648: 5639: 5553: 5540: 5535: 5475:Wayback Machine 5460: 5427: 5398: 5367: 5354: 5341:. Paris: Dentu. 5323: 5296: 5290: 5277: 5274: 5272:Further reading 5269: 5263: 5243: 5234: 5213: 5204: 5178: 5165: 5152: 5146: 5131: 5125: 5115:Pierrot Lunaire 5112: 5100: 5087: 5072: 5059: 5050: 5048: 5030: 5007: 4994: 4974: 4968: 4951: 4942: 4933: 4927: 4914: 4901: 4888: 4882: 4869: 4865:. Paris: Sapin. 4838: 4821: 4815: 4802: 4762: 4750: 4741: 4726: 4713: 4695: 4680: 4667: 4661: 4648: 4616:Pierrot Lunaire 4602: 4591: 4578: 4565: 4554: 4548: 4535: 4529: 4516: 4501: 4488: 4475: 4453: 4447: 4434: 4381: 4361: 4355: 4337: 4328: 4319: 4310: 4300: 4290: 4286: 4276:Renascent Joyce 4273: 4266: 4253: 4239: 4230: 4224: 4211: 4205: 4180: 4160: 4130: 4127:at Archive.org. 4087: 4081: 4061: 4055: 4042: 4039:Pierrot Lunaire 4028: 4015: 4009: 3996: 3990: 3982:. Paris: Kimé. 3977: 3968: 3959: 3953: 3940: 3934: 3921: 3917: 3912: 3911: 3901:From the album 3900: 3896: 3887: 3883: 3877:Pierrot Lunaire 3873:Pierrot Lunaire 3869:Pierrot Lunaire 3866: 3862: 3852:Pierrot Lunaire 3848:Wayback Machine 3837: 3833: 3825: 3821: 3816: 3812: 3804: 3800: 3792: 3788: 3779: 3775: 3770: 3766: 3754: 3750: 3733: 3729: 3724: 3720: 3715: 3711: 3706: 3702: 3693: 3689: 3680: 3676: 3667: 3663: 3650: 3646: 3628:Pierrot lunaire 3616: 3612: 3604: 3600: 3595: 3591: 3574: 3570: 3562: 3558: 3552:Peral Vega 2015 3550: 3546: 3541: 3537: 3527: 3525: 3516: 3515: 3511: 3502: 3498: 3486: 3482: 3470: 3466: 3458: 3454: 3449: 3445: 3440: 3436: 3426: 3424: 3416: 3410: 3406: 3401: 3397: 3392: 3388: 3380: 3376: 3357: 3353: 3347:Peral Vega 2015 3345: 3341: 3335:Peral Vega 2015 3333: 3329: 3320: 3316: 3311: 3307: 3298: 3294: 3289: 3285: 3271: 3267: 3262: 3258: 3253: 3249: 3242: 3238: 3228: 3226: 3215:Custance, Olive 3213: 3212: 3208: 3198: 3196: 3179: 3178: 3174: 3155: 3153: 3146:Collected Poems 3142:"After Watteau" 3136: 3135: 3131: 3113:Mon ami Pierrot 3110: 3106: 3098: 3094: 3085: 3081: 3076: 3072: 3067: 3063: 3050: 3046: 3036: 3034: 3026: 3025: 3021: 3016: 3012: 3003: 2999: 2982: 2978: 2969: 2965: 2952: 2948: 2935: 2931: 2924: 2900: 2899: 2895: 2882: 2878: 2869: 2865: 2849: 2845: 2836: 2832: 2827: 2823: 2810: 2806: 2797: 2793: 2784: 2782: 2776: 2775: 2771: 2761: 2759: 2751: 2750: 2746: 2735: 2731: 2723: 2719: 2711: 2707: 2698: 2694: 2686: 2682: 2673: 2669: 2652: 2648: 2635: 2631: 2622: 2618: 2613: 2609: 2596: 2592: 2579: 2575: 2561:Act I, scene ii 2558: 2554: 2525: 2521: 2505:See, e.g., the 2504: 2500: 2458: 2454: 2444:Harlequin-Aesop 2433: 2429: 2415: 2411: 2394: 2390: 2373: 2369: 2360: 2356: 2343: 2339: 2330: 2326: 2291: 2287: 2259: 2255: 2237: 2233: 2223:Wayback Machine 2212: 2208: 2191: 2187: 2178: 2174: 2169: 2131: 2119: 2083:Opera Quotannis 2079:Pierrot Players 2071:Pierrot lunaire 2050: 2044: 2041:Pierrot lunaire 2030:The Puppet Show 2016:Charlie Chaplin 1993:The Dream Maker 1940:Georges Rouault 1909:Igor Stravinsky 1900:Pierrot lunaire 1884:Stephen Dedalus 1860:The Marionettes 1837:Wallace Stevens 1832:"ton 'pierrot'" 1805: 1799: 1782: 1770:Imperial Ballet 1764:, its music by 1748: 1720: 1641:Alfred Thompson 1602:Five Bagatelles 1547: 1518: 1471:Noël de Pierrot 1433: 1424: 1413: 1389:introduced the 1378: 1306: 1222: 1210:Macabre Pierrot 1196:Pierrot lunaire 1185:Pierrot lunaire 1160: 1140:), but also in 1138:Pierrot-Drinker 1102:Robert Schumann 865:Sarah Bernhardt 791:Sarah Bernhardt 789:Atelier Nadar: 778: 773: 757:Charles Léandre 729:Deburau's son, 716: 655: 643:Auguste Bouquet 636: 631: 599: 573: 546:Tivoli Friheden 530: 489: 453:Nicolas Lancret 439:"). The art of 383:Nicolas Lancret 371: 361:Antoine Watteau 354: 349: 288: 278:Antoine Watteau 271: 190:stock character 182: 181: 180: 177:[pjɛʁo] 172: 166: 162: 158: 129: 108: 99: 98: 91: 71: 67: 59: 51: 35: 28: 23: 22: 15: 12: 11: 5: 7047: 7045: 7037: 7036: 7031: 7026: 7021: 7016: 7011: 7006: 6996: 6995: 6989: 6988: 6985: 6984: 6982: 6981: 6976: 6971: 6966: 6964:Tragic mulatto 6961: 6956: 6951: 6946: 6941: 6939:Shoulder angel 6936: 6931: 6926: 6921: 6916: 6911: 6910:("The Lovers") 6905: 6900: 6895: 6890: 6885: 6880: 6875: 6870: 6864: 6861: 6860: 6857: 6850: 6849: 6846: 6845: 6842: 6841: 6838: 6837: 6835: 6834: 6829: 6823: 6821: 6815: 6814: 6812: 6811: 6802: 6796: 6794: 6788: 6787: 6785: 6784: 6779: 6774: 6769: 6763: 6761: 6757: 6756: 6754: 6753: 6748: 6742: 6740: 6734: 6733: 6731: 6730: 6725: 6720: 6715: 6710: 6705: 6700: 6695: 6690: 6684: 6682: 6678: 6677: 6675: 6674: 6669: 6663: 6661: 6655: 6654: 6652: 6651: 6646: 6640: 6638: 6629: 6623: 6622: 6619: 6618: 6616: 6615: 6610: 6604: 6602: 6596: 6595: 6593: 6592: 6586: 6584: 6578: 6577: 6575: 6574: 6569: 6563: 6561: 6555: 6554: 6552: 6551: 6546: 6540: 6538: 6532: 6531: 6529: 6528: 6523: 6518: 6516:Southern belle 6513: 6507: 6505: 6499: 6498: 6496: 6495: 6490: 6485: 6479: 6477: 6471: 6470: 6468: 6467: 6462: 6457: 6451: 6449: 6447:Hawksian woman 6443: 6442: 6440: 6439: 6434: 6429: 6424: 6419: 6413: 6411: 6405: 6404: 6402: 6401: 6396: 6395: 6394: 6389: 6379: 6374: 6369: 6364: 6362:Girl next door 6359: 6354: 6348: 6346: 6339: 6329: 6328: 6325: 6318: 6317: 6314: 6313: 6310: 6309: 6306: 6305: 6303: 6302: 6296: 6282: 6277: 6275:Masked villain 6272: 6267: 6262: 6257: 6251: 6249: 6245: 6244: 6242: 6241: 6240: 6239: 6229: 6224: 6219: 6214: 6209: 6204: 6199: 6193: 6191: 6185: 6184: 6182: 6181: 6176: 6171: 6165: 6163: 6157: 6156: 6154: 6153: 6148: 6143: 6137: 6135: 6128: 6127: 6125: 6124: 6118: 6116: 6107: 6101: 6100: 6097: 6096: 6094: 6093: 6088: 6082: 6080: 6076: 6075: 6073: 6072: 6071: 6070: 6065: 6055: 6050: 6044: 6042: 6036: 6035: 6033: 6032: 6005: 6003: 5997: 5996: 5994: 5993: 5988: 5983: 5977: 5975: 5966: 5960: 5959: 5956: 5955: 5953: 5952: 5951: 5950: 5940: 5934: 5932: 5928: 5927: 5925: 5924: 5919: 5914: 5908: 5906: 5900: 5899: 5897: 5896: 5891: 5886: 5881: 5876: 5871: 5866: 5861: 5856: 5851: 5845: 5843: 5836: 5826: 5825: 5822: 5815: 5814: 5812: 5811: 5806: 5800: 5797: 5796: 5791: 5789: 5788: 5781: 5774: 5766: 5757: 5756: 5753: 5752: 5741: 5740: 5737: 5736: 5734: 5733: 5728: 5723: 5718: 5713: 5708: 5703: 5697: 5695: 5691: 5690: 5688: 5687: 5682: 5677: 5672: 5667: 5662: 5656: 5654: 5650: 5649: 5642: 5640: 5638: 5637: 5632: 5627: 5622: 5617: 5612: 5607: 5602: 5597: 5592: 5587: 5582: 5577: 5572: 5567: 5561: 5559: 5555: 5554: 5547:List of clowns 5545: 5542: 5541: 5536: 5534: 5533: 5526: 5519: 5511: 5505: 5504: 5495: 5486: 5477: 5459: 5458:External links 5456: 5455: 5454: 5425: 5418: 5396: 5387: 5378: 5371: 5365: 5352: 5343: 5334: 5321: 5294: 5288: 5273: 5270: 5268: 5267: 5261: 5241: 5232: 5211: 5202: 5193: 5182: 5176: 5163: 5150: 5144: 5129: 5123: 5110: 5098: 5091: 5085: 5070: 5057: 5028: 5018: 5011: 5005: 4992: 4981: 4972: 4966: 4949: 4940: 4931: 4925: 4912: 4905: 4899: 4886: 4881:978-1855662964 4880: 4867: 4858: 4849: 4842: 4836: 4819: 4813: 4800: 4793: 4786: 4779: 4773: 4760: 4748: 4739: 4730: 4724: 4711: 4702: 4693: 4684: 4678: 4665: 4660:978-2878544169 4659: 4646: 4627: 4609: 4600: 4589: 4582: 4576: 4563: 4552: 4546: 4533: 4527: 4514: 4505: 4500:978-1783270125 4499: 4486: 4479: 4473: 4451: 4445: 4432: 4401: 4394: 4385: 4379: 4359: 4353: 4335: 4326: 4317: 4284: 4270: 4264: 4251: 4237: 4228: 4223:978-0809329250 4222: 4209: 4203: 4178: 4158: 4149: 4128: 4113: 4098: 4085: 4079: 4059: 4053: 4032: 4026: 4013: 4008:978-2705688844 4007: 3994: 3989:978-2841744473 3988: 3975: 3966: 3957: 3951: 3938: 3932: 3918: 3916: 3913: 3910: 3909: 3894: 3881: 3860: 3831: 3819: 3810: 3808:, p. 145. 3798: 3796:, p. 224. 3786: 3773: 3764: 3748: 3727: 3718: 3709: 3700: 3687: 3674: 3661: 3653:Selected Poems 3644: 3640:introduced him 3610: 3598: 3589: 3587:, pp. 299–300. 3568: 3556: 3544: 3535: 3509: 3496: 3492:New York Times 3480: 3476:New York Times 3464: 3452: 3443: 3434: 3404: 3395: 3386: 3374: 3366:Jules Laforgue 3351: 3339: 3327: 3314: 3305: 3292: 3283: 3265: 3256: 3247: 3236: 3206: 3181:Symons, Arthur 3172: 3138:Dobson, Austin 3129: 3104: 3092: 3079: 3070: 3061: 3059:, p. 145, 154. 3044: 3019: 3010: 3008:, pp. 284–294. 2997: 2976: 2963: 2946: 2929: 2922: 2893: 2876: 2863: 2857:; tr. Storey, 2843: 2830: 2821: 2804: 2800:Louis Péricaud 2791: 2769: 2744: 2729: 2725:Findlater 1978 2717: 2715:, p. 135. 2705: 2692: 2680: 2667: 2661:; tr. Storey, 2646: 2629: 2616: 2607: 2590: 2573: 2563:of Palaprat's 2552: 2540:The Eccentrics 2528:Act I, scene v 2519: 2498: 2452: 2427: 2409: 2388: 2367: 2354: 2337: 2324: 2285: 2253: 2231: 2206: 2185: 2171: 2170: 2168: 2165: 2164: 2163: 2153: 2147: 2142: 2137: 2130: 2127: 2118: 2115: 2046:Main article: 2043: 2038: 2026:Alexander Blok 2003:, and others. 2001:Susan Glaspell 1997:Eugene O'Neill 1843:), Carlos (in 1828:Jules Laforgue 1801:Main article: 1798: 1795: 1781: 1778: 1774:Ballets Russes 1766:Riccardo Drigo 1747: 1744: 1719: 1716: 1671:. Another was 1661:Stuart Merrill 1619:, introducing 1609:Ambrose Bierce 1546: 1543: 1517: 1514: 1449:Vittorio Monti 1432: 1429: 1387:Frank Wedekind 1350:Puppet Loyalty 1318:Richard Specht 1305: 1302: 1251:Clifford Essex 1221: 1218: 1159: 1156: 1148:production of 1110:Georges Méliès 1078:Claude Debussy 988:Henri Rousseau 964:Georges Seurat 948: 947: 932:Impressionists 924:Jules Laforgue 905:Against Nature 900:J.-K. Huysmans 861:Félicia Mallet 849:Pushkin Museum 783: 782: 777: 774: 772: 769: 747:in one of the 715: 712: 689:Louis Péricaud 635: 632: 630: 627: 598: 595: 572: 569: 542:Tivoli Gardens 534:Dyrehavsbakken 529: 526: 488: 485: 449:Italian Actors 430:The Golden Ass 411:Fabio Sticotti 353: 350: 348: 345: 343:'s portraits. 282:Italian Actors 270: 267: 43: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 7046: 7035: 7032: 7030: 7027: 7025: 7024:French clowns 7022: 7020: 7017: 7015: 7012: 7010: 7007: 7005: 7002: 7001: 6999: 6980: 6977: 6975: 6974:Village idiot 6972: 6970: 6967: 6965: 6962: 6960: 6957: 6955: 6952: 6950: 6947: 6945: 6942: 6940: 6937: 6935: 6932: 6930: 6927: 6925: 6922: 6920: 6919:Magical Negro 6917: 6915: 6912: 6909: 6906: 6904: 6901: 6899: 6896: 6894: 6891: 6889: 6886: 6884: 6881: 6879: 6876: 6874: 6871: 6869: 6866: 6865: 6862: 6855: 6851: 6833: 6830: 6828: 6825: 6824: 6822: 6820: 6816: 6809: 6808: 6803: 6801: 6798: 6797: 6795: 6793: 6789: 6783: 6780: 6778: 6775: 6773: 6770: 6768: 6765: 6764: 6762: 6758: 6752: 6751:Knight-errant 6749: 6747: 6744: 6743: 6741: 6739: 6735: 6729: 6726: 6724: 6721: 6719: 6716: 6714: 6713:Little Johnny 6711: 6709: 6706: 6704: 6701: 6699: 6698:Ivan the Fool 6696: 6694: 6691: 6689: 6686: 6685: 6683: 6679: 6673: 6670: 6668: 6665: 6664: 6662: 6660: 6659:Father figure 6656: 6650: 6647: 6645: 6642: 6641: 6639: 6637: 6633: 6630: 6628: 6624: 6614: 6611: 6609: 6606: 6605: 6603: 6601: 6597: 6591: 6588: 6587: 6585: 6583: 6579: 6573: 6570: 6568: 6565: 6564: 6562: 6560: 6556: 6550: 6547: 6545: 6542: 6541: 6539: 6537: 6533: 6527: 6524: 6522: 6519: 6517: 6514: 6512: 6509: 6508: 6506: 6504: 6500: 6494: 6491: 6489: 6486: 6484: 6481: 6480: 6478: 6476: 6475:Woman warrior 6472: 6466: 6463: 6461: 6458: 6456: 6453: 6452: 6450: 6448: 6444: 6438: 6435: 6433: 6430: 6428: 6425: 6423: 6420: 6418: 6415: 6414: 6412: 6410: 6406: 6400: 6397: 6393: 6390: 6388: 6385: 6384: 6383: 6380: 6378: 6375: 6373: 6370: 6368: 6365: 6363: 6360: 6358: 6355: 6353: 6350: 6349: 6347: 6345:Love interest 6343: 6340: 6338: 6334: 6330: 6323: 6319: 6300: 6297: 6294: 6290: 6286: 6283: 6281: 6278: 6276: 6273: 6271: 6268: 6266: 6263: 6261: 6258: 6256: 6253: 6252: 6250: 6246: 6238: 6235: 6234: 6233: 6230: 6228: 6225: 6223: 6222:Swamp monster 6220: 6218: 6215: 6213: 6210: 6208: 6205: 6203: 6200: 6198: 6195: 6194: 6192: 6190: 6186: 6180: 6177: 6175: 6174:Mad scientist 6172: 6170: 6167: 6166: 6164: 6162: 6158: 6152: 6149: 6147: 6144: 6142: 6139: 6138: 6136: 6134: 6129: 6123: 6120: 6119: 6117: 6115: 6111: 6108: 6106: 6102: 6092: 6089: 6087: 6084: 6083: 6081: 6077: 6069: 6066: 6064: 6061: 6060: 6059: 6056: 6054: 6051: 6049: 6046: 6045: 6043: 6041: 6037: 6030: 6026: 6022: 6018: 6014: 6010: 6007: 6006: 6004: 6002: 5998: 5992: 5989: 5987: 5984: 5982: 5979: 5978: 5976: 5974: 5973:Lovable rogue 5970: 5967: 5965: 5961: 5949: 5946: 5945: 5944: 5943:Super soldier 5941: 5939: 5936: 5935: 5933: 5929: 5923: 5920: 5918: 5915: 5913: 5910: 5909: 5907: 5905: 5901: 5895: 5892: 5890: 5887: 5885: 5882: 5880: 5877: 5875: 5872: 5870: 5869:Knight-errant 5867: 5865: 5862: 5860: 5857: 5855: 5854:Christ figure 5852: 5850: 5847: 5846: 5844: 5840: 5837: 5835: 5831: 5827: 5820: 5816: 5810: 5807: 5805: 5802: 5801: 5798: 5794: 5787: 5782: 5780: 5775: 5773: 5768: 5767: 5764: 5751: 5743: 5742: 5738: 5732: 5729: 5727: 5724: 5722: 5721:Clown society 5719: 5717: 5714: 5712: 5709: 5707: 5706:Clown bicycle 5704: 5702: 5699: 5698: 5696: 5692: 5686: 5683: 5681: 5678: 5676: 5673: 5671: 5668: 5666: 5663: 5661: 5658: 5657: 5655: 5653:Organizations 5651: 5646: 5636: 5633: 5631: 5628: 5626: 5623: 5621: 5618: 5616: 5613: 5611: 5608: 5606: 5603: 5601: 5598: 5596: 5593: 5591: 5588: 5586: 5583: 5581: 5578: 5576: 5573: 5571: 5568: 5566: 5563: 5562: 5560: 5556: 5552: 5548: 5543: 5539: 5532: 5527: 5525: 5520: 5518: 5513: 5512: 5509: 5503: 5501: 5496: 5494: 5492: 5487: 5485: 5483: 5478: 5476: 5472: 5469: 5467: 5462: 5461: 5457: 5451: 5447: 5443: 5439: 5436:(3): 321–47. 5435: 5431: 5426: 5423: 5419: 5414: 5410: 5407:(3): 601–45. 5406: 5402: 5397: 5395: 5393: 5388: 5386: 5384: 5379: 5376: 5372: 5368: 5362: 5358: 5353: 5351: 5349: 5344: 5342: 5340: 5335: 5332:(fall): 4–13. 5331: 5327: 5322: 5317: 5312: 5308: 5304: 5300: 5295: 5291: 5285: 5281: 5276: 5275: 5271: 5264: 5258: 5253: 5252: 5246: 5245:Wilentz, Sean 5242: 5238: 5233: 5229: 5225: 5221: 5217: 5212: 5208: 5203: 5201: 5199: 5194: 5191: 5187: 5183: 5179: 5177:0-691-06628-0 5173: 5169: 5164: 5160: 5156: 5151: 5147: 5145:0-691-06374-5 5141: 5137: 5136: 5130: 5126: 5124:0-340-61823-X 5120: 5116: 5111: 5107: 5103: 5099: 5096: 5092: 5088: 5082: 5078: 5077: 5071: 5067: 5063: 5058: 5046: 5042: 5038: 5034: 5029: 5026: 5022: 5021:Sand, Maurice 5019: 5016: 5012: 5008: 5006:0-415-04770-6 5002: 4998: 4993: 4990: 4986: 4982: 4978: 4973: 4969: 4963: 4958: 4957: 4950: 4946: 4941: 4937: 4932: 4928: 4922: 4918: 4913: 4910: 4906: 4902: 4896: 4892: 4887: 4883: 4877: 4873: 4868: 4866: 4864: 4859: 4857: 4855: 4850: 4847: 4843: 4839: 4833: 4828: 4827: 4820: 4816: 4814:9780809005451 4810: 4806: 4801: 4798: 4794: 4791: 4787: 4784: 4780: 4777: 4774: 4769: 4768: 4761: 4757: 4753: 4749: 4745: 4740: 4738: 4736: 4731: 4727: 4725:0-14-303908-3 4721: 4717: 4712: 4710: 4708: 4703: 4699: 4694: 4692: 4690: 4685: 4681: 4675: 4671: 4666: 4662: 4656: 4652: 4647: 4644: 4640: 4636: 4632: 4628: 4625: 4621: 4617: 4613: 4610: 4606: 4601: 4597: 4596: 4590: 4587: 4583: 4579: 4577:0-8109-1194-9 4573: 4569: 4564: 4560: 4559: 4553: 4549: 4543: 4539: 4534: 4530: 4524: 4520: 4515: 4513: 4511: 4506: 4502: 4496: 4492: 4487: 4484: 4480: 4476: 4470: 4466: 4462: 4461: 4458: 4452: 4448: 4446:1-931112-02-9 4442: 4438: 4433: 4430: 4426: 4422: 4418: 4414: 4410: 4406: 4402: 4399: 4395: 4393: 4391: 4386: 4382: 4376: 4371: 4370: 4364: 4360: 4356: 4350: 4346: 4345: 4340: 4336: 4332: 4327: 4323: 4318: 4314: 4307: 4302:|author= 4295: 4287: 4281: 4277: 4271: 4267: 4261: 4257: 4252: 4248: 4247: 4242: 4238: 4234: 4229: 4225: 4219: 4215: 4210: 4206: 4200: 4196: 4191: 4190: 4186: 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p. 78. 3565: 3560: 3557: 3554:, p. 19. 3553: 3548: 3545: 3539: 3536: 3523: 3519: 3513: 3510: 3506: 3500: 3497: 3493: 3489: 3484: 3481: 3477: 3473: 3468: 3465: 3462: 3456: 3453: 3447: 3444: 3438: 3435: 3423: 3419: 3414: 3408: 3405: 3399: 3396: 3390: 3387: 3384: 3378: 3375: 3372:, pp. 156-67. 3371: 3367: 3363: 3362: 3355: 3352: 3348: 3343: 3340: 3336: 3331: 3328: 3324: 3318: 3315: 3312:Sansone, n.p. 3309: 3306: 3302: 3296: 3293: 3287: 3284: 3280: 3279: 3274: 3269: 3266: 3263:Craig, p. 89. 3260: 3257: 3251: 3248: 3245: 3240: 3237: 3224: 3220: 3216: 3210: 3207: 3194: 3190: 3186: 3182: 3176: 3173: 3169: 3163: 3152:. p. 476 3151: 3147: 3143: 3139: 3133: 3130: 3126: 3125:Pierrot Clown 3122: 3118: 3114: 3108: 3105: 3101: 3096: 3093: 3090:, pp. 230-52. 3089: 3083: 3080: 3074: 3071: 3065: 3062: 3058: 3054: 3048: 3045: 3033: 3029: 3023: 3020: 3014: 3011: 3007: 3001: 2998: 2994: 2990: 2986: 2980: 2977: 2973: 2967: 2964: 2960: 2956: 2950: 2947: 2943: 2939: 2933: 2930: 2925: 2919: 2915: 2911: 2907: 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Poster by 748: 735:Paul Legrand 731:Jean-Charles 728: 695: 693: 685: 678: 675:Marcel Carné 660: 646: 629:19th century 623:saltimbancos 610: 602: 600: 579: 576:Ludwig Tieck 574: 563: 540:, at nearby 531: 509: 492: 490: 480: 472: 464: 456: 448: 444: 434: 429: 425: 423: 419: 415:Antoine Jean 407: 401: 386: 364: 347:18th century 326: 321: 315: 309: 294: 281: 236: 213: 209: 63: 62: 47:as Pierrot, 45:Paul Legrand 36: 6924:Mole people 6767:Feral child 6649:Scaramouche 6521:Valley girl 6483:Jungle girl 6455:Dragon Lady 6432:La Ruffiana 6377:Loosu ponnu 6299:Il Capitano 5922:Tragic hero 5874:Legacy hero 5849:Action hero 5701:Clown alley 5630:Silly Billy 5625:Scaramouche 5309:(2): 5–24. 5280:Pantomimes 5068:(1): 75–83. 3623:Maeterlinck 3522:archive.org 3503:Muddiman, 3422:archive.org 3273:Martin Shaw 3117:Léo Delibes 2785:28 December 2762:28 December 2757:friheden.dk 2737:"Casorti", 2713:Disher 1925 2653:Campardon, 2559:See, e.g., 2532:La Coquette 2434:See, e.g., 2405:pp. 112-113 2319:Hanlon-Lees 2213:Jean Rook, 2091:Glen Tetley 1971:As for the 1965:Visual arts 1880:James Joyce 1820:T. S. Eliot 1728:Rubén Darío 1687:(1897; see 1631:pantomime, 1625:prose-poems 1551:Hanlon-Lees 1530:Hanlon-Lees 1441:Leoncavallo 1425: 1895 1414: 1900 1379: 1900 1328:(1896) and 1289:(c. 1900). 1214:Théo Hannon 1172:James Ensor 1092:(1717–22), 1074:The Pierrot 1056:Braves Gens 1052:Nice People 1000:Mardi gras 910:Dorian Gray 884:Naturalists 880:Hanlon-Lees 656: 1830 591:metatheater 497:Scaramouche 428:(1722) and 372: 1718 289: 1719 259:David Bowie 52: 1855 6998:Categories 6959:Town drunk 6908:Innamorati 6608:Final girl 6590:Gamer girl 6293:Il Dottore 6265:Folk devil 6207:Killer toy 6202:Evil clown 6122:False hero 6063:Air pirate 6025:Pulcinella 5716:Clown Care 5366:0917058488 5289:2908369176 5086:0292790201 4967:0826207197 4926:0300103751 4900:0715377949 4837:287736089X 4679:8884987687 4528:3791314351 4474:002545420X 4380:0521222214 4354:0521387159 4265:0713603798 4204:0773511369 4096:(1): 6–23. 4080:0691061378 4054:9057020467 4027:2952035113 3933:1860647146 3904:Volume Two 3736:Stravinsky 3361:T.S. Eliot 3115:(1862) by 2655:Spectacles 2374:Fournier, 2311:il Dottore 2299:il Dottore 2269: [ 2262:Pulcinella 2181:pp. 156-57 1917:Pulcinella 1868:Nick Adams 1736:modernismo 1724:Symbolists 1707:modernismo 1665:Symbolists 1439:(1892) by 1310:Franz Blei 1271:Birmingham 936:Montmartre 888:Émile Zola 749:cantomimes 475:), and of 263:postmodern 255:Modernists 251:Symbolists 206:diminutive 6969:Truck-kun 6873:Barbarian 6807:Otokonoko 6760:Primitive 6636:Harlequin 6627:Masculine 6582:Geek girl 6567:Columbina 6503:Queen bee 6289:Pantalone 6260:Archenemy 6169:Dark lord 6151:Terrorist 6146:Evil twin 6017:Brighella 6013:Harlequin 5991:Trickster 5938:Cyberhero 5917:Man alone 5889:Superhero 5864:Folk hero 5809:Archetype 5711:Clown car 5635:Skomorokh 5590:Harlequin 5565:Blackface 5450:193504216 5051:15 August 4294:cite book 4068:Harmonium 3827:Hall 2015 3672:, p. 156. 3659:, p. 156. 3459:Merrill, 3299:Toepfer, 3219:"Pierrot" 2283:, p. 294. 2198:Juan Gris 2150:Hanswurst 2140:Columbine 2117:Carnivals 2099:Paul Klee 1956:Paul Klee 1936:Juan Gris 1928:sculpture 1913:Petrushka 1874:laureate 1809:modernism 1732:modernism 1590:Amy Beach 1556:Decadents 1536:. 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