Davis, dans The Medieval Review , Burch, dans French Studies , Karin Becker, dans Romanische Forschungen , , , p. Emma Campbell, dans French Studies , Shira Schwam-Baird, dans Olifant , Per Nykrog, dans Studia neophilologica , Jones, dans The Modern Language Review , 76, , p. Payen, dans Revue des langues romanes , May Plouzeau, dans Revue des langues romanes , Burr, dans The French Review , Hunt, dans The Modern Language Review , 71, , p. Verhuyck, dans Revue belge de philologie et d'histoire , 54, , p. Antoine Calvet, dans Kritikon litterarum , Jeanroy, dans Romania , 33, , p.
Gilles Roques, dans Revue de linguistique romane , 65, , p.
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Gaston Paris, dans Romania , 21, , p. Gaston Paris, dans Journal des savants , , p. Jean Acher, dans Revue des langues romanes , 53, , p. May Plouzeau, dans Revue des langues romanes , 99, , p.
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Tania Van Hemelryck, dans Scriptorium , Rothwell, dans French Studies , Olivier Collet, dans Revue critique de philologie romane , , , p. Fragment de vers; voir N. Geirnaert, Het archief van de familie Adornes en de Jeruzalemstichting te Brugge , Neue verbesserte Textausgabe mit Einleitung und Glossar herausgegeben von W. Klein, dans The Modern Language Journal , Gaston Paris, dans Romania , 26, , p.
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Antoine Galland 's final volume of The Thousand and One Nights had appeared in , and in the plots of these tales Lesage and his collaborators found inspiration, both exotic and more importantly coherent, for new plays. In Achmet and Almanzine by Lesage and Dorneval, [27] for example, we are introduced not only to the royal society of far-off Astrakhan but also to a familiar and well-drawn servant of old—the headstrong and bungling Pierrot.
The accomplished comic actor Jean-Baptiste Hamoche, who had worked at the Foires from to , [30] reappeared in Pierrot's role in , and from that year until he "obtained, thanks to the naturalness and truth of his acting, great applause and became the favorite actor of the public.
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After this date, we hardly ever see him appear again except in old plays. But as he seemed to expire on the theatrical scene, he found new life in the visual arts. He, along with his fellow commedia masks, [33] was beginning to be "poeticized" in the early s: This development will accelerate in the next century. Before turning to that century, however, it should be noted that it was in this, the eighteenth, that Pierrot began to be naturalized in other countries. Thereafter, until the end of the century, Pierrot appeared fairly regularly in English pantomimes which were originally mute harlequinades but later evolved into the Christmas pantomimes of today; in the nineteenth century, the harlequinade was presented as a "play within a play" during the pantomime , finding his most notable interpreter in Carlo Delpini — His role was uncomplicated: 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. It did so in , when "Joey" Grimaldi made his celebrated debut in the role. A more long-lasting development occurred in Denmark. In that same year, , a troupe of Italian players led by Pasquale Casorti began giving performances in Dyrehavsbakken , then a well-known site for entertainers, hawkers, and inn-keepers.
Casorti's son, Giuseppe — , had undoubtedly been impressed by the Pierrots they had seen while touring France in the late eighteenth century, for he assumed the role and began appearing as Pierrot in his own pantomimes, which now had a formulaic structure Cassander, father of Columbine, and Pierrot, his dim-witted servant, undertake a mad pursuit of Columbine and her rogue lover, Harlequin.
Pierrot is still a fixture at Bakken , the oldest amusement park in the world, where he plays the nitwit talking to and entertaining children, and at nearby Tivoli Gardens , the second oldest, where the Harlequin and Columbine act is performed as a pantomime and ballet.
Ludwig Tieck 's The Topsy-Turvy World is an early—and highly successful—example of the introduction of the commedia dell'arte characters into parodic metatheater. Pierrot is a member of the audience watching the play. The penetration of Pierrot and his companions of the commedia into Spain is documented in a painting by Goya , Itinerant Actors It foreshadows the work of such Spanish successors as Picasso and Fernand Pelez , both of whom also showed strong sympathy with the lives of traveling saltimbancos. Adopting the stage-name "Baptiste", Deburau, from the year , became the Funambules' sole actor to play Pierrot [41] in several types of comic pantomime—rustic, melodramatic, "realistic", and fantastic.
Most importantly, the character of his Pierrot, as it evolved gradually through the s, eventually parted company almost completely with the crude Pierrots—timid, sexless, lazy, and greedy—of the earlier pantomime. It ended by occupying the entire piece, and, be it said with all the respect due to the memory of the most perfect actor who ever lived, by departing entirely from its origin and being denaturalized.
Pierrot, under the flour and blouse of the illustrious Bohemian, assumed the airs of a master and an aplomb unsuited to his character; he gave kicks and no longer received them; Harlequin now scarcely dared brush his shoulders with his bat; Cassander would think twice before boxing his ears. Deburau seems to have had a predilection for "realistic" pantomime [46] —a predilection that, as will later become evident here, led eventually to calls for Pierrot's expulsion from it.
The action unfolded in fairy-land, peopled with good and bad spirits who both advanced and impeded the plot, which was interlarded with comically violent and often scabrous mayhem. As in the Bakken pantomimes, that plot hinged upon Cassander's pursuit of Harlequin and Columbine—but it was complicated, in Baptiste's interpretation, by a clever and ambiguous Pierrot.
Baptiste's Pierrot was both a fool and no fool; he was Cassandre's valet but no one's servant. He was an embodiment of comic contrasts, showing. A pantomime produced at the Funambules in , The Gold Dream, or Harlequin and the Miser , was widely thought to be the work of Nodier, and both Gautier and Banville wrote Pierrot playlets that were eventually produced on other stages— Posthumous Pierrot and The Kiss , respectively. He entitled it "Shakespeare at the Funambules", and in it he summarized and analyzed an unnamed pantomime of unusually somber events: Pierrot murders an old-clothes man for garments to court a duchess, then is skewered in turn by the sword with which he stabbed the peddler when the latter's ghost lures him into a dance at his wedding.
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But it importantly marked a turning-point in Pierrot's career: Deburau's son, Jean-Charles or, as he preferred, "Charles" [—] , assumed Pierrot's blouse the year after his father's death, and he was praised for bringing Baptiste's agility to the role. But the most important Pierrot of mid-century was Charles-Dominique-Martin Legrand, known as Paul Legrand —; see photo at top of page.
In , Legrand made his debut at the Funambules as the lover Leander in the pantomimes, and when he began appearing as Pierrot, in , he brought a new sensibility to the character.
A mime whose talents were dramatic rather than acrobatic, Legrand helped steer the pantomime away from the old fabulous and knockabout world of fairy-land and into the realm of sentimental—often tearful—realism. Such an audience was not averse to pantomimic experiment, and at mid-century "experiment" very often meant Realism. But it was the Pierrot as conceived by Legrand that had the greatest influence on future mimes. Charles himself eventually capitulated: In the s and s, the pantomime reached a kind of apogee, and Pierrot became ubiquitous.
She seems to have been especially endearing to Xavier Privas , hailed in as the "prince of songwriters": But French mimes and actors were not the only figures responsible for Pierrot's ubiquity: And, in turn, Jules Laforgue wrote his pantomime Pierrot the Cut-Up [ Pierrot fumiste , ] [64] after reading the scenario by Huysmans and Hennique. Pierrots were legion among the minor, now-forgotten poets: In the realm of song, Claude Debussy set both Verlaine's "Pantomime" and Banville's "Pierrot" to music in not published until —the only precedents among works by major composers being the "Pierrot" section of Telemann 's Burlesque Overture —22 , Mozart 's "Masquerade" in which Mozart himself took the role of Harlequin and his brother-in-law, Joseph Lange , that of Pierrot , [69] and the "Pierrot" section of Robert Schumann 's Carnival Their countryman the poet Albert Giraud also identified intensely with the zanni: One of the gadflies of Aestheticism , W.
And he ensured that neither character, contrary to many an Aesthetic Pierrot, would be amorously disappointed. In a more bourgeois vein, Ethel Wright painted Bonjour, Pierrot! And the Pierrot of popular taste also spawned a uniquely English entertainment. In , the singer and banjoist Clifford Essex returned from France enamored of the Pierrots he had seen there and resolved to create a troupe of English Pierrot entertainers. Thus were born the seaside Pierrots in conical hats and sometimes black or colored costume who, as late as the s, sang, danced, juggled, and joked on the piers of Brighton and Margate and Blackpool.