Belgian— Ensor, James: Pierrot and Skeletons (1905), Pierrot and Skeletons (1907), Intrigued Masks (1930); Henrion, Armand: Series of self-portraits as Pierrot (1920s). On the French players in England, and particularly on Pierrot in early English entertainments, see Storey, Pierrot: a critical history, pp. 82–89.

Pierrot figured prominently in the drawings of Aubrey Beardsley, and various writers referenced him in their poetry. [29] [30] [31] Merrill, Stuart, tr. (1890). Pastels in prose. Introduction by William Dean Howells. New York: Harper & Brothers. Swiss— Pic (Richard Hirzel): Pierrot clown famously associated, from 1980, with the German Circus Roncalli. Baldassarre Negroni Cavalleria Rusticana as a film in 1914. [37] Its libretto, like that of Monti's "mimodrama" Noël de Pierrot a.k.a. A Clown's Christmas (1900), was written by Fernand Beissier. [38] Storey, Robert F. (1978a). Pierrot: a critical history of a mask. Princeton, NJ: Princeton University Press. ISBN 0-691-06374-5.

Site Customisation

Oreglia, Giacomo (1968) [1961]. The Commedia dell'Arte. Translated by Edwards, Lovett F. Originally published in Italian; revised in 1964. New York: Hill and Wang. ISBN 9780809005451. Norman, Ana (2021). Miming modernity: representations of Pierrot in fin-de-siècle France. Unpub. Master's thesis, Southern Methodist University.

Origins: seventeenth century [ edit ] Antoine Watteau: Italian Actors, c. 1719. National Gallery of Art, Washington, D.C. In music, historians of Modernism generally place Arnold Schoenberg's 1912 song-cycle Pierrot lunaire at the very pinnacle of High-Modernist achievement. [92] And in ballet, Igor Stravinsky's Petrushka (1911), in which the traditionally Pulcinella-like clown wears the heart of Pierrot, [93] is often argued to have attained the same stature. [94]French— Butor, Michel and Michel Launay: Pierrot Lunaire (1982; retranslation into French of Hartleben's 21 poems used by Schoenberg [see Pierrot lunaire below], followed by original poems by Butor and Launay). 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 Stuart Merrill, who consorted with the French Symbolists and who compiled and translated the pieces in Pastels in Prose. Another was William Theodore Peters, an acquaintance of Ernest Dowson and other members of the Rhymers' Club and a driving force behind the conception and theatrical realization of Dowson's Pierrot of the Minute (1897; see England above). Of the three books that Peters published before his death (of starvation) [76] at the age of forty-two, his Posies out of Rings: And Other Conceits (1896) is most notable here: in it, four poems and an "Epilogue" for the aforementioned Dowson play are devoted to Pierrot. (From the mouth of Pierrot loquitur: "Although this pantomime of life is passing fine,/Who would be happy must not marry Columbine".) [77] Nye, Edward (2014): "Jean-Gaspard Deburau: romantic Pierrot". New theatre quarterly, 30:2 (May): 107-119. Austrian— Hardt-Warden, Bruno, and Ignaz Michael Welleminsky: The Tarantella of Death (1920; music by Julius Bittner); Noetzel, Hermann: Pierrot's Summer Night (1924); Schnitzler, Arthur: The Transformations of Pierrot (1908), The Veil of Pierrette (1910; with music by Ernö Dohnányi; see also "Stuppner" among the Italian composers under Western classical music (instrumental) below); Schreker, Franz: The Blue Flower, or The Heart of Pierrot: A Tragic Pantomime (1909), The Bird, or Pierrot's Mania: A Pantomimic Comedy (1909). Irish— Clarke, Austin: Trilogy of Pierrot/Pierrette plays— The Kiss (1942), The Second Kiss (1946), The Third Kiss (1976).