98 Sentences With "pierrots" | Random Sentence Generator

Enter 35 looks referencing the designer's interests including old Hollywood, Paul Gaugin's paintings, and the Pierrots, pantomime characters from the late seventeenth-century.

Brighton Pierrots, the second version, in the Tate Britain, Brighton Pierrots is a 1915 painting by Walter Sickert that depicts an outdoor theatrical performance. It is an oil on canvas measuring 63.5 x 76.2 cm and is in the Tate Britain. In the painting, the Pierrots are seen from the side and slightly from behind. A few spectators' faces can be seen as well as empty deckchairs.

For a full discussion, see Storey, Pierrots on the stage, pp. 306–307.

27)—his published scenario (Les Deux Pierrots [Paris]: Dechaume, n.d.) is opaque on this point—Charles was the "funny" Pierrot in the first pantomime, Legrand the "sympathetic" one. In the censor's manuscript of The Three Pierrots, Deburau is "the clever Pierrot" and Legrand "the loyal Pierrot": document F18 1091, unnumbered MS, p. 5, Archives Nationales de France, Paris.

He altered the costume: freeing his long neck for comic effects, he dispensed with the frilled collaret; he substituted a skullcap for a hat, thereby keeping his expressive face unshadowed; and he greatly increased the amplitude of both blouse and trousers. Most importantly, the character of his Pierrot, as it evolved gradually through the 1820s, eventually parted company almost completely with the crude Pierrots—timid, sexless, lazy, and greedy—of the earlier pantomime.On the early Pierrots, see Storey, Pierrots on the stage, pp. 12–13. > With him [wrote the poet and journalist Théophile Gautier after Deburau's > death], the role of Pierrot was widened, enlarged.

Cited in Storey, Pierrots on the stage, pp. 60-61. The Pantomime of the Attorney seems to have been written with the latter Pierrot in mind.

15–16, Archives Nationales de France (punctuation and > capitalization have been regularized); tr. Storey, Pierrots on the stage, p. > 144, n. 23 (names have been anglicized).

The Pierrots of the Carnival Bande Las Coudenos The Carnival of Limoux () is an annual festival held in Limoux, Languedoc-Roussillon, France. It takes place for three months on the weekends between January and Mardi Gras and is conducted in Occitan, the area's traditional language.In Occitan the word fecas is the name of a dance characteristic of the festival. The festival is famous for its alternation of bands and pierrots.

Undated letter to Gautier from Charles-Louis Billion, MS C491, f. 529, in the Bibliothèque Spoelberch de Lovenjoul, Chantilly; tr. Storey, Pierrots on the stage, p. 10, n. 24.

Again, Racing's triumph in the cup was not without controversy, reporter Thierry Roland said on live TV that "the cup [was] leaving France", a comment that was deemed offensive by many in Alsace. In 1968, Racing started a process that would eventually lead to a merger with two other clubs, the "Association Sportive Culturelle de la Meinau" and, most importantly, the CS des Pierrots 1922 Strasbourg. The merger was effective in 1970 and the new entity was named "Le Racing Pierrots Strasbourg Meinau", or RPSM. The Pierrots were then a very successful amateur team – they won the national amateur championship in 1969 and 1970—but lacked sufficient structures to jump to professional play while Racing was more wealthy but in search for talent.

Storey, Pierrots on the stage, p. 66. They find him, he wrote, in Legrand, and, through his Pierrot, "[t]he great marriage of the sublime and the grotesque of which Romanticism dreamed has now been realized...." For at Legrand's theater, the Folies-Nouvelles, "[o]ne oscillates by turns between sadness and joy; peals of laughter break from every breast; gentle tears moisten every barley-sugar stick."Le Charivari, April 10, 1855; tr. Storey, Pierrots on the stage, p. 66.

Storey, Pierrots on the stage, p. 24, n. 66. And Paul de Saint-Victor echoed her words several weeks after Deburau’s death: “Indeed, in plenty of places, the poem of his roles was free, scabrous, almost obscene.”Saint-Victor, "Mort"; tr. Storey, Pierrots on the stage, p. 24, n. 66. The censor's copies of the pantomimes do not betray very much of this "obscenity"; it would have been a very foolish theater-director indeed who submitted manuscripts that did.

Gautier was more tactful, but the criticism was the same: "Deburau has the sharper mask, the cleaner technique, the livelier leg."La Presse, December 10, 1849; tr. Storey, Pierrots on the stage, p.

But, as Storey accurately points out, "murder was ubiquitous" in the scenarios of the Funambules, including those post-1836 (Pierrots on the stage, p. 43, n. 18). See Storey's note in its entirety.

See Storey, Pierrots on the stage, pp. 284–294. Sarah Bernhardt even donned Pierrot's blouse for Jean Richepin's Pierrot the Murderer (1883). But French mimes and actors were not the only figures responsible for Pierrot's ubiquity: the English Hanlon brothers (sometimes called the Hanlon-Lees), gymnasts and acrobats who had been schooled in the 1860s in pantomimes from Baptiste's repertoire, traveled (and dazzled) the world well into the twentieth century with their pantomimic sketches and extravaganzas featuring riotously nightmarish Pierrots.

For a full discussion of the connection of all these writers with Deburau's Pierrot, see Storey, Pierrot: a critical history, pp. 104, 110–112, and Storey, Pierrots on the stage, pp. 7, 74–151.

In 1896, he once again joined the Clifford Essex Royal Pierrots - the word "Royal" was added when the "Pierrots" had performed before Royalty - and they appeared at Folkestone. He stayed with them for the next thirteen years and during that period he met the American banjo player Vess Ossman who happened to be in London for an appearance. Morley became influenced by that meeting and bought himself a five-string banjo with frets and eventually learned to play it. Later in 1909, he became a member of Will Pepper's White Coons.

The young Paul Margueritte, an aspiring mime, whose cousin Stéphane Mallarmé had sung the praises of both Legrand and Deburau fils,See Storey, Pierrots on the stage, p. 257. one day stumbled upon Rivière's novella, which fired his romantic imagination. Two lines from Gautier's play Posthumous Pierrot (1847)—"The tale of Pierrot, who tickled his wife/And thus made her, with laughter, give up her life"—gave him a plot, and his Pierrot, Murderer of His Wife (1881) was born.For the details of its inception, see Storey, Pierrots on the stage, pp.

115–116, and Pierrots on the stage, pp. 305–306. Charles had always wished to be more than a performer. According to Hugounet, he dreamed of becoming a Professor of Mime at the Paris Conservatoire or Opéra.Hugounet, p. 120.

His style, according to Louis Péricaud, the chronicler of the Funambules, formed "an enormous contrast with the exuberance, the superabundance of gestures, of leaps, that ... his predecessors had employed."Péricaud, p. 28; tr. Storey, Pierrots on the stage, pp. 31–32.

In 1891, the singer and banjoist Clifford Essex, inspired by Michel Carré fils' pantomime L'Enfant prodigue (Pierrot the Prodigal [1890]), which he had seen at the Prince of Wales' Theatre in London,"Pierrot Hero: The Memoirs of Clifford Essex." 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 1950s, sang, danced, juggled, and joked on the piers of Brighton and Margate and Blackpool.See Pertwee. Obviously inspired by these troupes were the Will Morris Pierrots, named after their Birmingham founder.

Such an audience was not averse to pantomimic experiment, and at mid-century "experiment" very often meant Realism. (The pre-Bovary Gustave Flaubert wrote a pantomime for the Folies-Nouvelles, Pierrot in the Seraglio [1855], which was never produced.)The pantomime is summarized and analyzed by Storey, Pierrots on the stage, pp. 152–179. Legrand often appeared in realistic costume, his chalky face his only concession to tradition, leading some advocates of pantomime, like Gautier, to lament that he was betraying the character of the type.On the Folies-Nouvelles, Legrand's pantomime, and Champfleury's relationship to both, see Storey, Pierrots on the stage, pp. 36–73.

Séverin as Pierrot, c. 1896, in Séverin, L'Homme Blanc (Paris, 1929)Happichy: Séverin in Mendès's Chand d'habits!, poster (1896) Séverin Cafferra, known as Séverin or mime Séverin (1863-1930), was one of the best-known French Pierrots or mime artists around the turn of the twentieth century.

See the discussion in Storey, Pierrots on the stage, p. 24, n. 66. Unfortunately, Banville’s sanitized—even sanctified—Deburau survives, while the scenario of Pierrot Everywhere, like the more overtly scabrous of the Funambules “poems”, lies yellowing in the files of the Archives Nationales de France.

Talicada nyseus, the red Pierrot, is a small but striking butterfly found in the Indian subcontinent and South-East Asia belonging to the lycaenids, or blues family. The red Pierrots, often found perching on its larva host plant, Kalanchoe, are usually noticed due to their striking patterns and colors.

Cited, with > small differences in translation, in Storey, Pierrots on the stage, p. 54. In none of the other scenarios in the Archives is there mention of the moon."To associate the Pierrot of [Deburau's] pantomime with the moon-dreamer of Au clair de la lune was simply to misread Baptiste's unsentimental art": Storey, Pierrots on the stage, p. 54. But Deburau’s Romantic admirers often made the association. Banville’s poem "Pierrot" (1842) concludes with these lines: “The white Moon with its horns like a bull/Peeps behind the scenes/At its friend Jean Gaspard Deburau.” And as the century progressed, the association—rendered inevitable by the universal familiarity of “Au clair de la lune”—became ever more strong.

The "Pierrots" went to London in December 1893 for a performance at the Prince's Hall. His fame was instant, followed by numerous private engagements. The following months, he performed at St. James's Hall together with the Moore and Burgess Minstrels. That summer, Morley re-formed the Royal Osborne Minstrels and they appeared in Colwyn Bay.

For if Charles consistently outdid his rival in cleanness of technique and liveliness of leg, Legrand took all the honors when it came to sentimental comedy. Charles's mask was "sharp", but Legrand's art, wrote Gautier, was "more consummate, more extensive, more varied."La Presse, December 10, 1849; tr. Storey, Pierrots on the stage, p.

Paul Hoecker: Pierrots with Pipes, c. 1900. Location unknown.In Germany, Frank Wedekind introduced the femme-fatale of his first "Lulu" play, Earth Spirit (1895), in a Pierrot costume; and when the Austrian composer Alban Berg drew upon the play for his opera Lulu (unfinished; first perf. 1937), he retained the scene of Lulu's meretricious pierroting.

Its libretto, like that of Monti's "mimodrama" Noël de Pierrot a.k.a. A Clown's Christmas (1900), was written by Fernand Beissier, one of the founders of the Cercle Funambulesque.Storey, Pierrots on the stage, p. 286. (Monti would go on to acquire his own fame by celebrating another spiritual outsider much akin to Pierrot--the Gypsy.

Storey, Pierrots on the stage, p. 59. Cf. note 20, below. His technique was universally praised, usually by unflattering reference to that of his rival, Legrand. In an article in Le Figaro of 1855, William Busnach was blunt in his assessment, calling Legrand, "as a mime, inferior to Debureau fils."2nd Year, #55 (April 1, 1855).

Ken Dodd was a regular performer. The Arcadia provided 1,147 seats in the auditorium and was the last of Llandudno's many theatres and cinemas to offer traditional seaside entertainments. It was the home of Will Catlin's Pierrots, which eventually became presented as "Catlin's Follies with an all star cast". Catlin's Follies survived the sudden death in 1953 (aged 82) of Will Catlin.

It had three traps, "neither more nor less than that of the Opéra," as Théodore de Banville wrote in his Souvenirs, "an arrangement that permitted the changes of scene, the transformations, the perpetual variety of a vision ceaselessly metamorphosed for the pleasure of the eyes and to the heart's content."Banville, p. 216; tr. Storey, Pierrots on the stage, pp. 8–9.

Many years later she gave her books to Reading University library, assuming that what she had learnt was then contained in museum pieces. While there she acted in the French Club on one occasion performing the role of chambermaid in Les Deux Pierrots, and was a member of the university's Women's Mountaineering Team. She also obtained a certificate of merit in jiu-jitsu.

He joined the Victorian Minstrels in 1891, performing at Sandown, Isle of Wight. The minstrel band consisted of a banjo, a concertina, a harp, a tambourine, a tin whistle and bones. The band changed its name to the Royal Osborne Minstrels after a successful performance on the Royal yacht Osborne. In 1893, the "Minstrels" disbanded and Morley was hired by the Clifford Essex Pierrots, formed in 1891.

Lamothe's main musical activity appears to have been writing and performing incidental music for theatrical productions, including puppet plays. In 1864, Lamothe became a member of "Les Pierrots", a Parisian group of artists convened by the actor Montrouge, alongside Jean-François Berthelier, Coquelin Cadet, Joseph Darcier, Léon Fusier, Félix Galipaux, Eugène Silvain, and others.Paulus: Trente ans de café-concert, ed. by Octave Pradels (Paris, 1908), p. 307.

They originated in the Smethwick area in the late 1890s and played to large audiences in many parks, theaters, and pubs in the Midlands. It was doubtless these popular entertainers who inspired the academic Walter Westley Russell to commit The Pierrots (c. 1900) to canvas. It was neither the Aesthetic nor the popular Pierrot that claimed the attention of the great theater innovator Edward Gordon Craig.

Lord Essex was an accomplished amateur actor and appeared in his own home, Bodenham Manor, Herefordshire with a troupe of Pierrots. He later organized a small troupe, which was called "The Canaries" to give charity performances. As star of the show, the Earl sang comic and sentimental songs. Reportedly, the other members were a gardener's daughter, the village seamstress, a farm laborer, and two farmers.

A concert party, also called a Pierrot troupe, is the collective name for a group of entertainers, or Pierrots, popular in Britain during the first half of the 20th century. The variety show given by a Pierrot troupe was called a Pierrot show. Concert parties were travelling shows of songs and comedy, often put on at the seaside and opening with a Pierrot number.

"The Origins and Development of the Art of Mime". From the Greek Mimes to Marcel Marceau and Beyond: Mimes, Actors, Pierrots and Clowns: A Chronicle of the Many Visages of Mime in the Theatre. 9 March 2000. Retrieved 14 February 2010. Mime (mimius) was an aspect of Roman theatre from its earliest times, paralleling the Atellan farce in its improvisation (if without the latter’s stock characters).

The production also toured the country. It was performed with A Night with the Pierrots in Washington DC in November 1912. Fanny Brice was in the musical in 1912, when it was listed as a Shubert production. It also featured Al Jolson, one of five musicals he was in with the Shubert empire, in which "the producers recognized his escalating value to their business empire".

Russell was born in Forest Gate, Essex, in 1867 and studied at the Westminster School of Art under Professor Frederick Brown. He exhibited five works at the Royal Academy between 1891 and 1904, including The Pierrots, Tea Time and a portrait. He exhibited at New English Art Club from 1893. He was a teacher and then Assistant Professor at the Slade School of Fine Art between 1895 and 1927.

The stadium was built around 1920. The AS Pierrots Vauban settled there during the second world war. Called for a long time Stadium of la porte de Kehl , on 22 August 2009, it was renamed Émile-Stahl Stadium in honor of a former officer of the resident club. This name change was inaugurated by the Mayor of Strasbourg, Roland Ries, accompanied by the club president and other personalities.

1992, p. 6. In the 1910s and 1920s, the dark, gloomy tones of his early paintings gradually brightened,Shone and Curtis 1988, p. 11. and Sickert juxtaposed unexpected tones with a new boldness in works such as Brighton Pierrots (1915) and Portrait of Victor Lecourt (1921–24). His several self-portraits usually displayed an element of role- playing consistent with his early career as an actor: Lazarus Breaks his Fast (c.

Martin Shaw, How We Met--Edward Gordon Craig and Martin Shaw. Two years later, in his journal The Page, he published (under the pseudonym "S.M. Fox") a short story, "The Last of the Pierrots", which is a shaming attack upon the modern commercialization of Carnival. However, his most important contribution to the Pierrot canon was not to appear until after the turn of the century (see Plays, playlets, pantomimes, and revues below).

The MS also reveals that the librettist felt free to borrow large swatches of Gautier's prose. For a full discussion, see Storey, Pierrots on the Stage, pp. 41-44. For a full translation of Gautier's "review" into English, see Storey, "Shakespeare". He conceived it in the “realistic” vein described above: Pierrot, having fallen in love with a duchess, kills an old-clothes man to secure the garments with which to court her.

ABC Central West is one of the oldest stations of the ABC. The station opened on 29 April 1937 in the Strand Palais in Orange. It was attended by the Mayor of Orange, W.F. Matthews, the Postmaster-General, the Minister of Defence and a representative of the ABC. Entertainment for the night was provided by Jim Davidson and the ABC Dance Band, The Singing Pierrots, tenor Sydney MacEwan, yodeller Tex Morton and Auld Lang Syne.

Dame Edith wrote a novel, The Sinclair Family (1926), an account of her travels in the Far East and India, Travelling Days (1933), and published a biography of her former husband in March 1917. Among her seven plays, two were inspired by her campaign against sweated labour, Warp and Woof and The Thumbscrew. She also translated Edmond Rostand's Les deux pierrots. She was encouraged by her close friendship with George Bernard Shaw and Mrs.

The red evening sky is vivid, a reminder of a conflagration, a distant fire. Born in 1860, Sickert was too old either to enlist or be conscripted in 1914. He experienced the First World War at a distance and in 1915 painted the unsettling Brighton Pierrots. Brighton at that time was a holiday town with no sense of holiday; the young men were away, and the distant sound of gunfire could be heard from across the Channel.

He illustrated Melandri's Les Pierrots and Les Giboulles d'avril, Le Courrier français, and published his own Pauvre Pierrot and other works, in which he tells his stories in scenes in the manner of Busch. He decorated several "brasseries artistiques" with wall-paintings, stained glass, &c.;, notably Le Chat noir and La Palette d'or, and he painted the highly imaginative ceiling for La Cigale music hall. His characteristically fantastic Parce Domine was shown in the Franco-British Exhibition in 1908.

Antoine Watteau: Italian Actors, c. 1719. National Gallery of Art, Washington, D.C.He is sometimes said to be a French variant of the sixteenth-century Italian Pedrolino,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 [Adolphe] Willette" is "absolutely evident" (p. 211). Nicoll writes that Pedrolino is the "Italian equivalent" of Pierrot (World, p. 88).

"Janin, p. 69; tr. Storey, Pierrots on the stage, p. 5. Théodore de Banville followed suit: "both mute, attentive, always understanding each other, feeling and dreaming and responding together, Pierrot and the People, united like two twin souls, mingled their ideas, their hopes, their banter, their ideal and subtle gaiety, like two Lyres playing in unison, or like two Rhymes savoring the delight of being similar sounds and of exhaling the same melodious and sonorous voice.

With the advent of the Symbolist poets, and their intoxication with everything white (and pure: swans, lilies, snow, moons, Pierrots), the legendary star of the Funambules and what Jules Laforgue called Our Lady the Moon became inseparable. Albert Giraud's Pierrot lunaire (1884) marked a watershed in the moon-maddening of Pierrot, as did the song- cycle that Arnold Schoenberg derived from it (1912). If Carné’s hero had not been moonstruck, his audiences would still be wondering why.

Newspaper ad for the show, while playing in Washington DC. The Whirl of Society was a satirical Broadway musical that played at the Winter Garden Theater from March 5 to June 29, 1912. Louis A. Hirsch composed the music with lyrics by Harold Atteridge, to a book by Harrison Rhodes. The production also featured songs by Arthur Fields. The Whirl of Society was part of a production also featuring Sesostra and A Night with the Pierrots, for 136 productions.

The Pierrot bequeathed to the twentieth 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 things, from spiritual perfection to death (Giraud, Laforgue, Willette, Dowson); the frail, neurasthenic, often doom-ridden soul (Richepin, Beardsley); the clumsy, though ardent, lover, who wins Columbine's heart,This is the case in many works by minor writers of the fin-de-siècle—e.g., Léo Rouanet, The Belly and Heart of Pierrot (1888), summarized in Storey, Pierrots on the stage, pp. 299–300. or murders her in frustration (Margueritte); the cynical and misogynistic dandy, 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.

The merger thus appeared as an excellent opportunity to build a powerful football club in Strasbourg and was favoured by business and political circles. However, the wedding was a difficult one with many internal struggles that were evidenced when some of the former Pierrots left the new entity as soon as 1971 to re-found their former club.See Perny, pp. 230–36 That same year, the RPSM was relegated despite the arrival at the end of the season of Yugoslavian star Ivica Osim.

He is white like his dead rival, and his wide sleeves resemble wings. If the moon goddess Selene would only bring on a momentary eclipse of the sun the deception could be easily carried out. The sky darkens; Leda and her women return, and are astonished when another swan comes gliding on the river towards the queen. Night comes on suddenly, but soon daylight returns, and in a final apotheosis there appear huge eggs, from which hatch three little Pierrots with swans' wings on their backs.

In fact, the chronicler of the Funambules, Louis Péricaud (p. 256), claims that Jean- Gaspard appeared in the pantomime but did not like the role: he faked an injured foot that he complained made it difficult for him to perform the physical comedy involved, thereby no doubt ensuring the piece's short run. See Storey's discussion in Pierrots on the stage, pp. 40–44. Pierrot, in love with a duchess, runs a sword through the back of an old-clothes man and steals his bag of wares.

It would not be until the 1890s that Pierrot's death on the popular stage found sympathetic audiences. and it should have survived as merely a footnote in Deburau's career. But like Banville’s deathless prose, it was Gautier’s “review” that survived—and prospered. Gautier’s ex-son-in-law, Catulle Mendès, refashioned it into a pantomime in 1896,See Storey, Pierrots on the stage, pp. 306–309. and when Sacha Guitry wrote his play Deburau (1918) he included it as the only specimen of the mime’s art.

Stein has received grants from the National Endowment for the Arts, the United States/Japan Commission, the Pew Charitable Trust and has been named a John Simon Guggenheim Fellow. Books that mention Stein’s performances include Modern and Post Modern Mime by Thomas Leabhart (Modern Dramatists); From the Greek Mimes to Marcel Marceau and Beyond: Mimes, Actors, Pierrots and Clowns: A Chronicle of the Many Visages of Mime in the Theatre by Annette Bercut Lust (2002) (Scarecrow Press); and Le Theatre Du Geste by Jacques Lecoq (Bordas – Paris).

At the rooming house, Nathalie finds Baptiste with Garance. With Nathalie desperate and pleading her wifely rights, Garance declares that she has "been with" Baptiste for the past six years as much as Nathalie, his wife, has. She flees, pursued by the equally desperate Baptiste, who is soon lost in the frantic Carnival crowd amid a sea of bobbing masks and unheeding, white Pierrots. The film ends as Baptiste is swept away and as Garance makes her escape in her carriage, still unaware that her protector, the Count, is dead.

Pierrot Bimberlot Giant Maori Le Quesnoy has two of the giant statues of Nord (Géants du Nord), kept on the first floor of the town hall: Pierre Bimberlot, created in 1904, and Giant Maori, created in 2004. On the first Sunday in August, Pierrot Bimberlot tours the town distributing sweets to onlookers. The New Zealand troops who liberated the town in 1918 formed from their ranks an entertainment group the digger pierrots in which the actors were made up as Pierrot. The coincidence appears to have gone unnoticed in history.

The Haitian Government commissioned an armed cruiser to be designed by Sir E J Reed and built by Earle's Shipbuilding & Engineering Co at Hull, Yorkshire, England. The ship was launched as Crête-à-Pierrot, named for the revolutionary battle of Crête-à-Pierrot, on 7 November 1895. After arming in France, it was added to the Haitian Navy in 1896 and considered the Navy's crown jewel, the best of the four ships it possessed at the time. Crête-à-Pierrots first commander was Captain Gilmour, from Scotland, who served under contract to Haiti.

Pierrot is the clerk of Cassander, an attorney, and is in love with Columbine, the office assistant. Since Cassander is away for most of the piece, the lovers can indulge their appetites, and the pantomime turns out to be little more than a vehicle for comically arch and sweet amorous dalliance.See its full text in Goby; Storey summarizes it in detail (in English) in his Pierrots on the stage, pp. 71–72. It is, in fact, an ideal vehicle for the mime for whom Champfleury wrote his first pantomimes, Paul Legrand.

Through friendships and professional contacts, Félix was introduced to Najac, Paul Margueritte, and Fernand Beissier, a colleague of Margueritte's who had written the preface for Pierrot assassin de sa femme.For a detailed account of the founding of the Cercle, see Storey (1985), pp. 285-286. He persuaded them to join him as founding members of the Cercle and drew up the goals of the society. Paul Hugounet, whom Storey calls the "most energetic publicist and chronicler" of the Cercle,Storey (1985), p. 288. summarized those goals in his Mimes et Pierrots of 1889: > 1\.

This will be the home, beginning in 1816, of Jean-Gaspard Deburau (1796–1846),On Deburau's life, see Rémy, Jean-Gaspard Deburau; on his pantomime, see Storey, Pierrots on the stage, pp. 7–35, and Nye (2014), Nye (2015-2016), and Nye (2016). the most famous Pierrot in the history of the theater, immortalized by Jean-Louis Barrault in Marcel Carné's film Children of Paradise (1945). Adopting the stage-name "Baptiste", Deburau, from the year 1825, became the Funambules' sole actor to play PierrotNye (2016), p. 18, n. 12.

On late nineteenth-/early twentieth-century French pantomime, see Bonnet; Martinez; Storey, Pierrots on the stage, pp. 253–315; and Rolfe, pp. 143–58. Moreover, he acquired a counterpart, Pierrette, who rivaled Columbine for his affections. (She seems to have been especially endearing to Xavier Privas, hailed in 1899 as the "prince of songwriters": several of his songs ["Pierrette Is Dead", "Pierrette's Christmas"] are devoted to her fortunes.) A Cercle Funambulesque was founded in 1888, and Pierrot (sometimes played by female mimes, such as Félicia Mallet) dominated its productions until its demise in 1898.

In a review of a pantomime at the Funambules after Deburau's death, Gautier reproached the mime's successor, Paul Legrand, for dressing "half as a comic-opera Colin, half as a Tyrolean hunter", thereby degrading the Pierrot of Baptiste.Review of La Gageure in La Presse, August 31, 1846; tr. Storey, Pierrots on the stage, p. 10. He was answered by a letter from the Funambules' director, who wished to disabuse the poet of his "error": " ... we have some thirty-odd plays performed by Debureau in different costumes, and Paul has simply continued the practice ... ".

Douglas Head Amphitheatre today Douglas Head Amphitheatre is a structure on the promontory of Douglas Head on the Isle of Man. At the turn of the 20th century the Isle of Man was a hugely popular holiday destination with the working class factory workers from the northerly part of England and Douglas Head had many attractions, most of which have long since disappeared. One such attraction was the amphitheatre which remains in situ today after many years of neglect. On this stage there took place many shows including minstrels, pierrots, etc.

This form of entertainment has been described by Roy Hudd as long-gone and much lamented.Roy Hudd, Philip Hindin, Roy Hudd's cavalcade of variety acts: a who was who of light entertainment, 1945-60, 1997, p94 The most famous fictitious concert party outside the armed forces was The Good Companions in J. B. Priestley's eponymous novel. In the novel Sylvia Scarlett, the main characters (Cary Grant and Katharine Hepburn in the film version) form a concert party, The Pink Pierrots. A Pierrot troupe features strongly in Enid Blyton's 1952 children's book, The Rubadub Mystery.

Pierrot had died a famous death much earlier in the century, when Gautier, an unabashed lover of pantomime and especially of Jean-Gaspard's art, had invented a piece at the Funambules and then "reviewed" it in the Revue de Paris of September 4, 1842.For a translation of Gautier's "review" into English, see Storey, "Shakespeare". (The "review" was then, only a few weeks later, turned into a pantomime, The Ol' Clo's Man [Le Marrrchand d'habits!], by an anonymous librettist for the Funambules.)The librettist was probably the theater's administrator, Cot d'Ordan: see Storey, Pierrots on the stage, p.

Margueritte sent copies of his pantomime to several writers who he hoped would take notice; he performed it at a number of venues—most importantly before Edmond de Goncourt and other notables at a soirée of Alphonse Daudet's—and in 1888 the impresario Antoine produced it at the Théâtre Libre.See Storey, Pierrots on the stage, pp. 283–284. In the early 1880s, the "Decadence" was gathering force in France, and Margueritte's Pierrot (and others like him) would be in the forefront of the movement. The ground was, then, more than amply prepared for the success of Séverin's Poor Pierrot.

Its first evening of performances, in May 1888, at a small concert hall at 42, rue de Rochechouart,Hugounet (1889), p. 239; Levillain, p. 278. consisted of a prologue with verses by Jacques Normand accompanied by the miming of Paul Legrand; a pantomime, Colombine pardonée (Columbine Pardoned), written by Paul Margueritte and Beissier, its Pierrot mimed by Paul himself; Najac's pantomime L'Amour de l'art (The Love of Art), with Eugène Larcher as Harlequin; and a parade of the boulevards, Léandre Ambassadeur (Ambassador Leander), starring Félicia Mallet, who would later create memorable Pierrots for the Cercle.Hugounet (1889), pp. 241-242.

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.In La Presse, January 25, 1847; tr. Storey, Pierrots on the > stage, p 111.

Many reviewers of his pantomimes make note of this tendency: see, e.g., Gautier, Le Moniteur Universel, October 15, 1855; July 28, 1856; August 30, 1858; tr. Storey, Pierrots on the stage, pp. 66–68. In this he was abetted by the novelist and journalist Champfleury, who set himself the task, in the 1840s, of writing "realistic" pantomimes.Champfleury, p. 6. Among the works he produced were Marquis Pierrot (1847), which offers a plausible explanation for Pierrot's powdered face (he begins working-life as a miller's assistant), and the Pantomime of the Attorney (1865), which casts Pierrot in the prosaic role of an attorney's clerk.

Auguste Bouquet: Portrait of Jean-Gaspard Deburau, 1830 Jean-Gaspard Deburau (born Jan Kašpar Dvořák;. July 31, 1796 – June 17, 1846), sometimes erroneously called Debureau, was a celebrated Bohemian-French mime. He performed from 1816 to the year of his death at the Théâtre des Funambules, which was immortalized in Marcel Carné's poetic-realist film Children of Paradise (1945); Deburau appears in the film (under his stage-name, "Baptiste") as a major character. His most famous pantomimic creation was Pierrot—a character that served as the godfather of all the Pierrots of Romantic, Decadent, Symbolist, and early Modernist theater and art.

On the authorship of the pantomime, see the discussion in Storey, Pierrots on the stage, p. 42. It was not a success: it had a seven-night run,According to Péricaud, p. 256. a poor showing for one of Baptiste’s productions. If he indeed appeared in the piece—the matter is under disputeRémy argues that the mime Paul Legrand appeared in The Ol' Clo's Man, since, after Deburau's court-room acquittal in 1836, none of his superiors at the theater could have asked him "to incarnate a character of an all-too-personal truth" (p. 174).

Adolphe Willette, responsible for illustrating most of the cover pages, was a lover of Montmartre and finely depicted Pierrots and Harlequins. From 1887 Jules Roques, Adolphe Willette and other artists organized the famous masked balls of Le Courrier. These were not designed as venues for showing off amusing costumes, but as meetings of groups of symbolic figures, illustrating a theme that was planned and announced in advance. These balls helped to revive the Paris Carnival, which had been interrupted after the Franco-Prussian War of 1870, the Siege of Paris and the bloody suppression of the Paris Commune.

In 1891, the singer and banjoist Clifford Essex, inspired by Michel Carré fils' pantomime L'Enfant prodigue (1890), which he had seen at the Prince of Wales' Theatre (of the latter known as the Scala Theatre) in London,"Pierrot Hero: The Memoirs of Clifford Essex." resolved to create a troupe of English Pierrot entertainers. Thus began the tradition of seaside Pierrots in pointed hats and black or coloured costumes who sang, danced, juggled, and joked on the piers of Brighton, Margate and Blackpool from the 1890s until the 1950s.See Pertwee. The style of performance attracted artists from music hall and variety theatre.

She often pretended to have been born in England. At one point, as a male impersonator, she was working as a duo with female impersonator Bothwell Browne.Vaudeville old & new: an encyclopedia of variety performances in ..., Volume 1 By Frank Cullen, Florence Hackman, Donald McNeilly, page 150 Clifford debuted on Broadway in 1902 as a member of the chorus in Tommy Rot. Her other Broadway credits included A Pair of Queens (1916), A Winsome Widow (1912), A Night with the Pierrots / Sesostra / The Whirl of Society (1912), The Belle of London Town, and Fad and Folly (1902).

A more long-lasting development occurred in Denmark. In that same year, 1800, 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 (1749–1826), 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)."Casorti", Gyldendals encyklopædi.

Storey, Pierrots on > the stage, p. 30. As the Gautier citations suggest, Deburau early—about 1828—caught the attention of the Romantics, and soon he was being celebrated in the reviews of Charles Nodier and Gautier, in an article by Charles Baudelaire on "The Essence of Laughter" (1855), and in the poetry of Théodore de Banville. A pantomime produced at the Funambules in 1828, 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 (1847) and The Kiss (1887), respectively.

And what of Deburau and Pierrot-the-friend-of-the-moon? In the many scenarios in manuscript at the Archives Nationales de France, no connection is visible—save in one, and that, like The Ol’ Clo’s Man, is a clear anomaly. Performed in 1844, after Gautier’s “review” had—at least in the minds of the lettered public—renewed the luster of the Funambules, it was obviously written by an aspiring auteur, judging from its literary pedigree. Entitled The Three Distaffs and inspired by a tale of the Comtesse d’Aulnoy,According to Storey, though he provides no specific title: Pierrots on the stage, p. 54.

The published scenario of the pantomime in which he appeared, Les Trois Planètes, ou la Vie d'une rose (Paris: Gallet, 1847), notes on its titlepage that it was produced at the Funambules on October 6, 1847; but a letter from Billion to Théophile Gautier (now in the Bibliothèque Spoelberch de Lovenjoul as MS C491, f. 530) makes it clear that the premiere was postponed until November (see Storey, Pierrots on the stage, p. 59, n. 51). That début was in The Three Planets, or The Life of a Rose, a "grand pantomime-harlequinade-fairy play" in the old style of his father's day, with feuding supernatural agents, magic talismans, energetic mayhem, and Harlequin's triumphant conquest of Columbine.

Pierrot can be deemed "tragic" only in a "realistic" pantomime, and Gautier's "review" sets the solitary precedent. (Gautier had obviously had "high" drama in mind: he titled his review "Shakspeare [sic] at the Funambules", invoking memories of Macbeth, and he doubtless expected his French readers to recall the end of Molière's Don Juan—and perhaps of Mozart's Don Giovanni—when the Commander's statue pays a visit to his murderer.) Gautier's "review" was widely admired by the literati, and it was instrumental in taking the character of Pierrot one step beyond the tearful, sentimental creation of Legrand.Rémy, in fact, argues that Legrand appeared in The Ol' Clo's Man (p. 174), but Storey disputes the claim (Pierrots on the stage, p.

But it importantly marked a turning-point in Pierrot's career: henceforth Pierrot could bear comparisons with the serious over-reachers of high literature, like Don Juan or Macbeth; he could be a victim—even unto death—of his own cruelty and daring. When Gustave Courbet drew a pencil illustration for The Black Arm (1856), a pantomime by Fernand Desnoyers written for another mime, Paul Legrand (see next section), the Pierrot who quakes with fear as a black arm snakes up from the ground before him is clearly a child of the Pierrot in The Ol’ Clo's Man. So, too, are Honoré Daumier's Pierrots: creatures often suffering a harrowing anguish.Jean-Léon Gérôme: Duel after a Masked Ball, 1857.

For studies of the relationship between modern artists and clowns in general, see Régnier, Ritter, and Starobinski. On the modern artist specifically as a Pierrot, see Storey, Pierrot: a critical history, pp. 93–193, and all of his Pierrots on the stage; also Green and Swan, Kellein, Palacio, Sensibar. His physical insularity; his poignant lapses into mutism, the legacy of the great mime Deburau; his white face and costume, suggesting not only innocence but the pallor of the dead; his often frustrated pursuit of Columbine, coupled with his never-to-be-vanquished unworldly naïveté—all conspired to lift him out of the circumscribed world of the commedia dell'arte and into the larger realm of myth.

Pierrot was not Baptiste's only creation. As Robert Storey, one of the most assiduous students of the mime's repertoire, has pointed out, Deburau performed in many pantomimes unconnected with the Commedia dell'Arte: > He was probably the student-sailor Blanchotin in Jack, l'orang-outang > (1836), for example, and the farmhand Cruchon in Le Tonnelier et le > somnambule ([The Cooper and the Sleepwalker] late 1838 or early 1839), and > the goatherd Mazarillo in Fra-Diavolo, ou les Brigands de la Calabre > ([Brother Devil, or The Brigands of Calabria] 1844). He was certainly the > Jocrisse-like comique of Hurluberlu (1842) and the engagingly naïve recruit > Pichonnot of Les Jolis Soldats ([The Handsome Soldiers] 1843).Storey, > Pierrots on the stage, p. 10.

In 1901 at the age of 22 he won first prize as a baritone singer in a contest held as part of the Music Trades exhibition at St. James's Hall, Oxford Road in Manchester. On Easter Day 1902 he sang "The Trumpet Shall Sound" from Handel's Messiah in All Saint's Church Chorlton-on-Medlock in Manchester. In the early 1900s Kirkby performed at a number of provincial events, for example singing a small role in the Edwardian musical comedy The Geisha in Derby in late 1902, and in July 1903 he performed in an outdoor concert "The Pierrots" at the Sydney Gardens in Bath, Somerset – the Bath Chronicle commented: "Mr. Stanley Kirkby has a capital baritone voice".

Punch and Judy shows have always taken place during summer right next to the pier on the beach to the west of it, and this tradition is continued in the annual Herne Bay Festival. Pierrots used to perform in the open air at the end of the pier until 1914, and in 2009 a recreation of such a show at the Herne Bay Bandstand was specially commissioned by the Council for Herne Bay Festival. Ken Russell chose Herne Bay Pier as the backdrop to the opening sequence of his first feature film, French Dressing (1963), and returned to Herne Bay in 2008 to bemoan the missing pier. It also featured in Hugues Burin des Roziers' film Blue jeans - Du beurre aux Allemands, filmed in 1976.

In 1860, Deburau was directly credited with inspiring such anguish, when, in a novella called Pierrot by Henri Rivière, the mime- protagonist blames his real-life murder of a treacherous Harlequin on Baptiste's "sinister" cruelties. Among the most celebrated of pantomimes in the latter part of the century would appear sensitive moon-mad souls duped into criminality—usually by love of a fickle Columbine—and so inevitably marked for destruction (Paul Margueritte's Pierrot, Murderer of His Wife [1881]; the mime Séverin's Poor Pierrot [1891]; Catulle Mendès’ Ol’ Clo's Man [1896], modeled on Gautier's "review").On these pantomimes and on late nineteenth-century French pantomime in general, see Storey, Pierrot: a critical history, pp. 115-33, and Pierrots on the stage, pp. 253-315.

In 1891 his father was running a coffee house, but by 1901 he was a self- employed printer and as a boy, Leslie would help his father in the business. From an early age Leslie became obsessed with show business and started performing in a small schoolboy minstrel troupe. Blessed with a voice of sorts (he described himself as a ‘bad baritone’) and with a repertoire of only three songs, he joined a troupe playing on Brighton beach. He then moved on to join a troupe in Maidenhead, playing in a small marquee by the river and during the regatta on the river itself in a small punt! Between 1909-1912 both Leslie and Dave Fuller performed in ‘The Silloth Pierrots’ at Silloth in Cumbria.

Storey, Pierrots on the stage, p. 59. (Nadar's photographs of him in various poses are some of the best to come out of his studio—if not some of the best of the era.)For a gallery of these photographs, see But the most important Pierrot of mid-century was Charles-Dominique-Martin Legrand, known as Paul Legrand (1816–1898; see photo at top of page). In 1839, Legrand made his debut at the Funambules as the lover Leander in the pantomimes, and when he began appearing as Pierrot, in 1845, 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.

Unfortunately, his début came at a time when another Pierrot at the Funambules, Paul Legrand, was just beginning to make a reputation for himself; Charles had been conscripted as his replacement, in fact, while Legrand fulfilled an engagement at the Adelphi in London.Hugounet, pp. 125-26. When he returned, he and Charles fell into a rivalry, which persisted until Legrand left the theater in 1853. Two years later, Charles accepted an engagement at the Délassements-Comiques, and he was not to return to the Funambules until 1862, when he appeared in its last two pantomimes, The Golden Bough and Pierrot's Memoirs, before the theater was demolished, a casualty of Haussmann's renovation of Paris.The Funambules reopened on the Boulevard de Strasbourg in 1867; ten years later, it was still producing pantomimes, though of a very impoverished kind (see Storey, Pierrots on the stage, pp. 181, 320–321).

It was also an anomaly for which his Romantic admirers were responsible. This pantomime had been invented by Théophile Gautier in a “review” that he had published in the Revue de Paris.Both Péricaud and Rémy regarded Gautier's piece as a bona-fide review, but in 1985 Robert Storey revealed in his Pierrots on the stage that Gautier's friend Champfleury had been correct in his avowal that the pantomime under "review" was Gautier's invention. "Shakspeare [sic] aux Funambules", as Gautier entitled his piece, was published in the Revue de Paris on September 4, 1842, but the manuscript of The Ol' Clo's Man that was submitted to the censor for approval before the production at the Funambules (and that can now be found in the Archives Nationales de France as document F18 1087, MS 4426) bears the note that it had been received on October 17, 1842, more than a month after the "review" appeared.

Delord's reference to the "marriage of the sublime and the grotesque" is an allusion to Victor Hugo's preface to Cromwell (1827), in which it is announced that "the drama"—by which Hugo means the drama inspired by Shakespeare, where that marriage seemed to him most fully in evidence—is (or, rather, should be) the reigning art of the day. Portrait of Deburau by Jean Pezous Charles's pantomime was, by contrast, old-fashioned: he apparently had no desire to part with his father's conception of Pierrot.Louis Péricaud noted that, never having seen Baptiste perform, "Glatigny erred in writing that Charles Deburau had reformed his father's Pierrot.... [T]he son, apart from several great qualities that only the first of the Deburaux possessed, was the exact copy of his father" (p. 494). A full dozen years after he had left the Funambules and was performing at the Fantaisies- Parisiennes, half of his repertoire consisted of modified versions of his father's pantomimes; see Storey, Pierrots on the stage, p. 60, n. 52.

In Belgium, where the Decadents and Symbolists were as numerous as their French counterparts, Félicien Rops depicted a grinning Pierrot who is witness to an unromantic backstage scene (Blowing Cupid's Nose [1881]) and James Ensor painted Pierrots (and other masks) obsessively, sometimes rendering them prostrate in the ghastly light of dawn (The Strange Masks [1892]), sometimes isolating Pierrot in their midst, his head drooping in despondency (Pierrot's Despair [1892]), sometimes augmenting his company with a smiling, stein-hefting skeleton (Pierrot and Skeleton in Yellow [1893]). Their countryman the poet Albert Giraud also identified intensely with the zanni: the fifty rondels of his Pierrot lunaire (Moonstruck Pierrot [1884]) would inspire several generations of composers (see Pierrot lunaire below), and his verse-play Pierrot-Narcissus (1887) offered a definitive portrait of the solipsistic poet-dreamer. The title of choreographer Joseph Hansen's 1884 ballet, Macabre Pierrot, created in collaboration with the poet Théo Hannon, summed up one of the chief strands of the character's persona for many artists of the era.

But as the Pierrots of the Foires began to multiply—among dancers, tumblers, and actors—and to accommodate themselves to the disparate Foire genres—puppet shows, comic operas, and every imaginable permutation of both mute and spoken theater—his character began inevitably to coarsen.Storey (1978), pp. 53–54. It is therefore not surprising that Colombine should call Pierrot a "Gille" in Alexis Piron's L'Ane d'Or (The Golden Ass, 1725) or that a police report detailing the suspicious goings-on in Lesage's prologue to Arlequin, valet de Merlin (Harlequin, Merlin's Valet, 1718) should refer to Pierrot indiscriminately as "Pierrot" or as "Gilles".Storey (1978), p. 77, n. 15 (It should also not be surprising that, when the illustrious Pierrot Hamoche was forbidden, in 1721, to play opéras- comiques, impelling Lesage and Dorneval to lay his Pierrot to rest in Les Funérailles de la Foire [The Foire's Funeral, 1718], Gilles came bustling in in their subsequent play, Le Rappel de la Foire à la Vie [The Recall of the Foire to Life, 1721], to take his double's place.Storey (1978), p. 41.