T TOOYFUL 42cm Porcelain Pierrot Clown Doll Dolls Model Desk Ornament Photo Prop, Gold, as described

Product Information

Pedrolino scuffles with the Doctor, 1621.In one of the few extant contemporary illustrations involving Pedrolino—i.e., the frontispiece of Giulio Cesare Croce's Pedrolino's Great Victory against the Doctor Gratiano Scatolone, for Love of the Beautiful Franceschina (1621)—the zanni is shown thrashing the Doctor 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 "Shakespeare at the Funambules" and aftermath below), but he is very rarely pugnacious (as he is in the pantomimes of the Hanlon-Lees). This was its second such contribution, the first being Il Convitato di pietra (The Stone Guest, 1658), which was the basis for the Addendum (albeit without its Pierrot) and the inspiration for Molière's play. See Fournier, pp. 112-113. Russian— Chagall, Marc (worked mainly in France): Circus Scene (late 1960s/early 1970s), Pierrot lunaire (1969). British— Gordon, Harry: Scottish entertainer (1893–1957)—formed a Pierrot troupe in 1909 that played both in theaters and at seaside piers in the northeast of Scotland; The Toreadors Concert Party: formed by Charles Elderton at The Theatre Royal in Hebburn, it was performed from 1904 in Whitley Bay at what became known as Spanish City.

Storey, Robert (1985). Pierrots on the stage of desire: nineteenth-century French literary artists and the comic pantomime. Princeton, NJ: Princeton University Press. ISBN 0-691-06628-0. Vsevolod Meyerhold dressed as Pierrot for his own production of Alexander Blok's Fairground Booth, 1906.Russian— Akhmatova, Anna: Poem without a Hero (Part I: "The Year Nineteen Thirteen", written 1941, pub. 1960); Blok, Alexander: "The Puppet Show", "The Light Wandered about in the Window", "The Puppet Booth", "In the Hour when the Narcissus Flowers Drink Hard", "He Appeared at a Smart Ball", "Double" (1902–1905; series related to Blok's play The Puppet Show [see under Plays, playlets, pantomimes, and revues above]); Guro, Elena: "Boredom" and "Lunar", from The Hurdy-Gurdy (1909); Kuzmin, Mikhail Alekseevich: "Where will I find words" (1906), "In sad and pale make-up" (1912). Carman's "The Last Room. From the Departure of Pierrot" appeared originally in the August 1899 number of Harper's; it is reprinted (as "The Last Room") in "Ballads and Lyrics". archive.org . Retrieved 2016-04-20. Péricaud, Louis (1897). Le Théâtre des Funambules, ses mimes, ses acteurs et ses pantomimes ... Paris: Sapin. American (U.S.A.)— Caine, Rachel: Feast of Fools (Morganville Vampires, Book 4) (2008; vampire Myrnin dresses as Pierrot); Dennison, George: "A Tale of Pierrot" (1987); DePaola, Tomie: Sing, Pierrot, Sing: A Picture Book in Mime (1983; children's book, illustrated by the author); Hoban, Russell (has lived in England since 1969): Crocodile and Pierrot: A See-the-Story Book (1975; children's book, illustrated by Sylvie Selig).

Cultural references to Pierrot have been made since the inception of the character in the 17th century. 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 clown, often pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Many cultural movements found him amenable to their respective causes: Decadents turned him into a disillusioned foe of idealism; Symbolists saw him as a lonely fellow-sufferer; Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line.

Required Cookies & Technologies

Klingler, Oskar (1902). Die Comédie-Italienne in Paris nach der Sammlung von Gherardi. Strassburg: K.J. Trübner. Spanish— Francés, Victoria: Misty Circus 1: Sasha, the Little Pierrot (2009; children's book, illustrated by author; a sequel, Misty Circus 2: the Night of the Witches, appeared in 2010).

French— Baival, C., Paul Ternoise, and Albert Verse: Pierrot's Choice (1950); Ballieu, A. Jacques: Pierrot at the Seaside (1905); Beissier, Fernand: Mon Ami Pierrot (1923); Champsaur, Félicien: The Wedding of the Dream (pantomimic interlude in novel Le Combat des sexes [1927]); Guitry, Sacha: Deburau (1918); [59] Hennique, Léon: The Redemption of Pierrot (1903); Morhardt, Mathias: Mon ami Pierrot (1919); Prévert, Jacques: Baptiste (1946; choreography by Jean-Louis Barrault; Marcel Marceau played Harlequin); Strarbach, Gaston: Pierrot's Revenge (1913); Tervagne, Georges de, and Colette Cariou: Mon ami Pierrot (1945); Voisine, Auguste: Pierrot's Scullery-Brats (1903); Willette, Adolphe: Several works, including The Golden Age (1907; Georges Wague played Pierrot), Montmartre (1913; choreography by Mariquita; music by Auguste Georges Bosc). In the 1880s and 1890s, the pantomime reached a kind of apogee, and Pierrot became ubiquitous. [43] Moreover, he acquired a female counterpart, Pierrette, who rivaled Columbine for his affections. 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. [44] Sarah Bernhardt even donned Pierrot's blouse for Jean Richepin's Pierrot the Murderer (1883). Nineteenth century [ edit ] Deburau at the Théâtre des Funambules [ edit ] Auguste Bouquet: Jean-Gaspard Deburau, c. 1830. Performers [ edit ] Early twentieth century (1901–1950): notable works [ edit ] Non-operatic works for stage and screen [ edit ] Plays, playlets, pantomimes, and revues [ edit ]

Site Customisation

Nineteenth century [ edit ] Pantomime of Deburau at the Théâtre des Funambules [ edit ] Auguste Bouquet: Jean-Gaspard Deburau, c. 1830. German— Bohm, Carl: Carnival (1907; #6: "Pierrot and Columbine"; piano); Kaun, Hugo: Pierrot and Columbine: Four Episodes (1907; piano).

American (U.S.A.)— Abelle, Victor: "Pierrot and Pierrette" (1906; piano); Neidlinger, William Harold: Piano Sketches (1905; #5: "Pierrot"; #7: "Columbine"); Oehmler, Leo: "Pierrot and Pierrette – Petite Gavotte" (1905; violin and piano). Craig, Edward Gordon (1912). "The actor and the Über-Marionette". On the art of the theatre. London: William Heinemann. The portrait and genre painter Vittorio Matteo Corcos produced Portrait of Boy in Pierrot Costume in 1897. Jaroslav (1977). "Jean Gaspard Deburau: the immortal Pierrot." Tr. Paul Wilson. Mime Journal: 5. (This journal-length article is a translated condensation of Švehla's book-length study Deburau, nieśmiertelny Pierrot [Prague: Melantrich, 1976].)Pierrot's mask claimed the attention of the great theater innovator Edward Gordon Craig. [58] Craig's involvement with the figure grew with time. In 1897, Craig, dressed as Pierrot, gave a quasi-impromptu stage-reading of Hans Christian Andersen's story "What the Moon Saw" as part of a benefit performance for theater artists in need. [59] Austria and Germany [ edit ]