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In 1895, the playwright and future Nobel laureate Jacinto Benavente wrote rapturously in his journal of a performance of the Hanlon-Lees, [64] and three years later he published his only pantomime: The Whiteness of Pierrot. A true fin de siècle mask, Pierrot paints his face black to commit robbery and murder; then, after restoring his pallor ...
The story of the Harlequinade revolves around a comic incident in the lives of its five main characters: Harlequin, who loves Columbine; Columbine's greedy and foolish father Pantaloon (evolved from the character Pantalone), who tries to separate the lovers in league with the mischievous Clown; and the servant, Pierrot, usually involving ...
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.
The figure on the left is the Pierrot, the sad clown from Commedia dell'arte. He has a white pointy hat, a black eye mask, a blue and white body, and white pants. He is playing a gray clarinet. His small brown hands are disproportionate to the rest of his body. The figure in the middle is the Harlequin.
The mask, like most character masks was made out of some sort of papier-mâché. [18] Now, most cow costumes consist of a cream-coloured loose shirt with tight pants that have gold accents. [ 18 ] The full papier-mâché mask was also replaced by a hat or headband with cow horns. [ 18 ]
Some eight years after its highly successful premiere, the Italians spoofed Molière's comedy with an Addendum to "The Stone Guest", in which Pierrot first appeared by name among his fellow masks; [23] he was played by one Giuseppe Giaratone, an actor who thereafter would be identified with the character for the next quarter-century. [24]