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In Germany, Frank Wedekind introduced the femme-fatale of his first "Lulu" play, Earth Spirit (1895), in a Pierrot costume. In a similar spirit, the painter Paul Hoecker put cheeky young men into Pierrot costumes to ape their complacent burgher elders in Pierrots with Pipes (c. 1900) and swilling champagne in Waiting Woman (c. 1895).
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.
Pierrot had loose white clothing, with a large matching collar. He painted his face white instead of wearing a mask. [4] Pedrolino's costume was essentially like Pierrot's—white, big buttons, short hat, and white face—but it was way too big for him, and the sleeves covered his hands, to emphasize that Pedrolino was a little person in hand ...
Mrs Hester Booth, née Santlow (circa 1690–1773) dressed as a harlequin, attributed to John Ellys Harlequin-costume, dated 1656–1693. The harlequin is a character from Commedia dell'arte, a 16th-century Italian theater movement. Harlequins were witty, mischievous clowns. Their early costumes were sewn together from fabric scraps.
1862 depiction of a Columbine set in 1683 [1]. Columbine (Italian: Colombina; French: Colombine; [2] lit. ' little dove ') is a stock character in the commedia dell'arte. [3] She is Harlequin's mistress, [3] a comic servant playing the tricky slave type, and wife of Pierrot.
Pedrolino and Pierrot are clearly differentiated by their respective functions in the plots of their plays. Pedrolino, as a first Zanni, is, as Mic notes above, the "dynamic" element of the play; Pierrot, on the other hand, as a second Zanni, is static.
Nadar: Paul Legrand as Pierrot, c. 1857. Paul Legrand (French pronunciation: [pɔl ləɡʁɑ̃]; January 4, 1816 – April 16, 1898), born Charles-Dominique-Martin Legrand, was a highly regarded and influential French mime who turned the Pierrot of his predecessor, Jean-Gaspard Deburau, into the tearful, sentimental character that is most familiar to post-19th-century admirers of the figure.