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

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Vsevolod Meyerhold dressed as Pierrot for his own production of Alexander Blok's Fairground Booth, 1906.

Félicien Rops, Blowing Cupid's Nose [1881] James Ensor The Strange Masks [1892], Pierrot's Despair [1892], Pierrot and Skeleton in Yellow [1893] Austrian— Berg, Alban: Lulu (unfinished; first perf. 1937; libretto by composer, adapted from "Lulu" plays of Frank Wedekind [see under Germany above]); Korngold, Erich Wolfgang: Die tote Stadt ( The Dead City [1920]; libretto by composer and Paul Schott; actor Fritz banters and sings in the guise and costume of Pierrot—an ironic counterpart to the lovelorn main character, Paul). Italian— Bixio, Cesare Andrea: "So Cries Pierrot" (1925; voice and piano; text by composer); Bussotti, Sylvano: "Pierrot" (1949; voice and harp).

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Carlo Delpini as Pierrot [7] So conceived, Pierrot was easily and naturally displaced by the native English Clown when the latter found a suitably brilliant interpreter. It did so in 1800, when "Joey" Grimaldi made his celebrated debut in the role. [8] Francisco de Goya: Itinerant Actors (1793). Museo del Prado, Madrid. Germany [ edit ] Plays [ edit ]

The format of the lists that follow is the same as that of the previous section, except for the Western pop-music singers and groups. These are listed alphabetically by first name, not last (e.g., "Stevie Wonder", not "Wonder, Stevie"). Sentenac, Paul. (1923). Pierrot et les artistes: mémoires de l'Ami Pierrot. Paris: Sansot, Chiberre.Austrian— Eggeler, Stefan: Many works, including "Pierrot's Song of Love and Death" (#1 of Musical Miniatures [1921]), 6 lithographs in 1922 [German] ed. of Arthur Schnitzler's Veil of Pierrette (see above, under Plays, playlets, pantomimes, and revues), The Disappointed Lover (1922), On the Way Home (1922); Geiger, Richard (worked mainly in Hungary): Many works, including Columbine and Pierrot (1920), Duet (c. 1925), Pierrot and Columbine (1937); Kirchner, Raphael: The Loves of Pierrot (c. 1920); Kubin, Alfred: Death of Pierrot (1922); Schiele, Egon: Pierrot (Self-Portrait) (1914). British— Coward, Sir Noël: "Parisian Pierrot" (1922; voice and orchestra); Scott, Cyril: "Pierrot amoureux" (1912; voice and piano), "Pierrot and the Moon Maiden" (1912; voice and piano; text by Ernest Dowson from Pierrot of the Minute [see above under England]); Shaw, Martin: "At Columbine's Grave" (1922; voice and piano; lyrics by Bliss Carman [see above under Poetry]).

In the last year of the century, Pierrot appeared in a Russian ballet, Harlequin's Millions a.k.a. Harlequinade (1900), its libretto and choreography by Marius Petipa, its music by Riccardo Drigo, its dancers the members of St. Petersburg's Imperial Ballet. It would set the stage for the later and greater triumphs of Pierrot in the productions of the Ballets Russes. 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. Polish— Karenne, Diana (worked mainly in Italy, Germany, and France): Pierrot a.k.a. Story of a Pierrot (1917). Spanish— Carrere, Emilio: "End of Carnival" (1919); Champourcin, Ernestina de: "Romantic Carnival" (1926); García Lorca, Federico: "Pierrot: Intimate Poem" (1918); Machado, Manuel: Caprices (1905).Harlequin's Millions a.k.a. Harlequinade (1900), its libretto and choreography by Marius Petipa, its music by Riccardo Drigo Canadian— Major, Henriette: The Vampire and the Pierrot (2000; children's book); Laurent McAllister: "Le Pierrot diffracté" ("The Diffracted Pierrot" [1992]). Indeed, Pierrot appears in comparative isolation from his fellow masks, with few exceptions, in all the plays of Le Théâtre Italien, standing on the periphery of the action, commenting, advising, chiding, but rarely taking part in the movement around him": Storey, Pierrot: a critical history, pp. 27-28. The form in which I began to write, in 1908 or 1909, was directly drawn from the study of Laforgue ...": Eliot, in his Introduction to the Selected Poems of Ezra Pound; cited in Storey, Pierrot: a critical history, p. 156.

American— Balanchine, George (born in Russia): Harlequin (1965; revival of ballet Harlequin's Millions [see Russia above]); Craton, John: Pierrot and Pierrette a.k.a. Le Mime solitaire (2009; ballet); Muller, Jennifer (head of three-member Works Dance Company, New York): Pierrot (1986; music and scenario by Thea Musgrave [see below under Western classical and jazz: Instrumental]); Russillo, Joseph (works mainly in France): Pierrot (1975; ballet); Totheroh, Dan: The Masque of Pierrot: A Masque in One Act (1967); Wilson, Robert: Letter to a Man (2015; "a sort of vaudeville show, a series of acts, most of them featuring Nijinsky-Baryshnikov"—i.e., the character Vaslav Nijinsky played by Mikhail Baryshnikov—"in a tuxedo and elaborate whiteface: the face of Pierrot, of Petrushka ..."). [99]Nye, Edward (2016): "The pantomime repertoire of the Théâtre des Funambules," Nineteenth century theatre and film, 43: 1 (May): 3-20.