Note that King and the Clown was released on December 29, so it is listed on the page Seoul population: KoreanImported Total admissions: Sporting perpetual bruises on his face, he spends his free time reading martial arts manuals and taking fighting lessons from various adults in town, in a desperate attempt to learn how to defend himself. Nothing seems to do any good, however.
Jean-Gaspard Deburauc. Adopting the stage-name "Baptiste", Deburau, from the yearbecame the Funambules' sole actor to play Pierrot  in several types of comic pantomime—rustic, melodramatic, "realistic", and fantastic. Most importantly, the character of his Pierrot, as it evolved gradually through the s, eventually parted company almost completely with the crude Pierrots—timid, sexless, lazy, and greedy—of the earlier pantomime.
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.
The action unfolded in fairy-land, peopled with good and bad spirits who both advanced and impeded the plot, which was interlarded with comically violent and often scabrous mayhem.
As in the Bakken pantomimes, that plot hinged upon Cassander's pursuit of Harlequin and Columbine—but it was complicated, in Baptiste's interpretation, by a clever and ambiguous Pierrot. Baptiste's Pierrot was both a fool and no fool; he was Cassandre's valet but no one's servant.
A pantomime produced at the Funambules inThe 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 and The Kissrespectively. Pierrot tickles Columbine to death.
He entitled it "Shakespeare at the Funambules", and in it he summarized and analyzed an unnamed pantomime of unusually somber events: Pierrot murders an old-clothes man for garments to court a duchess, then is skewered in turn by the sword with which he stabbed the peddler when the latter's ghost lures him into a dance at his wedding.
But it importantly marked a turning-point in Pierrot's career: Charles Deburau, Paul Legrand, and their successors[ edit ] Nadar: Charles Deburau as Pierrot, Deburau's son, Jean-Charles or, as he preferred, "Charles" [—]assumed Pierrot's blouse the year after his father's death, and he was praised for bringing Baptiste's agility to the role.
InLegrand made his debut at the Funambules as the lover Leander in the pantomimes, and when he began appearing as Pierrot, inhe 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. Georges Wague in one of the cantomimes pantomimes performed to off-stage songs of Xavier Privas.
Such an audience was not averse to pantomimic experiment, and at mid-century "experiment" very often meant Realism. Charles himself eventually capitulated: Pantomime and late nineteenth-century art[ edit ] Popular and literary pantomime Atelier Nadar:Pierrot (/ ˈ p ɪər oʊ /, US also / ˌ p iː ə ˈ r oʊ /; French:) is a stock character of pantomime and commedia dell'arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a diminutive of Pierre (Peter), via the suffix -ot.
His character in contemporary popular culture—in poetry, fiction.
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