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

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Sentenac, Paul. (1923). Pierrot et les artistes: mémoires de l'Ami Pierrot. Paris: Sansot, Chiberre. Legrand left the Funambules in 1853 for the Folies-Nouvelles, which attracted the fashionable set, unlike the Funambules' working-class audiences. Legrand often appeared in realistic costume, his chalky face his only concession to tradition, leading some advocates of pantomime, like Gautier, to lament that he was betraying the character of the type. [42] Legrand's Pierrot influenced future mimes. Paul Legrand (1816–1898) performed at the Funambules. He later moved to the Folies-Nouvelles. [17] In this he was abetted by the novelist and journalist Champfleury, who set himself the task, in the 1840s, of writing "realistic" pantomimes. [18] [19] Lecture at the Italian Institute in London, 1950; cited in Storey, Pierrot: a critical history, p. 156. Félicien Rops, Blowing Cupid's Nose [1881] James Ensor The Strange Masks [1892], Pierrot's Despair [1892], Pierrot and Skeleton in Yellow [1893]

German— Alt, Otmar: Pierrot (n.d.).; Ernst, Max (worked mainly in France): Mon ami Pierrot (1974); Lüpertz, Markus: Pierrot lunaire: Chair (1984). British— Christie, Michael: "Pierrot" (1998; voice and small ensemble; text by John Drinkwater [see above under Poetry]); St. Johanser, Joe: "Pierrot" (2003; from song-cycle Pierrot Alone; voice and chamber orchestra; text by John Drinkwater [see above under Poetry]). Canadian— Major, Henriette: The Vampire and the Pierrot (2000; children's book); Laurent McAllister: "Le Pierrot diffracté" ("The Diffracted Pierrot" [1992]). Francisco de Goya: Itinerant Actors (1793). Museo del Prado, Madrid. Germany [ edit ] Plays [ edit ]Non-operatic works for stage and screen [ edit ] Plays, pantomimes, variety shows, circus, and dance [ edit ]

Many reviewers of his pantomimes make note of this tendency: see, e.g., Gautier, Le Moniteur Universel, October 15, 1855; July 28, 1856; August 30, 1858; tr. Storey, Pierrots on the stage, pp. 66–68. Baldassarre Negroni Cavalleria Rusticana as a film in 1914. [37] Its libretto, like that of Monti's "mimodrama" Noël de Pierrot a.k.a. A Clown's Christmas (1900), was written by Fernand Beissier. [38]Rudlin, John (1994). Commedia dell'Arte: an actor's handbook. London: Routledge. ISBN 0-415-04770-6. Swedish— Bergman, Ingmar: In the Presence of a Clown (1997 film for TV; the Pierrot-like—yet female—Rigmor, the clown of the title, is an important symbolic figure).