The Opera Quotannis production (with Christine Schadeberg) was premiered in 1995; Tetley's ballet (Archived 2015-10-08 at the Wayback Machine) was first performed in 1962; Koestenbaum's ten Pierrot Lunaire poems appeared in his Best-Selling Jewish Porn Films (New York: Turtle Point Press, 2006).
archive.org
Courville, II, 104; Campardon, Comédiens du roi, II, 145; Meldolesi.
Campardon, Spectacles, I, 391; tr. Storey, Pierrot: a critical history, p. 54, note 31.
Custance, Olive (1897). "Pierrot". The Yellow Book, An Illustrated Quarterly. Vol. XIII. p. 121. Retrieved 1 July 2016 – via Internet Archive.
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 20 April 2016.
"Pierrot-like tone": Taupin, p. 277.
Cf. the words of critic Arthur Symons: "His [i.e., Laforgue's] laughter, which Maeterlinck has defined so admirably as 'the laughter of the soul', is the laughter of Pierrot, more than half a sob, and shaken out of him with a deplorable gesture of the thin arms, thrown wide. He is a metaphysical Pierrot, a Pierrot lunaire ..." (p. 304). Eliot read these words in his 1908 edition of Symons' Symbolist Movement in Literature, which introduced him to Laforgue.
Janin called Deburau's Pierrot "the people among the people" (pp. 156-57); Gautier identified him as "the modern proletarian, the pariah, the passive and disinherited being" (V, 24).
Fournier, p. 113, provides the information for this paragraph. "If, as Fournier points out, Molière gave [his Pierrot] 'the white blouse of a French peasant', then I doubt very much that we have to look for traces of his origins [i.e., of the origins of the Italians' Pierrot] in the commedia dell'arte at all": Storey, Pierrot: a critical history, p. 20.
This was its second such contribution, the first being Il Convitato di pietra (The Stone Guest, 1658), which was the basis for the Addendum (albeit without its Pierrot) and the inspiration for Molière's play. See Fournier, pp. 112-113.
Péricaud, p. 28; tr. Storey, Pierrots on the stage, pp. 31–32.
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Sand, Duchartre, and Oreglia see a close family resemblance between—if not an interchangeability of—both characters. Mic claims that an historical connection between Pedrolino and "the celebrated Pierrots of [Adolphe] Willette" is "absolutely evident" (p. 211). Nicoll writes that Pedrolino is the "Italian equivalent" of Pierrot (World, p. 88). As late as 1994, Rudlin (pp. 137-38) renames Pierrot "Pedrolino" in a translation of a scene from Nolant de Fatouville's Harlequin, Emperor of the Moon (1684): see Gherardi, I, 179.
See, e.g., Act III, scene iii of Eustache Le Noble's Harlequin-Aesop (1691) in the Gherardi collection. A translated excerpt from the scene appears in Storey, Pierrot: a critical history, p. 20.
See, e.g., the Scene des remontrances of Regnard's Wayward Girls in the Gherardi collection. A translated excerpt from this scene appears in Storey, Pierrot: a critical history, p. 23.
See Act I, scene v of Regnard's La Coquette and Act III, scene i of Houdar de la Motte's The Eccentrics (Les Originaux), both in the Gherardi collection. Translations of these scenes appear in Storey, Pierrot: a critical history, pp. 26-27.
See, e.g., Act I, scene ii[permanent dead link] of Palaprat's Level-Headed Girl in the Gherardi collection. A translated excerpt from this scene appears in Storey, Pierrot: a critical history, pp. 24-25.
The Opera Quotannis production (with Christine Schadeberg) was premiered in 1995; Tetley's ballet (Archived 2015-10-08 at the Wayback Machine) was first performed in 1962; Koestenbaum's ten Pierrot Lunaire poems appeared in his Best-Selling Jewish Porn Films (New York: Turtle Point Press, 2006).
