If you are white and young in America, you more than anyone else are likely to know about discrimination. You are faced with it every day. Marlene (Carney) Wiske was born in Aurora, Colorado on November 11, 1935. She was the oldest of three with a sister, Irene Selenke and brother, Jim (deceased). ENCYCLOPEDIA OF FREEMASONRY AND ITS KINDRED SCIENCES by ALBERT C. Browse the Encyclopedia by clicking on any of the letters below. Pierrot - Wikipedia. Pierrot (French pronunciation: . His character in contemporary popular culture. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close- fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap. But most frequently, since his reincarnation under Jean- Gaspard Deburau, he wears neither collar nor hat, only a black skullcap. The defining characteristic of Pierrot is his na. And yet early signs of a respectful, even sympathetic attitude toward the character appeared in the plays of Jean- Fran. For Jules Janin and Th. Much of that mythic quality (. National Gallery of Art, Washington, D. C. He is sometimes said to be a French variant of the sixteenth- century Italian Pedrolino. Among the French dramatists who wrote for the Italians and who gave Pierrot life on their stage were Jean Palaprat, Claude- Ignace Brugi. He seems an anomaly among the busy social creatures that surround him; he is isolated, out of touch. New General Catalog of Old Books and Authors Author names starting with Cl. Free goat papers, essays, and research papers. These results are sorted by most relevant first (ranked search). You may also sort these by color rating or essay. A long time occasional reader of this blog has asked the simple question as to the source of the information found within this blog. Conspiracy Cafe is a news and views site to look for the hidden truths in world events. There he appeared in the marionette theaters and in the motley entertainments. This holds true even when sophisticated playwrights, such as Alain- Ren. Besides making him a valet, a roasting specialist, a chef, a hash- house cook, an adventurer, . Not only actors but also acrobats and dancers were quick to seize on his role, inadvertently reducing Pierrot to a generic type. Antoine Galland's final volume of The Thousand and One Nights had appeared in 1. Lesage and his collaborators found inspiration, both exotic and (more importantly) coherent, for new plays. In Achmet and Almanzine (1. Lesage and Dorneval. The accomplished comic actor Jean- Baptiste Hamoche, who had worked at the Foires from 1. After this date, we hardly ever see him appear again except in old plays. He, along with his fellow Commedia masks. This development will accelerate in the next century. England. As early as 1. Pierrot had made his debut in the Addendum to . Thereafter, until the end of the century, Pierrot appeared fairly regularly in English pantomimes (which were originally mute harlequinades but later evolved into the Christmas pantomimes of today; in the nineteenth century, the harlequinade was presented as a . His role was uncomplicated: Delpini, according to the popular theater historian, M. It did so in 1. 80. In that same year, 1. Italian players led by Pasquale Casorti began giving performances in Dyrehavsbakken, then a well- known site for entertainers, hawkers, and inn- keepers. Casorti's son, Giuseppe (1. It foreshadows the work of such Spanish successors as Picasso and Fernand Pelez, who also showed strong sympathy with the lives of traveling saltimbancos. Nineteenth century. One of these was the Th. His style, according to Louis P. Most importantly, the character of his Pierrot, as it evolved gradually through the 1. Pierrots. 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. But the pantomime that had the greatest appeal to his public was the . 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. Baptiste's Pierrot was both a fool and no fool; he was Cassandre's valet but no one's servant. He was an embodiment of comic contrasts, showingimperturbable sang- froid . A pantomime produced at the Funambules in 1. The 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. In that year, Gautier, drawing upon Deburau's newly acquired audacity as a Pierrot, as well as upon the Romantics. Drawing by Adolphe Willette in Le Pierrot, December 7, 1. Paul Margueritte's Pierrot, Murderer of His Wife, 1. He entitled it . But it importantly marked a turning- point in Pierrot's career: henceforth Pierrot could bear comparisons with the serious over- reachers of high literature, like Don Juan or Macbeth; he could be a victim. Among the most celebrated of pantomimes in the latter part of the century would appear sensitive moon- mad souls duped into criminality. In 1. 83. 9, Legrand made his debut at the Funambules as the lover Leander in the pantomimes, and when he began appearing as Pierrot, in 1. 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. Such an audience was not averse to pantomimic experiment, and at mid- century . Charles himself eventually capitulated: it was he who played the Pierrot of Champfleury's Pantomime of the Attorney. Like Legrand, Charles's student, the Marseilles mime Louis Rouffe (1. Theatre Collection of the New York Public Library at Lincoln Center. In the 1. 88. 0s and 1. Pierrot became ubiquitous. Huysmans (whose Against Nature . In Belgium, where the Decadents and Symbolists were as numerous as their French counterparts, F. Their countryman the poet Albert Giraud also identified intensely with the zanni: the fifty rondels of his Pierrot lunaire (Moonstruck Pierrot . The title of choreographer Joseph Hansen's 1. Macabre Pierrot, created in collaboration with the poet Th. Gilbert, introduced Harlequin and Pierrot as love- struck twin brothers into Eyes and No Eyes, or The Art of Seeing (1. Thomas German Reed wrote the music. And he ensured that neither character, contrary to many an Aesthetic Pierrot, would be amorously disappointed. In a more bourgeois vein, Ethel Wright painted Bonjour, Pierrot! And the Pierrot of popular taste also spawned a uniquely English entertainment. In 1. 89. 1, the singer and banjoist Clifford Essex returned from France enamored of the Pierrots he had seen there and resolved to create a troupe of English Pierrot entertainers. Thus were born the seaside Pierrots (in conical hats and sometimes black or colored costume) who, as late as the 1. Brighton and Margate and Blackpool. They originated in the Smethwick area in the late 1. Midlands. It was doubtless these popular entertainers who inspired the academic Walter Westley Russell to commit The Pierrots (c. It was neither the Aesthetic nor the popular Pierrot that claimed the attention of the great theater innovator Edward Gordon Craig. The appeal of the mask seems to have been the same that drew Craig to the . In 1. 89. 7, Craig, dressed as Pierrot, gave a quasi- impromptu stage- reading of Hans Christian Andersen. However, his most important contribution to the Pierrot canon was not to appear until after the turn of the century (see Plays, playlets, pantomimes, and revues below). Pierrot and Pierrette (1. English film from the director Birt Acres. For an account of the English mime troupe The Hanlon Brothers, see France above. Germany. Location unknown. In Germany, Frank Wedekind introduced the femme- fatale of his first . Lulu's meretricious pierroting. In a similarly (and paradoxically) revealing spirit, the painter Paul Hoecker put cheeky young men into Pierrot costumes to ape their complacent burgher elders, smoking their pipes (Pierrots with Pipes . Much less well- known is the musical . A Clown's Christmas (1. Fernand Beissier, one of the founders of the Cercle Funambulesque. Thus does he forfeit his union with Columbine (the intended beneficiary of his crimes) for a frosty marriage with the moon. One of the earliest and most influential of these in America, The Chap- Book (1. Bird and Frank Hazenplug. It is in fact jarring to find the champion of American prose Realism, William Dean Howells, introducing Pastels in Prose (1. French prose- poems containing a Paul Margueritte pantomime, The Death of Pierrot. Such a figure was Stuart Merrill, who consorted with the French Symbolists and compiled and translated the pieces in Pastels in Prose; another was William Theodore Peters, an acquaintance of Ernest Dowson and other members of the Rhymers' Club and a driving force behind the conception and theatrical realization of Dowson's Pierrot of the Minute (1. England above). Of the three books that Peters published before his death (of starvation). In 1. 89. 7, Bernardo Couto Castillo, another Decadent who, at the age of twenty- two, died even more tragically young than Peters, embarked on a series of Pierrot- themed short stories. Harlequinade (1. 90. 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. Nineteenth- century legacy. Like the earlier masks of Commedia dell. Thanks to the international gregariousness of Modernism, he would soon be found everywhere. He was a key figure in every art- form except architecture. With respect to poetry, T. As for the drama, Pierrot was a regular fixture in the plays of the Little Theatre Movement (Edna St. Vincent Millay's Aria da Capo . Finally, in film, the most beloved of its early comic heroes was the Little Tramp of Charlie Chaplin, who conceived the character, in Chaplin's words, as . One of his earliest appearances was in Alexander Blok's The Puppet Show (1. Everything about him is sharply angular; in a hushed voice he whispers strange words of sadness; somehow he contrives to be caustic, heart- rending, gentle: all these things yet at the same time impudent.
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