french clown names

[84] (Monti would go on to acquire his own fame by celebrating another spiritual outsider much akin to Pierrot—the Gypsy. In fact, what documentation does exist links Pierrot, not with Pedrolino, but with, He appears in forty-nine of the fifty scenarios in Flaminio Scala's, "Indeed, Pierrot appears in comparative isolation from his fellow masks, with few exceptions, in all the plays of, This was its second such contribution, the first being. Read on to learn about 100 popular and unique French baby names that are très magnifique! [70] Even the embryonic art of the motion picture turned to Pierrot before the century was out: he appeared, not only in early celluloid shorts (Georges Méliès's The Nightmare [1896], The Magician [1898]; Alice Guy's Arrival of Pierrette and Pierrot [1900], Pierrette's Amorous Adventures [1900]; Ambroise-François Parnaland's Pierrot's Big Head/Pierrot's Tongue [1900], Pierrot-Drinker [1900]), but also in Emile Reynaud's Praxinoscope production of Poor Pierrot (1892), the first animated movie and the first hand-colored one. Please use this up to date list of French name as a reference to name your kid/child. "'Marked you that? Baptiste's Pierrot was both a fool and no fool; he was Cassandre's valet but no one's servant. [1] And subsequent artistic/cultural movements found him equally amenable to their cause: the Decadents turned him, like themselves, into a disillusioned disciple of Schopenhauer, a foe of Woman and of callow idealism; the Symbolists saw him as a lonely fellow-sufferer, crucified upon the rood of soulful sensitivity, his only friend the distant moon; the Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line. the words of critic, "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. Like the earlier masks of commedia dell'arte, Pierrot now knew no national boundaries. [20], His real life in the theater in the eighteenth century is to be found on the lesser stages of the capital, at its two great fairs, the Foires Saint-Germain and Saint-Laurent. 401–402. Middle names. and sometimes the most opposed to his personality. His character in contemporary popular culture—in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. As the entries below tend to testify, Pierrot is most visible (as in the eighteenth century) in unapologetically popular genres—in circus acts and street-mime sketches, TV programs and Japanese anime, comic books and graphic novels, children's books and young adult fiction (especially fantasy and, in particular, vampire fiction), Hollywood films, and pop and rock music. [54] In this he was abetted by the novelist and journalist Champfleury, who set himself the task, in the 1840s, of writing "realistic" pantomimes. He started the typical physical tricks, tumblings, and comical whippings. Nye, Edward (2016): "The pantomime repertoire of the Théâtre des Funambules,". [22] The result, far from "regular" drama, tended to put a strain on his character, and, as a consequence, the early Pierrot of the fairgrounds is a much less nuanced and rounded type than we find in the older repertoire. In 1839, Legrand made his debut at the Funambules as the lover Leander in the pantomimes, and when he began appearing as Pierrot, in 1845, he brought a new sensibility to the character. It was doubtless these popular entertainers who inspired the academic Walter Westley Russell to commit The Pierrots (c. 1900) to canvas. Their countryman the poet Albert Giraud also identified intensely with the zanni: the fifty rondels of his Pierrot lunaire (Moonstruck Pierrot [1884]) would inspire several generations of composers (see Pierrot lunaire below), and his verse-play Pierrot-Narcissus (1887) offered a definitive portrait of the solipsistic poet-dreamer. For Jules Janin and Théophile Gautier, Pierrot was not a fool but an avatar of the post-Revolutionary People, struggling, sometimes tragically, to secure a place in the bourgeois world. Loppy (English origin) clown name meaning "awkward". [6] Both are comic servants, but Pedrolino, as a so-called first zanni, often acts with cunning and daring,[7] an engine of the plot in the scenarios where he appears. But the pantomime that had the greatest appeal to his public was the "pantomime-arlequinade-féerie", sometimes "in the English style" (i.e., with a prologue in which characters were transformed into the commedia types). But most frequently, since his reincarnation under Jean-Gaspard Deburau, he wears neither collar nor hat, only a black skullcap. Dick, Daniella (2013). Return of the Killer Klowns from Outer Space in 3D, International Circus Festival of Monte-Carlo, Ringling Brothers and Barnum and Bailey Circus, Ringling Brothers Barnum and Bailey Circus, https://clownopedia.fandom.com/wiki/List_of_clowns?oldid=5597, Rajoo, a circus clow and the central character in, Rollo the Clown, played by William (Billy) Wayne, the "good-guy" clown in the. The French for clownfish is poissons-clowns. Thus were born the seaside Pierrots (in conical hats and sometimes black or colored costume) who, as late as the 1950s, sang, danced, juggled, and joked on the piers of Brighton and Margate and Blackpool. Joker Clown Halloween. Students of Modernist painting and sculpture are familiar with Pierrot (in many different attitudes, from the ineffably sad to the ebulliently impudent) through the masterworks of his acolytes, including Pablo Picasso, Juan Gris, Georges Rouault, Salvador Dalí, Max Beckmann, August Macke, Paul Klee, Jacques Lipchitz—the list is very long (see Visual arts below). 5 out of 5 stars (15,194) $ 5.60. And when film arrived at a pinnacle of auteurism in the 1950s and '60s, aligning it with the earlier Modernist aesthetic, some of its most celebrated directors—Bergman, Fellini, Godard—turned naturally to Pierrot. Adopting the stage-name "Baptiste", Deburau, from the year 1825, became the Funambules' sole actor to play Pierrot[41] in several types of comic pantomime—rustic, melodramatic, "realistic", and fantastic. Of the three books that Peters published before his death (of starvation)[97] at the age of forty-two, his Posies out of Rings: And Other Conceits (1896) is most notable here: in it, four poems and an "Epilogue" for the aforementioned Dowson play are devoted to Pierrot. [61] Moreover, he acquired a counterpart, Pierrette, who rivaled Columbine for his affections. Along with Charlotte, other popular French girls’ names that rank in the US Top 200 include Annabelle, Caroline, Claire, Josephine, Natalie, Sophie, Sydney, and Valerie. In not a few of the early Foire plays, Pierrot's character is therefore "quite badly defined. [183] A passionately sinister Pierrot Lunaire has even shadowed DC Comics' Batman. Pierrot played a seminal role in the emergence of Modernism in the arts. In that year, Gautier, drawing upon Deburau's newly acquired audacity as a Pierrot, as well as upon the Romantics’ store of Shakespearean plots and of Don-Juanesque legend, published a "review" of a pantomime he claimed to have seen at the Funambules. Marsh, Roger (2007a). [21] Sometimes he spoke gibberish (in the so-called pièces à la muette); sometimes the audience itself sang his lines, inscribed on placards held aloft by hovering Cupids (in the pièces à écriteau). [87] The Hanlon-Lees made their first U.S. appearance in 1858, and their subsequent tours, well into the twentieth century, of scores of cities throughout the country accustomed their audiences to their fantastic, acrobatic Pierrots. "[36] So conceived, Pierrot was easily and naturally displaced by the native English Clown when the latter found a suitably brilliant interpreter. 1882). Harlequinade (1900), its libretto and choreography by Marius Petipa, its music by Riccardo Drigo, its dancers the members of St. Petersburg's Imperial Ballet. But Pierrot's most prominent place in the late twentieth century, as well as in the early twenty-first, has been in popular, not High Modernist, art. See Lawner; Kellein; also the plates in Palacio, and the plates and tailpieces in Storey's two books. "The view shows a group of maskers in the street, most in costumes of clowns with polka-dots and pointed hats. Besides making him a valet, a roasting specialist, a chef, a hash-house cook, an adventurer, [Lesage] just as frequently dresses him up as someone else." Loko (Spanish origin) clown name means "foolish or insane person." [51], Deburau's son, Jean-Charles (or, as he preferred, "Charles" [1829–1873]), assumed Pierrot's blouse the year after his father's death, and he was praised for bringing Baptiste's agility to the role. [118] Vsevolod Meyerhold, who both directed the first production and took on the role, dramatically emphasized the multifacetedness of the character: according to one spectator, Meyerhold's Pierrot was "nothing like those familiar, falsely sugary, whining Pierrots. Known as the ‘Seinfeld of France’ and voted the funniest person of the year in 2007, Gad Elmaleh is a veteran of the contemporary French comedy scene. It also contains a short tale of Pierrot by Paul Leclercq, "A Story in White". "ON THE LAST DAY OF THE CARNIVAL", Mardi Gras (French for Fat Tuesday,) promiscuous masking is allowed on the streets, which are thronged with picturesque bands of maskers of every age and condition, and their costumes run in every garment from the clown to kings and queens. )[91] Like most things associated with the Decadence, such exotica discombobulated the mainstream American public, which regarded the little magazines in general as "freak periodicals" and declared, through one of its mouthpieces, Munsey's Magazine, that "each new representative of the species is, if possible, more preposterous than the last. Multiple works by artists are listed chronologically. A variety of Pierrot-themed items, including figurines, jewelry, posters, and bedclothes, are sold commercially. These are listed alphabetically by first name, not last (e.g., "Stevie Wonder", not "Wonder, Stevie"). [181], But the loony Pierrot behind those cycles has invaded worlds well beyond those of composers, singers, and ensemble-performers. It was a generally buffoonish Pierrot that held the European stage for the first two centuries of his history. Water Corals Underwater. When Gustave Courbet drew a pencil illustration for The Black Arm (1856), a pantomime by Fernand Desnoyers written for another mime, Paul Legrand (see next section), the Pierrot who quakes with fear as a black arm snakes up from the ground before him is clearly a child of the Pierrot in The Ol’ Clo's Man. He was a key figure in every art-form except architecture. A variant of the poem is entitled "To a Pierrette with Her Arm Around a Brass Vase as Tall as Herself." One of his earliest appearances was in Alexander Blok's The Puppet Show (1906), called by one theater-historian "the greatest example of the harlequinade in Russia". "Pierrot was Faulkner's fictional representation of his fragmented state": Sensibar, p. xvii. [2] In short, Pierrot became an alter-ego of the artist, specifically of the famously alienated artist of the nineteenth and early twentieth centuries. Antoine Galland's final volume of The Thousand and One Nights had appeared in 1717, and in the plots of these tales Lesage and his collaborators found inspiration, both exotic and (more importantly) coherent, for new plays. Tr. At the end of the play the line, "Yes, and yet I dare say he is just as dead", must not be said flippantly or cynically, but slowly and with much philosophic concentration on the thought.[120]. And the Pierrot of popular taste also spawned a uniquely English entertainment. One of the most popular characters on the animated series The Simpsons, Herschel Schmoeckel Pinchas Yerucham Krustofsky (as he was born) is an unlikely clown. Pierrot (/ˈpɪəroʊ/ PEER-oh, US also /ˈpiːəroʊ, ˌpiːəˈroʊ/ PEE-ə-roh, PEE-ə-ROH, French: [pjɛʁo] (listen)) 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. Most importantly, the character of his Pierrot, as it evolved gradually through the 1820s, eventually parted company almost completely with the crude Pierrots—timid, sexless, lazy, and greedy—of the earlier pantomime. Don't forget to pick a name. The pantomime under "review" was Gautier's own fabrication (though it inspired a hack to turn it into an actual pantomime, The Ol’ Clo's Man [1842], in which Deburau probably appeared[49]—and also inspired Barrault's wonderful recreation of it in Children of Paradise). [58] His successor Séverin (1863–1930) played Pierrot sentimentally, as a doom-laden soul, a figure far removed from the conception of Deburau père. "Jean Gaspard Deburau: the immortal Pierrot." 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. On the influence of the Hanlons on Goncourt and Huysmans and Hennique, see Storey. Lesage, Alain-René, and Dorneval (1724–1737). Pedrolino became tremendously popular in later French pantomimes as the naive and appealing Pierrot. Pierrot and Pierrette (1896) was a specimen of early English film from the director Birt Acres. [35] And in 1717, Pierrot's name first appears in an English entertainment: a pantomime by John Rich entitled The Jealous Doctor; or, The Intriguing Dame, in which the role was undertaken by a certain Mr. Griffin. French names can represent prominent figures in art and science such as Claude and Louis, or saints such as Claire and Dominque. [99] For the Spanish-speaking world, according to scholar Emilio Peral Vega, Couto "expresses that first manifestation of Pierrot as an alter ego in a game of symbolic otherness ..."[100]. For an account of the English mime troupe The Hanlon Brothers, see France above. The broad satirical streak in Lesage often rendered him indifferent to Pierrot's character, and consequently, as the critic Vincent Barberet observes, "Pierrot is assigned the most diverse roles . "[31] But Pierrot's triumph was short-lived. An Italian company was called back to Paris in 1716, and Pierrot was reincarnated by the actors Pierre-François Biancolelli (son of the Harlequin of the banished troupe of players) and, after Biancolelli abandoned the role, the celebrated Fabio Sticotti (1676–1741) and his son Antoine Jean (1715–1772). A sign on the neutral ground reads "Welcome to the Winter Capital of America". Discover the uniqueness, meaning, and of course their names. 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 "play within a play" during the pantomime), finding his most notable interpreter in Carlo Delpini (1740–1828). "The Translations." It was found to be “pleasing” because, in part, it was “odd”. Among the most celebrated of pantomimes in the latter part of the century would appear sensitive moon-mad souls duped into criminality—usually by love of a fickle Columbine—and so inevitably marked for destruction (Paul Margueritte's Pierrot, Murderer of His Wife [1881]; the mime Séverin's Poor Pierrot [1891]; Catulle Mendès’ Ol’ Clo's Man [1896], modeled on Gautier's "review"). 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 (1897; see England above). So you're getting a French Bulldog but you need the perfect name, we totally get it. In Arthurian legend, this is the name of the pure and innocent knight of King Arthur 's … [3] His physical insularity; his poignant lapses into mutism, the legacy of the great mime Deburau; his white face and costume, suggesting not only innocence but the pallor of the dead; his often frustrated pursuit of Columbine, coupled with his never-to-be-vanquished unworldly naïveté—all conspired to lift him out of the circumscribed world of the commedia dell'arte and into the larger realm of myth.

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