Irish— Clarke, Austin: Trilogy of Pierrot/Pierrette plays— The Kiss (1942), The Second Kiss (1946), The Third Kiss (1976). Cosdon, Mark (2010). The Hanlon Brothers: from daredevil acrobatics to spectacle pantomime, 1833–1931. Carbondale, IL: Southern Illinois University Press. ISBN 978-0809329250.

Spanish— Briones Carmona, Fernando: Melancholy Pierrot (1945); Dalí, Salvador: Pierrot's Love (c. 1905), Pierrot with Guitar (1924), Pierrot Playing the Guitar (1925); García Lorca, Federico: Pierrot lunar (1928); Gris, Juan (worked mainly in France): Many works, including Pierrot (1919), Pierrot (1921), Pierrot Playing Guitar (1923), Pierrot with Book (1924); Picasso, Pablo (worked mainly in France): Many works, including Pierrot (1918), Pierrot and Harlequin (1920), Three Musicians (1921; two versions), Portrait of Adolescent as Pierrot (1922), Paul as Pierrot (1925); Valle, Evaristo: Pierrot (1909). British— Holbrooke, Joseph Charles: Pierrot and Pierrette (1909; libretto by Walter E. Grogan); Smyth, Ethel: Fête Galante (1923; based on the short story by Maurice Baring [see Fiction (British) above]). Storey, Robert (Fall 1978). "Shakespeare at the Funambules: a translation of Théophile Gautier's 'Shakspeare aux Funambules' and a commentary". Mime, Mask & Marionette: A Quarterly Journal of Performing Arts. 1 (3): 159–79. Parfaict, François and Claude, and Godin d'Abguerbe (1767). Dictionnaire des théâtres de Paris ... Vol. 3. Paris: Rozet.Pierrot figured prominently in the drawings of Aubrey Beardsley, and various writers referenced him in their poetry. [29] [30] [31] 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). As the diverse incarnations of the nineteenth-century Pierrot would predict, the hallmarks of the Modernist Pierrot are his ambiguity and complexity.

Nye, Edward (2015-2016): "The romantic myth of Jean-Gaspard Deburau". Nineteenth-century French studies, 44: 1 & 2 (Fall-Winter): 46-64. Italian— Alberini, Filoteo: Pierrot in Love (1906); Bacchini, Romolo: Pierrot's Heart (1909); Camagni, Bianca Virginia: Fantasy (1921); Caserini, Mario: A Pierrot's Romance (1906); Falena, Ugo: The Disillusionment of Pierrot (1915); Negroni, Baldassarre: Story of a Pierrot a.k.a. Pierrot the Prodigal (1913; based on 1893 pantomime by Mario Pasquale Costa [see Italy above]; Pierrot is played by Francesca Bertini); Notari, Elvira and Eduardo: So Cries Pierrot (1924). Canadian— Carman, Bliss: "Pierrot's House" (1901), [91] "Pierrot in Autumn" (1901), [92] "At Columbine's Grave" (1902), [93] "The Book of Pierrot", from Poems (1904, 1905). Russian— Blok, Alexander: The Fairground Booth a.k.a. The Puppet Show (1906); Evreinov, Nikolai: A Merry Death (1908), Today's Columbine (1915), The Chief Thing (1921; turned into film, La Comédie du bonheur, in 1940).Pierrot also appeared in the visual arts and in folksongs (" Au clair de la lune"). [25] The art of Claude Gillot ( Master André's Tomb [c. 1717]), of Gillot's students Watteau ( Italian Actors [c. 1719]) and Nicolas Lancret ( Italian Actors near a Fountain [c. 1719]), of Jean-Baptiste Oudry ( Italian Actors in a Park [c. 1725]), of Philippe Mercier ( Pierrot and Harlequin [n.d.]), and of Jean-Honoré Fragonard ( A Boy as Pierrot [1776–1780]) features him prominently. Japanese— Osamu Shimizu: Moonlight and Pierrot Suite (1948/49; male chorus; text by Horiguchi Daigaku). Klingler, Oskar (1902). Die Comédie-Italienne in Paris nach der Sammlung von Gherardi. Strassburg: K.J. Trübner. Deburau, from the year 1825, was the only actor at the Funambules to play Pierrot, [34] and he did so in several types of pantomime: rustic, melodramatic, "realistic", and fantastic. [35] His style, according to Louis Péricaud, formed "an enormous contrast with the exuberance, the superabundance of gestures, of leaps, that ... his predecessors had employed." [36] He altered the costume: he dispensed with the frilled collaret, substituted a skullcap for a hat, and greatly increased the wide cut of both blouse and trousers. Deburau's Pierrot avoided the crude Pierrots—timid, sexless, lazy, and greedy— found in earlier pantomime. [37]

French— Burguet, Paul-Henry: The Imprint, or The Red Hand (1908; Gaston Séverin plays Pierrot); Carné, Marcel: Children of Paradise (1945; see above under The Pantomime of Deburau at the Théâtre des Funambules); Carré fils, Michel: The Prodigal Son a.k.a. Pierrot the Prodigal (1907; the first European feature-length film and the first film of a complete stage-play [i.e., Carré's pantomime of 1890]; Georges Wague plays Pierrot père); Feuillade, Louis: Pierrot's Projector (1909), Pierrot, Pierrette (1924); Guitry, Sacha: Deburau (1951; based upon Guitry's own stage-play [see Plays, playlets, pantomimes, and revues above]); Guy, Alice: Pierrot, Murderer (1904); Leprince, René: Pierrot Loves Roses (1910); Méliès, Georges: By Moonlight, or The Unfortunate Pierrot (1904). Among the French dramatists writing roles for Pierrot were Jean de Palaprat, Claude-Ignace Brugière de Barante, Antoine Houdar de la Motte, and Jean-François Regnard. [14] They present him as an anomaly among busy social personalities around him. [15] Columbine laughs at his advances; [16] his masters who are in pursuit of pretty young wives brush off his warnings to act their age. [17] His isolation bears the pathos of Watteau's portraits. Russian— Fokine, Michel: The Immortal Pierrot (1925; ballet, premiered in New York City); Legat, Nikolai and Sergei: The Fairy Doll Pas de trois (1903; ballet; added to production of Josef Bayer's ballet Die Puppenfee in St. Petersburg; music by Riccardo Drigo; revived in 1912 as Les Coquetteries de Columbine, with Anna Pavlova). Harlequin's Millions a.k.a. Harlequinade (1900), its libretto and choreography by Marius Petipa, its music by Riccardo Drigo Pierrot's character developed from being a buffoon to an avatar of the disenfranchised. [1] Many cultural movements found him amenable to their respective causes: Decadents turned him into a disillusioned foe of idealism; Symbolists saw him as a lonely fellow-sufferer; Modernists made him into a silent, alienated observer of the mysteries of the human condition. [2] Much of that mythic quality ("I'm Pierrot," said David Bowie: "I'm Everyman") [3] still adheres to the "sad clown" in the postmodern era.For a full discussion of Verlaine's many versions of Pierrot, see Storey, Pierrots on the stage, pp. 230-52. He appears in forty-nine of the fifty scenarios in Flaminio Scala's Il teatro delle favole rappresentative (1611) and in three of the scenarios in the unpublished "Corsini" collection. Salerno has translated the Scala scenarios; Pandolfi (V, 252–276) has summarized the plots of the "Corsini" pieces.

French— Albicocco, Jean-Gabriel: Le Grand Meaulnes a.k.a. The Wanderer (1967 film; based upon the Alain-Fournier novel [see above under Fiction]); Godard, Jean-Luc: Pierrot le fou ( Pierrot the Fool [1965 film]). Deutsch, Otto Erich (1966). Mozart: a documentary biography. Stanford, CA: Stanford University Press. ISBN 0713603798. Clayton 1993, p.137; see also " Two Clowns: Pierrot meets Petrushka" by the Israeli Chamber Project. Italian— Adami, Giuseppe: Pierrot in Love (1924); Cavacchioli, Enrico: Pierrot, Employee of the Lottery: Grotesque Fantasy ... (1920); Zangarini, Carlo: The Divine Pierrot: Modern Tragicomedy ... (1931).Russian— Chagall, Marc (worked mainly in France): Circus Scene (late 1960s/early 1970s), Pierrot lunaire (1969).