Photo Credit: Frederick Hohman
SCRIBBLE
The Tradition of Pierott by Maddie Williams
Pierrot became a stock character in French drama following the influence of the Italian Commedia dell’arte fused with Parisian tradition. Evolving from the Italian Pedrolino (the loyal servant) the Pierrot emerged in the late seventeenth century as Commedia dell’arte troupes toured Europe since the mid-sixteenth century resulting from the cultural hybrid of Italian and French tradition.
C
the other masked charecters. Pierrot tended to be a victim within the lazzi (the comic routines) as he pines for Columbina (the witty maid) to whom his courtship is unrequited, or is tricked by the Arlecchino (the playful servant) often appearing ignorant, or failing to perform his duty’s and so being violently punished by the vecchi (the masters) introducing the potential for slapstick comedy into the lazzi. Pierrot emasculation by Columbina and his effeminate
ommedia dell’arte was a form of improvisational
white face, often that of a young man, made him a symbol of
comic sketches consisting of stock charecters,
adrogeny as he was adopted by David Bowie “I’m using myself
identified by masks which reflected their character,
as a canvas and trying to paint the truth of our time.” While, the
portraying a stereotpye that could be identified
character of Pedrolino primarily gave rise to lazzi through his
within all societies, allowing the comedy to exist beyond borders,
ignorant misinterpritations of orders, Pierrot introduces a static
languages and cultures allowing all audiences to relate to the
state of idealism, as he is inevitably exploited for his sensitivity
comedy, as the companies toured. The Pierrot as a character was
and innocence that appeared closer to the Innamorati (the lovers)
the naïve servant, part of the zanni (the serving classes) identitfied
introducing a tragedy into his isolation which has made Pierrot a
through his loose white clothes and chalked face which contrasted
muse for future artists.
11
