Pierrot: Perbedaan antara revisi

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Revisi terkini sejak 12 Juni 2024 07.04

Pierrot (pengucapan bahasa Prancis: [pjɛʁo]) adalah sebuah karakter stok pantonim dan Commedia dell'Arte yang bermula dari kelompok para pemain akhir abad ketujuh belas yang tampil di Paris dan dikenal sebagai Comédie-Italienne; nama tersebut adalah sebuah hipokorisme dari kata Pierre (Petrus), melalui suffix -ot. Karakternya dalam budaya populer kontemporer—dalam puisi, fiksi, dan seni rupa, serta karya-karya panggung, layar lebar, dan balai konser—adalah seorang badut sedih, yang mengharapkan cinta terhadap Columbine, yang biasanya mematahkan hatinya dan berpaling ke Harlequin. Tampil tanpa topeng, dengan wajah yang diputihkan, ia memakai blus putih dengan kancing-kancing besar dan pantalon putih besar. Terkadang, ia tampil dengan sebuah collaret dan topi

Referensi[sunting | sunting sumber]

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Bordet, Daniel (2003). Les 100 plus belles images de Pierrot. Paris: Musée Cointreau. ISBN 2952035113.
Brinkmann, Reinhold (1997). "The Fool as paradigm: Schoenberg's Pierrot Lunaire and the modern artist." In Boehmer, Konrad, ed. (1997). Schoenberg and Kandinsky: an historic encounter. Amsterdam: Harwood Academic Publishers. ISBN 9057020467.
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Carr, Andrew T. (March 1956). "Pierrot Grenade". Caribbean Quarterly. 4 (3/4): 281–314.
Champfleury (Jules-François-Félix Husson, called Fleury, called) (1859). Souvenirs des Funambules. Paris: Lévy Frères.
Chaplin, Charles (1966). My autobiography. New York: Pocket Books.
Clayton, J. Douglas (1993). Pierrot in Petrograd: Commedia dell’Arte/Balagan in twentieth-century Russian theatre and drama. Montreal: McGill-Queen's University Press. ISBN 0773511369.
Cosdon, Mark (2010). The Hanlon Brothers: from daredevil acrobatics to spectacle pantomime, 1833–1931. Carbondale, IL: Southern Illinois University Press. ISBN 0809329255.
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Deutsch, Otto Erich (1966). Mozart: a documentary biography. Stanford, CA: Stanford University Press. ISBN 0713603798.
Dick, Daniella (2013). "'Marked you that?': Stephen Dedalus, Pierrot". In Ferrer, Daniel, Sam Slote, and André Topia, eds. (2013). Renascent Joyce. Gainesville, FL: University Press of Florida. hlm. 69–80. ISBN 978-0-8130-4245-9.
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Dunsby, Jonathan (1992). Schoenberg: Pierrot Lunaire (Cambridge Music Handbooks). Cambridge: Cambridge University Press. ISBN 0521387159.
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Giraud, Albert (2001). Albert Giraud's "Pierrot lunaire". Diterjemahkan oleh Richter, Gregory C. Kirksville, MO: Truman State University Press. ISBN 1-931112-02-9.
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Rolfe, Bari (1978). "Magic century of French mime". Mime, mask & marionette: a quarterly journal of performing arts. 1 (3: fall): 135-58.
Rudlin, John (1994). Commedia dell'Arte: an actor's handbook. London: Routledge. ISBN 0-415-04770-6.
Salerno, Henry F., tr. (1967). Scenarios of the Commedia dell’Arte: Flaminio Scala's Il teatro delle favole rappresentative. New York: New York University Press.
Sand, Maurice (Jean-François-Maurice-Arnauld, Baron Dudevant, called) (1915). The History of the Harlequinade [orig. Masques et bouffons. 2 vols. Paris: Michel Lévy Frères, 1860]. Philadelphia: Lippincott.
Sarabia, Rosa (Fall 1987). "Dario y Lugones: dos visiones modernistas de Pierrot". Latin American Theatre Review. 21 (1): 75–83.
Sensibar, Judith L. (1984). The Origins of Faulkner's art. Austin, TX: University of Texas Press. ISBN 0292790201.
Séverin (Séverin Cafferra, called) (1929). L’Homme Blanc: souvenirs d'un Pierrot. Introduction et notes par Gustave Fréjaville. Paris: Plon.
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Storey, Robert F. (1978a). Pierrot: a critical history of a mask. Princeton, NJ: Princeton University Press. ISBN 0-691-06374-5.
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.
Storey, Robert (1985). Pierrots on the stage of desire: nineteenth-century French literary artists and the comic pantomime. Princeton, NJ: Princeton University Press. ISBN 0-691-06628-0.
Švehla, Jaroslav (1977). "Jean Gaspard Deburau: the immortal Pierrot." Tr. Paul Wilson. Mime Journal: 5. (This journal-length article is a translated condensation of Švehla's book-length study Deburau, nieśmiertelny Pierrot [Prague: Melantrich, 1976].)
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Wilentz, Sean (2010). Bob Dylan in America. New York: Doubleday. ISBN 978-0-385-52988-4.

Bacaan tambahan[sunting | sunting sumber]

Baugé, Isabelle, ed. (1995). Pantomimes [par Champfleury, Gautier, Nodier et MM. Anonyme]. Paris: Cicero. ISBN 2908369176.
Goby, Emile, ed. (1889). Pantomimes de Gaspard et Ch. Deburau. Paris: Dentu.
Hugounet, Paul (1889). Mimes et Pierrots: notes et documents inédits pour servir à l'histoire de la pantomime. Paris: Fischbacher.
Jones, Louisa E. (1984). Sad clowns and pale Pierrots: literature and the popular comic arts in 19th-century France. Lexington, KY: French Forum Publishers. ISBN 0917058488.
Larcher, Félix and Eugène, eds. (1887). Pantomimes de Paul Legrand. Paris: Librairie Théàtrale.
Sentenac, Paul. (1923). Pierrot et les artistes: mémoires de l'Ami Pierrot. Paris: Sansot, Chiberre.
Sund, Judy (2016). "Why So Sad? Watteau's Pierrots". The Art Bulletin. 98 (3): 321–47.

Pranala luar[sunting | sunting sumber]

@@ Baris 2: / Baris 2: @@
 [[Berkas:Paul Legrand by Nadar c1855.jpg|jmpl|250px|[[Paul Legrand]] berperan menjadi Pierrot pada sekitar tahun 1855. Foto buatan [[Nadar (fotografer)|Nadar]].]]
-'''Pierrot''' ({{IPA-fr|pjɛʁo}}) adalah sebuah [[karakter stok]] [[pantonim]] dan [[Commedia dell'Arte]] yang bermula dari kelompok para pemain akhir abad ketujuh belas yang tampil di Paris dan dikenal sebagai [[Comédie-Italienne]]; nama tersebut adalah sebuah [[hipokorisme]] dari kata ''Pierre'' (Petrus), melalui suffix ''[[wikt:en:-ot#Prancis|-ot]].'' Karakternya dalam budaya populer kontemporer—dalam puisi, fiksi, dan seni rupa, serta karya-karya panggung, layar lebar, dan balai konser—adalah seorang badut sedih, yang mengharapkan cinta terhadap [[Columbina|Columbine]], yang biasanya mematahkan hatinya dan berpaling ke [[Harlequin]]. Tampil tanpa topeng, dengan wajah yang diputihkan, ia memakai blus putih dengan kancing-kancing besar dan pantalon putih besar. Terkadang, ia tampil dengan sebuah [[collaret]] dan topi
+'''Pierrot''' ({{IPA-fr|pjɛʁo}}) adalah sebuah [[karakter stok]] [[pantonim]] dan [[Commedia dell'Arte]] yang bermula dari kelompok para pemain akhir abad ketujuh belas yang tampil di [[Paris]] dan dikenal sebagai [[Comédie-Italienne]]; nama tersebut adalah sebuah [[hipokorisme]] dari kata ''Pierre'' (Petrus), melalui suffix ''[[wikt:en:-ot#Prancis|-ot]].'' Karakternya dalam budaya populer kontemporer—dalam [[puisi]], fiksi, dan seni rupa, serta karya-karya panggung, layar lebar, dan balai konser—adalah seorang badut sedih, yang mengharapkan cinta terhadap [[Columbina|Columbine]], yang biasanya mematahkan hatinya dan berpaling ke [[Harlequin]]. Tampil tanpa topeng, dengan wajah yang diputihkan, ia memakai blus putih dengan kancing-kancing besar dan pantalon putih besar. Terkadang, ia tampil dengan sebuah [[collaret]] dan topi
 == Referensi ==
@@ Baris 69: / Baris 69: @@
 * Rolfe, Bari (1978). "Magic century of French mime". ''Mime, mask & marionette: a quarterly journal of performing arts''. '''1''' (3: fall): 135-58.
 * {{Cite book |last=Rudlin|first=John |title=Commedia dell'Arte: an actor's handbook |url=https://archive.org/details/commediadellarte0000rudl_r9o4|publisher=Routledge |location=London |year=1994 |pages= |isbn=0-415-04770-6 |oclc= |doi= |accessdate=}}
-* Salerno, Henry F., tr. (1967). ''Scenarios of the Commedia dell’Arte: Flaminio Scala's'' Il teatro delle favole rappresentative. New York: New York University Press.
+* Salerno, Henry F., tr. (1967). ''Scenarios of the Commedia dell’Arte: Flaminio Scala's'' Il teatro delle favole rappresentative. New York: [[New York University Press]].
 * [[Maurice Sand|Sand, Maurice]] (Jean-François-Maurice-Arnauld, Baron Dudevant, called) (1915). ''The History of the Harlequinade'' [orig. ''Masques et bouffons''. 2 vols. Paris: Michel Lévy Frères, 1860]. Philadelphia: Lippincott.
 * {{cite journal|last=Sarabia|first=Rosa|year=Fall 1987|title=Dario y Lugones: dos visiones modernistas de Pierrot|journal=Latin American Theatre Review|volume=21|issue=1|pages=75-83|ref=harv}}