Chronicles of a Parsonite: October 2011

Monday, October 31, 2011

Pierrot (French pronunciation: [pjεʁo]) is a stock character of pantomime and Commedia dell'Arte whose origins are in the late 17th-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a hypocorism of Pierre (Peter), via the suffix -ot. His character in postmodern popular culture—in poetry, fiction, 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. 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 naïveté: he is seen as a fool, always the butt of pranks, yet nonetheless trusting.

It was a generally buffoonish Pierrot that held the European stage for the first two centuries of his history. And yet early signs of a respectful, even sympathetic attitude toward the character appeared in the plays ofJean-François Regnard and in the paintings of Antoine Watteau, an attitude that would deepen in the 19th century, after the Romantics claimed the figure as their own. 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.^[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 therood of soulful sensitivity, his only friend the distant moon; the Modernists converted him into a Whistleriansubject for canvases devoted to form and color and line.^[2] In short, Pierrot became an alter-ego of the artist, specifically of the famously alienated artist of the 19th and early 20th centuries.^[3] His physical insularity; his poignant muteness, 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. Much of that mythic quality still adheres to the "sad clown" of the postmodern era.

Candyland

Candy is one of the few things in life that is always sweet. To have clothes made of candy is even sweeter.

Dia de los Muertos

Day of the Dead (Spanish: Día de los Muertos) is a holiday celebrated in Mexico and around the world in many cultures. The holiday focuses on gatherings of family and friends to pray for and remember friends and family members who have died. It is particularly celebrated in Mexico, where it attains the quality of a National Holiday. The celebration takes place on November 1st and 2nd, in connection with the Catholic holidays of All Saints' Day (November 1) and All Souls' Day(November 2). Traditions connected with the holiday include building private altars honoring the deceased using sugar skulls, marigolds, and the favorite foods and beverages of the departed and visiting graves with these as gifts.

Scholars trace the origins of the modern Mexican holiday to indigenous observances dating back hundreds of years and to an Aztec festival dedicated to a goddess called Mictecacihuatl. In Brazil, Dia de Finados is a public holiday that many Brazilians celebrate by visiting cemeteries and churches. In Spain, there are festivals and parades, and, at the end of the day, people gather at cemeteries and pray for their dead loved ones. Similar observances occur elsewhere in Europe, andsimilarly themed celebrations appear in many Asian and African cultures.