Traditional Costumes
Pierrot
Ideal in the early 19th Century
The Pierrot of Basel Fasnacht would have felt most at home in the early 19th century. The Pantomime Jean-Gaspard Deburau created the character in Paris. With this figure we see that he wore a black cap which in the Basel Fasnacht is mostly made out of felt. The character itself has an almost melancholy presence.
The Predecessor to the Pierrot Character is the Service Figure from Commedia dell’arte
This Pierrot has it roots in the service figures of the Commedia dell’arte. The history of the figure can be traced back to the 16th century where it first appeared in Italian theatre groups and over time was adopted by the French theater and developed into the Pierrot we see in Basel Fasnacht.
Counterpart to the Pedrolino?
The Commedia dell'arte, for example, knew a Pedrolino. Due to similar characteristics (same social status, diminutive of Peter, white blouse and trousers, no mask), some authors assume that the Pierrot of the 17th century is the French counterpart of the Pedrolino.
Pedrolino as the First Zani
Due to the fact that Pedrolino appears as a schemer in some of Flaminio Scala’s scenarios (1611) some authors consider him to be a First Zani. The First Zani takes an active role, acting intentionally and often maliciously or deceitfully. This would tend to argue against a direct connection between the two characters.
Pedrolino as the Second Zani
Other authors point out that the characteristics of Pedrolino also described by Scala (amorous, simple-minded, graceful, elegant, wait-and-see) manifested themselves already in the 16th century and make him a Second Zani. An actor called Giratone (2nd half of the 17th century) underlines his naivety and faithfulness. And indeed, these are often the characteristics we find in Pierrot. This is also the case with Molière whose Pierrot (1665) appears as a stupid, amorous peasant.
Pierrot as Pulcinella?
On the other hand, there are sources that claim that Pierrot should rather be understood as Pulcinella (originally a character of the southern Italian, Neapolitan folk theatre). Namely, as the Pulcinella who, as a fool, also holds the role of a Second Zani. This view is based on the fact that the Pierrot of the early comédie italienne usually acts out a similar role. As a static figure he comments on the plots from the periphery.
Figures are in Flux
Ultimately, the sources are too few to be able to say exactly how the figure of a Pierrot developed. One can assume that the roles and characteristics of a Pedrolino or a Pierrot changed over time depending on the authors and performers. These were characters in transition, so to speak, and there were overlaps so that the boundaries between appearances such as Pulcinella, Pedrolino, Pagliaccio, Pierrot and Paillasse were at times fluid.
Costume
The costume of the Basel Pierrot is usually colourful and consists of a wide top and wide trousers (sometimes three-quarter length). Other attributes include a peacock feather attached to the felt cap, pompoms in a different colour to the costume fabric and a ruff. The mask is often furnished with a thick raffia wig.
