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Pierrot (French pronunciation: ) is a stock character of pantomime and commedia dell'arte whose origins are in the late seventeenth-century Italian troupe of players ...

But in the 1720s, Pierrot at last came into his own. Antoine Galland 's final volume of The Thousand and One Nights had appeared in 1717, and in the plots of these tales Lesage and his collaborators found inspiration, both exotic and (more importantly) coherent, for new plays. In Achmet and Almanzine (1728) by Lesage and Dorneval, [27] for example, we are introduced not only to the royal society of far-off Astrakhan but also to a familiar and well-drawn servant of old—the headstrong and bungling Pierrot. [28] It was also in the 1720s that Alexis Piron loaned his talents to the Foires, and in plays like Trophonius's Cave (1722) and The Golden Ass (1725), [29] we meet the same engaging Pierrot of Giaratone's creation. The accomplished comic actor Jean-Baptiste Hamoche, who had worked at the Foires from 1712 to 1718, [30] reappeared in Pierrot's role in 1721, and from that year until 1732 he "obtained, thanks to the naturalness and truth of his acting, great applause and became the favorite actor of the public." [31] But Pierrot's triumph was short-lived. "The retirement of Hamoche in 1733", writes Barberet, "was fatal to Pierrot. After this date, we hardly ever see him appear again except in old plays." [32]

When changing their label from CGD to EMI (with legal complications due to the release of unauthorized compilations), the band hired a new bass player, Daniele "Barny" Bagni, and recorded the third volume of its " tetralogy of elements": El Diablo was celebrating fire , Terremoto soil , the new album Spirito (1994, whose name should have been Serpente d’asfalto ) celebrates the air . The record was, as usual, followed by a VHS: Lacio drom which contains extracts from the "Spirito tour".

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