Editing Pierrot (section)

====Austria and Germany====
Although he lamented that "the Pierrot figure was inherently alien to the German-speaking world", the playwright [[Franz Blei]] introduced him enthusiastically into his playlet ''The Kissy-Face: A Columbiade'' (1895), and his fellow-Austrians [[Richard Specht]] and [[Richard Beer-Hofmann]] made an effort to naturalize Pierrot—in their plays ''Pierrot-Hunchback'' (1896) and ''Pierrot-Hypnotist'' (1892, first pub. 1984), respectively—by linking his fortunes with those of [[Goethe]]'s Faust.<ref>Vilain, pp. 69, 77, 79.</ref> Still others among their countrymen simply sidestepped the issue of naturalization: [[Hermann Bahr]] took his inspiration for his ''Pantomime of the Good Man'' (1893) directly from his encounter with the exclusively French [[Cercle Funambulesque]]; Rudolf Holzer set the action of his ''Puppet Loyalty'' (1899), unapologetically, in a fabulous Paris; and [[Karl Michael von Levetzow]] settled his ''Two Pierrots'' (1900) in the birthplace of Pierrot's comedy, Italy.<ref>Toepfer, [https://karltoepfer.com/2019/06/30/germanic-pantomime-pierrot-in-vienna/ "Germanic Pantomime: Pierrot in Vienna"], n.p. (pp. 731-32, 742-44 in PDF download)</ref>

[[File:Paul Hoecker-Pierrot mit Pfeifen.jpg|thumb|[[Paul Hoecker]]: ''Pierrots with Pipes'', {{circa|1900}}. Location unknown.]]
In Germany, [[Frank Wedekind]] introduced the ''[[femme-fatale]]'' of his first "Lulu" play, ''[[Earth Spirit (play)|Earth Spirit]]'' (1895), in a Pierrot costume. In a similar spirit, the painter [[Paul Hoecker]] put cheeky young men into Pierrot costumes to ape their complacent burgher elders in ''Pierrots with Pipes'' ({{circa|1900}}) and swilling champagne in ''Waiting Woman'' ({{circa|1895}}).