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Scaramouche (French:) or Scaramouch (English: / ˈ s k ær ə m uː (t) ʃ,-m aʊ tʃ /; Italian: Scaramuccia [skaraˈmuttʃa]; lit. ' little skirmisher ' ) is a stock clown character of the 16th-century commedia dell'arte (comic theatrical arts of Italian literature ).
Scaramouche is a historical novel by Rafael Sabatini, originally published in 1921. A romantic adventure , Scaramouche tells the story of a young lawyer during the French Revolution . [ 1 ] In the course of his adventures, he becomes an actor portraying Scaramouche (a roguish buffoon character in the commedia dell'arte ).
Scaramouche is a 1952 romantic swashbuckler film starring Stewart Granger, Eleanor Parker, Janet Leigh, and Mel Ferrer. Filmed in Technicolor , the MGM production is loosely based on the 1921 novel Scaramouche by Rafael Sabatini as well as the 1923 film version starring Ramon Novarro .
Rafael Sabatini (29 April 1875 – 13 February 1950) was an Italian-born British writer of romance and adventure novels. [1]He is best known for his worldwide bestsellers: The Sea Hawk (1915), Scaramouche (1921), Captain Blood (a.k.a. Captain Blood: His Odyssey) (1922), and Bellarion the Fortunate (1926).
Scaramouche (1923) is a silent swashbuckler film based on the 1921 novel Scaramouche by Rafael Sabatini, directed by Rex Ingram, released by Metro Pictures, and starring Ramon Novarro, Alice Terry, Lewis Stone, and Lloyd Ingraham.
Scaramouche, stage name of Tiberio Fiorilli (1608–1694), Italian actor Scaramouche , a suite for two pianos (later arranged for other combinations) by Darius Milhaud Scaramouche, a character in the musical We Will Rock You based on the music of British rock band Queen
A stage musical, Scaramouche - The Zany Commedia Musical, with book, lyrics and music by Stephen Lanigan-O'Keeffe, was premiered in Hoxton Hall, London, UK in 2007 and revised and restaged in 2011. The musical is a fusion of musical theatre and commedia dell'arte practices and treats Fiorillo's life and career as a parable on celebrity culture.
But 'Scaramouche' had such a deadening quality - it was so lacking in energy and invention and wit - that somehow I knew there was no hope." [ 2 ] Richard Eder of The New York Times wrote, "This tedious, jumpy, inept effort to do still another comic take-off on historical swashbucklery is as bad as impalement."