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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 .
The music in Scaramouche is taken from incidental music that Milhaud composed for two plays. The first and third movements are inspired by themes composed for Henri Pascar's production of an adaptation of Molière's Le Médecin volant (The Flying Doctor); [1] [2] [3] it is from here that Scaramouche gets its name, as Pascar's group of players was named the Théatre Scaramouche.
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).
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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 became public domain in the United States on January 1, 2019. [2]
Scaramouche, Op. 71, is a tragic ballet-pantomime in two acts—comprising 21 scenes—written from 1912 to 1913 by the Finnish composer Jean Sibelius.The project, which was a collaboration with the Danish playwright Poul Knudsen, caused Sibelius great anguish—primarily because he had not understood that, when signing the commissioning contract, he was committing himself to the composition ...