Pierrot the plot, which was interlarded with comically violent (and often scabrous) mayhem. As in the Bakken pantomimes, that plot hinged upon Cassander's pursuit of Harlequin and Columbine—but it was complicated, in Baptiste's interpretation, by a clever and ambiguous Pierrot. Baptiste's Pierrot was both a fool and no fool; he was Cassandre's valet but no one's servant. He was an embodiment of comic contrasts, showing imperturbable sang-froid [again the words are Gautier's], artful foolishness and foolish finesse, brazen and naïve gluttony, blustering cowardice, skeptical credulity, scornful servility, preoccupied insouciance, indolent activity, and all those surprising contrasts that must be expressed by
Breaking character "faces" at the time) but then afterwards, Triple H had entered the ring and all four men then embraced in a group hug in one of the corners and then all had stood in the ring facing the crowd with raised arms. In Ruggero Leoncavallo's opera "Pagliacci", commedia dell'arte actor Canio kills his real-life wife and her lover onstage. Breaking character In theatre (especially in the illusionistic Western tradition), breaking character occurs when an actor ceases to maintain the illusion that they are identical with the character they are portraying. This is a more acceptable occurrence while in the process