b'perceptions of the artistic worth of popular forms. The ingrained connotations merely contribute to an existing degenerate vocabulary associated with theinterwar period in Western Europe, both academically and within the collective cultural memory. The academic consensus on defining popular theatre, is that it arises from the populace, i.e not imposed by the ruling classes, with the purpose of being accessible and entertaining (Schechter 2003). In form, popular performance is non-academic (Schechter 2003: 12) and - as embodied, rather than text-based - rarely ends up in print (Brook 1968: 68). Habermann considers lowbrowsignifies entertainment that attracts consumers without challenging their intellect. (Habermann 2010: 32). Inversely, highbrow culture associates itself withintellectualism, and therefore demands audiences with narrower horizons, to reuse Jauss term (Leach 2008:168). The perception that making accessible and entertaining theatre displays a lack of artistic skill, strongly undermines the work. Green and Swans framing of the commedic resurgence as a triumph can be seen as a reclamation of an historically marginalised, or ghettoised form, making the word choiceinvade subversively describe this act as one of celebration. It is important to their field to see scholars empathise with culture that intends to be accessibly entertaining, rather than to diminishingly imply that its process ofsubmergence is one of pollution within a fixed, legitimate hierarchy (Green and Swan 1993:15). Bakhtin, M. (1984). Rabelais and His World. Trans. Iswolsky, H. Bloomington: Indiana University Press. The following excerpt is from Elizas conclusion: Blake, W. (2021) The Project Gutenberg eBook of Songs of Innocence and of Experience, Project Gutenberg. Available online at: https://www.gutenberg.Using the case study has illuminated Pierrots lapsing evolution, in terms of the org/files/1934/1934-h/1934-h.htm. Accessed 01/05/25.extent to which he performs his self-understanding onstage, with the keyexample of the Romantic Age, as well as the extent to which he consciously Brook, P. (1968) The Empty Space. New York: Athenium.appears in works. Pierrots essential quality of observance - disregarded by bothGreen, M. & Swan, J. (1993). The Triumph of Pierrot: The Commedia dellArte the upper-brow and his fictional family - has gifted him the ability to adapt andand the Modern Imagination, Revised Edition. Pennsylvania: Pennsylvania infiltrate, whether appearing conspicuously as a suppressed zanni2servant or State University Press.banjo troupe member, or as a role for a celebrity actor. In conclusion, there is no historical point of demise, due to Pierrots evolution, oftentimes into other forms,Hartnoll, P & Found, P. eds. (1996) Legitimate Drama, The Concise Oxford as made receptible by the given age. Much like the servant of his original Companion to the Theatre. 2nd ed. Oxford University Press.Commedia childhood, Pierrot is simply waiting in the wings to be resummoned, atHabermann, Ina (2010) Myth, Memory and the Middlebrow: Priestley, du Mau-our control, for when we may next view our present as ripe for commedic rier and the Symbolic Form of Englishness. London: Palgrave Macmillan UK.resurgence.Leach, R. (2013) Theatre Studies: The Basics. (2nd ed.). London: Routledge.Schechter J. (2003) Popular Theatre : a Sourcebook. London: Routledge.Soden, O. (2024) Masquerade: The Lives of Nol Coward. London: Weidenfeld & Nicolson. Storey, R.F. (1985) Pierrots on the Stage of Desire: Nineteenth-Century French Literary Artists and the Comic Pantomime. Princeton: Princeton University Press.2Zanni, possibly derived from Giovanni, is a stock character in Commedia dellArte. Eds.34 35'