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There are striking parallels between Arnold Schoenberg’s treatment of the Pierrot character in 1912 and David Bowie’s adoption of Pierrot as an alter ego in 1980. For both musicians, Pierrot is a necessary mask, and each uses the “insolent clown” in his own way, but in the service of the same delicate negotiations between past and future, and between artifice and truth in art and self. In Schoenberg’s Pierrot Lunaire and Bowie’s song “Ashes to Ashes,” we see and hear the music of the past alongside “a nostalgia for the future”: Pierrot provides the means—the mask—behind which musical reflection, self-examination, and psychological purgation can occur.Il y a des parallèles frappants entre le Pierrot imaginé par Arnold Schoenberg en 1912 et le Pierrot qu’adopte David Bowie comme alter ego en 1980. Le Pierrot sert de masque nécessaire aux deux musiciens; chacun se sert du « clown insolent » à sa manière, mais au service des mêmes négociations délicates entre passé et avenir, entre artifice et authenticité de l’art et de l’être. Nous voyons et entendons la musique du passé juxtaposée à « une nostalgie de l’avenir » dans le Pierrot lunaire de Schoenberg comme dans la chanson Ashes to Ashes de Bowie. Pierrot fournit les moyens—le masque—derrière lesquels réflexion musicale, autoréflexion et purgation psychologique peuvent se produire

“Give a man a mask and he’ll tell the truth”: Arnold Schoenberg, David Bowie, and the Mask of Pierrot