Background: Gascoigne was born in Dunston, Tyne and Wear on 27 May 1967. His father, John (1946-2018), was a hod carrier, and his mother, Carol, worked in a factory. He was named Paul John Gascoigne in tribute to Paul McCartney and John Lennon of the Beatles. He attended Breckenbeds Junior High School, then the Heathfield Senior High School, both in the Low Fell area of Gateshead.
Context: In his first season at White Hart Lane Gascoigne helped Terry Venables's Spurs to sixth in the First Division, scoring seven goals in 37 appearances. They rose to third place in 1989-90, but were still 16 points behind champions Liverpool. He was named as BBC Sports Personality of the Year in 1990, and on accepting the award said that "I haven't won anything in the game as yet. But the World Cup did help to put England on the map". He was also named as Tottenham Hotspur's Player of the Year. Gascoigne was named on the PFA Team of the Year in the 1990-91 season as Tottenham reached the FA Cup Final, with victories over Blackpool, Oxford United, Portsmouth, Notts County and North London derby rivals Arsenal. He scored the opening goal of the 3-1 victory over Arsenal at Wembley with a free-kick, one of six goals he scored in the competition. Going into the final against Nottingham Forest he had already agreed terms to join Italian club Lazio in an PS8.5 million deal. However just 15 minutes into the game he committed a dangerous knee-high foul on Gary Charles and ruptured his own cruciate ligaments in his right knee. England teammate Stuart Pearce scored from the resultant free kick, and Gascoigne subsequently collapsed after the kick-off, forcing him to leave the match on a stretcher. Tottenham went on to win the Cup in extra-time. He missed the entire 1991-92 season while he recovered, suffering a further knee injury in late 1991, when an incident at a nightclub on Tyneside kept him out for even longer. The saga over Gascoigne's proposed transfer to Lazio dominated the tabloid press throughout 1991, often overshadowing the key national news of that time - namely the recession and rise in unemployment that it sparked - although the broadsheet newspapers generally kept stories about Gascoigne confined to their back pages. "I'm very pleased for Paul but it's like watching your mother-in-law drive off a cliff in your new car."
Question: Did he receive any other injuries?
Answer: an incident at a nightclub on Tyneside kept him out for even longer.

Background: Pierrot (French pronunciation: [pjeRo]) is a stock character of pantomime and commedia dell'arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comedie-Italienne; the name is a diminutive of Pierre (Peter), via the suffix -ot. His character in contemporary popular culture--in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall--is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap.
Context: In 1842, Deburau was inadvertently responsible for translating Pierrot into the realm of tragic myth, heralding the isolated and doomed figure--often the fin-de-siecle artist's alter-ego--of Decadent, Symbolist, and early Modernist art and literature. In that year, Gautier, drawing upon Deburau's newly acquired audacity as a Pierrot, as well as upon the Romantics' store of Shakespearean plots and of Don-Juanesque legend, published a "review" of a pantomime he claimed to have seen at the Funambules. He entitled it "Shakespeare at the Funambules", and in it he summarized and analyzed an unnamed pantomime of unusually somber events: Pierrot murders an old-clothes man for garments to court a duchess, then is skewered in turn by the sword with which he stabbed the peddler when the latter's ghost lures him into a dance at his wedding. The pantomime under "review" was a fabrication (though it inspired a hack to turn it into an actual pantomime, The Ol' Clo's Man [1842], in which Deburau probably appeared--and also inspired Barrault's wonderful recreation of it in Children of Paradise). But it importantly marked a turning-point in Pierrot's career: henceforth Pierrot could bear comparisons with the serious over-reachers of high literature, like Don Juan or Macbeth; he could be a victim--even unto death--of his own cruelty and daring. When Gustave Courbet drew a crayon illustration for The Black Arm (1856), a pantomime by Fernand Desnoyers written for another mime, Paul Legrand (see next section), the Pierrot who quakes with fear as a black arm snakes up from the ground before him is clearly a child of the Pierrot in The Ol' Clo's Man. So, too, are Honore Daumier's Pierrots: creatures often suffering a harrowing anguish. In 1860, Deburau was directly credited with inspiring such anguish, when, in a novella called Pierrot by Henri Riviere, the mime-protagonist blames his real-life murder of a treacherous Harlequin on Baptiste's "sinister" cruelties. Among the most celebrated of pantomimes in the latter part of the century would appear sensitive moon-mad souls duped into criminality--usually by love of a fickle Columbine--and so inevitably marked for destruction (Paul Margueritte's Pierrot, Murderer of His Wife [1881]; the mime Severin's Poor Pierrot [1891]; Catulle Mendes' Ol' Clo's Man [1896], modeled on Gautier's "review").
Question: What role did Pierrot play in Shakespeare at the Funambules?
Answer:
Pierrot murders an old-clothes man for garments