We'llbeexploringtheGrandGuignolthehorrifying, a theatricaltraditionthathadFrenchaudiencesrollingintheaislesandthenfaintingintheaislesandthenvomitingonthepavementoutsidethebuildingthatcontainedtheaislesformorethan 60 years.
I mean, I guess a goodbarfcouldbecatharticin a senseandgetreadyforthegoriestthoughtbubbleyetandreally, maybethegoriestepisode, yetsocontentwarningforbloodgutsandmediocreFrenchpronunciationlightsupgone.
Ittook a bunchofinspirationfromthesordidsideofnaturalism, thesidethatseemedtodelightindepravedsituationsdesignedtoshockmiddleclasstheatergoers.
Oneofthespecialitiesofthetatteredliberalwereshortsemidocumentaryoneactplayscalledcomediesroastsusuallytranslatedascynicalorbiddercomedies, whichdepicted a lowlifeworldofthieves, prostitutes, alcoholismandviolence.
A lotofthesecomedieswerebasedon a kindofnewspaperstorycalledtheFaeDeveare, whichwerestrangebuttruevignettes, usuallyaboutcrimeorhorrifyingaccidentsthatfilledupthepagesofpopularpapersandwerelavishlyillustrated.
Unlikemelodramathatusuallyhadsadortragicendings, OscarMutiny, a oneofthetachrelieverscofounders, was a formertabloidjournalistwhooncetookAndreAntoinetoanexecution.
Forfunperhapsunsurprisingly, Matteini a specializedinchurningoutcomedies.
Russ, inspiredbyFaitdeVilliers a fewyearsafterthetattooLieberfolded, metAnyopenedtheTeatroduGrandGuignolinParisin 18 97.
ThenamecomesfromGuignol, a characterintheFrenchversionofThePunchandJudypuppetshows.
Danielwas a workingclassmanknownforhiscourageandwit.
Soisthis a puppetshowforgrownups?
Maybe.
Arethehumanactorsjustbigpuppets?
Maybe.
IsitpartofsomecrypticconspiracyhavingtodowithDaniel's tradeas a silkweaver?
Probablynot, butalsomaybe, I mean, Frenchpunscanbeverycomplicated.
KnownashotandColdShowersMatineeranthetheaterfor a fewyearsandsoldittoMaxMaori, whomoveditawayfromsliceoflifeplaysandtowardhorrorvignettessliceofdeathdramas, asonecriticcalledthem.
As a director, Marrydemandedabsoluteprecision, justlikeAntoine.
Butin 1915 hesoldtheGrandGuignoltoCamilleSwazi, whomovedtheactingawayfromnaturalisticandtoward a morestylizedapproach.
Sortofliketheinverseof a standingovation, I guess.
Tomaketheshortplaysevenmorehorrifying, theGrandGuignoldeveloped a bunchofgruesomestagetechniquestotherewasusuallyatleastonevatoffakebloodwarmingupbackstage.
Ah, lighterandrunning.
Ourliquidwasusedfornewwounds, a darkerandstickierfluidforoldones.
Onecompanymanagerpurchased a bunchofeyeballsfrom a taxidermist, hopingtofindthetypethatwouldbounceconvincingly.
We'llexplorethedarkpleasuresoftheGrandGuignolbystudyingoneofitsgreatesthits, Ah, Crimein a madhousewrittenbyAndredeLordandAlfredBeen A andfirststagedin 1925 theplaystartsinnocentlyenoughMadamRoban, a favoredinmate, YetsaidMadhouseishavinganafterdinnerchatwiththenunwhoworksattheasylum.
Louisetriestoyell, butwhen I holds a handoverhermouth, stiflingherscreams, oneeyesaysthatwhenLouisewentcrazy a cuckoobirdfluinsideherhead, andnowit's timetoletthebirdoutbyremovingLouisa's eyes.
ButFirstHunchbackandtheNormandywomanhavetowaste a bunchoftimebyadjustingthelightingandsofteningup a stiffcloth.
Nexttime, we'regonnaenjoy a littlelesshorroraswevisittheIrishRenaissance, checkinginonthesparklingargumentofGeorgeBernardShawandthedevastatingwitofOscarWilde.