The Théâtre du Grand-Guignol in Paris (1897 – 1962) achieved a legendary reputation as the ‘Theatre of Horror’ a venue displaying such explicit violence and blood-curdling terror that a resident doctor was employed to treat the numerous spectators who fainted each night. Indeed, the phrase ‘grand guignol’ has entered the language to describe any display of sensational horror.
Since the theatre closed its doors forty years ago, the genre has been overlooked by critics and theatre historians. This book reconsiders the importance and influence of the Grand-Guignol within its social, cultural and historical contexts, and is the first attempt at a major evaluation of the genre as performance. It gives full consideration to practical applications and to the challenges presented to the actor and director.
The book also includes outstanding new translations by the authors of ten Grand-Guignol plays, none of which have been previously available in English. The presentation of these plays in English for the first time is an implicit demand for a total reappraisal of the grand-guignol genre, not least for the unexpected inclusion of two very funny comedies.
Table des matières
1. Jack! (lui!), Oscar Metenier
2. The Ultimate Torture (La Derniere Torture), Andr de Lorde and Eugene Morel
3. The Lighthousekeepers (Gardiens de Phare), Paul Autier and Paul Colquemin
4. Chop-chop! (La Veuve), Eugene Heros and Leon Abric
5. Tics! or Doing the Deed (Apres Coup ou Tics), Ren Berton
6. In the Darkroom (Sous la Lumiere Rouge), Maurice Level and Etienne Rey
7. The Final Kiss (Le Baiser dans la Nuit), Maurice Level
8. The Torture Garden (Le Jardin des Supplices), Pierre Chaine and Andre de Lorde
9. Euthanasia (L’euthanasie), Ren Berton
10. The Kiss of Blood (Le Baiser de Sang), Jean Aragny and Francis Nelson
A propos de l’auteur
Michael Wilson is Professor of Drama at Loughborough University. He was previously Professor of Drama and Dean of the School of Media and Performance at University College Falmouth and prior to that was Head of Research at the Cardiff School of Creative and Cultural Industries at the University of Glamorgan and Co-Director (with Hamish Fyfe) of the George Ewart Evans Centre for Storytelling.His main research interests lie in the field of popular and vernacular performance and he has published extensively on Storytelling, Grand-Guignol and Brecht and his collaborators. In particular, his work on storytelling has led him to work on the interface between storytelling and digital technology and the way in which the internet has enabled the telling and sharing of ‘extraordinary’ stories of the everyday experiences of people.Together with Richard Hand he has delivered workshops on Grand Guignol, and presented Grand Guignol performances at universities, international conferences and at the Edinburgh Fringe Festival. Richard and Michael are the authors of Grand-Guignol: The French Theatre of Horror (2002), London’s Grand Guignol and the Theatre of Horror (2007) and Performing Grand-Guignol – Playing the Theatre of Horror (2016), all published by UEP.
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