Grand-Guignol: The French Theatre of Horror (Exeter Performance Studies)

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 oustanding 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.

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 oustanding 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.

The Theatre 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, Grand Guignol Has Entered The English Language To Describe Any Display Of Sensational Horror.--book Jacket. Jack (lui!) / Oscar Méténier -- The Ultimate Torture (la Dernière Torture) / André De Lorde And Eugène Morel -- The Lighthouse Keepers (gardiens De Phare) / Paul Autier And Paul Cloquemin -- Chop-chop! Or The Guillotine (la Veuve) / Eugène Héros And Léon Abric -- Tics, Or Doing The Deed (après Coup! ... Ou Tics) / René Berton -- In The Darkroom (sous La Lumière Rouge) / Maurice Level And Étienne Rey -- The Final Kiss (le Baiser Dans La Nuit / Maurice Level -- The Torture Garden (le Jardin Des Supplices / Pierre Chaine And André De Lorde -- Euthanasia (léuthanasie Ou Le Devoir De Tuer / René Berton -- The Kiss Of Blood (le Baiser De Sang) / Jean Aragny And Francis Neilson. Richard J. Hand And Michael Wilson. Includes Bibliographical References (p. [265]-268) And Index. Includes Filmography: P. [269]-270. 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. Since The Théâtre du Grand-Guignol 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. Since The Theatre du Grand-Guignol 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.