Le Théâtre du Grand-Guignol (French pronunciation: [ɡʁɑ̃ ɡiɲɔl] : "The Theatre of the Great Puppet")—known as the Grand Guignol–was a theatre in the Pigalle district of Paris (7, cité Chaptal). From its opening in 1897 until its closing in 1962, it specialised in naturalistic horror shows. Its name is often used as a general term for graphic, amoral horror entertainment, a genre popular from Elizabethan and Jacobean theatre (for instance Shakespeare's Titus Andronicus , and Webster's The Duchess of Malfi and The White Devil ), to today's splatter films.
Le Théâtre du Grand-Guignol was founded in 1897 by Oscar Méténier, who planned it as a space for naturalist performance. With 293 seats, the venue was the smallest in Paris.
A former chapel, the theatre's previous life was evident in the boxes – which looked like confessionals – and in the angels over the orchestra. Although the architecture created frustrating obstacles, the design that was initially a predicament ultimately became beneficial to the marketing of the theatre. The opaque furniture and gothic structures placed sporadically on the walls of the building exude a feeling of eeriness from the moment of entrance. People came to this theatre for an experience, not only to see a show. The audience at "Le Théâtre du Grand-Guignol" endured the terror of the shows because they wanted to be filled with strong "feelings" of something. Many attended the shows to get a feeling of sexual arousal.Underneath the balcony were boxes (originally built for nuns to watch church services) that were available for theatre-goers to rent during performances because they would get so aroused by the action happening on stage. It has been said that audience members would get so boisterous in the boxes, that actors would sometimes break character and yell something such as "Keep it down in there!" Conversely, there were audience members who could not physically handle the brutality of the actions taking place on stage. Frequently, the "special effects" would be too realistic and often an audience member would faint or vomit during performances. Maurey used the goriness to his advantage by hiring doctors to be at performances as a marketing ploy.
The theatre owed its name to Guignol, a traditional Lyonnaise puppet character, joining political commentary with the style of Punch and Judy.
The theatre's peak was between World War I and World War II, when it was frequented by royalty and celebrities in evening dress.
Oscar Méténier was the Grand Guignol's founder and original director. Under his direction, the theatre produced plays about a class of people who were not considered appropriate subjects in other venues: prostitutes, criminals, street urchins and others at the lower end of Paris's social echelon.
André Antoine was the founder of the Théâtre Libre and a collaborator of Méténier. His theatre gave Méténier a basic model to use for The Grand Guignol Theatre.
Max Maurey served as director from 1898 to 1914. Maurey shifted the theatre's emphasis to the horror plays it would become famous for and judged the success of a performance by the number of patrons who passed out from shock; the average was two faintings each evening. Maurey discovered André de Lorde, who would become the most important playwright for the theatre.
De Lorde was the theatre's principal playwright from 1901 to 1926. He wrote at least 100 plays for the Grand Guignol, such as The Old Woman, The Ultimate Torture, A Crime in the Mad House and more. He collaborated with experimental psychologist Alfred Binet to create plays about insanity, one of the theatre's favourite and frequently recurring themes.
Camille Choisy served as director from 1914 to 1930. He contributed his expertise in special effects and scenery to the theatre's distinctive style.
Paula Maxawas one of the Grand Guignol's best-known performers. From 1917 to the 1930s, she performed most frequently as a victim and was known as "the most assassinated woman in the world." During her career at the Grand Guignol, Maxa's characters were murdered more than 10,000 times in at least 60 different ways and raped at least 3,000 times.
Jack Jouvin served as director from 1930 to 1937. He shifted the theatre's subject matter, focusing performances not on gory horror but psychological drama. Under his leadership, the theatre's popularity waned and, after World War II, it was not well-attended.
Charles Nonon was the theatre's last director.
In a typical Grand Guignol performance patrons would see five or six short plays, all in a style that attempted to be brutally true to the theatre's naturalistic ideals. The most popular and best-known were the horror plays, which featured a distinctly bleak worldview and gory special effects, particularly in their climaxes. The horrors depicted at Grand Guignol were generally not supernatural; rather these plays often explored altered states like insanity, hypnosis, or panic. To heighten the effect, the horror plays were often alternated with comedies, a lineup referred to as "hot and cold showers."
Examples of Grand Guignol horror shows included:
Audiences waned in the years following World War II, and the Grand Guignol closed its doors in 1962. Management attributed the closure in part to the fact that the theatre's faux horrors had been eclipsed by the actual events of the Holocaust two decades earlier. "We could never equal Buchenwald," said its final director, Charles Nonon. "Before the war, everyone felt that what was happening onstage was impossible. Now we know that these things, and worse, are possible in reality."
The Grand Guignol building still exists. It is occupied by the International Visual Theatre, a company devoted to presenting plays in sign language.
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While the original Grand Guignol attempted to present naturalistic horror, the performances would seem melodramatic and heightened to today's audiences. For this reason, the term is often applied to films and plays of a stylized nature with heightened acting, melodrama and theatrical effects such as Sweeney Todd , Sleepy Hollow , Quills , and the Hammer Horror films that went before them. What Ever Happened to Baby Jane? ; Hush...Hush, Sweet Charlotte ; What Ever Happened to Aunt Alice? ; What's the Matter with Helen? ; Night Watch and Whoever Slew Auntie Roo? form a sub-branch of the genre called Grande Dame Guignol for its use of aging A-list actresses in sensational horror films.
Audiences had strong reactions to the new disturbing themes the horror plays presented. One of the most prevalent themes staged at the Grand-Guignol was the demoralization and corruption of science. The "evil doctor" was a recurring trope in the horror shows performed. [ citation needed ]The popular show The System of Doctor Goudron and Professor Plume by André de Lorde displays a depiction of a doctor typical of the theater. Dr. Goudron is portrayed as manic, insane, unreliable. He is seen "pac[ing] nervously" and "jumping on [a] desk and gesticulating". Later Lorde depicts the scientist as violent, with Goudron attempting to carve out an eye and then bite the hands of guards. During the time, curiosity and skepticism ravaged science and medicine. The depiction of scientists at the Grand-Guignol reflected the public attitude of fear and disdain. Medical science held a reputation of "terror and peculiar infamy". Middle-class Parisian society believed science existed in a world of frivolity and falsehood, whereas art existed in a world of honesty. Poet Matthew Arnold is an exemplary lens to use in order to understand these sympathies.
The themes the Grand-Guignol introduced into the horror genre affected how the genre exists today. The Grand-Guignol's introduction of naturalism into horror "unmasked brutality of contemporary culture". : 305 After the theater introduced relatable topics into the genre, the audience could visualize the plots taking place and thus experienced greater fear - the Grand-Guignol transformed the horror plot into something the audience could feel personally. Horror became a vehicle for ideas and philosophy where deep "insights gave way to spectacle, and spectacle to violence and gore, until in the end little was left but the gore". Today the horror genre begins with "optimism and hope", which "wither before random, chaotic, and inevitable violence".Previously, horror served as escapism, dealing with the supernatural and unrelatable.
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Grand Guignol flourished briefly in London in the early 1920s under the direction of Jose Levy, where it attracted the talents of Sybil Thorndike and Noël Coward,and a series of short English "Grand Guignol" films (using original screenplays, not play adaptations) was made at the same time, directed by Fred Paul. Several of the films exist at the BFI National Archive.
The Grand Guignol was revived once again in London in 1945, under the direction of Frederick Witney, where it ran for two seasons at the Granville Theatre. These included premiers of Witney's own work as well as adaptations of French originals.
In recent years, English director-writer, Richard Mazda, has re-introduced New York audiences to the Grand Guignol. His acting troupe, The Queens Players, have produced six mainstage productions of Grand Guignol plays, and Mazda is writing new plays in the classic Guignol style. The sixth production, Theatre of Fear, included De Lorde's famous adaptation of Poe's The System of Doctor Tarr and Professor Fether (Le Systéme du Dr Goudron et Pr Plume) as well as two original plays, Double Crossed and The Good Death alongside The Tell Tale Heart .
The 1963 mondo film Ecco includes a scene which may have been filmed at the Grand Guignol theatre during its final years.
American avant-garde composer John Zorn released an album called Grand Guignol by Naked City in 1992, in a reference to "the darker side of our existence which has always been with us and always will be".
The Swiss theatre company, Compagnie Pied de Biche revisits the Grand Guignol genre in contemporary contexts since 2008. The company staged in 2010 a diptych Impact & Dr. Incubis, based on original texts by Nicolas Yazgi and directed by Frédéric Ozier.More than literal adaptations, the plays address violence, death, crime and fear in contemporary contexts, while revisiting many trope of the original Grand Guignol corpus, often with humour.
Recently formed London-based Grand Guignol company Theatre of the Damned, brought their first production to the Camden Fringe in 2010 and produced the award nominated Grand Guignol in November of that year.In 2011, they staged Revenge of the Grand Guignol at the Courtyard Theatre, London, as part of the London Horror Festival.
Between 2011 and 2016, Baltimore-based Yellow Sign Theatre performed Grand Guignol productions (including a heavily updated version of Le Systéme du Dr Goudron et Pr Plume) as well as integrating Guignol elements into other performance forms.
In November 2014, 86 years after the last show of Alfredo Sainati's La Compagnia del Grand-Guignol, founded in 1908 and which had been the only example of Grand Guignol in Italy, the Convivio d'Arte Company presented in Milan Grand Guignol de Milan: Le Cabaret des Vampires. The show was an original tribute to Grand Guignol, a horror vaudeville with various horror and grotesque performances such as monologues, live music and burlesque, with a satirical black humour conduction.[ citation needed ]
One of the more prominent examples of Grand Guignol in television is Hannibal . Every episode includes at least one grisly murder and Hannibal Lecter, the main protagonist, is a cannibal that the audience gets to see specifically choosing his victims, removing their organs, and cooking them into a feast that he serves to his unsuspecting friends and colleagues at the FBI. Abbott remarks how "the show's artistic design and display of the corpses calls to mind images from Grand Guignol theatre, featuring weekly macabre images such as a human totem pole made out of dismembered corpses".This show is calling back to the grisly themes of the Grand Guignol and the audience reacts the same way they did in the past: with terrified faces, but never once choosing to leave.
The Grand Guignol plays a prominent role in Ib Melchior's WWII novel Code Name: Grand Guignol (1987), in which a small group of actors from the theatre team up with the French resistance and use their special skills to infiltrate Hitler's construction of a secret weapon, the V-3 cannon. Melchior explains in the postscript that he based the novel on his own experiences as an actor in France, where he befriended the stage manager of the Grand Guignol and learned many of its secrets.
André de Latour, comte de Lorde (1869–1942) was a French playwright, the main author of the Grand Guignol plays from 1901 to 1926. His evening career was as a dramatist of terror; during daytimes he worked as a librarian in the Bibliothèque de l'Arsenal. He wrote 150 plays, all of them devoted mainly to the exploitation of terror and insanity, and a few novels. For plays the subject matter of which concerned mental illness he sometimes collaborated with psychologist Alfred Binet, the developer of IQ testing.
Robert Barton Englund is an American actor and director. He is best known for playing the supernatural serial killer Freddy Krueger in the Nightmare on Elm Street film series. Classically trained at the Royal Academy of Dramatic Art, Englund began his career as a stage actor in regional theatre, and made his film debut in Buster and Billie in 1974. After supporting roles in films in the 1970s such as Stay Hungry, A Star Is Born, and Big Wednesday, Englund had his breakthrough as the resistance fighter Willie in the miniseries V in 1983. Following his performance in the original A Nightmare on Elm Street in 1984, he became closely associated with the horror film genre, and is widely-regarded as one of its iconic actors.
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Dr Terror's House of Horrors is a 1965 British anthology horror film from Amicus Productions, directed by veteran horror director Freddie Francis, written by Milton Subotsky, and starring Peter Cushing and Christopher Lee.
Juan Jose G. Levy was an English theatre practitioner who attempted to import the ghoulish and grisly Grand Guignol aesthetic for London audiences.
Le Manoir du diable or The House of the Devil, released in the United States as The Haunted Castle and in Britain as The Devil's Castle, is an 1896 French short silent film directed by Georges Méliès. The film, which depicts a brief pantomimed sketch in the style of a theatrical comic fantasy, tells the story of an encounter with the Devil and various attendant phantoms. It is intended to evoke amusement and wonder from its audiences, rather than fear. However, because of its themes and characters, the film has been considered to technically be the first horror film. Such a classification can also be attributed to the film's depiction of a human transforming into a bat, a plot element which has led some observers to label the work the first vampire film. The film is also innovative in length; its running time of over three minutes was ambitious for its era.
Paul Gégauff was a French screenwriter, actor, and director. He collaborated with director Claude Chabrol on 14 films. Among his films are Les Biches, Plein Soleil and the autobiographical Une Partie de Plaisir. In 1962, he and René Clement received an Edgar Award from the Mystery Writers of America as the screenwriters for Plein Soleil, which was named Best Foreign Language Film.
"The System of Doctor Tarr and Professor Fether" is a dark comedy short story by the American author Edgar Allan Poe. First published in Graham's Magazine in November 1845, the story centers on a naïve and unnamed narrator's visit to a mental asylum in the southern provinces of France.
The Man Who Could Cheat Death is a 1959 British horror film, directed by Terence Fisher and starring Anton Diffring, Hazel Court, and Christopher Lee. Jimmy Sangster adapted the screenplay from the play The Man in Half Moon Street by Barré Lyndon, which had been previously filmed in 1945. The Man Who Could Cheat Death was produced by Michael Carreras and Anthony Nelson Keys for Hammer Film Productions. It was released in the US on 19 August 1959 and in the UK on 30 November 1959.
Maurice Level was a French writer of fiction and drama who specialized in short stories of the macabre which were printed regularly in the columns of Paris newspapers and sometimes staged by le Théâtre du Grand-Guignol, the repertory company in Paris's Pigalle district devoted to melodramatic productions which emphasized blood and gore.
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Féerie, sometimes translated as "fairy play", was a French theatrical genre known for fantasy plots and spectacular visuals, including lavish scenery and mechanically worked stage effects. Féeries blended music, dancing, pantomime, and acrobatics, as well as magical transformations created by designers and stage technicians, to tell stories with clearly defined melodrama-like morality and an extensive use of supernatural elements. The genre developed in the early 19th century and became immensely popular in France throughout the nineteenth century, influencing the development of burlesque, musical comedy and film.
The System of Doctor Goudron is a 1913 French short silent horror film directed by Maurice Tourneur and starring Henri Gouget, Henry Roussel and Renée Sylvaire. It was adapted from a 1903 Grand Guignol play by André de Lorde, which was itself based on the 1845 short story The System of Doctor Tarr and Professor Fether by Edgar Allan Poe. It has been called the first French feature-length horror film.
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Jean Gobet was a French stage and film actor.
Max Maurey was a French playwright born in Paris in 1866 and died in Neuilly-sur-Seine in 1947. He was also the theatre manager of the Théâtre des Variétés from 1914 to 1940 and from 1944 to 1947, and director of the Théâtre du Grand Guignol.
Georges Vitaly, real name Vitali Garcouchenko,, was a 20th-century French actor, theater director and theater manager.
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The Most Assassinated Woman in the World is a 2018 French mystery thriller and the debut feature film directed and produced by Franck Ribière. It stars Anna Mouglalis, Niels Schneider, Eric Godon, Sissi Duparc, André Wilms, Michel Fau. The leading lady of Grand Guignol Theatre in Paris, Paula Maxa, is known for being murdered in every show on stage. Someone starts to notice that there's a link between these murders and a series of murders in real-life. The film is the first Belgian movie made for Netflix. It was shot in a 1.85 : 1 screen ratio through Spherical lens. It is loosely inspired by the work and life of actual French actress Paula Maxa. Filmed over the course of a month and a half on an estimated budget of €4,500,000, the film was released straight to Netflix after a premiere at the Brussels International Fantasy Film Festival in April 2018.
Figures de Cire is a 1914 French short silent horror film directed by Maurice Tourneur. The film stars Henry Roussel, and was based upon the short story of the same name by André de Lorde. De Lorde adapted the story from the stage play he wrote with Georges Montignac, which was first performed in 1912 at the Grand Guignol in Paris.