[Dissertation] The Grand Guignol

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TAHLH OF 10NTHHT3 C hanter I The T h e a tr e : Jha::tor II The f a m i l y Ib a rte r III *XTh e e a r l y

Cron

tre e

o:'

years:

I b a r t e r IV The h e y d a y w orld wars

f

the

C harter 7 The c o n te r w o r a r .v J h a n t e r VI lor.edy

Grand

at

tho

Gu I •-no 1

oor.vent

the

to

G rand

1

"House

G u lm o l

forld

G-'ar.f

Iran i

Grand

of

b ar

Gu 1 - n o l :

H orror"

(Irana

I

betw een

the

two

G uirnol

G o ! ’r . o 1

I r a n a t I r. t o - - o o r e c 1 a l l v

A n d re * d-

Lo

r>.

V. wd LcTr» ti/r tx

The the

raradox. yenre

of

?leasu re

and

”> a l . n :

a

d e fin itio n

Ahrend!ces The R e r e r t c i r e Photorra^hs of

sore

Grand

G uir.no 1

hcrro rn

of

LIST OF ILLUSTRATIONS Front i s o i e c e The Grand G u i g n o l

Theatre

Appendix II T h o t o p r a n k s o f sonie Grand G u i g n o l H o r r o r s 1'ir. A c i d Ha t h A M u ltip le 5 tabbing Trick H nives A H n i f e Mu r d e r A D i s f i g u r e d Face A Turned F ace An Lye G o u g i n g

Eh b

h e ? h o t o ~ r a o h s o r i g i n a l l y a p p e a r e d I n '’S n e a k i n g o f , i c t u r e s , T| L i f e , V o l . 22 ( A o r i l 2 C , 1 9 4 7 ) , p p . 1 4 - 1 c .

PREFACE!

This

paner i s

o p P aris, ed

rills

a study of

the

Theatre

a t h e a t r e which f o r o v e r s i x t y of

short

plays

which have

du Grand Gul grnol years has p r esen t­

alternated

in the

evoca­

t i o n o f h o r r o r and h u c o r . Through t h i s d r a m a t i c douche X T ecossalse it. h a s won a w i d e r e p u t a t i o n , f o r t h i s t h e a t r e r a n k s a s one very

ores tir e

SLudy s e e u s has

of

it

the

most famous

which r i v e s

to

answer:

endured

for

sc

what i s

study o f

the

dramas d e r i v e d . ment a r e ■' lay,

creating

"ra

the

world. questions

trad ition s

f rom

the

Gui^nol

w e l l - , os.de s l a y com t i n e d and

r

the

second

.hie' ir.

this

and why

first,

the h o r r o r

-.hi s d e v e l o p ­

f the

a - r. pt ed

.u t ural i s t l c these

forms,

t h e c r a n d g n lft n o le ag u e .

The exam 1.r a t i o * u *' r e p r e s e n t a t i v e comprises

is

which t h i s

t h e Gr and G u l g n o l ?

bnml'sta.. a c l m i n f l u e n - e c

a new g e n r e ,

It

-Grand G u l y n o l h a s r e q ?i r e d ,

dramatic

"o l o ■'rf-m a ,

Th-

to

the

loner a t i m e ?

The d e f i c . l t i o n o f th-.

rise

in

send m o s t e x t e n s i v e

Grand G u i m o l part o f

the

dramas defini-

1 The t e r m means ”h o t a n d c o l d s h o w e r , ” and t h u s i t d e n o t e s t h e r a p i d a l t e r n a t i o n o f t h e e x t r e m e e f f e c t s o f t e r r o r a nd f a r c i c a l humor. The p h r a s e h a s b e e n u s e d f r e q u e n t l y t y c r i t i c s and t h e a t r e h i s t o r i a n s t o d e s c r i b e t h e nromram o f t h e Gr a n d G u l g n o l . Gerard d ’ H o u v i l l e i n th e ”p e u l l l e t o n l l t t 6 r a l r e ” o f F l r a r o f g r J a n u a r y R?, 1 9 2 ? , w r o t e , fV51 une p l l c e v o u s d e c o l t v o u s e t e s su r d ' e t r e p l u s h e u r e u x en ^ c o u t a n t l a s u l v a n t e . . . . 0c m a s s a g e de l ^ e s p r l t . c e t t e d o u c h e i ' c o s s a l s e pour 1' I m a g i n a t i o n o n t ~ j e ne s a l s g u o l d ' ^ y g l l n l q u e . . . . £ ! l t l j a l m a b l e p a r f u m de l ' 6 s o t l o n q u l s u c c S d e a l a f r a f c h e d o u c h e de l a c t a l e t § a c h &v e de v o u s r a s a i l l a r d i r . ”

ii

tion.

It

Including

roveale the

the

customary

Another nart of the t r a d i t i o n a l farce,

as

the

lian

the

llm ht

is

uieces

comprises h a l f

the

form.

the

in trin sic

connotations. sim ilar

these

recognition

to

words

there

that adarted

and c r i m e ,

drama w h i c h p u r v e y e d

to

Its

the

fear

arrears by

the

and

of

esp ecially

Grand G u i m n o l .

theatre

oro^ras. the

douche

is

this

and t e r r o r ,

do n o t h a v e

B o u l e v a r d du C r i m e , w h o s e n i n e t e e n t h emphasized v i o l e n c e

c o me d y ,

Grand G u l p n o l ,

terms

Instead

the

of

and t e c h n i q u e s ,

In c h a r a c t e r i z i n g

I n t e r n r e t a t ion o f t h e

Grand G u l r n o l

pretation

the or.e-act

d efin ition

oensileratIon

e c o s s a l s e , which i s

at

the

In

F o r c o me d y n o r m a l l y

theatre's

use o f

themes

f o r m s and t h e m e s o f F r e n c h

revealed

The f i n a l

characteristic

for

the A r i s t o t e ­

to

be an i n t e r ­

theatres

of

the

c e n tu r y melodramas

the e a r l i e r

audiences

terror

■so r u l a r

for

its

own

safe. The q u e s t i o n of has

of

the

lor.^-lived

anneal

t h e Grand G u i g n o l h a s h a d s e v e r a l rroved e s p e c i a l ly

apparently theatre tried

is

on r u e

facets.

’■•ro v o c a t i v e

is

that

a phenomenon u n i q u e

to

P aris,

Ghaptal.

such t h e a t r e s ,

French o r i g i n a l . wa s t o b e t h e

and " o p a l a r l t y

cities

but without the

In London,

B ritish

ir. o t h e r

- A r t h u r B. K a u r i c e , "The P r i n c e o f V o l . S t ( S e p t e m b e r 1 9 2 2 ) , r . 10.

of

t h e Grand G u i ~ n o l even

the

to

countries

endurinc

f o r example,

counterpart

One w h i c h

the

the have-

success L ittle

of

Theatre

Grand G u i g n o l ; ^

Terror,"

the

The B o o u ma n ,

a

tra n s la tio n Au did

de

T elephone, not

and

C h a ln e 's

Inaugurated

the

f ir s t

^ ari a ,

1 ",° 3 J

and

su bsequently s u e :o 3 s .

In a t

venture,

In

hew

Y ork,

a

ten-w oe

beran ’w e r e

rla d

e s ta b lis h

And

fa ile d . opened

L o rd e 's

succeed.

G o l'rn o l, ber

of

In

? a rls

1 G2 G,

the too,

a

of

average

cor.nany

fa:, o u s

du

house

h ire of

tiae - r o b l e m o f

for

t h e i r cwr.

soc io l c r i s a l , a r t i s t i c

anneal

of

t h e Grand

alth ou gh the

Grand

F ro lic

fo cto -

E ffo rts only

to

a

b rie f

o rig in a l

de

l'E p o u v a n te

m elodram a.

qo r' u l a r 1 t y

and r - e n s l t l l l t y .

the

the

e t

ar.d I n t e l l e c t

of

froir:

the

taste

iasir

th ea tre

had

d u n llcate

T heatre

the

sever:. "3

as r o n u la r

s i r n ' l e - 1o v a l

at

to

L-ut

the

Grand G u i r n o l

r.ass,

the

a

In

a t

th:

h o r r o r and v i o l e n c e a ny

e ffo rts

’' ' ■ l a y e r s

season

Air.-c-rlcan

c la s s ic ,

season.

"The

c u lt

G uiynol

T his

s h o r t - 1 i v e d . *"

A second a s c e c t of nition

an

second

V arietes, was

to

G rand

anneal

"orclarity

of

or e t h i c a l is

s t a % d h o r r o r ’n a s

form at has

cromalcr&tln.sr

viev:.

fluctuated; a ll

regained,

equally

This

dc t e m i nine* t h e

vrand~ulynoleague.

lu i^ r .o l have n o t benr

to

"resents

without

1 • " o r t r.r.t. i n

the

It

oir.t o f

recog­

catering

theatre,

sakes,

is

Moreover,

the

se a s o n s

su ccessfu l,

generally,

the

s a me .

A t h i r d c o n s i d e r a t i o n has b e e n t he P a r i s i a n r 1 1 l e u durlrr* t h e s e v e r a l ye a e r a t i o n s o f t h e Grand Gu! rrnol * a e x i s 3 f h e P e s t P l a y s o f 19 2 3 - 2 h , burns M a n t l e , Ed. (Mew York: Dodd, Mead and C o . , 1 9 3 0 ) , P• 5. ^ G a n l l l o A n t o n a - T r a v e r s l , L / H l s t o l r e du Grand Gulsrnol ( P a r i s : L i b r a l r i e The at r a l e , n . d. ) , ru h.

Iv

tence.

Duri n; -

avant r a r i e , ir. t h e tion

if

various

to

crises.

to

these

devices,

of

r-nrt the

esp ecially

of

for

t h e nan

in

economic

r~. A r-j

w

V ^_ t^

• •

*^■^

s-. .

and d c v e l c

* ♦U •--

•* ^v,

i , y** *

* V- _ 4 „ ~

•oli lie s .

"v:. or.

X,^ ci ci 1 "t. ^o >-t £

**v c T~

s o we i n d i c a t i o n

+* *•

-w-.

fellows

-

I found

cc

the

aur^r^'icial,

w h a t e v e r would

w a s no

any y o a l

^ P

r* P-

'

other

than th a t i a c l u c h v.

only

’

- -s'i

in u red

and

c o m m i t m e n t or.

-.*rnndc*ui c*r.ol e s c u e

o-j

■>'»

>-

what v - s

«* -

r"5*” ^ r*

1

a discussion, of

"t-1 tV"j i-**ctTi

c f how t h o s e

- rnnd~ui~no 1esq u e .

to

csr.iro-

>

P * c. V

not

■"* > " >*»Y~ CTrs - ' » -

•,

^h

country

conscious­

street.

t r, w 1 t h i n t h e m i l l e r

r"f’

t

There-

The

'•avo a n i I r o s t

there

to

The

1 ? a s h i s first

perform ance

s e v e r a l m o n th s b e f o r e

S alo n .

M aupaus8ant,

v io le n ce

of v irtu e .

F l f l , w hich h a d i t s

T h ed tre

th e

t h e i r em p h asis on s a l a c io u s n a tu r a lis m .

fav o rite

T h e& tre-L ib re

th ese

d esig n atin g

v icto ry

W ith in t h i s M & tenier,

a c tu a lity

a m a n n e r w h ic h was t o

tim e n o r e f f o r t in g

in

because o f

An a d a p t a t i o n

M e te n ie r 's th e

war o f

p lay

is

1870.

a t th e

M agnier i n i t i a t e d

of

set

M adem oi­

a sto ry in

b y Du

a French p ro v in c ia l

The m ain a c t i o n

is

th e

on­

s t a g e m u r d e r o f a y o u n g G erm an o f f i c e r b y a F r e n c h p ro stitu te . The m u rd e r I s stab b ed

in

p ro fu se ly .

th e

a ll

enhance

th e m urder th e

reck less. m urder.

c h e s t w ith

The d r a m a t i c

p lo t b u sin ess before

an e s p e c i a l l y

Its

g a ie ty

The v i c t i m ' s

a d in n er k n ife ; stru c tu re , th e

scene

shock

of

ev en ts.

e ffe cts,

d isso lu te

an a b ru p t h a l t h is

and g la s s e s - - a th e

v ictim

is

wound b l e e d s

and h o r r o r .

a p arty ,

In escap in g

th e

th e

tec h n ic al

com panion s p l a c e

among b o t t l e s

p la y 's

is

comes to

d in n er ta b le , th e

blo o d y one:

and

Seconds and

w ith th e

c o rp s e on th e crude

sym bolism

scene o f h e r

crim e,

th e p r o s t i t u t e , sh ro u d in g

th e

shadow s th e As t h e

R ach el,

stag e

In an e e r ie

sa crista n

p lay ends,

th e

v illa g e rin g s

stra n g ely

sig n ifie s 2 conquerors.

th eir

The c h a r a c t e r i z a t i o n ch aracters -are

is

b a sic a lly

th ere

is

h ero ic,

in

th e

u n sy m p ath etic.

an abundance o f

in h is

eagerness

to have

lie s.

And R a c h e l ' s

out

end J u s t i f i e s a ll

rig h t;

th e m eans.

even th e

M e te n ie r 's

m atic,

th e

sense;

But i f

revenge

p a te n t

a ll,

th ere

se m l-v llla ln s. on th e

G erm ans,

d ev elo p in g

im p licatio n

11,

th e

room o f a p r o s t i t u t e

th at

is

th e

an e a r ly of th e

d ram atic

e x ce llen t m elodra­

tra d itio n s.

a cheap P a r is h o te l,

in

o u t to

the bed­ be a

robbery-m urder o f an e ld e r ly

W ith p r a c t i c e d p r o f i c i e n c y V i o l e t t e ^O scar M $ ten ier, 1 8 9 6 ) . ' •’

grand-

o f many h u n d r e d s

whose c u s to m e r t u r n s

w anted f o r th e

b o ld ly

c u lp rit.

first

1897,

and n a t u r a l i s t i c in

p rie st,

a m urder.

th e

church p r o te c ts

occurs

fac t,

no h e r o ,

Even th e

G rand G u ig n o l's a d a p t a t i o n

The a c t i o n

is

in

th e

The m u r d e r o f a h a t e d German i s

on November

w ell-m ad e,

crim in a l,

f o r R a c h e l's

f o r none o f

L u ll , w hich h a d t h e

o f perform ances ex am p le o f

th e

sin ce

sig n ific a n t,

"good" deed i s

is

silen t

French o v er

usual

of

d e a d man.

th e

A nother f a c t o r o f im p o rt in g u ig n o le sq u e g e n re

over th e

jo y o u sly ,

thus

W ith in th e s e

church b e l l ,

a v icto ry

is

c an d elab ra,

h a lf-lig h t.

In to n es p ray e rs

th e O ccu p atio n b egan, deed

knocks o v er th e

M ad em o iselle F l f l

g e t s him (P a ris:

tip sy

wom an.

and

Paul O llen d o rf,

th en

in to

bed.

c o n triv es she h a s

to

W ith t h e

a esista n ce

keep M a rtin e t

sent

o f th e

i n h e r room ,

fo r th e p o lic e

u n til

Madame,

V lo lette

u n su sp ic io u s

th e o f f i c e r s

th at

arriv e

and

a r r e s t him .

tiv e are

N atu ralism

is

situ atio n ,

as w ell a s

draw n from

tu te -h ero ln e

th e

p a te n t in

lo w est

th e

in

c h a ra c te riz a tio n ,

how ever,

of

p la y 's

a c tio n ;

went b e fo re

and th e

q u a lity

M a rtin e t's

a rriv a l

H is d e v ic e

is

of

and th e

of

to

o th e rs o n ly

we d o n o t k n o w ,

e ffic ie n c y

fear rath er

tra d itio n ,

th e

th an out

th e

in

th e

S crib e,

G rand G u i g n o l 's

th ere

is

no

ch aracters.

th e

term s o f

n o r d o we c a r e

o r what w ill happen in

W ith t h e

The p r o s t l -

U n lik e m ost n a t u r a l i s t i c

th e n a t u r a l i s t i c

We k n o w V i o l e t t e

of

provoca­

c h a r a c t e r s who

so ciety .

but ty p ic al

no t h r e e - d i m e n s i o n a l

and th e

cast of

does h e r good deed o u t m o tiv a tio n .

d ep th ,

th e

ranks o f

o f any a l t r u i s t i c

ad ap tatio n

se ttin g

th e

ab o u t what

fu tu re.

M eten ier p re p a re s

d isco v ery o f h is

s im p le an d com m onplace;

for

id e n tity .

V io lette

and th e

Madame r e a d a l o u d e x c e r p t s o f a n e w s p a p e r a c o o u n t o f M a rtin e t's the

crim e.

crim in a l,

T h is

a b u tc h e r by t r a d e ,

a s w ell a s an account o f v ictim .

tech n iq u e g iv e s

th e

and th e

Jew els he

cash he o b tain ed

The n e w s p a p e r c o n t a i n s ,

m u r d e r e d woman;

a d e sc rip tio n

u sin g h is k n ife ,

s e v e r e d h e r h e a d from h e r n e c k .

a lso ,

sto le,

from h i s

a p ictu re

th e k i l l e r

of

o f th e

alm oB t c o m p l e t e ly

When M a r t i n e t a r r i v e s

and

42

prepares

to

spend th e

an abundance of from

th e

rev eals th e

ev en in g ,

tw e n ty -fran c

m u r d e r e d w om an; a

sa d istic

rip p in g

of

and o th e r

le ft

arm t h e

He

k n ife

and

an im ag in ed v ic tim . Jew elry ,

F in a lly , in

Ju st lik e

th o se

in u n d re ssin g he

the

new spaper as a

id e n tific atio n .

pense,

a pow erful b u ild -u p

an u n e q u iv o c al v i l l a i n ,

The s u s p e n s e

is

of

b a s e d on f e a r

v io le n ce

in

the p la y ,

th e v io le n c e im p lica tio n

but

M a rtin e t's

th ere

life . is

v illa in

a fu ll is

s u s p e n s e m ore s u r e l y

acts

does,

for

of

th e

u n til

is

in

is

no

Is

th e

no a c t u a l of

c a p a b le and th e T h is

than

th e

su g g estio n sta g in g

There

is

th e

of

of

au d ien ce

fu rth er

t .h e g r a d u a l n e s s w i t h w h i c h

rev ealed .

th ere

sus­

dram as,

rev e latio n

im a g in atio n o f

ev en ts.

suspense

Id e n tity

Item -b y -item ,

th e

of

danger.

crim e T here

t h a t h e m ay s o a c t a g a i n .

unham pered by e x p l i c i t

h eig h ten in g

common t o

f o r o n e 's

o f w hich th e

e v il provokes te rrify in g

a n d a woman i n

th e v a r ie ty

suspense

the

k n ife.

th r u s t of th e

s c a r n o ted

From m e l o d r a m a L u l l h a s

is

th e

th e new spaper d e sc rib e d .

show s o n h i s sure

in

p o ck ets

Buch a s w e re t a k e n

and a la r g e

as he a tta c k s

Next he b rin g s o u t rin g s p ieces

p ieces,

a gun;

p leasu re

flesh

he d raw s from h i s

The p r o o f a c c u m u l a t e s p o ssib le

d o u b t t h a t he i s

robber-raurderer. A m ost u n t r a d l t i o n a l h e ro in e

She i s

young,

fea r for life

opposes

b u t e x p e rie n c e d r a t h e r th an is

u n c o m p lic a te d by th e

th e

v illa in .

in n o ce n t.

ty p ic a l

Her

h e ro in e 's

fear for her situ atio n th e in

c h a stity .

b u t no

Thus t h e r e

ro m an tic

u s u a l m elo d ram a,^

is

a p p re c ia tio n

id en tific atio n

Such a h e ro in e

of her

w ith h e r as

occurs

in

freq u e n tly

G rand G u ig n o l dram a. R o b e r t F r a n c h e v l l l e ' s Le c h e m ln d e r o n d e

m u rd er w hich i s

iro n ic a lly

co n stru ed as

Set in

a p ro v in cial

c ia lly

p r e s e n t s tw o p a r a d o x e s .

p r o t e c t o r o f law self-d efen se irra tio n a l the

o r in

an im al

th e

m urderer re p o rts is

of h is

th a t h is

d isco v ered .

in n o cen t o f as

th e th e

an i n j u s t i c e

su p erio rs

W ith in

th e

rev e als

th e

reason

of

th is

tra d itio n s

se ttin g

and th e

m elodram a.

suspense

And t h e r e

is

th e

usual

but

in in

And c o n v e r s e l y h i s

escape,

so ciety ,

w hich h e r

sh o o tin g .

the

is

guard

Her

th e

p raise

p ro m ise o f a p ro m o tio n .

n a tu ra lism v io le n ce

su p erfi­

rendezvous w ith one o f

f o r th e

was e v o l v i n g .

b o th

guard,

a n enemy o f

g u ig n o lesq u e g en re in

p lay

so ciety ,

w hich w in s f o r

fram ew ork th ree

of

a tte m p t to

and th e

th e

deed.

becom es a m u rd e re r n o t

p ro te c tio n

frig h t

an h e ro ic

A p riso n

a c o n v ic te d m urderess,

actu ally

d eath

f o r women,

and o rd e r,

p r i s o n e r s may b e

v ictim ,

p lay

p riso n

d e p ic ts a

dou b le

paradox,

from w h ich a g r a n d T here

is

e v id en ce

and c h a ra c te riz a tio n . d eriv in g

th is

from

in d eb ted n ess

to

it

are

of

The

ty p ic a l

S crib ean

of

te c h n l-

^OBcar M e t^ n ie r , L u ll ( P a r i s ; A lb ln M ic h e l, n . d . ) . ^ R o b e r t F r a n c h e v l i i e , P a a a l a H o n d a ( Le c h e m l n d e r o n d e ) , F r a n c i s c o L la n o , t r a n s . (M a d rid ; Sociedad. de A u to r e s e s p a n o le s , 1913).

que i n

th e

gu ard * a avowal

h i s m urder o f th e of h i

g irl

is

th a t he

an iro n ic

a n o t h e r o f F r a n c h e v i l l e 1a p l a y s ,

a d o c to r has w ilf u lly from a f a l l ,

let

co m m itted

so

th at

The g h o s t o f t h e

h is

first

th e

d eath

is

m u r d e r e d woman,

and e v e n tu a lly

bedroom .

The d o o r m y s t e r i o u s l y

a c ra sh o f b reak in g

scream s. an tiq u e

g lass,

m irro r has

fallen

to .d e a th .

door ag ain m y ste rio u sly

c o n tin u es

G u ig n o l dram a.

to

m irro r,

c o n tin u es

tists.

T h is

v io len ce

of

of

saved h e r l i f e . m urder,

successor

to

h a u n ts

in to

th e

is

When s h e

is

dead,

T here

w ife* s

d isco v er th a t he

u n ab le

an

to

th e

as

fo r v io le n ce , a m o tiv atio n w hich i s

a favored

in a b ility

her

revenge,

f o llo w e d by t h e

e x p la n atio n ,

suspense

re a lly

in ju rie s

save h e r

bedroom

c lo s e s by i t s e l f . - '

serve

as

th u s

on h e r;

And v i o l e n c e

sc ie n tific

source

d ie

C lo se,

c lo s e s b eh in d h e r.

in

Revenge a s a m o tiv a tio n

a

w ife

seek in g

e n tic e s

The h u s b a n d r u s h e s

from b l e e d i n g

or

La P o r te

d o c t o r m i g h t m a r r y a y o u n g e r woman.

th e house

al

and a c u lm in a tio n

a lth o u g h an o p e r a t i o n w ould hav e

Her seem in g ly a c c id e n ta l

p lay ,

d e n ia l

anyone;

sta te m e n t.

b

In

is

c o u ld n e v e r k i l l

to

such as

and t e r r o r ,

in

in

th e

in ca p ab le th e

tech n iq u e

p ro v id e

as

G rand of

fa llin g

ratio n ­ of

th e

o f h o r r o r dram a­

a lo g ic a l added to

th is

ex p la n atio n

th at

is

c au se d by th e

Itse lf.

^R obert F r a n c h e v ille , E s p lr ltls m e (La P o rte C lo a e ). A m ic h a tis , t r a n s . (B a rc e lo n a * L i b r e r i a de l a " E sc e n a C a ta la n a , 1926).

45

In th l8 w hich,

p lay

alth o u g h

suspense

th ere

h en sio n s,

but

g u ig n o lesq u e

years in

th e p lo t,

F o r e x am p le,

is

th e

i n no e s s e n t i a l

becom es a c o n s t a n t

c o n trib u te

to

the

d o o r w hich tw ic e

re la tio n

to

th e

component o f th e

p lo t. grand-

terro r.

A ndre de L o rd e , of th e

to

th e a i d o f a human h a n d a r o u s e s o u r a p p r e ­ it

Such te c h n iq u e

ev id en ce o f te c h n ic a l p ro c e d u re s

In c id e n ta l

and t e r r o r .

c lo s e s w ith o u t

is

p lay w rig h ts

who w a s t o

for

th e

w r o t e Au R a t M o r t .

become th e m o s t p r o l i f i c

G rand G u ig n o l,

th ese

e arly

C a b i n e t 6 . p r o d u c e d on Broadw ay

1913 a s A P a i r o f W h ite G l o v e s ,

two d r a m a s p r o v i d e

in

s till

and B a r a te r ie .

These

d i f f e r e n t e x a m p le s o f G rand G uig­

n o l h o r r o r p l a y s b a s e d on c rim e . I n Au R a t M o r t . woman c o o l l y p u l l s

a v iv a c io u s and a t t r a c t i v e

on a p a i r o f v e lv e t g lo v e s

h e r d i n n e r com panion, is

v isitin g

P aris.

as

a seizu re.

s e c re t ag en t,

fairly

be a P a r is i a n

se n t to

k ill

m a l e a g e n t s who p o s e a s c o n clu sio n

they h a n d cu ff

p u rp o rted ly

fo r ro u tin e

th is

is

arrest

in su re

th eir

re a lly

escape.

th e

passes

ty p ic a l

and i n te r n a tio n a l

assum ed to

and s tr a n g le s

R ussian G en eral G re g o ro ff,

She s u c c e s s f u l l y

To t h i s

adds esp io n ag e woman,

th e

young

crim e

in trig u e ; p o u le,

G regoroff. G e n e ra l's

off

is

th e m urder

sto ry

de L o rd e

f o r th e re a lly

She i s a id e s.

who

young

a R u ssian

a i d e d b y tw o At th e

p la y 's

th e m u r d e r e s s a n d l e a d h e r away, q u estio n in g ;

a p art of

but

th e

th e R u ssian s'

a u d ie n c e knows p lo t,

to

T here

is,

suspense. Itse lf a fte r is

in

th is

F irst,

p lay ,

th ere

is

may b e d i s c o v e r e d , its

th ere

th e

accep ted as

Not u n t i l

th e

d e a th due

p o ssib ility

e ith e r d u rin g

accom plishm ent. assurance of

a m a ste rfu l m an ip u latio n o f

d e e d 's

th e

G eneral G regoroff b rag g in g o f h is

to rtu re

v i c t i m s was th e

The l a t t e r , in te n tio n

to k i l l

sin cere,

he

c a lls

th in k in g

he

is

serio u sly . m atic

fo r h elp .

drunk,

iro n y

a ll

a

C zar,

a sso ciates.

a u d ie n ce ,

of

w hich i s

th e

th e

m urder and y e t g r e a t l y

accu satio n to

th e

d ev elo p m en t o f

and i t s

dra­

suspense.

m o tiv a tio n

in

escape of

dram a.

as n a tu ra l

d eath ,

th e

in

p o u le

who i s

is

b etw een w is h in g th e

is And in

actu ally

o f th e m urderess

suspense,

d islik in g

th at

th e

G rand G u ig n o l,

to rn

is

w ould-be r e s c u e r s ,

p a rtic ip a n ts

A n o th er so u rce

ch arac teristic

she

p o s s e s s e s a know ledge o f h id d e n

ag en ts, in

announces h er

th at

in trin sic

in m urder a p p ea rin g secret

th e

th e

to

d in n er p a rtn e r.

tak e h is

th e

of v io le n t a ctio n

a i d e s who a r e spy f o r

in

g rad u a lly

n ev er re v e a le d to is

to

th e

t h a t one o f h i s

co n v in ced

w hich a r e

deserve n o te

au d ien ce

id e n titie s,

th ere

refuse

for

c ru e ltie s

her id e n tity ,

But h is

p lay

c u lp rits

th e p re p a ra tio n

b ro th er of h is

F in a lly

The i r o n i e s

a c tio n

F or th e

him .

in

d isc lo se s

w ith o u t re v e a lin g

th e

causes and th e

m urder.

u n w ittin g ly

com m ission o r

m urder i s

And t h e r e

co u n try m en ,

th e m urder

end o f

escape.

h is

suspense

its

success:

to n a t u r a l

is

th at

and h e r

and one w hich i s th e to

dilem m a o f

the

prevent a

G en eral;

reco g n iz-

47

ing

th at

nerve

fo u l p lay h as been done,

w hich c a r r i e s In B a ra te rle

m ent o f th e sh ip ,

off

th e

crim e a s a f a t a l

de Lorde p r e s e n t s

them e

th at

The G l a d i a t o r ,

crim e

th e

sh ip

prem ium

f o r th e

c a u s e s a n a n g r y mob,

dem anding v e n g e a n c e lo v ed ones,

to

storm

clim ax o f v io le n c e o ffice

w indow t o is

th e

they

th e

•

sh ip o w n er,

fo r th e

crew ;

Its

g o d - c h i l d who w i l l th at h is

th e

form o f h i s

th e

dram a i s ,

n o lesq u e, crim e.

u n sy m p a th e tic

o v erlo ad th e he

of th eir In a savage

owner o u t h is Le H e r t e l ,

th e

in

th e

d eed p ro m p ts

d eath i s Itse lf,

in stan ce

th em selv es

sh ip

v illa in .

H is

is

sen ten ce

a

sure

does n o t waver in

cap tain

it

Is

sh ip .

the

shock.

p resen ts

fu tility

how ever. to

crim e

co ld ­

lu st

for

husband o f h is

Thus

u n c h arac teristic

resort

h is

th ere

fu rth e r v io le n c e ,

a gruesom e

of th e

depend upon l e g a l m eans, avengers

owner

sin k in g of

d eath s

th e g u ilty

w h ic h m ore t y p i c a l l y

T h is

the

sh ip o w n er’ s o f f ic e .

I n s u r a n c e money e v e n t h o u g h

su rp rise

Its

f

of the

A m erchant

MB a r a t e r l e 1" a n d

unnecessary

throw

a to ta lly to

for

cry in g

sta te ­

c o lle c t a larg e

N ew s o f

pavem ent b e n e a th .

b lo o d ed d e c is io n d eath

Illn e ss.^

sea because

In o rd e r to

lo ss.

cool

an u n e q u iv o c a l

does n o t pay.

g o e s down a t

h as p u rp o sely o v erlo ad ed I t Insurance

y e t a d m irin g th e

« of

th e

Is

no

alth o u g h

The m o r a l o f th e

g ran d g u ig -

success

o f crim e

E x tra -le g al, In o rd e r to

of

does n o t personal p u n ish th e

^ A n d r e d e L o r d e , MAu R a t M o r t , C a b i n e t 6 , " T h e a t r e v an te (P a rls j L lb r a ir le C h a rp e n tie r e t F a sq u e lle ,

d *E p o u 1909).

48

g u ilty

Le H e r t e l .

The v io le n ce

7

second c a te g o ry

of

and d e a th ,

but

to o ,

e x o tic

se ttin g s

ficial

way t h e

au th o rs

to

terro r.

H ere,

th e d ra m a tis ts

in v ert

in

th e

In

th ese

and s itu a tio n s . In ten d to o ,

th ere

lea st

ex o ticism is

c o n v en tio n a l

a

super­

to

no m o ra l

are

be in te g ra l

teach in g ;

stan d ard s

o f b eh av io r

to

Increase

G ard len s

de

P h a r e , by P a u l A u t i e r a n d P a u l C lo q u em in ,

fiv e

of

illn e ss

m ile s

from

begun t h e i r

th e

shore,

th e

in

v io len ce

sto ry d u ty

h i8 p artn er.

For th e

th o u g h

to u r of

Illn e ss w ill E elng

be f a t a l ,

can im plem ent h i s savagery,

fo llo w

s o n now a d m i t s t h a t by a mad d o g ; th e

usual

T e rrifie d

Just

a fore­

when t h e

son

he begs h i s

boy t h r e a t e n s th rea t,

In

he throw s h im s e lf

th e

several

days

p resen tly

he

and

p a in sure

fath e r

su ic id e .

of

to

and th e th a t h is k ill

fath e r.

him-.

But b e fo re he

an u n c o n tr o lla b le on h i s

corpse

to

sym ptom s o f r a b i e s .

by th e

ap p ro ach in g m adness,

th e

T here i s

f o r a m onth w i t h

th irst,

w orsens.

refused,

to

about

and son have

d u ty .

w hich i s

sta tio n

fe v e r and

of h is

lig h th o u se

w hich a f a t h e r

e a r l ie r he had been b itte n

co n d itio n

a lo n ely

o f a l i g h t h o u s e k e e p e r who w a s f o r c e d

rem ain a t h i s

has g reat

shock.

and m urder in

tw o -m o n th -lo n g

shadow ing o f rec alls

th e

dram as t h e r e

In a t

th e

d e a ls w ith

some c a s e s

te lls

H is

th em atic m a te ria l

In

burst of self-d efen se

'd e L orde and X a s s o n - F o r e s t i e r , " B a r a t e r l e , ” T h e a tr e P eur ( P a r i s : L i b r a i r i e T h l a t r a l e , 1924).

de l a

49

B rehan k i l l s

s o n . A r a g in g

h is

storm o u t s i d e

the v io le n c e w ith in .

The e e r i e

a sh ip ,

way,

unsure of i t s

J u s t In th e n ick

of

is

life -sa v in g at

lig h t.

recalls

th e

lig h th o u se

A French C o n su late th e

lo c a le

Eugene M orel,

for its

stu p o r

fallB

th e

h e lp

on storm

from

p lo t

in

its

in v o lv e s w ar,

A Frenchm an,

to to

C hina d u r in g

g e t h e lp

from

In sa n ity

Im m ed iately

Boxer R e b e llio n

to

th e

h is

brought cap tu re

o nly

compound o f

a tte m p t to

th e

th e

C h in ese,

a tro c itie s

he

show s h i s

he h a s

seen.

^ P a u l A u t i e r and P a u l C loquem in, E d it i o n s J o u b e r t , n . d . ).

of enemy

who c u t

of o th er

W ith an e m p h a s is on p h y s i c a l h o r r o r ,

th e g ran d g u ig n o lesq u e,

b esieg ed

fu tility

to rtu re

a

c h ild .

th e

p en etrate

by t h e th e

As i n

th e m urder i s

co m p atrio ts of

For h is

In clu siv e n ess,

and m urder.

above,

o f f h i s h a n d s a n d made h im w i t n e s s

th e

its

a fath e r k ills

retu rn in g

c o n v in ces h i s escape.

E uropeans.

th e

T o r t u r e , by de L orde and

fam e d e r i v e s

m ost u n n a tu r a l v io le n c e s

co n su late,

body o f h i s

rem ain O o nly son.

one o f th e m o st fam ous G rand G u ig n o l p l a y s .

th e dram a d i s c u s s e d

crib es

sto n n .

du ty and tu r n s

off a ll

w ith th e

f o r La D e m i^ r e

PerhapB p a r t o f

lin e s

of th e

from h iB

c u rta in

c u ttin g

th e n ig h t o f

we d o n o t k n o w h o w l o n g B r S h a n w i l l h a v e t o

s h u t up i n

try in g

in

th e n o ise

h is

When t h e

a peak o f i n t e n s i t y ,

shore;

is

p ierce

tim e B rShan a r o u s e s

o f rem orse and u n b e lie f , the

w h istles

acco m p an ies

ty p ic al

of

bloody w r is t and d es­ He w a r n s t h e

French

G a r d le n s de P h a re

(P aris:

50

that

attack

Is

and everyone of

strained

imminent and d i e s .

prepares nerves

for a final

and tem pers D'H em elin,

d au g h ter n o t have

subm it

dinate, is

G ravler,

in love

fires

his

k ill

w ith h er. own g u n

The w o u n d i s from h i s

to

approaching

to

her.

instantly

fatal.

that

of

reason.

is

or reversed p la y 's

of

C hinese,

special

application

conclusion

o f which deepened was

the

w ith

falsely

the

Frenchman t h a t were

for

ably

to

attack

soldiers

anxious

that his

Put

cannot,

G ravier

only

subor­ f o r he

to h e l p him,

in h i s

free

he l e a r n s His

child

D'Hem elin arms.

him self

that

remorse

the over

c a u s e s him t o

lose

of the

Scrlbean

of

interpreted reaction

than

that

of

of

its

nega­

technique.

every

clue,

defeat

at

by

characters.

the

the

the

defense.

each

hands of

of m isunderstanding,

a s s u m p t i o n by th e

preparations

rather

because

establishes

erroneous

the

Interest

be­

returning

Chinese

he w i t n e s s e d

The i r o n y

adds

immeasur­

the h o rro r.

Henri-Ren^ example

French

asks h is

expectation

was a l m o s t a c h a i n

ginning

evidence

n

This p lay

There

is

atro cities,

the A llie s !

his

the

consul,

embrace,

u n n ecessary1 murder of h i s

For the

the

B efore he can

the

tive

There

h e r head as he h o ld s h e r

lifeless

army i s

the

W i t h no o n e e l s e

into

d a u g h te r's

stand.

as one o f

wounds a com panion. to

The enemy s e e m s c l o s e r

of

L e n o r m a h d 's La F o l l e

exotic

horror

Blanche

drama in which t h e r e

°de L orde and Eugene i 'o r e l , d 'E p o u v an te .

"La D e r n i e r e

is is

another at

T orture,"

least T heatre

51 the

suspicion

of

closely

related.

a hotel

in

m ountain

the

Palezleux from

the

from

instant her,

narents,

fall

Fr o m

parents

is

Palezleux

and

fall

unquestionably

In

this

niece

the lig h t - h e a r t e d expectation

terrified than

we l e a r n

of

their th eir

cut

the

rone

because

of her

fall;

the

audience

of

that

his

son

to

of

and Mrs.

Marc

sees h e r

the

the

cut

for

fall

to

nlunge

to

his

of

the

m ountain.

for

the

of

The

c l inf;

return,

clim b ers have

suspense. and th e

we g o t o proceeded

And i n m o u n t i n g h o r r o r

g irl's

contribution death:

was a l r e a d y it

did

thinking

before

itse lf Blanche

the

to

Marc

dead as a t h a t he

dram atist never a lla y s rope

and

saves h er

rest

building

clim bers'

fiancee

the

via

of attem pting

An e x c e r t i o n a l

La F o l l e

an o f f s t a g e

Mr .

and th e

w arrents.

The

of

all.

the

o r d id he

must d e cid e

her

a careful

the

terrace

d e n o u n c i n g Marc t o

preparation

Marc c u t

l 0 H. R. L e n o r m a n d , 19 0 6 ).

to

is

her footing

Instead

side

enigm a of

save h im s e lf? that

is

deaths.

is

suspicion

his

fatal

sk ill

suspense

thereby

sees

discovery

the

result

lose

m urderer

w itnessed,

clim bers.

heatedly

there

are

Her f a t h e r

down t h e

is

farther

the

rope.

W hile he

slip

they

son’s fiancee

the

on t h e

occur during

the

Then M arc,

whom t h e

place

but

of

to

The r o p e w h i c h t i e s

cuts

optim istic the

The d e a t h s

death.

Mr .

one

takes

expedition;

th eir

trail.

her death.

party

A lps.

by t h e see

murder of

The d r a m a

clim bing

telescope,

rescue

the

g irl

could

the was d e a d ;

. 10

(P aris:

F.-V .

S t o c :,

52 A final

example

o f a lo v e d one Lumlere desire

Rouge. to

whom t h e

funeral

P hillipe

of her not

her

Th e h o r r i f i e d the

the

the

girl

to

the

Innocent of

any

are

being

office

open. dead,

we l e a r n of

the

struggled

A fter

that

insists of his

H ealth

describe

He o r d e r s

this

unw itting

is

that

in

evidence

murder.

D epartm ent,

after

im m ediate

on d i s i n t e r m e n t .

the now -bloodied

violently

Y vette,

the

and d is c o v e rs

C ertain he

m istress,

3

illn ess.

the n e g a tiv e

casual

sk illfu lly

tell-tale

apparatus

conversation

opened" t e l l s

dead and b u r l e d

opening

corpse,

oroof

sh e was e n c l o s e d

of

Hot a l l the

the

of a health the

great

in

the

red

only

d etail

when P h i l l i p e

light

of

the

Illu m in atio n .

official

to

before

the

Th e casket

n u m b e r s who h a v e b e e n o r o n o u n c e d

prem aturely. error

realistic

For exam ple,

negative,

nrovides

death excuses h is

Involves

m anipulate

su sp en se and h o r r o r . the

developing

the

Sous l a

casket.

processes

is

is

photograph of h i

spread of h er

officials

The a u t h o r s add

m urderer

pronounced dead.

develops eyes

and E tie n n e R e y 's

m urder

m u rd er by a c c i d e n t .

just

disentom bed b ie r ,

that

the

a last

the

really

cem etery

time is

takes

prevent

the p ic tu r e

At the

It

doctor has

to

h o r r o r based upon th e

M aurice L e v e l 's

This

1111.

P hillip e

burial

is

of exotic

And t h e on

doctor

the b a s is

Grand G uignol v i o l e n c e murder o f a lo v ed one.

set

of

who c e r t i f i e d overw ork.^ ^

In e x o tic

In F igures

de

l 1 M aurlce L ev e l and E ti e n n e Rey, "Sous l a Lumlere Monde I l l u s t r e . No . 11 ( J u l y 1, 1 9 1 1 ) , 1-1 A.

locales C j r e . by Rouge,"

53

Andre

de L o r d e

and Georges lio n tig n a c ,

d e a th which w i l l

be r e g a r d e d a s m u r d e r ,

s t r a n g e r who w i l l death occurs

at

be a c c u se d o f

night

e ach unaware o f th e

P ierre

plans

wager.

the

police

lig h ted tesque

who a r e

pursuing

and h o r r i f y i n g . his

dies

g irl.

talks

the

to

fied

him t o

reassure

the

night

g i v e s wa y t o held

that

thought

police

useless.

museum a s

He f a l l s

that

is

he

only

a chair

body.

the

to

is

chair

actually she

d id n 't

that

she

commit.

attracted

is

terror

the

soon w ill

be

of

t h e museum

of

scream ing lo u d ly ,

innocence

from

e n d s . 1^ de

rest

For h er

They e n t e r

"Figures

terri­

attention

Her n r o t e s t a t i o n s

*2 de L o r d e a n d G e o r g e s M o n t i g n a c , The&tre d '£ p o u v a n t e .

gro­

and

spend th e

sim ple

realization

corpse has

dimly

somewhat

she h e r s e l f

have

But t h i s

the

the

se e s one o f

Into

from

dead,

she w i l l

They f o r c e h e r ,

the play

for

he n e e d n ' t be a f r a i d .

f r o m whom s h e w a s h i d i n g .

and d is c o v e r P i e r r e ' s

becomes

he t h i n k s

him t h a t

Pierre

win a

seem e s p e c i a l l y

Pierre

f o r a m urder she the

to

night

and a

h a v e come.

The m o v i n g wa x f i g u r e

the h o rro r o f

co n v ersatio n w ith

In o rd e r

therefore

w ith a cadaver.

responsible

the o th e r ,

The mus e um i s

When t h e m a n ' s b o d y f a l l s

w ith

the

fright.

of

The

sto rm y w e a t h e r and from

her.

Ju st as

Innocent

which a nan

spend the

surroundings,

of

Up o n d i s c o v e r i n g

are

from

a natural

supposed m urder.

there

to

f i g u r e s move t o w a r d s h i m .

the

the

plans

a n d t h e wa x f i g u r e s

literally

of

too,

protect her

accustom ed to the

presence

spend the n ig h t

The g i r l ,

museum w i l l

the

Is

and an

I n a wa x m u s e u m t o

wo ma n,

to

there

C lre,"

the

A number o f r e a l i s t i c add to

the

suspense

when P i e r r e ,

worn h i s example

in

watch; is

the

a knife

w all

of

the

of

in.

progresses.

discovery.

strikes

the

closely

hour,

the

less

In a drama d e r i v e d

a strange order

to

assist

organization

joins

the

us

from

is

its

It

members

secret.

adm ission

but

card fo r death

confesses

t h a t he h a s

article.

The m e m b e r s h i p

in

all

the

the

to

tim e of

of

club

moments clock

span

the

drama.

one n i g h t

at

which e x i s t s

in

a

table;

Its

jo u rnalist,

t h a t he wants

gain

the

own l i v e s .

H erbert Forbes,

th at night.

as

S tevenson’s novel,

th eir

game

wind

t e r r o r has

This

Louis

taking

the

canvas

a distant

runnlng-tlm e

a suicide

come o n l y

and a

Intensity

and Armont t e l l

o t h e r members a ro u n d the

In

conclusion

by d e c l a r i n g

who d r a w s

crim e

chair.

an h o u r .

in

the

famous v i c t i m s o f

thunder accentuate

Robert

is

some o f

th ro u g h which th e

that

actual

C lu b , I'ou^zy-Son

London c lu b .

has gained

of

Another

a b u t c h e r e s s who

of

Increases

than h a l f the

are

of

o f a famous

o la y 's

rem inding

approxim ates

The S u i c i d e

recognition

a gash

Loud c l a p s

t h a t he h a d n o t

pounding h e a r t .

electric

is

For exam de,

t h i n k s he h e a r s h i s

the heads

The s t o r m

And a t

occurred w ithin

his

a reproduction

them selves,

apprehension.

displays

in h e r hand,

in

he remembers

frightened

Among t h e s e

trite

museum,

sound i s

mus e um t h e r e

rush

of

silence,

an A m e r i c a n - s t y l e

and r a i n plot

the the

g uillotine,

model o f

deserted

P ie rre 's

wax e x h i b i t s . holds

and sense

in the

watch t i c k i n g

details,

to

die.

and i t

is

Frightened,

he

inform ation

sym pathizes w ith h is

terror

He he

f o r an of

55

death,

out

it

cannot perm it

He m u s t d i e . his

rocket

C om pletely

unnerved,

and t h r e a t e n s

the

in effective.

They q u i e t l y

behind

them .

Left

stages

of

F inally inert

he b r i n g s

body

president bearers

the

falls

the

nlay

is

orocedures

of Forbes. contribute

For exam ple, the

during

players

n o t drawn th e b r o u g h t on

the

lig h ts

lig h t

which h e lp s A last

to

the

suffers

to

drive

example o f

C h a u d es. by H e n ri-R e n e French E q u a to ria l the

of

the

to

suspense. purpose

structure fear

heart

is

of

w h i t e wo m a n .

13;;0 u e z y - E o n a n d A r n o n t , L e s X u l t s L l b r a l r l e S to cu , 1922).

in

alone

Itself, He h a d

in

death the

club-

in a h a lf -

13

A jungle for

uo u n t i l

imminent

shrouded

s u i c i d e .

locale

in itiated

ana te c h n ic a l

attac.:.

terro r of

is

is

and app reh en sio n .

suspenseful

and u n ju s t b e a tin g

m urder of an in n o c e n t

It

and b u ild s

Grand G uignol

the

stretcher-

corpse.

m ounting

Lenormand. is

terror.

club

ur the

him

and

Then t h e

t h a t he

exotic

A frica

savage

so

fear

The

door

successive

table.

An d w h e n F o r b e s

go o u t ,

the

his

a fatal but

is

and f i r e s ;

c lu b 's

this

threat

tem ple

c a r d game,

attack.

the

m ounting

Both d ra m a tic

death-card,

room,

includes

the

rules.

locking

through

door and e n t e r s .

of

the

room,

goes

card

a m asterpiece

revelation

suicide

and th e

the

of the

draws a pun from

But

the

Forbes

who a c c o m p a n y h i m t a ' . : e

the

one o f

leave

gun t o h i s

across

Forbes

others.

and bravado,

the

unlocus

This w ith

alone,

disbelief

any I n f r a c t i o n

drama i s

Terres

clearing

in

the

action

a native

which

tribesm an

A diabolical

du H a m o t o n - J l u b

(Paris:

56

o o l n t o f view w hich e q u a te s

Justice

and i n j u s t i c e

m otivates

the violence. L aeli;:, on h i s

a native

innocent.

guilty

man.

Rouge,

This

the

frees

injustice

w h ite m an's h in d

when M a e l i k ' s w i f e

brings

I ' a d a u e Le C o r m i e r ,

the

tabes m edicines

bring

the

to him.

compound a l a r g e

u n d e rsto o d R ouge's

innocent

suffer

Both S c r ib e a n tion

of

present

g u ilt at

who o b j e c t s

the to

the

part

unjust

of the

guilt

w itch doctor, 1^H.-R.

garishly

of

for

A l t h o u g h he h a s no v i t a l

In

of

it

the

obviously according

is

very

R ouge's tim e

native

so me n a t i v e s the bloody

R aeli.:

is

ill,

subordinate

contains

it

is

That evening

a short

shows

Justice

that

t o make

crim es o f o th e rs . and a n a t u r a l i s t i c the

sinister is

that

it

Justice. the

R aeli:.

that

orovoued

And t h u s

to

the

costum ed w ith mash,

Lenormand, " T e r r e s C haudes," G eorges Cres & C l e . , 1918).

At th e

unjust

m urder and th e

connection

T rols

For

P refailles,

was h i s

earlier,

interpreta­

revenge.

a visito r,

treatm ent of

P refailles

theory

w ife

oackage;

clearing

tw enty y e a rs

l a t t e r 1s d i s t o r t e d bears

to

lashes

R ouge,the

actually,

Justice.

concent th a t

technique

Jungle

in

Thus th e

the

contribute

e n d Rouge r e m i n d s ment o f Rouge,

for

who i s

word t h a t h e r h u s b a n d

h e a d o f R a d a m e Le C o r m i e r . he has

of

sym pathetic

officer, to

deliberateness

another n ativ e

sadistic

tw enty-five

f o r a crim e o f which he

W ith c o n s i d e r e d

officer-in-charge,

the

receives

b a re d bach as punishm ent

clearly

to

tribesm an,

p la y 's

treat­ the

P refailles beating.

p lot,

a native

little

m irrors,

Drames

(Paris:

ribbons,

and anim al h o rn s

and fo reb o d in g appearances, The

his

third

A lthough th e re treatm ent G uignol,

w ith h is

category is

are

also

pects

of

insanity;

versions ficial

of m ental

During

in

of

several

the

years

p atients

has

th e Grand F irst,

that

insane is

these

for

are

of

are

favorite

represented are

th eir

as­

leads

popular are

super­

day n e c e s s a r i l y

n o t problem

plays.

There

changes. Andr£

by h i m s e l f o r w i t h

collaborators,

pro­

a b o u t m adness w hich became One o f

the most

Poe’ s short

famous o f

du P r o f e s s e u r

story,

classics these

was

Le

Plume, b ased

"The System o f

The p l a y

is

first

Doctor produced

1903.

Two r e p o r t e r s Goudron

at

dram atic

Grand G u ig n o l,

T a r r and P r o f e s s o r F e t h e r . "

Dr.

the

spectacular or bizarre

suggestion of

System s du D o c te u r Goudron e t

3,

in

the

repertoire.

on A p r i l

sudden

insanity.

w hich means th e y

early

plays

on E d g ar A l l a n

is

illn ess

Second,

these

hl3

lim itatio n s.

insanity

no

w riting

evil,

suspense

charms.

crim inally

causes,

these

of

d iversity

although not

And t h i r d ,

no p r o b i n g

duced

the

illn ess,

and o b vious,

de L o r d e ,

the

u s u a lly m urder.

Inaccurate. is

the

creates

subject m atter

several

only

thus

and much o f

crim e,

of

and e m o tio n a l

dramas p r e s e n t

to

good lucl:

considerable

these

topics,

incantations

sinister

of m ental there

and f e a t h e r s ,

for his

arrive

at

the

sanitarium

new p e r m i s s i v e

b r o u g h t him

to

Interview

tre a tm e n t of m ental

c o v e te d m em bership

in

the

Legion

o f Honor.

The d o c t o r p r o f e s s e s

opportunity

to

tell

about h is

interview

really

take

o f a p a t i e n t who i s

in

care

the next

room.

doctor re tu rn s , notice

t h a t he

The d o c t o r Professor latter think

begins,

sm iling h is is

badly

Introduces Plume,

they

are

anim als;

they

one o f

his

terror

when t h e y

he

are

p atients.

key.

lives,

the

patien ts

3ome c a p t u r e place

H ospital

The p a t i e n t s is

the

the w ards, Goudron the

the

to

his

a top.

is

It

the

in itial

not

is

the

ill.

to

chase

Dr.

the

subdue.

have

guard

the

the

reports

to

real

to

are

door

fury

room.

eyes.

door

the

the

their

O thers

perform

Just

one p o sin g

that

cham­

unpredictable

As t h e p a t i e n t s

disappeared.

p a t i e n t who c r e a t e d

for

around the

open th e

of

Goudron b u t

and p re p a re

pursued;

s o m e o f whom

locked th e

gouge o u t h i s

table

The

now c l e a r t o

someone h a s

a w ild

bloody.

colleague,

f e a r changes

them w i t h

reporters

a bottle

is

to

disturbance

hands a re

group of

t h in k s he

guards break

chief

seems to

sm all

attack

and t r y

now a r e

hardest

reporters

the

and th e

but

and h i s

interview ing

J e a n on a l a b o r a t o r y

surgery.

abruptly

F o r now t h e y m u s t f i g h t

There Henri

a great

satisfaction;

discover th a t

the

and s t r e n g t h .

is

T heir

and ta k e n as

one

the

Eut b e fo re

symptoms o f o t h e r p a t i e n t s ,

another thinks

y o u n g men t h a t

ceases

the

and th e n a

the

creating

scratched

to

out

new s y s t e m .

in

Goudron e x c u s e s h i m s e l f

The n o i s e

act

pagne;

Dr.

great pleasure

a s Goudron

led

real

in tim e.

away t o

Dr.

The y o u n g men r e c a l l

disturbance

in

the n e x t

room.

59

The g u a r d s

discover there

A profusion of

the

plot. patients

aware

of.

the

detail

ignore,

Plume,

person blinks

pockets,

then

searches

again.

oatients

have v io le n t

assumes

it

an

cent

in

rosette

inm ate

it

becomes

Legion o f

Th e p l o t But

the

struggle

of a statue,

raging the

his

then

outside;

the

thunderclaps.

increasingly

questioned.

clear

The

that

One t o u c h , Is

supposed

inno­ the

Dr.

is

an d Alfied B l n e t ,

desire

struggle hopeless,

to

to

k ill

his

control

and a t

tells

of a

young son.

the obsession.

the

play*s

end Jean

son.

A P arisian to

through a l l

^

unfolds h is

obsession

Madame

1 c

an o b s e s s iv e

strangles h is

him.

Honor which th e

L f O b s e s s i o n , by de L o rd e man who h a s

a word o r p h r a s e

searches

to

which th e

cannot h elp being

Just before

a storm

being

a tic

effect

b u t which adds a f u r t h e r h o r r o r ,

the

Goudron w e a rs .

repeats

reactions

who i s

Itself, of

as

has

im m obility

is

horrifying

audience

Robert

the

There

in ten sifies

the

spoken

h e r eyes;

the

p atients

but

who h a s

storm

to

f o r exam ple,

Eugenie

is

adds

Each o f th e

other

of

of

th e body o f th e m urdered d o c to r .

p s y c h o l o g i s t , whom J e a n

an h e r e d i t a r y

insanity

and d e g e n e ra tiv e ;

he a d v i s e s

m ental h o s p ita l.

The r o s e t t e

Jean of

to

consults,

which

is

links

the

progressive

commit h i m s e l f

to

a

th e L eg io n o f Honor which

1- d e L o r d e , "Le S y s t e m e du D o c t e u r B D u d r o n e t P l u m e , " T h e a t r e d *E p o u v a n t e .

du P r o f e s s o r

60

the

d o c to r wears

opinion

In h is

authority.

But Jean

stitu tio n alizatio n ; he

can

his

control

fam ily,

obsession, tragedy. learns

his

illn ess.

Home f r o m h i s

struck

the

w ife,

thin!-:a h e r h u s b a n d

l'a l

su sp ects nothing.

She

Instead of sounds of

the

love

hidden

for

the

the

Jean

for h ittin g

children children

loyally

M arthe,

bid

the

and Jean

it

shield

Jean ’s a rest. the

boy,

children

fam iliar affectio n ate

struggle

her

k now t h a t

" a c c id e n ta lly ” struck

s e n d s him t o

that

eventual

psychologist,

truth.

in­

and concern of

overw orking and needs he

the

accept

words

saying,

"Je

t u e . . . " 1^

obsession ure o f

closeness

and i t s

the

to

cause of

Throughout the but

ignored.

all

the

At th e

of

the

fam ily

d en o u em en t more

fam ily

an i r o n i c

der,

the

but the

is

that

The a p p a r e n t

is

the

and h i s

believing

successfully

to

tell

confesses

the

is

home,

the o p p o rtu n ity

boy,

a n d do n o t

good-night.

his

Jean and both the

father

she h e a r s

to

to

d a u g h te r has been p u n ish ed

P ierre.

A l t h o u g h he

unw illing

It

trip

their

she

is

he r e t u r n s

which p ro v id e

w a s h e who

g i v e s him p r e s t i g e

f r o m whom J e a n h a s

that his

brother,

lapel

recognize the

play

p la y 's

1^ d e L o r d e a n d A l f r e Epouvante.

shocking.

the

makes

And t h e

symptoms o f

the fail­

abnorm ality

s o n 's m urder.

there

Scribean

circle

is

clues

end th e

E inet,

a foreboding are

of

the

mur­

m isinterpreted or

recognition

that

Pierre

"L 'O b se sslo n ," T heatre

d*

61

need n o t have d ie d

increases

C h a r le s Hellem treat

and P o l

a d if f e r e n t kind of

the h o rro r.

d ’Estoc

in

illn ess.

Le 5 1 § g e d e B e r l i n

Colonel

Jouve,

e ig h ty - y e a r o ld v e te r a n o f N ap o leo n 's

cam paigns

w ith th e

the

idea of

the

The u n s u c c e s s f u l therefore for

conquering the

for

victorious

the h ero es.

sight

feet

setting

there

is

display St. to

the

learn

is

the

but

there

the

real

facts,

When t h e sure

overrides h is

the

are

in

C o lo n el's

the manner o f

decorations,

is

has

C olonel,

window t o h a i l and th e

fatal.

g r a n d d a u g h t e r who h a s

under g lass.

k e e p him from

^C harles (Paris;

and goes to

o f N a p o leo n on t h e

C o lo n e l makes

the

French,

1870,

of v ictories

him.

Paris,

deluded

reali­

He f a l l s

fo r years

truth.

furnished

of m ilitary

H elena

are

in

t h e German u n i f o r m s

indicates

a portrait

certain,

to

is

the

series

would k i l l

is

F r e n c h Array.

beginning

been d e fe a te d

of h is

s h i e l d e d him from

aoartm ent

of

of

as a

through

soldiers

France has

the

The

truth

objections

The

that

dead a t

the

t o him

Germans p a r a d e

g ra n d d a u g h ter's

zation

w ar w ith Germany,

been p resen ted

the French,

that

in v in cib ility

an

the

delusion,

fo r his

the

Empire;

F irst

w all,

as w ell

as

and a p ie c e

of rock

from

The v e r y n u m b e r o f l i e s

discovery

suspense

of the

truth

the

told

alm ost

a b o u t w h e n a n d how h e w i l l

and about w h eth er Helene w i l l

view ing

a

parade.

17

H e l l e m a n d P o l d ' E s t o c , Le S l & g e d e B e r l i n L i b r a i r i e T h e f i t r a l e , 191 5 K

be a b l e

62

I n Un e L e g o n a l a ly

revived

place

In

ty

not

is

rather

since

Its

a m ental the

the

cause of

is

la

S alpetrlere

as

subjects

Th e d o c t o r s

is

in

conduct

these

s o me o f

It

of

in stitu tio n ,

Is

at

serve

nerforns Jlalre

the

a series

of

due

to

doctors,

but

P r o f e s s o r M arbois h as

in

the

paralysis.

left

from

N icolo*s

lectu re,

her,

She

falls.

that

regarded

the

th is

pro­

Hut when N i c o l o

him aa

of

the nan

sulfuric

and h u r l s

d ra g h e r from

antidote

the

t r e a t m e n t which r e s u l t e d

The P r o f e s s o r , the

head

p e r f o r m e d by o n e o f

a bottle

experim ent,

O rderlies

prescribes

claim ed

recognizes

shock

snatches

a previous

face.

she

the

main

The s e c o n d

of her h y ste ria .

electric

w rithes h e lp le s sly .

curtain

an e x p e r i m e n t

to h y p n o tiz e

who g a v e h e r

has

the

b a n d a g e d and whose

is

starts

O laire

serve Illn ess.

one o f

experim ents.

whose h e a d i s

f u r t h e r evidence

that

as N icolo,

paralysis

as

patients

For

experim ents as le c tu re

paralyzed.

test

effect.

cure o f m ental

r i g h t arm i s

the

contains;

P ro fe ss o r K arbois,

lecturing

Jamu,

Its

insani­

as a back­

su c h an o c c a s i o n

olay occurs. is

play

th eatrical

fo r experim ents

the

is

its

takes

Instance

the

depicted

for

action

th is

a hospital-school.

of

patient

In

the

violence

illnesses

action

Internes,

the

exploited

dem onstrations.

the

1903 p r e m i e r e ,

in stitu tio n .

various

ground which

S a l p e t r l l r e , which h a s been r e g u l a r ­

for

as

the

the if

the

acid,

liquid

into

room a s N i c o l o

continuing h is acid

c s the

63

There

is

precision

to

the

of

and

but

the

terror

includes

this

When t h e

display

taking

jackets

experim ent of

t o ma e a s u r g i c a l peer

Into

their

the

faces

And t h e r e little play

favors

discuss.

the

aberrations There

is

One g r o u p ,

believing

than

the

regardless that

the

perim ents the

acid

horror.

of

tim e

the

be

N i c o l o 1s f a c e

For her

revenge

is

of

canopy, form er

and donning th e In

the

In

from in

the

the

this

courtyard,

to

doors. get

way t h e y

point of

out

the

all

dis­ and

superficial

a mong t h e

perform

in o rd e r

glass

who come

doctors

first

O ther o a tl e n t s

exnerim ents are to

contribute

funeral

shoulder.

division

the

to

exam ple,

rem ains

indication

w ants

should

C ertain

t h e y make o s t e n t a t i o u s

patien ts

the

which m ig h t a f f e c t into

the

the panes

t h e human c o s t .

patients

a black

tim e,

which the

that

natients,

to

Professor.

in

o f M arbois

employs hypnotism

a m an's

a further

atm osphere

for

w ith h o s p ita ls .

against

scien tific

ant

of

a parade of from

as

enter

N icolo

from

pressed

is

their

tan

room,

settin g ,

th e ir outercoats

day,

scien tific

superficial.

containing

associated the

The

internes

off

ob jectiv ity

is

elem ents

of b o ttles

of

have been e x a g g e ra te d

the play.

patien ts. of

which th e

situation of

an a tm o sp h e re

Illusion

such b i z a r r e

shelves

w hite

scene

and method to

contributes, aspects

about the

doctors.

more

kinds

im port­ of

tests,

The o t h e r g r o u ^ b e l i e v e s

su b je c te d only a cure. there

is

to

those

Y/hen J l a i r e both

an e x tr a v a g a n t

surprise

ex­

throw s and

reaction, t

64

spontaneous and I n t u i t i v e ; m easure

it

and th e

precision

of

This a n t i t h e s i s

Increases

the

The

fourth

p e rfo rm e d on operations the

stage.

v ital

the

is

perim ental operation typical play.

for

quality

of

This

form ed on

the

surgery

repertoire,

the

provoke most

Andre

a noted

an a u t o m o b i l e

^de

all

only

destroys h is

to

Lorde,

all

a fact

stage

In

decides try

to

to

failures,

physical in

these

the

the Is

in

the

per­

for

Grand G uignol

Experience

is

characteristics.

Jeanne,

ex­

reactions.

the

and m e d ic a l

child,

An d i t

operations

L fH o r r i b l e

of

of

s o me c a s e s

only v io le n c e

are

which

ch aracteristic

the

a c c i d e n t a few h o u r s

d a u g h te r has been

f o r he

daughter

the

the

extrem e

physician

body o f h i s

His g r i e f

is

these

Almost alw ays

As a c o u n t e r p a r t

not

de L o r d e ' s

operations perform

o r death,

popular n ieces

example w hich c o n t a i n s

ness,

is

Grand G u ig n o l

too,

One o f

for his

surgeons

operation.

d o e s n o t mean t h a t

the

successes,

over the

life

surgery

the

surgical

has never been perform ed b e fo re .

that

C harrier,

the

tension.

the

the

gone on b e f o r e .

than h o s p ita ls .

a m atter of

to

s h o e ’:. ^

th a t of

other

dram atic

necessity

is

an tith etical

what h as

T ypically

In l o c a l e s

operation

Increases

category

is

scien tist,

an Dr.

mourns

who w a s k i l l e d

earlier.

in

His a f f e c t i o n

alm ost abnorm ally p o s s e s s iv e .

professional perform

an o p e r a t i o n

b rin g h e r back

HUne L e p o n a l a

calm and r e a s o n a b l e ­

to

life.

on h i s He p l a c e s

S a l o e t r l ^ r e , H The&tre d t E p o u v a n te .

65

J e a n n e * s body on a t a b l e assistan t, although

Je a n n e 's

fiance,

th e young nan i s

experim ent. electrodes stim ulate

in

the

C harrier

cardiac

the h e a r t

g irl

of

its

us fo r

use

the

terrib le

dialogue

placem ent of

o rd e r to

electrically

begins. the

flow ing

Jean n e hemor­

electrodes.

into

Slowly

stilled

she r a i s e s

throat. Dr.

the

A fter

her

As t h e

C harrier dies.

su rg e ry and to

intensify

the h o rro r

revival

from

death,

C onversation w ith h i s research

and t h a t

be re a d y

to

prior

Jeanne’s death the

his

the

theories

assistant

and ex p erim en ts

concern

o ld e r doctor w ill

on human c a d a v e r s .

local

to

soon Just

hangman v i s i t s

C harrier;

d o c t o r makes a r r a n g e m e n t s w i t h him f o r an e x p e r i m e n t revive

a ma n who i s

During fies, es

the

effects

C harrier*s

to

idea of

technical

that

the

operation

and

outcome.

test

by t h e

made f o r

revive.

the

the

f a t h e r by t h e

reveals

to

in

cannot loosen h e r grasp,

The a u t h o r s nrepare

area

is

seems to

w ith

com prising

the v o ltag e

arms and c l u t c h e s h e r assistant

to h e lp

reviving,

incision

increases

the

into

He r e q u i r e s h i s

horrified

The o p e r a t i o n ,

r h a g e s when t h e

heart,

dow nstage.

the

lator

the

to

operation

a window b r e a k s , o n ly lamp. now o r o v l d e s

be h a n g e d i n the

the n e a r

om nipresent

storm

and th e wind blow ing

The b u l b

in

the

illum ination,

only

C harrier*s

in,

future. Intensi­ extinguish­

electrical and th e

stim u­

electric

66

current

running

through

A second example d 'E sto c .

Dr.

Kargy,

discovers

that

only

the

Is

called

A neighbor v o lu n te ers

of

operation

lights

found and l i g h t e d ,

it

dead.

father

The c h i l d ' s

He b o a s t s a way o f union.

that

it

forcing Angele,

scream ing In

this

realistic

his

detail

and

sing

Jubilant the

the path o s

nol

to

of the

the

baby’s

the

m iddle

are

child

is

idea

cut off

to

the

current

c l u t c h e s him by t h e

as

w ith h is

throat,

a m urderer. play

enhance

the the

operation

sk illfu lly

suspense

and h o r r o r .

w ith e la b o ra te

u n io n members,

c h ild 's

authors

death

outside

ending

to

the

start

o f W o r l d War I ,

founding the

w h ich was d i s t i n c t l y theatre

The

march changes

fa th e r's

reaction.

and t h e

the

the house,

horror at

use

realism ,

The s u r p r i s e

betw een th e

years

late:

and

from a w o r k e r ^ ’ m e e tin g .

years

early

the

In

7

child,

When c a n d l e s

too

the

these

save

1g

returns

and th e m o th e r's

achieved a genre

can

sick

assist hlr.

go o u t .

"In tern atio n ale."

resD onsltH ity In

the

a very

surgery

already

w ife,

is

to

v isit

V alcros

power company t o n e g o t i a t e

very b r ie f

d o c to r nerform s and the

is

was h i s the

t h a t he

to

imm ediate

the

only n o is e .

S a b o t a g e , by H ellem ,

life. the

g a d g e t makes th e

produced

of

the

little its

Grand Guig­ theatre

o wn.

several

During hundred plays,

1^ d e L o r d e a n d A. B l n e t , " L ’ H o r r i b l e E x p e r i e n c e , " T h e & t r e d elaP eu r. 2 0 c h a r l e s H e l l e m , W. V a l c r o s , a n d P o l d ' E s t o c , S a b o t a g e ( P a r i s : L l b r a l r i e T h e a tr a le , 1930).

67

revealing

a wide v a r i e t y

locale.

W ithin

teristic

sim plicity

to

one

goal,

end

the

the

appeal

this

the

dramas is

of

diversity of p lo t,

evocation

are

content,

brief,

uniform ,

at

of

characterization

there

is,

however,

for a ll

the

plays

fear

the

action

is

the

single

level

a charac­

are

and t e r r o r .

directed

To t h i s

unambiguous, of

and

and

f e a r and

terror. The G r a n d G u i g n o l m o s t t y p i c a l l y terro r has

through

entailed

sim ulating in

the

plays

cited

realism

is

to

are

essential

in

the

antithetical

to

its

sim plification

nol

rem ains a v e n ee r,

the b a s i c a l l y

of p lo t.

unreal

skilled

and d i v e r s i ­

the

th rillin g This

em phasis

to

or

the grandguignolesque

But r e a lis m

restricted

a doctor*s

genre.

m ain I n g r e d i e n t .

n a tu ra lism 's

in

verisim ilitude

F or drama a t

which h a s

for

T 'aellb , re c e iv e s

require

the

characteristic

Two i n s t a n c e s

acid

developm ent o f

m elodrama, its

to

and

I n Une L e ^ o n a l a

the n a tiv e ,

Thus h ig h ly

fear

techniques

effects.

sulphuric

These e v e n ts farce.

a clim ax as

its

flings

replaced naturalism .

became l a r g e l y

And t h i s

come t o m i n d .

Chaudes

onstage.

early

and

above

a ratlent

techniques Quite

ing

violence

drama becomes

fied

violence.

d evelopm ent o f means and

a n d ir. T e r r e s

a beating the

the

seen

S alpetrl^re face,

Physi cal

achieves

acceptable.

The g r a n d g u i g n o l e s q u e

Is not a rt,

action

lead­

progression

on c h a r a c t e r a n d at

sm all

plots

Grand G uignol

but

the

Grand Guig­

details

it

is

w h i c h make

artfu lly

68

contrived. of

symbol and

and is

D ialogue image.

intensity.

In

suspense this

initiated

adapter a part

is

rather of the

In

the

directions, oles.

than

introspective en tial also

work,

22

Van G o g h ,

is

the

And i t

innovator

And t h e nraque

h as pace

characterization

em otional,

develop­

irony. that

I s new.

is

in

that

this

the

The

and n r a c t i c e s

com bination of

these

same r o l e

ele­ of

G rand G u i g n o l was

in

Paris

e x c i t e m e n t was t h e

T h e r e w e r e new f o r m s w h i c h l e d

Debussy,

revealed

which f o s t e r e d

Dukas,

C olette,

and i n i t i a t e d

modern F re n c h m u s ic .

the

most

O 1

- 1

P ro u st's Influ­

A l a i n - F o u r n i e r , and V alery

and d i r e c t i o n

to b o th

the novel

e x p e r i m e n t a l work o f G a u g u i n , and M a tisse

down new

ne w p r i n c i -

Im portant In n o v ation s.

Glde,

key­

Ravel and M ilhaud d e fie d

Du C o t e d e G h e z S w a n n w a s but

it

free

m ilieu.

years

g a v e ne w e n e r g y

poetry.

It

is

traditions

a n d ne w t e c h n i q u e s

too,

on p l o t ,

is nothing

and c o n v e n tio n

L iterature,

is

generally

m otivated;

appeal

dram atic

Parisian

In m u sic,

tradition

there

unique.

arts.

Its

is

frequently,

adarted

During th e s e note

and,

by o t h e r s .

m ents which

em phasis

sim ple.

genre

Grand G u ig n o l

sim ple and c a s u a l,

The a c t i o n

Since

appropriately

ed w ith

is

Inaugurated

and

Picasso,

modern F re n c h a r t .

21

Romaln H o l l a n d , M u s i c i a n s o f T o d a y , Mary E l a i k l o c k , t r a n s . (London: Keegan P a u l , t r e n c h , T r u b n e r J o ., L t d . , 1915), 0 9 317 - 3 1 3 . “- ^ R o g e r S h a t t u c k , T h e B a n q u e t Y e a r s ( G a r d e n C I t v : D o u b l e d a y C o . , I n c . , 1961 ) , £cJ. ^ D i c t i o n a r y 0 f Modern P a i n t i n g , Lake and M a i l l a r d , e d s . (New Y o r k : T u d o r P u b 1 i s h I n g C o . , 1 9 5 6 ) , p a s s i m .

Sc

Sc

23

69

At th e

Grand G u ig n o l

th is

a d v a n c e d became a q u e s t w i t h no r e f e r e n c e

to

excitem ent

for

science.

Paris

early the

as

betw een

rev o lv ed around

source

drama a t

orop the

Im port of

Social period.

and a s o u r c e

m echanical

T h e r e was a r i s e

such as

social

Sabotage

Put there

system

in

Fads o f a l l scien tific utilized

the

stage not

of

the

As

value

of

l i f e o f the 24 invention. At rrovided

a new

business.

reflect

labor

But

the

social

at

unionism

the

force

the

including

these, taking

trait

and f r i g h t e n i n g

swept th e

o n . c l t . , pp.

city.

the

social

revolution.

recognized

plays

the

The t e l e p h o n e b e c a m e a

this

and an archism strength.

in

the

dramars

comments a b o u t t h e

Grand G u ig n o l. the

city.

popularization Grand G uignol

advantage,

132-151;

of

burgeoning la b o r

a factor

w e re no d i d a c t i c

binds,

concepts,

some o f

^^Bertaut,

did

surprising

m o v e m e n t a n d made t h i s violence.

of

was r e g u l a r

social

u n r e s t was a n o t h e r d o m i n a n t

was a movement o f Plays

the

accidents

and t e r r o r .

of

recognized

a decade

practi­

The M e t r o p o l i t a n

areas

t h a t American

Grand G uignol

th is

and n o v e lty ,

developm ent o f

1907 t h e r e

several

autom obile

of violence

realistic

and in

firm s had

and w ith in

Grand G u ig no l

a great

1899,

business

1900

telephone;

capital the

service

sensation

became m e c h a n iz e d .

R a ilw a y was begun i n m otor bus

th rill,

t h e new a n d

art.

This p e r io d w itn e s s e d cal

about

209-221.

of plays

f o r exam ple,

of

70

th e g r e a t vogue o f nitio n

of

Interests

superficial. ho w t h e of

the

psychology and h y p n o s is . and movements was,

Put th is

Grand G uignol m ilieu.

prim ary

sup erficiality adapted

to

For everything

purpose

of

the

was

theatre,

however, Is

Its

This

largely

indicative

own u s e

of

any a s p e c t

subordinated

the

recog­

evocation

to

of

the

f e a r and

terror. At t h i s theatre

tim e,

was an

as

perhaps never b efo re

integral

part of

a pervasive

e x c ite m e n t and

players

its

and

audience

at

hearsal,

was t h e

All

g^nefrale, the

theatre

thrived

comedy a n d t h e

drama.

Dar.ce,

when D i a g h l l e v ,

in

19

the

he

created

to

first this

And t h e

tim e,

tim e

life.

about

Included

since,

in

the

There

was

the

stage,

its

the

invited

final

dress

re­

a m b itio n o f most young P a r i s i a n s .

m usical

regular

curiosity

To b e

a rep etitio n

forms of

operetta, w ith

crafts.

P arisian

or

too,

in

the

revue

developm ent o f th e

a craze

dancers

to

vied

acclaim ; Paris

f o r R ussian b a l l e t ,

unhnown t o notion

successfully

enjoyed g re a t

O ', brought h is

a form l a r g e l y

pre-w ar years;

the

picture

P arisian

for up

nubile.

added a f u r t h e r

excitem ent. In were of

the m idst of

all

this

d isco n ten t w ith

the

state

these

was J a c q u e s

Vieux C o lo m b ie r.

His

success of

Copeau who, theatre

the in

there

French th e a tr e .

1913,

and h i s

w ere a few

who One

launched the

methods had a long

71

and w i d e i n f l u e n c e .

pc "

Drama i t s e l f was produced i n q u a n t i t y . o f noor q u a l i t y ,

Much was

at p a r e n t l y w r i t t e n t o t a k e a d v a n t a g e o f

t h e ft re at p o p u l a r i t y o f t he t h e a t r e .

But t h e r e were

s e v e r a l a u t h o r s who w r o t e p l a y s o f l a s t i n g m e r i t .

In

f a r c e t he names o f C o u r t e l l n e ana Fe y d e a u s t a n d o u t ; i n p s y c h o l o g i c a l drama Henri B e r n s t e i n r e v e a l e d deer- i n sight;

i n s o c i a l drama Bugene Bri&ux s c o k e e l o q u e n t l y

f o r a v a r i e t y o f reforms;

i n r e l i g i o u s drama Paul C l a u d e l

made t h e most i m p o r t a n t c o n t r i b u t i o n .

The work o f t h e s e

men c a v e new v i g o r and d i r e c t i o n t o t h e modern F r e nc h theatre.~ Li ke t h e Boulevard. T h e a t r e s t h e Brand G u i g n o l was i n vogue,

too,

and t h i s

theatre firmly e sta b lish ed

t i o n a s "The House o f H o r r o r . " f o r m a t remai ned t he same, to the o n e - a c t

form.

Its

refuta­

Throughout t h e s e y e a r s

the

a s did t he management* a d e v o t i o n

I t s douche s c o s s a l s e was s t i l l

effsc tlve. Paris,

d u r i n g t h i s d e c a d e - a n d - a - h a l f , was a. c i t y o f

e x p e r i m e n t and i n n o v a t i o n . some o f i t s

But t h e Grand G u i g n o l ,

although

p r o d u c t i o n s i n d i c a t e d an a v / a r e n e s s o f t h e new

movements i n t h e a r t s and s c i e n c e s , reriphery o f these changes.

For i t s

a l w a y s remai ned 011 t h e r u r ' o se was s e t ,

2 5 I b i d . , pc. 1 9 0 - 1 9 7 ; P. 204. 2 o F r e e d l e y and R e e v e s , A H i s t o r y o f T h e a t e r (hew York; Crown P u b l i s h e r s , IncTi 1 9 5 5 ) , 3 3 7 - 3 6 5 .

and i t

needed only In itiate

to

them.

adapt trends

to

th is

purpose

rather

them

HAPTER

74

A governm ental

decree

the beginning

of

continued

th eatres

the

t h e war i n

resumed p r o d u c tio n o f 1915;

and f o r

flourished,

the

w ith

farce

rest the

1914,

of

closed.

F o r th e most D art c o n t a i n e d no

the

war th e

theatres the

conflict

the

the

February

olayhouse

latter

part

were a g a i n

to

in

little

programs a t

reference

!!au rey 's

Experience ions.

are

comedy R o s a l i e

t wo e x a m p l e s .

A number o f

reperto ire;

Jean

history

these

the

Grand

conflict.

Its

were

a few war p l a y s ,

Andre de L orde la

actual

of

The

war e p is o d e

exceptions

rather

than

the

three life

but

D ractical

the

drama echoed

1R e p e r t o i r e

application these

listed

in

form er

L*H orrible

of the began

perform ances.

scattered their

close

of

In There

intervals. Le M y s t e r e

1915,

de

on an

such p r o d u c t i o n s were

ru le.1

characteristics of

the p o p u la r iz a tio n

the

the

parts

fo r one,

Bauche b a s e d

1914;

and c u l t u r a l

novelty,

produced a t

of

The w a r o v e r , social

thousand

produced a t

in

T h e r e w e r e m a n y new p r o d u c t ­

became p e rm a n e n t

several

and Henri

Ma i s o n b o I r e ,

a n d de L o r d e ' s

S a r t e n e ’ s La G r l f f e ,

1915

of

officially

management r e v i v e d p i e c e s which had been o o p u la r seasons:

at

The G r a n d G u i g n o l

exception of

when t h e

theatres

and h o r r o r e a r l y

the

1917,

P aris

b u t as

re-opened.

February

Guignol

closed the

of

Paris: of

a renewed q u e s t

Freudian

science.

in terests, appendix.

dom inated the for

psychology, At t h e

and th e

and

Grand G u ig n o l,

theatre

entered

75

Its

greatest A ll

music

the

jazz

period. arts

reflected

was t h e

the

dom inant

craze

rhythm.

Its

Ingredient

in

In the

arts

was Dada a n d S u r r e a l i s m ,

there

were a lm o s t

there

countless

liv elin ess

T h e r e was e v e n a new a e s t h e t i c

a r t w ith

anti-beauty the

and in n o v a tio n .

insatiable

Popular w ritin g

revealed

urgency

w ith

satisfaction.

Hack w r i t e r s ,

w ares,

ravages

of

evident, ature.

told

done.

too,

in

This the

decadence

in

Its

The

ing of

influenced the

decisions

w ith

see

and tech­

too,

of

self

and

which

sensual

crim e,

the

f o r a new a p p r o a c h was serious the

was n o t

post-w ar l i t e r ­

war had d e s tro y e d

a literatu re but

it

was

of

the

liter-

beyond th em selv es.-'1

both advocates

all

p

p u rsu it of novelty.

o f F re u d were a l l - p e r v a s i v e ,

Jurists

era.

a ready m arket fo r

connotation,

a v e r a g e man, of

the

fo r pleasure

found th a t

theirs

to

L iterature,

o ro stitu tio n ,

desire

usual

teachings

in

artistically

life;

o f men u n a b l e

views

of

The new w r i t e r s

th e o ld bases o f

ature

desire

tales

the

which e q u a te d

a new g l o r i f i c a t i o n

was i n k e e n i n g

their

the

of

o t h e r new m o v e m e n t s a n d

niques.

reflected

In

syncopation

"became a b a s i c graphic

the

fo r novelty.

and opponents.

th e m otives o f revealed

the

artists, ascendancy

for his Th e t h i n k ­ the of

Freudian

2 3 1 s l e y H u d d l e s t o n , Bohemian L i t e r a r y an d S o c i a l L i f e i n P a r i s ( L o n d o n s G e o r g e C. H a r r a p & C o . , L t d . , 1 9 2 6 ) , 4 0 - 4 1 . 3 k e g is Michaud, M odem Thought and L i t e r a t u r e i n F ra n c e (New Y o r k a n d L o n d o n : F u n k & W a g n a l l s , 1 9 3 4 ) , 2 2 7 - 2 2 8 .

76

psychology.

4

The p o s t - w a r kinds

of

science,

o f human a c t i v i t y .

values tion

cult

in

and

the its

For the

war and th e claim s

upon

science

also,

In flu e n c e d most

d e b a s e m e n t o f human

consequent overthrow the

of

to

to

solve

the

^roblens

of

existence.

hen

regarded

at

least

tem porarily,

as

the

panacea

for

the

enjoyed

its

greatest

w idest

significance

Parisian lic

public

new,

the

the

cause

They

of

modern

theatre

drama;

arts

the

they

art.

in

not of

of

ills.

its

the

was

catho­

theatre in

the

they

The G ra n d G u i g n o l , w elter of

in

post-w ar

than

change

Oopeau,

French

who c a m e t o

believed

its

these,

th e most I n f l u e n t i a l

g a v e a new e m p h a s i s

of production;

amid t h e

the

new w r i t e r s

c o m m u n i o n a m o n g me n r a t h e r

ed,

science,

was o c c u r r i n g

Three o f

were u n d o u b te d ly

and p ro d u c e rs

Introduced

if

foreigners

variety

wa y

w o rld 's

taste

v arieties

a

o r g a n i z e d b y men d e v o t e d a n d d e d i c a t e d

and D u llin ,

directors

for a ll

w orkable

boom,

The

visiting

The m o s t e x c i t i n g

sm all houses

Jouvet,

the

and of

Influence.

and u n d is c r im in a tin g ,

succeeded.

to

and

the -p ractical,

tradi­

men g a v e

new e m p h a s i s

The t h e a t r e

as

consciences

of

m erely

to in

theatre.

prom inence

the

script

theatre

as

in

over a

entertainm ent.

characteristic and d is c o v e ry ,

way,

rem ain­

dedicated

to

^ I a g o G l a d s t o n , F r e u d a n d C o n t e m p o r a r y G u l t u r e (New Y o r k : I n t e r n a t i o n a l U n i v e r s i t i e s P r e s s , I n c . , 1957), 79. 5 f r a n c e A d n e rs, J a c q u e s Copeau e t l e G a r t e l d es Q u a tre ( P a r i s ; A. G. K i z e t , 1 9 3 9 ; , C h a p t e r I I I .

77

the it

evocation selected

could b e s t

of

from

the

profusion

adapt

for

its

w riters

became

partial

aspects

cause

skilled

free

to

at

in

of

the

also

typically,

innovations

selecting

As t h e r e

society

But,

own d r a m a t i c

o f new t r e n d s

of horror.

view a b o u t were

f e a r and t e r r o r .

what i t

purpose.

sm all

Thus i t s

d etails

and making t h e s e

was no p h i l o s o p h y , Grand G uignol

serve

the

no p o i n t o f

drama,

choose w h a te v e r would evoke

or

the

the w r i t e r s

desired

terror. To i l l u s t r a t e , Dr.

C allgarl,

pression! stic

the

in

techniques

For these

te rro r of

the

of

the

But

make m o d e m t e c h n o l o g y

illn ess; bridge topic

Le B a l s e r

Le C e r c u e l l

the

which had a g r e a t

events

in

For at

the

cation

of

Paris

related

did not

to

set

Grand G uignol

During

or a r tis tic these

years

to

de Sang

of

the

tells

instru­

psychosom atic

an experim ent

current

entertainm ent

to

a oseudo-scientlfic

a w hile.

a trend or

play

13 a n d o t h e r science

for

ex­

the

and p r a c t i c a l

t e r r o r was o f much g r e a t e r

scien tific

the

d i d n o t become

Raplde

and d e a th ,

vogue

use of

in trin sic

de J h a l r u n v e i l s

gap betw een l i f e

dram as which were

The C a b i n e t o f

from w hich t h e

expressionism

the h o r r o r dramas.

m ents o f v io le n c e ;

of

movie

te c h n iq u e s were

piece.

t h e mode o f a l l

production

G r a n d G u i g n o l made f r e e

derived.

plays

its

of

But t h e s e ideas

and

form a p a t t e r n . through the

im portance

evo­

than

any

and p r o s p e r i t y

the

movements. of

popularity

78

douc he e c o s s a l s e r e m a i n e d t h e e s s e n t i a l Grand G u i g n o l . And t h e same f o u r t he me s n o t e d a s domi nant i n t h e e a r l y d a y s o f t h e t h e a t r e c o n t i n u e d t o he s o . rut there i s ,

nevertheless,

drama o f t h e m o s t - w a r y e a r s . p lic a tio n of horrors.

a difference

Most o b v i o u s I s t h e m u l t i ­

To i l l u s t r a t e *

f o r m e r l y one

s u r g i c a l o p e r a t i o n had b e e n a s u f f i c i e n t terror;

the t h r o a t surgery in Sabotage

and d ' E s t o c ) , How i t

in the

inducement to

(by H e l l e m ,

d i s c u s s e d above on c a g e 6 6 ,

Valcros

i s ar. e x a m p l e .

i s n o t u n u s u a l f o r s e v e r a l o p e r a t i o n s t o be p e r ­

formed d u r i n g one p l a y ;

one i n s t a n c e i s Le J e r c u e l l de

C h a i r ( de Lorde and r a u c h e ) ,

d i s c u s s e d b e l o w on n a g e s

00- 91 * w'hich r e q u i r e s two o p e r a t i o n s . murder,

Sim ilarly,

one

a s i n G a r d l e n s de Phare ( A u t l e r and C l o q u e m i n ) ,

d i s c u s s e d a b o v e on p a g e s 4 3 - 4 r>, f o r m e r l y s u f f i c e d . m u l t i p l e murders,

a s i n L'Auberme Rouge ( B a s s e t ) ,

c u s s e d b e l o w on p a g e s 3 2 - 3 3 ,

were u s u a l .

do,

too,

Mov: dis­ with

t h e d r a m a t i c r e p r e s e n t a t i o n o f o t h e r v i o l e n c e s and i n ­ sanity. / w ith

second

death

di f f e r e n c o

itself.

violence

and h o r r o r .

the

ultim ate

terror.

in

death as

several

Eut f r e q u e n t l y

D ram atists

ways.

frightening

a newly emr.haslzod f a s c i n a t i o n

Form erly d e a th had marked

the

tion

is

as

the

violence

death

end of

now d e a t h b e c a m e

exploited

H air-raising

the

this

fascina­

s c e n e s made

leading

up t o

it.

79

G risly the of

experim ents

difference death

as

the

the

inevitable third,

the

th is

early

such as

crim e

digressive pense

but

sim ple

combine

which

t wo o f

the

of

to

the

p o s t- w a r h o r r o r drama, its

these

the

fear

t wo

innova­

clot.

in

the

For

the

dom inant

progression

framework

reveals

as

But P l a y w r i g h t s

the

reveal

A f a v o r e d way t o

the

themes

these

and d i r e c t ,

contributed

further

to

violence.

com plexity of

theatre.

insanity.

did not

all

dom inant

and

F inally,

accompanim ent o f

the

was t o

actions

V/lthln terized

of

into

Increased

action

years

com plexity

the

dead attem p ted

and d e ath .

unknown e r u p t e d

no l o n c e r was t h e of

recently

betw een l i f e

An a l m o s t t i o n s was

on t h e

also

drama achieve

them es, Included

h o r r o r and

tow ards the

I n n o v a tio n s which each of

own m o d i f i c a t i o n

the

sus­ clim ax.

charac­

four

and e m b e ll i s h ­

ment. The

crim e p la y s

continue

m urder,

but

postw ar

quency,

:se

m echanical

abettors

of

the

place

yard,

an e x p re ss

sw itchm an's h urtles

devices

control

train

room o f

horror

to

pull

considers

any l e v e r , its

e m p h a s is on

characteristic

instrum ents

of

In Raplde

a railroad

wrong l e v e r already

in

a num ber o f ways.

in o rd e r to

injustice

to him.

death or 13. which

For the

and t h e

use.

He h e s i t a t e s

fre­

sw itching

unnecessarily.

the

which i s

final

w ith as

crashes

daughter p u lls

this

trad itio n al

and h o r r o r .

angry and e m b itte re d .

cides n o t what he

the

d o wn a t r a c k

com plicates man i s

in

hom icides,

suspense

takes

the

train

Th e d r a m a t i s t Th e

sw itch­

and alm o st de­

repay At th e

society

for

l a s t m inute,

80

rem inded reaches he

that his out his

can g rip

it

young g r a n d d a u g h te r

arm t o w a r d s he

suffers

hi3

chair,

h elpless.

the

sw itch

to

terp rets train

his

his

is

A nother, Andre Marex, to

his

w ife,

realistic

dead

more

in

w ife.

subtle

replaces

attacked

and

the

the

"refinem ent"

of

elem ent

was e x t r e m e

him.

to

When t h i s

comes w i t h

and h a ste

the

message

arms,

is

that

o f Au T e l e p h o n e . makes a phone

th eir

open te lep h o n e

s c r e a m no m o r e ,

a prison the

p la y 's

and th e n

locale

Just

that

a violence

La C e l l u l e and

com pleted,

the

crim es:

someone

became

Im prisoned.

the

man g u i l t y

of

an which

13 d e p i c t s

h e m u r d e r s a g u a r d who h a s is

connec­

was a n o t h e r p o s t w a r

violence,

convicted

an

crad le.7

prison

suspense.

call

conversation:

m u r d e r e r commit h i s

in

the

unquestionably

the

of

crim e

In h e r

out

she m is in ­

hears

the

escape,

to

in

.t

interrupt

terror;

and f u l l

point

is

the

I n n o c e n t man who h a s b e e n attem pting

wreck

r e c e i v e r on i t s

in

act

Via

drama the

back

offstage;

he

But b e f o r e

her.

servant

distant

Placing

essential

effect

express,

and f a l l s

fa th e r dies

exam ple

Her scream s

Marex h e l p l e s s l y child

the

attack

fright

the

sw itch.

conscious

In

As h e r

on

away f r o m home o n b u s i n e s s ,

In tru d e r has tion

daughter.

crashes w ith

proper

a heart

His l a s t

gesture.

h e r daughter

the

is

In

surprised

prison the

an

director

first

crim e

^ J e a n S a r t e n e , "Le R a p l d e 1 3 , " A n n u a l r e d e s A r t i s t e s ( 1 9 2 2 ) , 242. De L o r d e ' s a n d F o l e y ' s L a N u l t R o a g e ( P a r i s : B illaudot, n . d . ) a n d L a M o r t Q u l R o d e ( A n n u a l r e d u ‘S p e c t a c l e . 1 9 2 4 ) a r e two o t h e r e x a m p l e s o f h o r r o r a n d m u r d e r s t a l k i n g r a i l r o a d yards. L a t e r t h e a u to m o b ile became a f a v o r e d v e h i c l e o f d e a t h 7 C h a r l e s F o l e ^ a n d A n d r e d e L o r d e , Au T e l e p h o n e ( P a r i s : L i b r a i r i e T heS.trale, n . d . ) .

Si has .

is

been

found,

useless,

so

the

f o r he

is

prisoner

be Q now a m u r d e r e r . 0

A n o th er example o f man c o n d e m n e d t o in h i s turns

prison out

to

die

cell le

m align

bittern ess

of

the

preparation

of

the

execution

last

scene

o riginal final

of

version,

action

3-en^rale.

the

the

squad,

the

play

shows

the

officials

and

concluded

beinrr l e d

to

A

friend

His

xvaits

cellm ate

accounts

g uilty

of

the

the

man w i t h

scaffold,

of

the

of

the

the

the

drama w ith

the

in

the

in

arrival The

the

However,

this

R epetition

ending

denouement

he bowed t o

and

man. at

the

hearse.

guillo tin e

controversy

the

g irl

Jour.

the

demanded t h a t

new spapers,

not

Au P e t i t

execution.

rum bling

defended h is

But th e news

W ith

beheading

the

m ystery:

freed.

the m urdered g i r l .

and m ounting

in

A third

of

tortures

The p o l i c e

the

drama i s

day o f

father

he

to

the m urder of h i s

aroused g re a t

A l t h o u g h de L o r d e lished

for

for

the

prison

is

be

changed.

a letter

w ill

of

the

pub­ city

c o n d e m n e d man

scaffold.^

variation u n til

the

on

the

end o f

theme

of

the

play

crim e does

i3 the

that

of

audience

c R oland D r e y f u s , "La C e l l u l e 1 3 , " A n n u a lre d e s A r t i s t e s ( 1 9 2 7 ) , 147. O ther p la y s use p ris o n term s as th e m otivat i o n f o r v io le n c e which o c c u rs o u t s i d e th e p r is o n w a lls . Le V a g a b o n d ( F e r n a n d R o d d e , P a r i s : L lb ra lrie T heatrale, n.d. d e p ic ts the re tu rn of a re le a s e d c o n v ic t, Innocent of th e c rim e f o r v/hich he was p u n i s h e d , to h i s g u i l t y a c c u s e r s ; th e m urder o f th e c o n v ic t and th e s u ic id e o f h i s g u i l t y brother re s u lt. I n C l a u d e O r v a l ' s L a N u l t d u 12 a u 13 ( P a r i s : L l b r a l r i e T h e a t r a l e , n . d . ) an e s c a p e d c o n v i c t a c h i e v e s an i r o n i c a n d b l o o d y r e v e n g e o n h i s w i f e a n d h e r l o v e r , who o were r e s p o n s i b l e f o r h i s im p riso n m e n t. A n d r e d e L o r d e a n d J e a n B e m a c , "Au p e t i t j o u r , " A n n u a l r e des A r t l s t l e s (1922), 243. L es N u l t s du B agne ( C h a r l e s Foley, P a r i s : L l b r a l r i e T h li.ira le , n . d . ) explo i t s th e sa­ d is tic aspects of prison lif e . In r e t a l i a t i o n f o r the c r u e l t i e s he i m p o s e s on t h e p r i s o n e r s , a g u a r d h a s h i s e y e gouged o u t by one o f th e c o n v i c t s .

)

32

hnow,

fo r sure,

who c o m m i t t e d t h e murder.

In t h e s e dramas

t h e Grand G u i g n o l t a ’u e s no s t a n d f o r a n e c e s s a r y v i c t o r y o f law and o r d e r ,

o r f o r an I n e v i t a b l e

triumph o f J u s t i c e .

The

o f f i c e r s o f t h e l aw may be g u i l t i e r t h a n u h o s e t h e y condemn. And t h e I n n o c e n t condemned men may n o t win a r e p r i e v e In L ' A u b e r g e Rouge a l l

the evidence

in time.

p o i n t s to a v e r y

y oung and l l h e a b l e F r e n c h army o f f i c e r a3 t h e m u r d e r e r o f a German t r a v e l i n g

salesman.

The

l ov

p r o t e s t s h i s Innocence.

Gut on t h e b a s i s o f t h e t e s t i m o n y o f t h e n i g h t v/atchman who saw a u n i f o r m e d ficrure

a t t h e window o f t h e murder room,

c o u r t condemns t h e t o y

t o d i e by a f i r i n g

l e d away to e x e c u t i o n ,

s q ua d .

d i d t h e f i g u r e he saw a t t h e 'window. receives

the message too l a t e :

second i n v e s t i . g a t l o n d i s c o v e r s another o f f i c e r ,

When he i s

t h e n i g h t watchman r e a l i z e s

condemned y o u t h h a s a d i f f e r e n t emblem on h i s

t h a t the

sleeve

The o f f i c e r

the

than

in charge

t h e boy i s a l r e a d y d e a d . that

A

the g u i l t y o e r s o n I s

one who a i d e d i n t h e c o n v i c t i o n c f

the

yo ung b o y . 1 A n o t h e r e x a m p l e o f m y s t e r y c r i m e drama i s vfnose a c t i o n o c c u r s i n t h e P a r i s morgue. mur de r,

Sur l a

D alle.

There h a s b e e n a

and t h e n o l i c e h a v e a r r e s t e d a unown c r i m i n a l and

a c c u s e d him o f t h e d e e d . oollce o ffic er ,

is

P olrel,

a c r a f t y and u n c o n v e n t i o n a l

sure t h a t the s u s p e c t i s g u i l t y .

Since

t h e mar. r e f u s e s t o c o n f e s s any k n o w l e dg e o f t h e c r i m e , a b andons t h e i n q u i r y . 1JS e r g e B a s s e t , n . d . ).

Polrel

He and t h e o t h e r n o l l c e o f f i c e r s l e a v e

L ’ Auberge

Rouge ( P a r i s ;

Librairie

Theatrale,

83 the

room,

locking

a c c u s e d man I s of

the

alone

except

t h e m u r d e r e d man,

has a plan. and he

on t h i s

adm ission o f g u i l t . Then,

The

the

the

fident

who h a v e that

to

be

crim inal

w ith c e r ta in of

kinds of

and

violence

d ram a b a s e d on c r i m e .

M e n a r d who h a s b e e n

tried

whom s h e w a s a t u t o r , D espite

the

th e m an 's

quickly

v erdict,

has the

he

thinks

it,

all

he

striking

k ill at

you

the

P olrel

of

still

is

J u s t been fre e d of

drag that

con­

the the

form

the

to

deal

law

another v a rie ty

such a p lay .

the m urder o f

President

In,

Th e

a d u m m y . 11

inadequacy provide

and

blows w ith tim e."

As t h e y

really

the

again

rush

explains

the

sees it

this

door,

man.

L *A c q u l t e e for

drinks

He p u n c t u a t e s h i s

g u ilty

the

For P o lre l

precipitate

t h e m u r d e r e d man i s

Court p rocedures

cadaver

to

really

away,

the

an a l c o h o l i c ,

been l i s t e n i n g the

Th e

a c c u s e d man I s

he a t t a c k s

" i'll

they have

self-convicted assumed

of,

form,

o f whiskey.

because

empty b o t t l e .

reiteratio n

police,

the

susnect

frightened

w ithdraw al.

fo r a covered

weakness

s u p p o s e d c a d a v e r move, again w ith

their

and a b o t t l e

He k n o w s t h a t

counts

whiskey.

door a f te r

the

the

by t h e

Madame

children

to

court.

Court b e lie v e s

she

11A n £ r e d e L $ r d e a n d G e o r g e s K o n t l g n a c , " S u r l a D a l l e , " T heatre d 'S p o u v a n te . O th e r exam ples o f m y s te ry -c rim e drama i n c l u d e Le P o l g n a r d M a l a l s ( J e a n A r a g n y , P a r i s : B lllaudot & L l b r a l r i e T h e a t r a l e , n . d . ) , i n w h ic h a f a t h e r and son e a c h s u s p e c t s t h e o t h e r o f m u r d e r ; Une N u l t & L o n d r e s ( G u s ­ t a v e F r e j a v i l l e , A n n u a lre du S p e c t a c l e . 1923)» i n w hich a d o c t o r d i s c o v e r s t h a t h i s unknown p a t i e n t i s a l r e a d y d ead; L 'A u b e r g e du C h e v a l B l a n c ( R o l a n d D r e y f u s , A n n u a l r e du S p e c t a c l e , 1928 i n which a t h i e f p a s s e s h i m s e l f o f f as a d e t e c t i v e i n o r d e r to more e a s i l y commit h i s r o b b e r y ; La V l p e r e ( J u l e s M a u r i s , A n n u a l r e du S p e c t a c l e . 1 9 2 1 ) , i n w h i c h a d e t e c t i v e d i s g u i s e s h i m s e l f and h i s i n t e n t i o n s i n o r d e r to capture a ban d it.

)

84

is

guilty.

picions,

he

There h i s Menard;

In o r d e r to

either

Justify

Invites her

to h i s

chambers a f t e r

friend,

a m edical

under hypnosis

w i t h no l o g i c a l

the

wo ma n ,

seek

the

there

13 the

tunlty

for

com pulsive

cloaks

that

of

ing

deed.

the

pression

hero Grand

is

no

there

m urders.

And t h e

develops sharp

and v i l l a i n . Guignol

Just

distinction

plays,

is

The

the

that

leave,

re-trial

she w i l l

she had

form erly;

w ill

further

be

sophistication o r m istaken

violence

f e a r and

This

Madame

children.

perm it

as

oppor-

crime

Identity

o r m isconce-'tion

the

of the success

terror. betw een

am biguity, another

of

becom es more

deliberateness

suspense

trial.

12

which d i s g u i s e For the

the

words a r e

the m isu n d erstan d in g

builds

im pression

that

horrifying

the m urder.

because

there

in

sus­

p erm its h e r to

not

employment a s

im plication

As e s p e c i a l l y drama i s

President

Her p a r t i n g

sa me k i n d o f

the

hypnotizes

strangled

f o r F ren ch law w i l l

of the m urderess.

his

woman d e m o n s t r a t e s how s h e ,

provocation,

d o c t o r a wa ' / . e n s h e r a n d t h e a free

doctor,

or allay

In

terrib le surround­

false of

these

good and

the

of

false

dramas evil,

ch aracteristic

source

i m­

suspense

or

o f ma n y and f e a r .

l ^ A n d r ^ d e L o r d e , " L * A c q u i t e e , 11 T h e a t r e d e l a F e u r . Le C h e v a l de J l r q u e ( R e g i s G l g n o u x , La P e t i t e I l l u s t r a t i o n , No. 2 3 7 , A u g u s t 1 9 1 9 ) , a n d E a g n e s d * E n f a n t s b y d e L o r d e a n d C h a i n e ( P a r i s : L I l l u s t r a t i o n , c . 1 9 1 0 } a r e t wo o t h e r d r a m a s w h i c h p o i n t up t h e I n a d e q u a c y o f t h e l a w f o r d ealin g w ith the re a l c u lp r its .

35

It

s e e ms a p p r o p r i a t e In dramas s u c h a s t h e s e

I n w hi c h

r e v e n g e m o t i v a t e s much o f t h e v i o l e n c e . In Le Bas qu e J a n e s G l a s s o n w e a r s a mask t o s h i e l d from a l l e y e s t h e d i s f i g u r e m e n t r e s u l t i n g accident.

from a m i n i n g

H i s m i s f o r t u n e h a s made him c y n i c a l and b i t t e r .

Suspicious that h is w ife,

Vashti,

has a lo v e r ,

to o b ta in evidence of her I n f i d e l i t y . e r r a n d i n t own,

A n n o u n c i ng an

Glasson p r e t e n d s to l e a v e ;

p l a c e he s e e s h i s r i v a l ,

W illie,

he p l a n s

from h i s h i d i n g

a r r i v e and o v e r h e a r s

t h e p l a n s t h e c o u p l e make t o run away. . When h i r. w i f e has l e f t

t h e room,

t h e two men f l ~ h t , W illie, o f the

G l a s s o n r e - e n t e r s and a c c o s t s W i l l i e ; and G l a s s o n f a l l s .

The murder f r i g h t e n s

h u t V a s h t i c o o l l y c o u n s e l s h e r l o v e r to d i s p o s e r.ody i n an o l d mine s h a f t .

To a v o i d any q u e s t i o n s

she qol c k l y makes a n o t h e r mask so t h a t ’W i l l i e can assume t h e r o l e o:f' h e r h u s b a n d . Vashti

But G l a s s o n i s n o t d e a d .

i s a g a i n o u t o f t h e room, he jumrs t h e r uw-masked

W i l l i e nr d . r i l l s him.

A f t e r d i s p o s i n g o f W i l l i e ' s body,

a cc o r d in g to V a s h t i ' s p lan, leading goes.

t o h i s w i f e ' s room.

Glasson c l i c k s

realizes

t he

th

h u sb a n d 's tion

anger over household b i l l s ,

in h e r

daily

unconsciously, tive

event

desire one

for

self-preservation, to

tern

it.

insanity' o r v ice

and t h e r e f o r e Tnere a r e ,

sure

in

these of

the

is

the

that

progression

the

plot.

duces

the

delated sure

for

to

of

provoca­ o n e 's

stare

desire

of

the

fo r aggres­

sources

of

The f i r s t

end by t h e

3

crim ­

pleasure, ' plea­ of

relief

v. hi c' n h a v e a c c o m p a n i e d t h e

The

s vectatur

suspense

feels

.are o v e r , yet and

this

pleasure

Les s u i t s conclusion

tension

is

the

assum ption

because

the

catastrophes

to o t h e r s

lover

to

9Srih

Barnouw,

rather

preceding

Mass

t h a t v;e f e e l

us.

du pro­ the

madman;

Communications

the

en­

I n Le L a b o r a t e i r e in

reduces h is

in

-.1

we h a v e w i t n e s s e d

a supervisor

s u rg e ry which

an i r r e s p o n s i b l e

5 8.

then

f o r exam ple,

asylun_ p e r f o r m s b r a i n

o.

the

ether

dram a'

a suicide;

this

des H a l l u c i n a t i o n s ,

1956),

usually

over,

and r e l i e f

have occured

the

surder or

Guivnol.

end v i o l e n c e in

ore

the

suspense

the h o r r o r

relief,

at

Grand

p u

Hampton-Club ends

violence

the

several

nost

i n d i v i d u a l i t y — however

a subconscious

believe,

frustra­

security,

Thus w i t n e s s i n g

produced

of

o n e 's

i n a d o p e de n on

of

for

on o n e ' s

produce a f e e l in g

terror

t-;v icr

beccuse

I

translated ,

tendencies;

an a t t a c h

G r a n d G u i g n o l may s a t i s f y sion

n a 3r b e

aggressive

represents

chooses

inal

tc

routine,

a w ife 's

final

(hew Y o r h ;

a country w ife 's

scene

the

Hine-hnrt

1- C o . ,

176

insane

lo v e r begins

doctor,

as

the

same k i n a

adulterous

e n d wc r e a l i z e characters

the

that

who h a v e

our lo t

is

suffered

its

ordinary

which into

is

c o l o r and pace

on t h e

existence.

enjoym ent o f

on t h e

the

than

consolation

dram a’s

th at of

stare.

excitem ent o f

and h o r r o r , This

the

a ne w e x i s t e n c e , is

is

one

to

E r i c h Fromm:

is

sc

is

Thus to

the

the

their

even

a ne w w o r l d , Fas

such

drama w hich,

differeiit

fro::.

sadistic,

it

is

the

deli-yht

even

though

of

the

prim acy o f to

the

creation

audience. 1°Andre

llE rich Inc.,

terror: of

all

form ula

underw orld l i f e ,

pleasure.

other

strong

And h e r e i n

lies

for

A ccording

success has

elem ents

em otional the b asic

new

pour h iss

The s a t i s f a c t i o n i n r e l i e v i n g p a i n f u l t e n s i o n i s t h e m o s t common p l e a s u r e and the e a s i e s t to o b t a i n p s y c h o lo g i­ c a l l y ; i t can a l s o be one o f t h e m ost in te n se p le a su re s i f the ten sio n has l a s t e d long enough and t h e r e f o r e has become s u f f i c i e n t l y i n t e n s e i t s e l f . The 3 - r a n d 3 u i g n o l ' s

based

fo r a sh o rt w hile,

d*O rchld£es

a dram atization

p la y v/hich p r o d u c e s

the

not

main o f o t h e r s ;

one o f v i o l e n c e .

B l a n d i s h , which

is

pleasure

comes fro m bo i n a t a k e r . ,

m ilieu

b etter

At t h e

the

1

A nother source in

s u r g e r y on

w ife w atches.

h o r r o r dramas o f f e r a h in d o f p u c l i c.

of

are

11

been

its

subordinated

reactions

w ithin

distinction

the

betw een

de L o r d e , "Le K y s t ^ r e de l a P e u r , " p p . 2 5 3 - 2 6 4 . F r o m m , Ha n f o r H i m s e l f ( h e w Y o r k : R i n e h a r t & C o . , 1947), 1 8 3 -164.

1(

the

reaction

ing o f

aroused

G loucester

in

the

Grand G u ig n o l.

the

deed o f v io le n c e

in trin sic Guiynol Its

by a t r a g i c King L e a r , In

the

which h as

the

theme o f

the

play

the

violence

is

em otional

lies

response

to

but any

th eatrical particular

For lik e Its

its

is

pooular

play

there

sym bolic the

for

blind­

is

m eaning,

typical its

at

Grand

own s a k e .

a c c o m p lish m e n t and

theatre;

entertainm ent. class

or

rank,

popular

theatre,

audience

through

an e m o t i o n a l

the

Its tim e

the

it

produces n o t

appeal

is

not lim ited

In l i f e

or

in h is to r y .

Grand G uignol

unites

appeal.

1297 t h e Grand G u i g n o l h a s been p l e a s u r a b l y

terrorizing it s

audiences.

b e e n s t e a d y and s u r e , day.

in

all

Since

In

the

eye-gougings

a larger, olay.

like

evokes.

The G r a n d G u i g n o l art

the

presented

solely

it

and

Shakespearean

to

significance

violence,

I t s cou rse has n o t always

but i t has c o n tin u ed u n t i l

I t h a s b e e n and i t

a t i t s most e x c i t i n g .

f

continues

this

t o be p o p u l a r t h e a t r e

l 70

THE APFHHDIH

The d r a ~ a s have

seen

are

listed

scf.sor. a n d ,

aole to d eterm in e,

An a s t e r i s ' . :

preceding

the

a i'sv iv a l.

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