Grand-Guignolesque

Classic and Contemporary Horror Theatre
Erscheinungsjahr 2022
ISBN: 978-1-80413-080-3
Verlag: University of Exeter Press

Buch, Englisch, 294 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 507 g

Reihe: Exeter Performance Studies

While the infamous Théâtre du Grand-Guignol in Paris closed its doors in 1962, the particular form of horror theatre it spawned lives on and has, moreover, witnessed something of a resurgence over the past twenty years. During its heyday it inspired many imitators, though none quite as successful as the Montmartre-based original. In more recent times, new Grand-Guignol companies the world over have emerged to reimagine the form for a new generation of audiences. This book, the fourth volume in University of Exeter Press’s series on the Grand-Guignol by Richard J. Hand and Michael Wilson, examines the ongoing influence and legacy of the Théâtre du Grand-Guignol through an appraisal of its contemporary imitators and modern reincarnations.

As with the previous volumes, Grand-Guignolesque consists of a lengthy critical introduction followed by a series of previously unpublished scripts, each with its own contextualizing preface. The effect thereof is to map the evolution of horror theatre over the past 120 years, asking where the influence of the Grand-Guignol is most visible today, and what might account for its recent resurgence. This book will be of interest not only to the drama student, theatre historian and scholar of popular theatre, but also to the theatre practitioner, theatregoer and horror fan.

Autoren/Hrsg.

Hand, Richard J.

Hand, Richard J., Prof.

Wilson, Michael

Wilson, Michael, Prof.

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft
• Geisteswissenschaften Literaturwissenschaft Literaturwissenschaft: Dramen und Dramatiker

Inhaltsverzeichnis

Contents

 

Preface

Chapter 1. Establishing the Grand-Guignolesque

Chapter 2. The Grand-Guignol’s Contemporary Imitators and Competitors

Chapter 3: The New Wave

Chapter 4: Afterword

Appendix: The Molotov Manifesto, or Acting Grand Guignol, Molotov Style

 

Thirteen Plays of Grand-Guignol and the Grand-Guignolesque

 

Professor Verdier’s Operations (Les Opérations du Professeur Verdier, 1907) by Élie de Bassan

Short Circuit (Le Court-Circuit, 1916) by Benjamin Rabier and Eugène Joullot

The Little House at Auteuil (La Petite Maison D’Auteuil, 1917) by Robert Scheffer and Georges Lignereux

The Unhinged (Les Détraquées, 1924) by Palau and Olaf

The Eyes of the Phantom (Les Yeux du Spectre, 1924) by Jean Aragny

The Lover of Death (L’Amant de Mort, 1925) by Maurice Renard

Orgy in the Lighthouse (L’Orgie dans le phare, 1956) adapted by Eddie Muller from Alfred Machard’s play

The Sticking Place (2008) by Lucas Maloney and Michael McMahon, with Alex Zavistovich

A Room With No View (2009) by James Comtois

The Ghost Hunter (2013) by Stewart Pringle

We’ll Fix It! (2013) by Les Williams

Leviticus: Evil Resides Within (2014) by Antonio Rimola

Abel Hartmann's Grand-Guignol: A History of Violence (2015) by Dreamcatcher Horror Theatre

 

Bibliography

Webography

Index

Über Autor(innen)

Hand, Richard J., Prof.
Richard J. Hand is Professor of Media Practice and Head of Media, Film and TV Studies at University of East Anglia. He is the co-editor of the Journal of Adaptation in Film and Performance, a Senior Fellow of the Higher Education Academy, and a Fellow of the Royal Society of Arts.

Richard has written extensively on adaptation, horror studies, European theatre, radio drama, and popular culture. He has also worked as a writer, director and performer for theatre and radio. His practice-based research activities include experimental live re-creations of The Train of Terror! (2005), The Terrifying Tale of Sweeney Todd! (2008), Noel Coward’s The Better Half (2008), and Kandinsky’s The Yellow Sound (2011).

Together with Mike Wilson he has delivered workshops on Grand Guignol, and presented Grand Guignol performances at universities, international conferences and at the Edinburgh Fringe Festival. Richard and Michael are the authors of Grand-Guignol: The French Theatre of Horror (2002), London’s Grand Guignol and the Theatre of Horror (2007) and Performing Grand-Guignol - Playing the Theatre of Horror (2016), all published by UEP.

Wilson, Michael, Prof.
Michael Wilson is Professor of Drama at Loughborough University. He was previously Professor of Drama and Dean of the School of Media and Performance at University College Falmouth and prior to that was Head of Research at the Cardiff School of Creative and Cultural Industries at the University of Glamorgan and Co-Director (with Hamish Fyfe) of the George Ewart Evans Centre for Storytelling.

His main research interests lie in the field of popular and vernacular performance and he has published extensively on Storytelling, Grand-Guignol and Brecht and his collaborators. In particular, his work on storytelling has led him to work on the interface between storytelling and digital technology and the way in which the internet has enabled the telling and sharing of ‘extraordinary’ stories of the everyday experiences of people.

Together with Richard Hand he has delivered workshops on Grand Guignol, and presented Grand Guignol performances at universities, international conferences and at the Edinburgh Fringe Festival. Richard and Michael are the authors of Grand-Guignol: The French Theatre of Horror (2002), London’s Grand Guignol and the Theatre of Horror (2007) and Performing Grand-Guignol - Playing the Theatre of Horror (2016), all published by UEP.

Richard J. Hand is Professor of Media Practice and Head of Drama at the University of East Anglia. He is the co-editor of the Journal of Adaptation in Film and Performance. He has a particular interest in cross-media forms of popular culture - especially horror - and explores adaptation, transmedia and interdisciplinarity using critical and creative methodologies.

 Michael Wilson is Professor of Drama and Head of Creative Arts at Loughborough University, where he is also Director of the Storytelling Academy, a research and teaching collective in Applied Storytelling. His main research interests lie broadly within the field of popular and vernacular performance, especially in storytelling, crime drama and horror theatre.