Although the smallest theatre in Paris, The Grand Guignol, or “The Theater of the Big Puppet”, was one of the most memorable and popular of its time. Opened in 1897 by Oscar Metenier, over a span of 65 years the Grand Guignol produced thousands of one-act plays, infamous for their violent and erotic works of horror. During its first couple of years the theatre mainly focused on expressing a more naturalistic theme in each of its plays. A former police secretary, Metenier kept detailed accounts of all the horrible things he would witness throughout the streets of Paris. A follower of naturalism, he believed his own experiences could be used to depict the perfect illusion of reality that naturalism called for. Thus all of the notes he kept, combined with his knack for observing daily Parisian life, eventually served as the basis for some of his earliest works.
After serving two years as director for the theatre, Metenier passed on the reigns to Max Maurey. It was Maurey who shifted the direction of the theatre and sought to exploit a darker side, while still incorporating naturalism as a guiding principle. Under his guidance the Grand Guignol established a unique style of theatre that would become synonymous with its name and would lead to its classification as the ‘Theatre of Horror’.
Despite all his directorial success, Maurey is perhaps most notable for his discovery of playwright Andre de Lorde. He would serve as the main playwright for the Grand Guignol from 1901 until 1926, writing over 150 plays. Due to his need to exploit terror and insanity, de Lorde became known as the ‘Prince of Terror’. His biggest desire was to awaken the monster that resided in each of his play’s viewers.
Wanting to incorporate the study of psychology into his plays, de Lorde acquired the help of Alfred Binet, the man behind the modern IQ test. Together, they expanded the realm of possibility around plays about insanity.
Bringing all of these stories to life, Paula Maxa served as the lead actress in Grand Guignol productions. Her popularity quickly rose as a result of her ability to connect with each of the roles she played, along with her ability to evoke severe emotions from the audience. With the theatre from 1917 until 1928, Maxa became known as “The Princess of Terror” having been murdered on stage over 10,000 times and raped over 3,000 times.
In spite of all the exceptional writing, directing, and acting that occurred, Paul Ratineau served as the real magic of the Grand Guignol. Without his precise and life-like special effects, a performance could have easily turned into a comedic spectacle, ruining the theatre’s whole atmosphere. Ratineau would become one of the most influential players in his field, and developed methods of special effects and stage trickery now utilized throughout Hollywood.
Most of the plays performed at the Grand Guignol had a dark, gloomy setting and often depicted places that were suffocating and hopeless. Set in a converted chapel, the interior of the theatre provided a small, claustrophobic atmosphere that made the audience a part of the show as well. They sat so close to the stage that it was impossible to escape the gruesome violence occurring before their eyes. In this way the theatre, just like the settings of the plays, served as a fertile ground for self-awareness with the monster that lies within each of us. Resulting in only heightened emotional and sensational elements, many members of the audience would get sick or pass out during performances. This ability to discover the extent of one’s own inner darkness and the creation of an intimacy between the actors and the audience members were the reasons behind the theatre’s massive success.
With the onset of World War I and World War II propelling an increase in real-life horrors occurring in plain sight, attendance at the Grand Guignol began to dwindle. During its inaugural years, the theatre held a reputation for exhibiting terror that was believed to be impossible to recreate in real life. After revelations of the Holocaust came to light, it was the communal belief that the events and circumstances presented by the theatre could no longer match those presented by reality.
Although the Grand Guignol no longer exists, it has achieved a cult status around the world and has an influence on life even today. Known for its gory and life-like special effects, the Grand Guignol helped pave the way for modern-day Hollywood “slasher” films including The Texas Chainsaw Massacre and Steven Sondheim’s musical Sweeney Todd. In addition, in the English language any references made to a bloody spectacle or to a violent entertainment are generally referred to as a “Grand Guignol”.
Francis Kobayashi’s new play The Grand Guignol depicts the beginning and inner workings of the infamous Theatre du Grand-Guignol. Although not a fictional depiction of the real theatre or of its cast and crew, many of the characters behind the Grand Guignol’s success do factor heavily in Kobayashi’s play. Overall, it is written as if it were one of the original plays intended to be performed at the real-life Grand Guignol, and serves as a dramatic recreation of the glorious theatre.
The Grand Guignol runs from 15th October – 2nd November at the Space. For more information and to book tickets, click here.