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Expérience Grand-Guignol: a project description from the viewpoint of the dramaturg
Kebrtová, Helena ; HANČIL, Jan (advisor) ; SCHEJBAL, Milan (referee)
This Master Thesis describes the Expérience Grand-Guignol project, consisting on the one hand of research of the texts preserved in the Parisian Theatre Grand-Guignol (1897 – 1963) and on the other hand of a graduation performance in Theatre DISK which staged four plays from the repertory of this famous theatre of horrors. The Expérience Grand-Guignol project explored in practice various approaches to the historical material of Grand-Guignol placed in a contemporary context. It examined limits of the genre and methods of staging favorable to the Grand-Guignol experience today. The thesis is structured in three parts. The first part presents the Grand-Guignol theatre phenomenon, its history and theory compiled from accessible literature. The second part is dedicated to a detailed preparation and realization of the project. It presents four performed shows, including the overall set design and storyline, which provides the frame for the cycle. The last part presents a short reflection on fear as an effect of a theatre performance, a summary of observations from the practical examination, and an evaluation of project.
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LE THÉÂTRE DU GRAND-GUIGNOL: PHENOMENON OF THE THEATRE AND HIS DRAMATURGY
Kebrtová, Helena ; NEUMANN, Julius (advisor) ; JOBERTOVÁ, Daniela (referee)
This BA thesis presents the French popular theatre Grand-Guignol and brings a basic vue of its dramaturgy. It treats mainly the questions of actual use of the Grand-Guignol?s plays material. The first part of the work is dedicated to history and definition of characteristics of Grand-Guignol genre. Then it presents fifty five synopses of plays from the Grand-Guignol repertoire, and the treatment of themes and commentaries about individual texts. It proposes some ideas about how to revive Grand-Guignol today. Theatre of Grand-Guignol was founded in 1897 by Oscar M?ernier as a naturalistic theatre that strived to defend the liberty of art. In the age before the First World War, Grand-Guignol developed into a theatre of horror and this dramaturgical orientation didn?t change until the demise of Grand-Guignol in 1962. Grand-Guignol?s golden age was in 1920?s. At the same time, Grand-Guignol is the name of genre; we can also call Grand-Guignol some plays that were not presented at the theatre of Grand- Guignol. What is typical for the genre is the short form, a plot with a crime ? usually murder, the violence linked to eroticism and realism that need major tricks and/or effects. The spectator was expected to confuse fiction with reality Demanding nature of actors? work, topical and adventurous character of exploring the themes of the day and high quality of writing is what puts Grand- Guignol above the average popular theatre of the time. Many of the plays of Grand-Guignol can work even with today?s audiences. Though this genre is not often staged, it could be theatrically successful. The author of the work is convinced that it would be useful to revive the legacy of Grand-Guignol, at least by way of a project in which different ways of producing the texts could be examined.
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