Why would people want to watch contemporary Grand Guignol theatre?
The spirit of Grand Guignol still lives on in contemporary theatre, but what makes this successful in the modern age? The simple answer may be just that – people want to be entertained.
Whilst this is too broad a statement to accept as a full argument, there is some truth in this. However, more explanation into its possible attraction are discussed further into the reasons why people would watch such a traditional piece of theatre even though it has now evolved to hopefully satisfy a whole new generation of thrill seekers.
Popularity of Grand Guignol
The reasons that traditional Grand Guignol proved so popular came down to the slow build up in anticipation of the horrors envisaged, the creation and audience involvement in a realistic melodrama, the experiencing of horrific acts of gratuitous but fantasy violence allowing an emotional release from the normal lives of law abiding citizens.
Callahan suggests “the majority of people find the theatrical depiction of violence to be cathartic” while Fiedler gave his explanation of the appeal of horror depicted in the arts as being, “... precisely to supply us with the fantasies of violence, to allow us to vent – safely, in a controlled, socially acceptable, vicarious way – those undying primal impulses which… need to be expressed” (Fiedler, 1982: 50). This psychological need for violence and horror is probably built into peoples genetic make-up, it is an innate congenital condition within the human sole, spanning the ages and needing a safe release mechanism now as well as in the age of traditional Grand Guignol.
A similar claim is also stated by Ken Gelder who refers to Philip Brophy who argues horror is: "… based upon tension, fear, anxiety, sadism and masochism – a disposition that is overall both tasteless and morbid. The pleasure [of horror] is, in fact: getting the shit scared out of you – and loving it; an exchange mediated by adrenaline". (2000, Gelder: 279)
This may provide an insight as to why this genre of theatre was popular in the past, is still popular today and will be why people may wish to watch contemporary Grand Guignol performances in the future.
Whilst this is too broad a statement to accept as a full argument, there is some truth in this. However, more explanation into its possible attraction are discussed further into the reasons why people would watch such a traditional piece of theatre even though it has now evolved to hopefully satisfy a whole new generation of thrill seekers.
Popularity of Grand Guignol
The reasons that traditional Grand Guignol proved so popular came down to the slow build up in anticipation of the horrors envisaged, the creation and audience involvement in a realistic melodrama, the experiencing of horrific acts of gratuitous but fantasy violence allowing an emotional release from the normal lives of law abiding citizens.
Callahan suggests “the majority of people find the theatrical depiction of violence to be cathartic” while Fiedler gave his explanation of the appeal of horror depicted in the arts as being, “... precisely to supply us with the fantasies of violence, to allow us to vent – safely, in a controlled, socially acceptable, vicarious way – those undying primal impulses which… need to be expressed” (Fiedler, 1982: 50). This psychological need for violence and horror is probably built into peoples genetic make-up, it is an innate congenital condition within the human sole, spanning the ages and needing a safe release mechanism now as well as in the age of traditional Grand Guignol.
A similar claim is also stated by Ken Gelder who refers to Philip Brophy who argues horror is: "… based upon tension, fear, anxiety, sadism and masochism – a disposition that is overall both tasteless and morbid. The pleasure [of horror] is, in fact: getting the shit scared out of you – and loving it; an exchange mediated by adrenaline". (2000, Gelder: 279)
This may provide an insight as to why this genre of theatre was popular in the past, is still popular today and will be why people may wish to watch contemporary Grand Guignol performances in the future.
Bibliography:
Fiedler, L. (1982) What was literature?: Class, Culture and mass Society: Simon and Schuster, New York.
Gelder, K. (2000) A Horror Reader: Routledge, London.
Fiedler, L. (1982) What was literature?: Class, Culture and mass Society: Simon and Schuster, New York.
Gelder, K. (2000) A Horror Reader: Routledge, London.