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Theatre of Fear & Horror: Expanded Edition: The Grisly Spectacle of the Grand Guignol of Paris, 1897-1962
"Bloodcurdling shrieks, fiendish schemes, deeds of darkness, mayhem and mutilation—we all have a rough idea of what Grand Guignol stands for. But until now it has been hard to find out much more about it than that. According to the American theater historian Mel Gordon, no major history of the theater so much as mentions it, although it is a form of entertainment that held its own on the Paris stage for more than half a century. But Mr. Gordon has made a thorough job of filling the gap."—John Gross, The New York Times
Here is the expanded edition of classic outré book, The Grand Guignol, first published in 1988 and now long out of print.
Like the original anthology, it includes an illustrated introduction to the theater of Paris and abroad, a breakdown of its stage tricks, a summary of one hundred plots, extensive photo documentation, André de Lord's essay, "Fear in Literature," and two originally produced Grand Guignol scripts.
The expanded edition also contains additional graphic and textual material including a color insert of Grand Guignol posters; the 1938 autobiographical account of Maxa, the company's leading female performer entitled "I Am the Maddest Woman in the World"; and the controversial playscript Orgy in the Lighthouse.
Here is the expanded edition of classic outré book, The Grand Guignol, first published in 1988 and now long out of print.
Like the original anthology, it includes an illustrated introduction to the theater of Paris and abroad, a breakdown of its stage tricks, a summary of one hundred plots, extensive photo documentation, André de Lord's essay, "Fear in Literature," and two originally produced Grand Guignol scripts.
The expanded edition also contains additional graphic and textual material including a color insert of Grand Guignol posters; the 1938 autobiographical account of Maxa, the company's leading female performer entitled "I Am the Maddest Woman in the World"; and the controversial playscript Orgy in the Lighthouse.
231 pages, Kindle Edition
First published August 9, 2016
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Displaying 1 - 13 of 13 reviews
February 28, 2019
Guignol is a puppet, a character in Punch and Judy type plays. The name, in France, apparently came to stand for puppet shows in general, so Grand Guignol literally means Big Puppetshow. I loved the history of horror, through early humanity. I was curious about the Grand Guignol's famous violent effects, but it is basically what you'd think, sleight of hand and fake blood. It does sound pretty amazing. A horror movie live on the stage.
November 21, 2020
I would give an arm and a leg to attend that 1925 Grand Guignol production of The Cabinet of Dr. Caligari
March 13, 2019
I have more questions than answers, after reading this book:
-Why were the French the first to embrace the novels (and make films of them) the very dark novels coming out of America in the late 1940s? They already had "Grand Guignol" theatre and wanted more perhaps?
-And why did Anne Rice's (fictional, natch) vampires use a "Grand Guignol" type theatre called "Theatres des Vampires"? So they could murder innocent victims on stage (for bloood) convincing the audience it was 'theatre'? But why not in other countries?
-Yes, WHY, I'd like to know, did "Grand Guignol" shows only work in France? Mel Gordon, the author, doesn't even know. Could it be the wars (Napolean, WW1, WW2)? Other countries faced them also.
-And why did Proust apparently never attend any of them: not a word in "In Search of Lost Time" even though half the audiences were often the upper class? Or perhaps he was ashamed to admit he went to them!
One thing is for sure: in America, every day, our news is filled with "Grand Guignol" theatre. And that, my friends, is why I never watch the news.
-Why were the French the first to embrace the novels (and make films of them) the very dark novels coming out of America in the late 1940s? They already had "Grand Guignol" theatre and wanted more perhaps?
-And why did Anne Rice's (fictional, natch) vampires use a "Grand Guignol" type theatre called "Theatres des Vampires"? So they could murder innocent victims on stage (for bloood) convincing the audience it was 'theatre'? But why not in other countries?
-Yes, WHY, I'd like to know, did "Grand Guignol" shows only work in France? Mel Gordon, the author, doesn't even know. Could it be the wars (Napolean, WW1, WW2)? Other countries faced them also.
-And why did Proust apparently never attend any of them: not a word in "In Search of Lost Time" even though half the audiences were often the upper class? Or perhaps he was ashamed to admit he went to them!
One thing is for sure: in America, every day, our news is filled with "Grand Guignol" theatre. And that, my friends, is why I never watch the news.
October 22, 2025
release me from the hold the Grand Guignol has on my life
September 28, 2017
This review originally published in Looking For a Good Book. Rated 3.75 of 5
I've heard of the Grand Guignol of Paris and that it was horror or even depraved theatre, but I didn't really know too much about it. It's not the sort of theatre taught in the local colleges. The sub-title, I think, really gets it right when calling it a "grisly spectacle."
Author Mel Gordon has thoroughly researched this popular French form of drama and given us a look at the performers, the stories, and the audience that is second only to having been to the Grand Guignol in person.
But what Gordon doesn't do is analyze this theatrical form and explain why it was so popular. There was a movement of Naturalism going on at the time, but France was also reeling from the violence of war. Was this a means to take out some aggression toward aggressors? Was it a means to dull the senses toward horrendous violence? Was it simply that some people respond in a positive way toward sadism?
Given the Grand Guignol's penchant for grisly spectacle, I would have really liked to have gotten more information on their tricks and techniques for their mutilation of a body and the blood they managed to spill. How long did it take to prepare and practice the physical aspects of these plays, compared with a more routine theatre rehearsal?
While we get a brief biography of the key players in the company, each of them is likely worthy of having their own biography. I definitely wanted to know more about these people. What drew them to this form of 'entertainment'?
It does feel like there's a fair amount that is NOT here in the book, that's party due to the fact that there aren't many books on this subject so when questions or interest arise while reading this, there aren't many other sources to turn to for more information. But what IS here tantalizes and informs nicely. I enjoyed reading through the synopses of the many plays in the theatre's repertoire. Some made me chuckle at what seems silly now. For instance:
It is a farce, so you can't expect too much plot, and it's probably not that different from many farces today. This play is from 1903!
The book is packed with photographs - not for those with a weak constitution! - often what looks like publicity photos from the time...posed pictures of someone getting an eye gouged out or a naked woman being mutilated. The book also contains two complete scripts - a two act drama, A Crime in the Madhouse or The Diabolical Ones by André de Lorde and Alfred Binet (from 1925) and a one-act drama from 1956, Orgy in the Lighthouse by Alfred Machard. Having access to these two scripts is worth the price of the book alone!
I love theatre history and this book explores a theatrical form that isn't often mentioned, yet thrived for nearly sixty years. It is well worth reading.
Looking for a good book? Theater of Fear and Horror by Mel Gordon takes a look at the Grand Guignol in France - a theatrical art form that explores the darker side of humanity. It was a highly successful venture in its time and yet most history books and theatre historians don't mention it. You should read it.
I received a digital copy of this book from the publisher, through Edelweiss, in exchange for an honest review.
I've heard of the Grand Guignol of Paris and that it was horror or even depraved theatre, but I didn't really know too much about it. It's not the sort of theatre taught in the local colleges. The sub-title, I think, really gets it right when calling it a "grisly spectacle."
Author Mel Gordon has thoroughly researched this popular French form of drama and given us a look at the performers, the stories, and the audience that is second only to having been to the Grand Guignol in person.
But what Gordon doesn't do is analyze this theatrical form and explain why it was so popular. There was a movement of Naturalism going on at the time, but France was also reeling from the violence of war. Was this a means to take out some aggression toward aggressors? Was it a means to dull the senses toward horrendous violence? Was it simply that some people respond in a positive way toward sadism?
Given the Grand Guignol's penchant for grisly spectacle, I would have really liked to have gotten more information on their tricks and techniques for their mutilation of a body and the blood they managed to spill. How long did it take to prepare and practice the physical aspects of these plays, compared with a more routine theatre rehearsal?
While we get a brief biography of the key players in the company, each of them is likely worthy of having their own biography. I definitely wanted to know more about these people. What drew them to this form of 'entertainment'?
It does feel like there's a fair amount that is NOT here in the book, that's party due to the fact that there aren't many books on this subject so when questions or interest arise while reading this, there aren't many other sources to turn to for more information. But what IS here tantalizes and informs nicely. I enjoyed reading through the synopses of the many plays in the theatre's repertoire. Some made me chuckle at what seems silly now. For instance:
NIGHT ATTACK
by ANDRÉ DE LORDE and M. MASSON-FORESTIER
A farce in two acts with the additional theme of Cuckoldry.
A woman comes to a police station late at night, distraught that her lover has just had a heart attack in bed. She asks the police chief to help move the body before her husband returns from a business trip. Since she is pretty, he agrees and they return to her home.
At the house, they attempt to move the lifeless body but the man awakens. As soon as the policeman starts to care for the sick man, the telephone rings. It is the woman’s husband calling to tell her that he will be arriving on a later train. With the approval of the woman, the officer attacks the ailing lover and drives him out of the house. The policeman takes the woman to bed.
It is a farce, so you can't expect too much plot, and it's probably not that different from many farces today. This play is from 1903!
The book is packed with photographs - not for those with a weak constitution! - often what looks like publicity photos from the time...posed pictures of someone getting an eye gouged out or a naked woman being mutilated. The book also contains two complete scripts - a two act drama, A Crime in the Madhouse or The Diabolical Ones by André de Lorde and Alfred Binet (from 1925) and a one-act drama from 1956, Orgy in the Lighthouse by Alfred Machard. Having access to these two scripts is worth the price of the book alone!
I love theatre history and this book explores a theatrical form that isn't often mentioned, yet thrived for nearly sixty years. It is well worth reading.
Looking for a good book? Theater of Fear and Horror by Mel Gordon takes a look at the Grand Guignol in France - a theatrical art form that explores the darker side of humanity. It was a highly successful venture in its time and yet most history books and theatre historians don't mention it. You should read it.
I received a digital copy of this book from the publisher, through Edelweiss, in exchange for an honest review.
November 28, 2018
A quick historical overview of a fascinating subject and time period. The late Mel Gordon’s interests as presented in his books, ranging from stage techniques to the ‘erotic world of Weimar Berlin,’ are generally noted for their deviation from orthodoxy within academic circles. I haven’t read enough to say if this is just in terms of content or something else (I would guess content). At least at the time of publication, the Grand Guignol would fit under that broad umbrella of fringe scholarship of the extreme – Feral House’s (I guess originally Amok) imprint on the spine is a sign of as much.
At its early 20th century peak, the Grand Guignol was hailed by audiences as an orgy of violence and sex. Less shocking from a 21st century perspective, it’s still far from tame taken in its historical context. Gordon approaches the topic in a well-rounded way. First, he focuses on the theatre’s history, its rise and eventual fall in the aftermath of a war that rendered all depictions of the horrific and grotesque – however realistic the artistry – dull and even childish. He then explores the influence of the Grand Guignol, its most obvious descendent today being the grindhouse/exploitation film resurgence the last few decades have seen (I don’t remember if Gordon goes into this specifically). Other sections of the book include a description of macabre (and clever) stage techniques, an essay by Andre de Lord (one of the most prolific writers of plays for the Grand Guignol), ‘100 plots from the repertoire of the Grand Guignol’ divided up by subject, as well as three scripts translated and reproduced in full.
All of this is interesting on one level or another. Twenty-first century inflation of shock value, unsurprisingly, means the primary sources are somewhat dry, more interesting as artifacts than as fear-inducing plots in themselves. They at times wander into the territory of camp. The history, though, is fascinating. The photos are amazing. By far the part I enjoyed most, though, was the article written by Maxa, one of (maybe the) the main performers at the height of the Grand Guignol’s success. She writes about her haunted past, being sexually assaulted, beaten, and cut in a brutal encounter at 15 years old. As she begins describing her experiences with the Grand Guignol, night after night raped and murdered by one new horrifically ingenious means after another, it becomes clear that her stage and real life selves have merged in a grotesque and pitiful way. She uses the words ‘madness’ and ‘sin.’ She undeniably becomes a masochist, unable to find any joy without a reciprocal misery. She would make an incredible psychological case study, and I would love to read more about her. A true artist, she gave herself entirely to her roles, only to be doomed by them – although as she tells her story, she may have been doomed long before she took to the stage. Netflix released a movie about her in September – The Most Assassinated Woman in the World. I’m curious to see it.
For whatever reason, I don’t think the Grand Guignol has made its way into our cultural collective consciousness yet. I’m sure that will change with time, and probably already has dramatically since the publication of this book. It’s a good introduction – it would be cool to see one of the best of these plays done today, not through a contemporary lens, but as true to the originals as possible. There probably are some weirdo theatre companies somewhere that have experimented with it.
At its early 20th century peak, the Grand Guignol was hailed by audiences as an orgy of violence and sex. Less shocking from a 21st century perspective, it’s still far from tame taken in its historical context. Gordon approaches the topic in a well-rounded way. First, he focuses on the theatre’s history, its rise and eventual fall in the aftermath of a war that rendered all depictions of the horrific and grotesque – however realistic the artistry – dull and even childish. He then explores the influence of the Grand Guignol, its most obvious descendent today being the grindhouse/exploitation film resurgence the last few decades have seen (I don’t remember if Gordon goes into this specifically). Other sections of the book include a description of macabre (and clever) stage techniques, an essay by Andre de Lord (one of the most prolific writers of plays for the Grand Guignol), ‘100 plots from the repertoire of the Grand Guignol’ divided up by subject, as well as three scripts translated and reproduced in full.
All of this is interesting on one level or another. Twenty-first century inflation of shock value, unsurprisingly, means the primary sources are somewhat dry, more interesting as artifacts than as fear-inducing plots in themselves. They at times wander into the territory of camp. The history, though, is fascinating. The photos are amazing. By far the part I enjoyed most, though, was the article written by Maxa, one of (maybe the) the main performers at the height of the Grand Guignol’s success. She writes about her haunted past, being sexually assaulted, beaten, and cut in a brutal encounter at 15 years old. As she begins describing her experiences with the Grand Guignol, night after night raped and murdered by one new horrifically ingenious means after another, it becomes clear that her stage and real life selves have merged in a grotesque and pitiful way. She uses the words ‘madness’ and ‘sin.’ She undeniably becomes a masochist, unable to find any joy without a reciprocal misery. She would make an incredible psychological case study, and I would love to read more about her. A true artist, she gave herself entirely to her roles, only to be doomed by them – although as she tells her story, she may have been doomed long before she took to the stage. Netflix released a movie about her in September – The Most Assassinated Woman in the World. I’m curious to see it.
For whatever reason, I don’t think the Grand Guignol has made its way into our cultural collective consciousness yet. I’m sure that will change with time, and probably already has dramatically since the publication of this book. It’s a good introduction – it would be cool to see one of the best of these plays done today, not through a contemporary lens, but as true to the originals as possible. There probably are some weirdo theatre companies somewhere that have experimented with it.
October 9, 2016
The best book in English on the Grand Guignol is even better, though far from perfect, in an edition that adds color poster plates and more photographs of the stage productions. The subject of Paris' horror theater is best approached from several sides -- in the context of social realism that birthed the playhouse, as the most visible ancestor of a genre of fiction that includes EC comics, splatter fiction, and gore movies, and as dramatic entertainment that deliberately aspired to provoke unhealthy reactions. Gordon's text does a fair job of spinning these threads but often feels cursory, as though the subject matter resists interpretation. Was the Grand Guignol gratuitously exploitative or were the bloody stage effects justified by the narrative context and the dark satiric reflection of conventional morality in a fun house mirror? You'll get no answers here.
What you will get is a wealth of loosely organized information about the theater and its plays that you won't find anywhere else. Material added to this third edition includes an amusing and somewhat insightful essay by Andre de Lorde on fear in fiction and an essay by perennial Guignol actress Maxa, reprinted from a 1930s issue of True, that reads like a parody of perverse romanticism. Two plays are also included, including the notorious "Orgy in the Lighthouse," which is a very grim affair all around. The new color illustration section is superb.
In summation, in spite of an annoying lack of organization and analytical substance, the book is essential reading for anyone with an interest in the roots of horror as a genre or with a passion for the weirder corners of art and culture.
What you will get is a wealth of loosely organized information about the theater and its plays that you won't find anywhere else. Material added to this third edition includes an amusing and somewhat insightful essay by Andre de Lorde on fear in fiction and an essay by perennial Guignol actress Maxa, reprinted from a 1930s issue of True, that reads like a parody of perverse romanticism. Two plays are also included, including the notorious "Orgy in the Lighthouse," which is a very grim affair all around. The new color illustration section is superb.
In summation, in spite of an annoying lack of organization and analytical substance, the book is essential reading for anyone with an interest in the roots of horror as a genre or with a passion for the weirder corners of art and culture.
November 10, 2018
Amazing!
For those who have heard of the Gran Guignol, opportunities for finding details are scarce. This book delivers such details. With amazing production stills, full plotlines and plays revealed and an incredibly detailed history, all curiosities have been answered. Give this tiny theatre's outsized influence on the culture of not only France, but all of Europe and the US, the history of the Gran Guignol should be better known. This book rectified that. I highly recommend!
For those who have heard of the Gran Guignol, opportunities for finding details are scarce. This book delivers such details. With amazing production stills, full plotlines and plays revealed and an incredibly detailed history, all curiosities have been answered. Give this tiny theatre's outsized influence on the culture of not only France, but all of Europe and the US, the history of the Gran Guignol should be better known. This book rectified that. I highly recommend!
December 1, 2017
I'll be honest; I probably would have rated this higher had I not read it on an e-ink Kindle, because I imagine the illustrations are glorious in color. That said, I wish there had been more history or more actual scripts rather than all the plot summaries. Otherwise good and informative. Now off to find more scripts in English!
June 3, 2022
The section "100 Plots from the Repertoire of the Grand Guignol" was especially interesting. There's often a campy, self-conscious quality to Hollywood horror, and these plots gave me a darker feeling. Morbidity, helplessness, depressing endings. Truly grim horror.
August 21, 2021
This book really came in useful when I was writing my dissertation on types of Horror Theatre and then again when I wrote another specified on the Grand Guignol.
September 26, 2021
Very thorough with a hundred plots, tons of photos, two play scripts and a deep history of one of an extreme stage in theatre.
December 30, 2020
The Grand Guignol was Paris's smallest theatre, was named for a horrifying puppet, and was also a place where you could see various comedies interspersed with incredibly vivid, naturalistic horror.
Couple of laughs and some throat-slitting? Sure, mon ami, sounds swell.
The theatre - which ran from 1897 to 1962 - was where the hoi polloi could get up close with bloody action, spread over a course of several small plays in each performance. It's an important place, and the thing of legend, influencing popular culture (and splatter films specifically) for years to come.
It's also the sort of thing that is surprisingly poorly recorded, at least from an historical viewpoint. Sure, there could be a lot of books in French about the theatre, its relationship to violence in French society of the time and its undoubted influence on Artaud's formulation of the idea of the Theatre of Cruelty... but my skill with the language extends to being able to order a ham sandwich and asking what time the next train to Creteil leaves, so I'm not going down that rabbit hole.
Mel Gordon's book, here in its expanded edition from Feral House, is the best known work on the theatre that I can easily read, and while I did learn more than I would've from just reading the Wikipedia entry on the place, I was also disappointed at how patchy the text appeared. While there's a variety of topics covered, including a history, a discussion of stage techniques and consideration of the theatre's influence, the bulk of the text is taken up with recaps of 100 scripts from the stage.
That's right. Most of what's here is a distillation of stage plays you'll likely never see.
I've seen this book described as the best on the Grand Guignol, which only means that it's filling that spot until something better comes along. I sincerely hope it does, because while Gordon's text scratches the itch somewhat, it doesn't at all get into the viscera of the place.
Couple of laughs and some throat-slitting? Sure, mon ami, sounds swell.
The theatre - which ran from 1897 to 1962 - was where the hoi polloi could get up close with bloody action, spread over a course of several small plays in each performance. It's an important place, and the thing of legend, influencing popular culture (and splatter films specifically) for years to come.
It's also the sort of thing that is surprisingly poorly recorded, at least from an historical viewpoint. Sure, there could be a lot of books in French about the theatre, its relationship to violence in French society of the time and its undoubted influence on Artaud's formulation of the idea of the Theatre of Cruelty... but my skill with the language extends to being able to order a ham sandwich and asking what time the next train to Creteil leaves, so I'm not going down that rabbit hole.
Mel Gordon's book, here in its expanded edition from Feral House, is the best known work on the theatre that I can easily read, and while I did learn more than I would've from just reading the Wikipedia entry on the place, I was also disappointed at how patchy the text appeared. While there's a variety of topics covered, including a history, a discussion of stage techniques and consideration of the theatre's influence, the bulk of the text is taken up with recaps of 100 scripts from the stage.
That's right. Most of what's here is a distillation of stage plays you'll likely never see.
I've seen this book described as the best on the Grand Guignol, which only means that it's filling that spot until something better comes along. I sincerely hope it does, because while Gordon's text scratches the itch somewhat, it doesn't at all get into the viscera of the place.
Displaying 1 - 13 of 13 reviews