1 00:00:00,160 --> 00:00:03,239 Speaker 1: This episode is brought to you by Squarespace. Start building 2 00:00:03,279 --> 00:00:07,000 Speaker 1: your website today at squarespace dot com. Enter offer code 3 00:00:07,080 --> 00:00:10,039 Speaker 1: History at check out to get ten percent off squar 4 00:00:10,160 --> 00:00:14,120 Speaker 1: space Build it Beautiful. I'm Kristin Conger and I'm Caroline Irvan, 5 00:00:14,240 --> 00:00:18,160 Speaker 1: and together we host a podcast Stuff Mom Never told 6 00:00:18,160 --> 00:00:20,200 Speaker 1: you that gets down to the business of being women 7 00:00:20,280 --> 00:00:24,560 Speaker 1: from every imaginable angle. New episodes come out Mondays and 8 00:00:24,600 --> 00:00:28,520 Speaker 1: Wednesdays on iTunes, Google Play, Spotify, or wherever else you 9 00:00:28,600 --> 00:00:36,000 Speaker 1: get your podcasts. Welcome to Stuff you missed in History 10 00:00:36,000 --> 00:00:45,400 Speaker 1: Class from how Stuff Works dot com. Hello, and welcome 11 00:00:45,440 --> 00:00:49,600 Speaker 1: to the podcast. I'm Holly Fraud. I'm Tracy. Will sit Tracy. 12 00:00:49,640 --> 00:00:55,240 Speaker 1: It's time for more October horror. Yea. Uh, this time 13 00:00:55,280 --> 00:01:01,520 Speaker 1: we're gonna delve into not just as in October spooky story, 14 00:01:01,600 --> 00:01:05,280 Speaker 1: but a story of spooky storytellers. Uh. We're going to 15 00:01:05,360 --> 00:01:08,000 Speaker 1: talk about a famous theater of Paris, and its name 16 00:01:08,080 --> 00:01:12,240 Speaker 1: translates to big Puppet or Big Puppet Show, which could, 17 00:01:12,280 --> 00:01:15,720 Speaker 1: perhaps to some ears suggest light silly fair. But the 18 00:01:15,760 --> 00:01:19,760 Speaker 1: works performed at the Tatla Dugout were aimed at adult 19 00:01:19,800 --> 00:01:22,119 Speaker 1: audiences and they were not for the faint of heart. 20 00:01:23,319 --> 00:01:25,840 Speaker 1: The roots of the film horror genre are in the 21 00:01:25,920 --> 00:01:29,039 Speaker 1: plays of the Grand, and the plays that were staged 22 00:01:29,080 --> 00:01:34,240 Speaker 1: there really became known for telling the darker side of UH, 23 00:01:34,360 --> 00:01:37,679 Speaker 1: for exploring the darker side of storytelling, often in really 24 00:01:37,800 --> 00:01:41,679 Speaker 1: visceral and very gruesome and explicit and graphic ways. It 25 00:01:41,840 --> 00:01:45,920 Speaker 1: was outrageous and terrifying and sometimes scandalous, and it became 26 00:01:45,959 --> 00:01:49,560 Speaker 1: a beloved fixture of Parisian of the Parisian theatrical scene. 27 00:01:49,560 --> 00:01:53,600 Speaker 1: In the early nineteen hundreds and throughout the nineteenth century, 28 00:01:54,280 --> 00:01:58,040 Speaker 1: uh fay de veire were incredibly popular, and these were short, 29 00:01:58,080 --> 00:02:02,360 Speaker 1: sensational stories were printed in French papers, and they were 30 00:02:02,400 --> 00:02:06,960 Speaker 1: frequently illustrated, and they reported true life, sort of crime stories, 31 00:02:07,120 --> 00:02:11,880 Speaker 1: rife with gory details, and unlike fairy tales or morality stories, 32 00:02:12,120 --> 00:02:15,480 Speaker 1: these usually did not end happily, and in some ways, 33 00:02:15,600 --> 00:02:18,320 Speaker 1: the taste for stories of this nature, which developed in 34 00:02:18,360 --> 00:02:22,720 Speaker 1: the consciousness of France throughout the eighteen hundreds, really set 35 00:02:22,760 --> 00:02:27,120 Speaker 1: the perfect scene for the tatlad. The story of the 36 00:02:27,200 --> 00:02:32,280 Speaker 1: Grand starts in eight seven with Oscar Matagnier, when he 37 00:02:32,440 --> 00:02:36,280 Speaker 1: purchased the theater in the Cartier Pigal area of Paris. 38 00:02:37,360 --> 00:02:39,799 Speaker 1: He had worked on a police force, and one of 39 00:02:39,880 --> 00:02:43,160 Speaker 1: his duties was watching over death row prisoners at the time, 40 00:02:43,760 --> 00:02:46,079 Speaker 1: uh basically in the time that was leading up to 41 00:02:46,120 --> 00:02:49,960 Speaker 1: their executions. He also worked as a tabloid journalist. Before 42 00:02:50,000 --> 00:02:54,720 Speaker 1: he became a playwright, Matainier had been working with Andrea 43 00:02:54,760 --> 00:02:58,400 Speaker 1: Antoine at the Teatra Libre, which stage stories of the 44 00:02:58,480 --> 00:03:02,240 Speaker 1: lower classes of Paris. They really were kind of doing 45 00:03:02,280 --> 00:03:05,360 Speaker 1: this whole naturalist thing that was growing in popularity, but 46 00:03:05,480 --> 00:03:08,000 Speaker 1: that theater had really struggled and it shut its doors 47 00:03:08,000 --> 00:03:11,120 Speaker 1: for good in the mid eighteen nineties. During the run 48 00:03:11,160 --> 00:03:14,680 Speaker 1: of the Libre, Matinier had written some of the most 49 00:03:14,720 --> 00:03:18,480 Speaker 1: provocative short plays that were staged there. The Tiata de 50 00:03:18,600 --> 00:03:21,480 Speaker 1: Grando sat at the end of a small cul de 51 00:03:21,560 --> 00:03:26,040 Speaker 1: sac called the Impass Chaptel. It had originally been built 52 00:03:26,040 --> 00:03:29,679 Speaker 1: as a chapel, and some of the original chapel decor remained, 53 00:03:29,720 --> 00:03:34,639 Speaker 1: including angel sculptures hanging over the orchestra pit and seating boxes, which, 54 00:03:34,720 --> 00:03:39,240 Speaker 1: due to their carved wood paneling, looked like confessionals. And 55 00:03:39,280 --> 00:03:42,360 Speaker 1: the stage. There was a tiny square twenty ft by 56 00:03:42,360 --> 00:03:45,240 Speaker 1: twenty feet that's about six by six meters, and there 57 00:03:45,240 --> 00:03:47,840 Speaker 1: were somewhere between two hundred and thirty and two hundred 58 00:03:47,840 --> 00:03:50,680 Speaker 1: and eighty five seats, depending on what source you're reading. 59 00:03:51,360 --> 00:03:53,880 Speaker 1: One of the reasons Matinnier started this venu and the 60 00:03:53,960 --> 00:03:57,279 Speaker 1: smallest theater in Paris was to mount his own productions. 61 00:03:57,720 --> 00:03:59,960 Speaker 1: His naturalist plays were just not the kind of thing 62 00:04:00,160 --> 00:04:03,440 Speaker 1: that other playhouses were willing to produce. He had done 63 00:04:03,440 --> 00:04:07,360 Speaker 1: some work writing farces and pros, but Mattinie eventually went 64 00:04:07,440 --> 00:04:11,360 Speaker 1: back to short plays like those that he had worked 65 00:04:11,400 --> 00:04:16,279 Speaker 1: on at the Oscars. Plays written for the Glouigneo featured 66 00:04:16,360 --> 00:04:20,039 Speaker 1: characters of the street, such as hustlers, sex workers, and 67 00:04:20,080 --> 00:04:23,560 Speaker 1: homeless people, and he launched his theater on April thirteenth 68 00:04:23,600 --> 00:04:27,560 Speaker 1: of eight seven with a slate of seven shorts. Two 69 00:04:27,640 --> 00:04:31,080 Speaker 1: dark tales performed that evening were written by Mattinier, while 70 00:04:31,080 --> 00:04:33,640 Speaker 1: the other five were a mix of comedy and drama 71 00:04:33,680 --> 00:04:36,560 Speaker 1: that had been written by other writers. This mix of 72 00:04:36,760 --> 00:04:39,839 Speaker 1: styles was part of an approach that Mattinier started that 73 00:04:39,880 --> 00:04:43,839 Speaker 1: he called hot and Cold Theater. Dark or gruesome fair 74 00:04:44,000 --> 00:04:48,520 Speaker 1: was was alternated with often body comedic pieces. Because the 75 00:04:48,520 --> 00:04:52,279 Speaker 1: theater would run anywhere from four to seven different plays 76 00:04:52,320 --> 00:04:54,680 Speaker 1: every night, they could take the audience through a series 77 00:04:54,720 --> 00:04:57,400 Speaker 1: of emotional highs and lows over the course of one evening. 78 00:04:57,880 --> 00:05:01,120 Speaker 1: As a result of this style switching, the horror seemed 79 00:05:01,160 --> 00:05:05,880 Speaker 1: more frightening and the comedy seemed funnier. Yeah, it's often 80 00:05:05,960 --> 00:05:08,280 Speaker 1: explained as if you run hot water on your hands 81 00:05:08,279 --> 00:05:10,320 Speaker 1: and then switched to cold, the cold seems icier than 82 00:05:10,360 --> 00:05:12,960 Speaker 1: it is, and vice versa. So that same sort of 83 00:05:12,960 --> 00:05:16,120 Speaker 1: thing was being applied to staging their productions for the evening. 84 00:05:16,720 --> 00:05:19,520 Speaker 1: And while Mattinier had thought that in running his own 85 00:05:19,600 --> 00:05:22,000 Speaker 1: theater house he'd have the freedom to stage the shows 86 00:05:22,040 --> 00:05:25,000 Speaker 1: he wanted, it turned out that the Paris police actually 87 00:05:25,000 --> 00:05:28,279 Speaker 1: felt a little bit differently about the situation. One of 88 00:05:28,360 --> 00:05:31,440 Speaker 1: his first shows, Mademoiselle Fifi, which was an adaptation of 89 00:05:31,440 --> 00:05:35,360 Speaker 1: a novel, was shut down temporarily by police censors because 90 00:05:35,400 --> 00:05:39,920 Speaker 1: the main character was a sex worker. Although the police 91 00:05:39,960 --> 00:05:44,800 Speaker 1: didn't appreciate the gritty realism of Matinee's plays, audiences really did. 92 00:05:45,520 --> 00:05:51,040 Speaker 1: The Grand Ginole was successful basically immediately. Yeah, people really 93 00:05:51,040 --> 00:05:54,240 Speaker 1: loved it. But even though it was doing quite well, 94 00:05:54,560 --> 00:05:57,520 Speaker 1: Oscar Mattinier did not head up the theater for long. 95 00:05:58,400 --> 00:06:02,360 Speaker 1: In just the following year, Max Maury took over as 96 00:06:02,360 --> 00:06:05,840 Speaker 1: director and Mattainnier had run the theater for four seasons, 97 00:06:05,880 --> 00:06:08,560 Speaker 1: but he really felt like it was impossible to keep 98 00:06:08,600 --> 00:06:11,880 Speaker 1: the shocking stories going long term, so he sold the 99 00:06:11,920 --> 00:06:15,240 Speaker 1: whole business to Maury. With that change in leadership was 100 00:06:15,279 --> 00:06:18,680 Speaker 1: a significant change in the tone of the offerings on stage. 101 00:06:18,960 --> 00:06:21,760 Speaker 1: Mary had a lot of theater experience, but was not 102 00:06:21,880 --> 00:06:26,640 Speaker 1: one of Paris's highbrow artistes. He wasn't especially concerned with 103 00:06:26,720 --> 00:06:30,480 Speaker 1: continuing the style of naturalism for artistic integrity. He wanted 104 00:06:30,520 --> 00:06:34,200 Speaker 1: to make the theater profitable just because it's a business. 105 00:06:36,360 --> 00:06:42,240 Speaker 1: Under his guidance, Grandio gained a reputation for bloody, terrifying offerings, 106 00:06:43,880 --> 00:06:47,200 Speaker 1: and Maury catered to a sort of voyeuristic blood lust 107 00:06:47,279 --> 00:06:51,080 Speaker 1: in the audience. His lineups filled with unsettling visuals that 108 00:06:51,120 --> 00:06:54,839 Speaker 1: struck fear and viewers and made them question exactly where 109 00:06:54,880 --> 00:06:58,279 Speaker 1: the line between theater and reality sat came to be 110 00:06:58,360 --> 00:07:01,799 Speaker 1: called Slice of Death as a counter to matenier Slice 111 00:07:01,800 --> 00:07:05,919 Speaker 1: of life dramas. Mari was a masterful marketer of the 112 00:07:05,960 --> 00:07:08,880 Speaker 1: Grand Annual. During this time. He hired a doctor to 113 00:07:08,960 --> 00:07:11,440 Speaker 1: attend all the shows in case anybody needed to be 114 00:07:11,520 --> 00:07:15,040 Speaker 1: treated for fainting. And he reveled in the publicity that 115 00:07:15,120 --> 00:07:18,480 Speaker 1: that move brought. He measured the success of any given 116 00:07:18,480 --> 00:07:22,400 Speaker 1: show by how many people fainted during it. Yeah, they 117 00:07:22,480 --> 00:07:31,800 Speaker 1: really were doing some very very graphic you know, beheadings, dismemberments, uh, disembowelings, 118 00:07:32,400 --> 00:07:35,800 Speaker 1: lots of stabbings and eye gougings. They were really like 119 00:07:35,920 --> 00:07:39,880 Speaker 1: doing some pretty impressive on stage effects. And as a director, 120 00:07:39,960 --> 00:07:43,640 Speaker 1: Max Murray was exacting. He may not have been driven by, 121 00:07:43,720 --> 00:07:46,720 Speaker 1: you know, this intense artistic vision, but he was adamant 122 00:07:46,800 --> 00:07:49,600 Speaker 1: that the plays had to be paced perfectly to maximize 123 00:07:49,600 --> 00:07:52,280 Speaker 1: the effect of the comedy or horror that was being 124 00:07:52,280 --> 00:07:55,560 Speaker 1: delivered to the audience. And he pushed the acting troupe, 125 00:07:55,640 --> 00:07:59,880 Speaker 1: which is normally a group of about fourteen actors two extreme, 126 00:08:00,240 --> 00:08:03,920 Speaker 1: with endless rehearsals and some pretty cutting criticism that he 127 00:08:03,920 --> 00:08:07,280 Speaker 1: could dole out. The actors were basically always on edge. 128 00:08:07,520 --> 00:08:10,480 Speaker 1: Arguments were frequent, so the behind the scenes drama was 129 00:08:10,520 --> 00:08:13,320 Speaker 1: apparently just as heightened as that on the stage, although 130 00:08:13,360 --> 00:08:17,880 Speaker 1: it was absent of the blood and dismemberment portions. One 131 00:08:17,920 --> 00:08:21,680 Speaker 1: of Marie's discoveries during this time was Andre de Lord, 132 00:08:21,800 --> 00:08:25,640 Speaker 1: a novelist and playwright who collaborated with Dr Alfred Binet, 133 00:08:26,200 --> 00:08:31,360 Speaker 1: an experimental psychologist, to create stage scripts that that explored 134 00:08:31,480 --> 00:08:35,920 Speaker 1: insanity in depth. The Lord was a physician's son and 135 00:08:36,000 --> 00:08:39,520 Speaker 1: had grown obsessed with death as a child. Benet, who 136 00:08:39,600 --> 00:08:43,480 Speaker 1: was the Lord's doctor as well, found the patient frustratingly 137 00:08:43,640 --> 00:08:47,320 Speaker 1: unwilling to do real self examination, and he probably cut 138 00:08:47,320 --> 00:08:50,520 Speaker 1: sessions short because he had ideas for plays while two 139 00:08:50,559 --> 00:08:53,559 Speaker 1: of them were talking. The Lord had worked in other 140 00:08:53,600 --> 00:08:55,800 Speaker 1: theater at the time, so when that was my note 141 00:08:55,800 --> 00:08:57,880 Speaker 1: that he was sort of a discovery of Marie's but 142 00:08:58,200 --> 00:09:00,520 Speaker 1: discovery might be a weird word to us there and 143 00:09:00,520 --> 00:09:03,040 Speaker 1: not entirely accurate. But he really once he hooked up 144 00:09:03,080 --> 00:09:07,280 Speaker 1: with the uh the Glonguigno, his career really blossomed. And 145 00:09:07,320 --> 00:09:11,080 Speaker 1: it was because he was always consulting doctors and experts 146 00:09:11,400 --> 00:09:13,760 Speaker 1: so that he could really get all of the all 147 00:09:13,840 --> 00:09:16,360 Speaker 1: of the gory stuff as accurate as possible. And it 148 00:09:16,400 --> 00:09:19,720 Speaker 1: seems odd to me that your psychologist would also be 149 00:09:19,760 --> 00:09:24,000 Speaker 1: your creative collaborator, but it seemed to work for them 150 00:09:24,080 --> 00:09:30,400 Speaker 1: well and maybe not even maybe definitely also medically not ethical, right, 151 00:09:30,840 --> 00:09:32,840 Speaker 1: you wouldn't be able to pull that off today. I 152 00:09:32,880 --> 00:09:38,000 Speaker 1: don't think but at the time, Uh, despite Benet's apparent 153 00:09:38,040 --> 00:09:42,280 Speaker 1: willingness to talk about how the Lord wasn't doing his 154 00:09:42,280 --> 00:09:46,800 Speaker 1: his work on self openly, which again would not be ethical, Uh, 155 00:09:46,800 --> 00:09:48,839 Speaker 1: they seem to do really well in terms of putting 156 00:09:48,840 --> 00:09:52,000 Speaker 1: plays together, and the Lord would eventually earn the nickname 157 00:09:52,040 --> 00:09:54,720 Speaker 1: the Prince of Terror for his dozens and dozens of 158 00:09:54,760 --> 00:09:59,400 Speaker 1: plays that combine this fascination with psychology and death with 159 00:09:59,520 --> 00:10:02,800 Speaker 1: story that had been sort of gleaned from newspapers and 160 00:10:02,840 --> 00:10:06,400 Speaker 1: police reports, and that combination really examined the depths of 161 00:10:06,480 --> 00:10:11,480 Speaker 1: humankind savagery. The Lord favored insane asylums and surgeries for 162 00:10:11,559 --> 00:10:14,560 Speaker 1: settings of his dramas, and his goal was to write 163 00:10:14,559 --> 00:10:16,959 Speaker 1: a play that was so filled with terror that it 164 00:10:17,000 --> 00:10:20,959 Speaker 1: would clear the entire audience within minutes of beginning. It's 165 00:10:20,960 --> 00:10:26,120 Speaker 1: a weird goal. When I was about twenty four years old, 166 00:10:26,120 --> 00:10:29,040 Speaker 1: I had dated somebody whose goal was to write a 167 00:10:29,080 --> 00:10:31,520 Speaker 1: book so scary nobody could get to the end of 168 00:10:31,520 --> 00:10:40,079 Speaker 1: it anyway. All of this ultimately led to incredible success, 169 00:10:40,280 --> 00:10:43,920 Speaker 1: so much that it is often Max Murray and not 170 00:10:44,160 --> 00:10:47,800 Speaker 1: Oscar Matinier who was credited with starting the Grand Nile. 171 00:10:48,440 --> 00:10:51,280 Speaker 1: There was an average of two faintings per night, which 172 00:10:51,360 --> 00:10:53,760 Speaker 1: just seemed to entice new audience members to come in. 173 00:10:54,200 --> 00:10:56,079 Speaker 1: And those two people, by the way, were normally men. 174 00:10:56,880 --> 00:11:01,480 Speaker 1: The Grand Gniole became celebrated as part of pervis in culture. Yeah, 175 00:11:01,559 --> 00:11:04,280 Speaker 1: the explanation that's often given as to why it was 176 00:11:04,320 --> 00:11:07,760 Speaker 1: always men that fainted was because the ladies would cover 177 00:11:07,840 --> 00:11:10,360 Speaker 1: their eyes when the scarier parts happened, whereas the men 178 00:11:10,400 --> 00:11:13,679 Speaker 1: would not. But that I think that matter could potentially 179 00:11:13,679 --> 00:11:17,400 Speaker 1: be up to debate. The Congo's next director took the 180 00:11:17,400 --> 00:11:20,880 Speaker 1: gory realism portrayed on stage to all new levels. But 181 00:11:20,960 --> 00:11:22,680 Speaker 1: before we get into that, we're going to take a 182 00:11:22,679 --> 00:11:30,160 Speaker 1: little break and have a word from one of our sponsors. So, 183 00:11:30,640 --> 00:11:32,960 Speaker 1: whether you're in a suit or sweat, switch to be candid. 184 00:11:33,360 --> 00:11:37,880 Speaker 1: I mean sweats. 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Get the 203 00:12:29,400 --> 00:12:32,840 Speaker 1: subscription or a single pair and get off your first 204 00:12:32,960 --> 00:12:36,880 Speaker 1: order when you go to me Undy's dot com slash history. 205 00:12:36,920 --> 00:12:42,120 Speaker 1: That's Me Undy's dot com slash history for off your 206 00:12:42,200 --> 00:12:46,720 Speaker 1: first order one last time. That is Me Andundy's dot 207 00:12:46,720 --> 00:12:59,520 Speaker 1: com slash history. In nineteen the theater's directorship passed to 208 00:12:59,600 --> 00:13:04,080 Speaker 1: Camille Schwazi when Max Maori retired. Charles Zabel was also 209 00:13:04,160 --> 00:13:06,959 Speaker 1: a financial partner, but it was Camille Schwazi who was 210 00:13:07,040 --> 00:13:10,199 Speaker 1: running things, and Chwazi took the stagings of the theater 211 00:13:10,280 --> 00:13:13,320 Speaker 1: to all new heights by way of special effects. So, 212 00:13:13,360 --> 00:13:16,160 Speaker 1: in addition to make up in physical effects which were 213 00:13:16,200 --> 00:13:19,520 Speaker 1: already being done at the Conguignau and which he elevated, 214 00:13:19,640 --> 00:13:22,680 Speaker 1: he also used lighting and sound to carry the audience 215 00:13:22,679 --> 00:13:25,560 Speaker 1: members along with the actors on stage, into a world 216 00:13:25,600 --> 00:13:29,400 Speaker 1: of insanity and gore and terror. As the First World 217 00:13:29,400 --> 00:13:32,120 Speaker 1: War played out, there was some concern that audiences would 218 00:13:32,120 --> 00:13:34,960 Speaker 1: become so jaded by the events that were unfolding in 219 00:13:35,000 --> 00:13:37,439 Speaker 1: Europe and abroad that the French Theater of Blood would 220 00:13:37,520 --> 00:13:41,920 Speaker 1: stop being appealing, but Chwazi opted to use the public's 221 00:13:42,000 --> 00:13:45,440 Speaker 1: new knowledge to innovate in these plays. In addition to 222 00:13:45,480 --> 00:13:49,240 Speaker 1: the knives and pistols, he started incorporating stories with grenades 223 00:13:49,360 --> 00:13:52,600 Speaker 1: and poisonous gas. So themes obviously taken from the war, 224 00:13:54,200 --> 00:13:56,920 Speaker 1: and he was ever looking for ways to push the 225 00:13:56,960 --> 00:14:00,600 Speaker 1: boundaries of realism to keep potentially bored on chances on 226 00:14:00,640 --> 00:14:03,679 Speaker 1: the edge of their seats. So Chwazi even purchased a 227 00:14:03,760 --> 00:14:07,840 Speaker 1: full surgical setup for use as a set. Plays were 228 00:14:07,880 --> 00:14:10,319 Speaker 1: also staged on sets that looked like the interiors of 229 00:14:10,400 --> 00:14:14,200 Speaker 1: dirigibles and railroad cars and mines and factories. So the 230 00:14:14,240 --> 00:14:16,720 Speaker 1: types of things that were on people's minds at this time. 231 00:14:17,080 --> 00:14:18,720 Speaker 1: This is where I want to pause and remind you 232 00:14:18,800 --> 00:14:21,200 Speaker 1: that that stage was only twenty by twenty, so building 233 00:14:21,200 --> 00:14:24,080 Speaker 1: out these sets had to have been an incredible work 234 00:14:24,120 --> 00:14:27,880 Speaker 1: of like engineering and creativity. It was also Chwazi who 235 00:14:27,960 --> 00:14:31,600 Speaker 1: hired actress Paula Maxa, who would become the celebrated star 236 00:14:31,840 --> 00:14:35,720 Speaker 1: of the Grand Genial compared to the famous Sarah Bernhardt 237 00:14:35,800 --> 00:14:39,960 Speaker 1: as her horror horror equivalent. Maxi gained her fame through 238 00:14:40,000 --> 00:14:43,160 Speaker 1: play after play in which her character was tortured or mauled, 239 00:14:43,600 --> 00:14:46,640 Speaker 1: and in one place, she even decomposed on stage over 240 00:14:46,680 --> 00:14:49,640 Speaker 1: the course of several minutes. Over the course of her 241 00:14:49,640 --> 00:14:52,520 Speaker 1: time at the Grand Nial, she yelled help on stage 242 00:14:52,520 --> 00:14:55,880 Speaker 1: more than nine times, but that didn't really help her 243 00:14:55,880 --> 00:14:59,240 Speaker 1: out because she was murdered in the theater more than 244 00:14:59,280 --> 00:15:03,360 Speaker 1: ten thousand times. Yeah she uh. You know, when you're 245 00:15:03,360 --> 00:15:06,720 Speaker 1: doing for to seven plays at night, you can get 246 00:15:06,800 --> 00:15:08,760 Speaker 1: killed over and over in the course of one evening. 247 00:15:08,800 --> 00:15:11,960 Speaker 1: As an actor, and by this time, with the range 248 00:15:12,000 --> 00:15:15,480 Speaker 1: of special effects in each show continuing to grow, these 249 00:15:15,520 --> 00:15:19,160 Speaker 1: actors became masters not only of portraying human emotion at 250 00:15:19,200 --> 00:15:23,040 Speaker 1: the extremes of experience, but they also had to become 251 00:15:23,080 --> 00:15:27,000 Speaker 1: incredibly skilled at simultaneously deploying the tricks of their trade 252 00:15:27,440 --> 00:15:30,040 Speaker 1: that went far beyond like using blood packs and like 253 00:15:30,120 --> 00:15:32,880 Speaker 1: having to explode. One of those actors would have to 254 00:15:32,920 --> 00:15:35,560 Speaker 1: trigger effects that made their faces appear to melt, or 255 00:15:35,600 --> 00:15:37,880 Speaker 1: their skin burst into flame, or any number of other 256 00:15:37,960 --> 00:15:40,560 Speaker 1: horrors while they were still doing the job of trying 257 00:15:40,560 --> 00:15:44,160 Speaker 1: to act realistically. As the spectacle grew, the Grand can 258 00:15:44,240 --> 00:15:48,080 Speaker 1: Yell drew a wide ranging audience. People who live nearby 259 00:15:48,160 --> 00:15:50,880 Speaker 1: would attend to enjoy some local theater, and the high 260 00:15:50,960 --> 00:15:53,440 Speaker 1: Row art set bought tickets to indulge in the darker 261 00:15:53,480 --> 00:15:56,640 Speaker 1: themes of the stage. There, audiences would show up to 262 00:15:56,760 --> 00:16:01,040 Speaker 1: openings in formal attire with B y O. B. Champagne. Allegedly, 263 00:16:01,120 --> 00:16:03,120 Speaker 1: the boxes in the back of the theater, which were 264 00:16:03,160 --> 00:16:07,440 Speaker 1: quite private, were often the sites of romantic trists, and 265 00:16:07,440 --> 00:16:10,640 Speaker 1: it was during Schwazi's time at the Helm that records 266 00:16:10,680 --> 00:16:13,800 Speaker 1: were set at the good for faintings, as well as 267 00:16:13,840 --> 00:16:16,160 Speaker 1: an increase in the number of audience members who would 268 00:16:16,240 --> 00:16:17,920 Speaker 1: run out into the alley over the course of the 269 00:16:17,960 --> 00:16:21,960 Speaker 1: evening to be sick. The effects had become so sophisticated 270 00:16:22,000 --> 00:16:24,400 Speaker 1: that during one play, when an actress had her eye 271 00:16:24,400 --> 00:16:27,720 Speaker 1: gouged out on stage and then revealed the gaping hole 272 00:16:27,760 --> 00:16:32,040 Speaker 1: in her skull, six members of the audience lost consciousness. 273 00:16:32,080 --> 00:16:34,840 Speaker 1: On another evening, what looked for all the world like 274 00:16:34,920 --> 00:16:38,520 Speaker 1: a real blood transfusion taking place on stage resulted in 275 00:16:38,560 --> 00:16:43,320 Speaker 1: the record of fifteen fainting attendees. Chwazi ran the theater 276 00:16:43,400 --> 00:16:46,560 Speaker 1: for more than a decade before Jack Juvan became the director. 277 00:16:46,640 --> 00:16:52,720 Speaker 1: In Chuvanne, who bought out Charles Zibel, really seemed to 278 00:16:52,760 --> 00:16:54,760 Speaker 1: want to depart from what had gone on before and 279 00:16:54,840 --> 00:16:59,360 Speaker 1: in fact had made the Grand Genial famous. Chwazi stayed 280 00:16:59,400 --> 00:17:01,640 Speaker 1: on for a while as a collaborator, but he left 281 00:17:01,680 --> 00:17:05,920 Speaker 1: after three years to start a competing theater, and Juvene 282 00:17:05,960 --> 00:17:09,399 Speaker 1: also fired crowd favorite Paula Maxa, who also left and 283 00:17:09,440 --> 00:17:13,000 Speaker 1: started her own theater. Unfortunately, neither max has ventured nor 284 00:17:13,080 --> 00:17:16,840 Speaker 1: Chewazis took flight. However, the new director began to stage 285 00:17:16,840 --> 00:17:19,879 Speaker 1: shows that were less creative and exploratory and set up 286 00:17:19,920 --> 00:17:23,320 Speaker 1: one gag after another. He sets slates that were thematic 287 00:17:23,359 --> 00:17:26,280 Speaker 1: for a whole evening, sometimes all penned by the same writer, 288 00:17:27,000 --> 00:17:29,800 Speaker 1: sometimes there were multiple writers listed on the playbill, but 289 00:17:29,880 --> 00:17:35,800 Speaker 1: they were all just his pseudonyms. Yeah, he usually is 290 00:17:35,800 --> 00:17:39,720 Speaker 1: is characterized as kind of not understanding what the true 291 00:17:39,720 --> 00:17:43,520 Speaker 1: magic of the Colnguignol was, and without the artistry of 292 00:17:43,560 --> 00:17:46,480 Speaker 1: storytelling that had teased out the tension and fear of 293 00:17:46,520 --> 00:17:50,600 Speaker 1: a story, the audience lost interest and additionally, the theater 294 00:17:50,680 --> 00:17:54,400 Speaker 1: productions started to have to compete with the early universal 295 00:17:54,440 --> 00:18:00,000 Speaker 1: horror films. Dracula starring Bella Legocie debuted in one James 296 00:18:00,000 --> 00:18:03,440 Speaker 1: Wales Frankenstein also came out that same year, and while 297 00:18:03,520 --> 00:18:06,480 Speaker 1: their roots were in many ways in the horror and 298 00:18:06,640 --> 00:18:09,240 Speaker 1: the identity of horror and storytelling that had started at 299 00:18:09,280 --> 00:18:12,280 Speaker 1: the Glouigno, they were now a very real threat to 300 00:18:12,320 --> 00:18:17,280 Speaker 1: that theater, and attendance dwindled rapidly. In n seven, a 301 00:18:17,320 --> 00:18:21,320 Speaker 1: British actress named Eva Berkson took over this limping theater 302 00:18:21,480 --> 00:18:24,159 Speaker 1: from Juvain. For a while it seemed like there was 303 00:18:24,240 --> 00:18:26,520 Speaker 1: some hope for a return to the golden days of 304 00:18:26,560 --> 00:18:30,120 Speaker 1: the Grand Guanole. Berkson relaunched the theater with a mix 305 00:18:30,160 --> 00:18:33,200 Speaker 1: of old audience favorites and new plays, and she hired 306 00:18:33,200 --> 00:18:36,720 Speaker 1: back Paula Maxa but due to years of screaming, the 307 00:18:36,760 --> 00:18:39,600 Speaker 1: former Queen of the Theater of Blood had damaged her 308 00:18:39,680 --> 00:18:42,520 Speaker 1: vocal instrument, and she could no longer scream like she 309 00:18:42,600 --> 00:18:47,800 Speaker 1: once did. Yeah, she really wasn't able to um project, 310 00:18:48,640 --> 00:18:52,560 Speaker 1: according to most accounts, or even speak much over like 311 00:18:52,600 --> 00:18:57,400 Speaker 1: your standard speaking voice. Berkson was able, however, to bring 312 00:18:57,440 --> 00:19:00,960 Speaker 1: audiences back, and for several years the small former chapel 313 00:19:01,320 --> 00:19:04,520 Speaker 1: once again was home to devoted crowds and spurting blood. 314 00:19:05,160 --> 00:19:08,200 Speaker 1: But the German occupation of Paris in nineteen forty brought 315 00:19:08,240 --> 00:19:12,119 Speaker 1: Berkson's involvement to a screeching halt. She fled. As a 316 00:19:12,119 --> 00:19:14,639 Speaker 1: British national, it would have been incredibly dangerous for her 317 00:19:14,680 --> 00:19:17,480 Speaker 1: to try to stay. Although the theater did continue to 318 00:19:17,520 --> 00:19:21,040 Speaker 1: mount productions in her absence occupation slates were by and 319 00:19:21,160 --> 00:19:24,680 Speaker 1: large repeats of the ones that had played under Schwaz's leadership. 320 00:19:24,800 --> 00:19:27,760 Speaker 1: The old director had returned Berkson's absence to try to 321 00:19:27,840 --> 00:19:31,480 Speaker 1: keep things going, and some of the occupying troops did attend, 322 00:19:31,600 --> 00:19:35,640 Speaker 1: although the theater was deemed degenerate art, even though her 323 00:19:35,640 --> 00:19:39,560 Speaker 1: mind garring quite liked it. Yeah, there were apparently plans 324 00:19:39,600 --> 00:19:42,720 Speaker 1: when Germany was finally victorious to basically like, destroy the 325 00:19:42,760 --> 00:19:46,199 Speaker 1: Glongaignole and pretend it had never existed, just wipe it 326 00:19:46,200 --> 00:19:50,240 Speaker 1: from the history books. But uh, as we know, that's 327 00:19:50,280 --> 00:19:52,840 Speaker 1: not how the war played out, and Berkson once again 328 00:19:52,920 --> 00:19:56,639 Speaker 1: resumed her leadership role at the Glouignole in nineteen forty four, 329 00:19:56,840 --> 00:19:59,399 Speaker 1: and this time when she returned from England, she had 330 00:19:59,440 --> 00:20:03,000 Speaker 1: a husband who was Alexander Dundas, and World War Two 331 00:20:03,200 --> 00:20:07,000 Speaker 1: really delta severe blow to the theater. For one, there 332 00:20:07,040 --> 00:20:09,760 Speaker 1: was some ill will in Paris that the Glongul had 333 00:20:09,800 --> 00:20:14,080 Speaker 1: stayed open to entertain the enemy troops. Berkson's return seemed 334 00:20:14,080 --> 00:20:16,600 Speaker 1: to help smooth that over a little bit, and a 335 00:20:16,720 --> 00:20:20,120 Speaker 1: visit from General Patton to the theater actually caused an 336 00:20:20,200 --> 00:20:24,800 Speaker 1: uptick in ticket sales temporarily, But the global conflict also 337 00:20:24,840 --> 00:20:28,119 Speaker 1: gave audiences far too much real horror for a theater 338 00:20:28,200 --> 00:20:30,760 Speaker 1: that was built around gore to hold any sort of appeal. 339 00:20:31,320 --> 00:20:33,960 Speaker 1: To be truly shocked in the genial tradition would have 340 00:20:34,000 --> 00:20:37,840 Speaker 1: required something far more sensational than the little stage could manage. 341 00:20:38,080 --> 00:20:42,480 Speaker 1: In seven interview with Time magazine, Eva Berkson said, really, 342 00:20:42,720 --> 00:20:45,240 Speaker 1: I've almost come to the conclusion that the only way 343 00:20:45,280 --> 00:20:47,520 Speaker 1: to frighten a French audience since the war is to 344 00:20:47,560 --> 00:20:50,520 Speaker 1: cut up a woman on stage, a live woman, of course, 345 00:20:50,760 --> 00:20:55,680 Speaker 1: and throw them the pieces. During the ninety seven season, 346 00:20:55,840 --> 00:20:58,679 Speaker 1: in an effort to elicit some sort of excitement or 347 00:20:58,720 --> 00:21:02,600 Speaker 1: thrilled response from audience is the Grangno mounted productions that 348 00:21:02,680 --> 00:21:08,600 Speaker 1: included La Laboratoire Day's Hallucinacion, which featured a surgeon operating 349 00:21:08,600 --> 00:21:11,960 Speaker 1: on the brain of his wife's lover on stage, and Clean, 350 00:21:13,600 --> 00:21:16,480 Speaker 1: which was crime in a Crazy House where a pair 351 00:21:16,560 --> 00:21:20,879 Speaker 1: of elderly inmates, all women, tortured a young, beautiful patient 352 00:21:21,200 --> 00:21:27,000 Speaker 1: by driving a pair of scissors into her eye. Yikes. Yeah, yeah, 353 00:21:27,040 --> 00:21:29,640 Speaker 1: well that's that was the tradition of the theater. I mean, 354 00:21:29,720 --> 00:21:32,560 Speaker 1: I've had kind of had that response at several moments 355 00:21:32,560 --> 00:21:36,920 Speaker 1: in this episode, but I have one in particular. Even 356 00:21:36,960 --> 00:21:39,959 Speaker 1: after testing out a variety of different formats and styles 357 00:21:39,960 --> 00:21:43,639 Speaker 1: of theater, person could just not regain a foothold and entertainment. 358 00:21:43,960 --> 00:21:46,760 Speaker 1: In nineteen fifty one, she retired from the Grand Giole 359 00:21:47,640 --> 00:21:49,800 Speaker 1: And next up, we're going to talk about the final 360 00:21:49,880 --> 00:21:54,720 Speaker 1: years of the Tea, But before we do, we're gonna 361 00:21:54,880 --> 00:22:02,600 Speaker 1: pause one more time for another sponsor break trips to 362 00:22:02,640 --> 00:22:05,200 Speaker 1: the post office are probably something that is second nature. 363 00:22:05,320 --> 00:22:08,320 Speaker 1: We've always used the post office to send things. It 364 00:22:08,400 --> 00:22:11,240 Speaker 1: seems easy because that's what you're used to. But think 365 00:22:11,280 --> 00:22:13,480 Speaker 1: about all of that, asshole. If you really break it 366 00:22:13,520 --> 00:22:15,520 Speaker 1: down and do the math on your man hours that 367 00:22:15,560 --> 00:22:17,960 Speaker 1: you're spending, you might realize that it's not the most 368 00:22:18,000 --> 00:22:20,800 Speaker 1: efficient use of your time. So thankfully, there is a 369 00:22:20,880 --> 00:22:23,800 Speaker 1: much better way, and that is stamps dot Com. Stamps 370 00:22:23,840 --> 00:22:26,200 Speaker 1: dot com is the easy and convenient way to get 371 00:22:26,200 --> 00:22:28,960 Speaker 1: postage right from your desk. You can buy and print 372 00:22:29,040 --> 00:22:32,119 Speaker 1: official US postage using your own computer and printer. With 373 00:22:32,200 --> 00:22:34,520 Speaker 1: stamps dot com, there is no guesswork. They make it 374 00:22:34,560 --> 00:22:37,920 Speaker 1: easy to get the exact postage for any letter, any package, 375 00:22:37,960 --> 00:22:40,720 Speaker 1: any class of mail, right at the instant that you needed. 376 00:22:41,000 --> 00:22:43,760 Speaker 1: There's no expensive postage meter to worry about, you don't 377 00:22:43,760 --> 00:22:45,679 Speaker 1: have to lease anything, and you don't have to make 378 00:22:45,680 --> 00:22:48,480 Speaker 1: trips to the post office. So give it a try. 379 00:22:48,640 --> 00:22:50,480 Speaker 1: Right now, you can sign up for stamps dot com 380 00:22:50,520 --> 00:22:53,040 Speaker 1: and use our promo code which is stuff to get 381 00:22:53,040 --> 00:22:55,760 Speaker 1: this special offer that is a four week trial plus 382 00:22:56,640 --> 00:23:00,920 Speaker 1: dollar bonus offer including postage and that magic digital scale. 383 00:23:01,280 --> 00:23:04,040 Speaker 1: So don't wait. Go to stamps dot com and before 384 00:23:04,040 --> 00:23:06,280 Speaker 1: you do anything else, click on the microphone at the 385 00:23:06,280 --> 00:23:09,240 Speaker 1: top of the homepage and type in stuff that's stamps 386 00:23:09,280 --> 00:23:18,040 Speaker 1: dot com and enter stuff. The last decade of the 387 00:23:18,119 --> 00:23:22,840 Speaker 1: Cologno was marked by struggle, artistic uncertainty, and rapid turnover. 388 00:23:23,400 --> 00:23:26,760 Speaker 1: When Berkson stepped away from the theater, Max Murray's sons 389 00:23:26,800 --> 00:23:30,399 Speaker 1: bought it and the company manager, Charles Nonon, became the 390 00:23:30,440 --> 00:23:33,840 Speaker 1: interim director the plays that were staged from nineteen fifty 391 00:23:33,840 --> 00:23:36,119 Speaker 1: one to nineteen fifty four and an effort to try 392 00:23:36,200 --> 00:23:39,520 Speaker 1: new things since the old horror just wasn't working. We're 393 00:23:39,600 --> 00:23:42,399 Speaker 1: so far outside of the identity of the Grand Ganile 394 00:23:42,480 --> 00:23:46,280 Speaker 1: that they just couldn't draw audiences. No one associated the 395 00:23:46,280 --> 00:23:49,920 Speaker 1: theater and impassed Japtile with the musical reviews or long 396 00:23:49,960 --> 00:23:54,080 Speaker 1: form satire that we're being tried during this time. In 397 00:23:54,200 --> 00:23:57,040 Speaker 1: nineteen fifty four, there was a ray of hope. It 398 00:23:57,160 --> 00:24:00,560 Speaker 1: arrived in the form of journalist and feminist Claim Macha 399 00:24:01,600 --> 00:24:04,879 Speaker 1: when she restarted the theater in its old tradition, but 400 00:24:05,040 --> 00:24:08,080 Speaker 1: she hired new young writers to craft the short tales 401 00:24:08,119 --> 00:24:10,159 Speaker 1: of farce and shock, which seemed to give it like 402 00:24:10,200 --> 00:24:12,879 Speaker 1: an injection of life for a bit while it seemed 403 00:24:12,880 --> 00:24:16,720 Speaker 1: like a turnaround. This optimism was really short lived. Productions 404 00:24:16,720 --> 00:24:20,480 Speaker 1: were plagued by very real problems and dangerous situations, which 405 00:24:20,520 --> 00:24:23,920 Speaker 1: are difficult to distinguish from the publicity stunts that Maschard 406 00:24:24,040 --> 00:24:28,159 Speaker 1: was trying to do to reignite interest. Yeah, there were 407 00:24:28,200 --> 00:24:30,679 Speaker 1: a lot of stories coming out of this time, and 408 00:24:30,720 --> 00:24:33,000 Speaker 1: people were not always sure what was real and what 409 00:24:33,119 --> 00:24:35,879 Speaker 1: was just part of a stunt. So there was a 410 00:24:36,000 --> 00:24:40,160 Speaker 1: kidnapping of one of the lead actresses, which was definitely fake. Uh. 411 00:24:40,200 --> 00:24:43,240 Speaker 1: And even some of the more upsetting stories really remain 412 00:24:43,320 --> 00:24:47,439 Speaker 1: a little bit murky. So apparently, a leather harness is 413 00:24:47,480 --> 00:24:49,680 Speaker 1: said to have nearly claimed the life of an actress 414 00:24:49,680 --> 00:24:51,520 Speaker 1: when she tried to get into it backstage, and she 415 00:24:51,600 --> 00:24:55,760 Speaker 1: nearly hung herself. Another actress had a nervous breakdown on stage, 416 00:24:55,800 --> 00:24:59,760 Speaker 1: and yet another was burned by a flame effect. There 417 00:24:59,760 --> 00:25:03,080 Speaker 1: were a lot of problems. So while my start had 418 00:25:03,160 --> 00:25:06,080 Speaker 1: managed to elicit a swell and ticket sales, the tone 419 00:25:06,080 --> 00:25:08,040 Speaker 1: of things was a lot less realistic and a lot 420 00:25:08,080 --> 00:25:11,560 Speaker 1: more campy, and the theater became more of a tourist 421 00:25:11,600 --> 00:25:15,280 Speaker 1: attraction than a cultural icon. Yeah, I think we've all 422 00:25:15,280 --> 00:25:18,800 Speaker 1: seen this happen to places in various cities, like the 423 00:25:18,880 --> 00:25:22,600 Speaker 1: sort of cool underground thing that develops and becomes iconic 424 00:25:22,680 --> 00:25:26,320 Speaker 1: pretty soon becomes more like an amusement park and less 425 00:25:26,320 --> 00:25:30,920 Speaker 1: like itself. Um. From nineteen fifty nine to nineteen sixty one, 426 00:25:31,240 --> 00:25:34,119 Speaker 1: a man named Fred Pascal ran the theater, and some 427 00:25:34,200 --> 00:25:36,840 Speaker 1: of the plays at this point veered back towards more 428 00:25:36,880 --> 00:25:40,240 Speaker 1: realistic horror, but it was really too late to regain 429 00:25:40,320 --> 00:25:45,199 Speaker 1: the glory days of Marie's and chwizz times. Charles Nonel 430 00:25:45,359 --> 00:25:47,960 Speaker 1: once again became the director of the Grand Nile in 431 00:25:48,080 --> 00:25:51,000 Speaker 1: nineteen sixty one, and he would be its last director, 432 00:25:51,480 --> 00:25:54,160 Speaker 1: and an interview with Time magazine, he said, before the war, 433 00:25:54,560 --> 00:25:57,760 Speaker 1: everyone felt what was happening on stage was impossible. Now 434 00:25:57,760 --> 00:26:01,560 Speaker 1: we know these things and worse, our pop stable in reality. 435 00:26:02,359 --> 00:26:05,240 Speaker 1: So after sixty five years of frights and chills, the 436 00:26:05,280 --> 00:26:08,639 Speaker 1: Glonguignau closed its doors for good in November of nineteen 437 00:26:08,680 --> 00:26:12,560 Speaker 1: sixty two. The Chapel Turn Theater reopened briefly as a 438 00:26:12,600 --> 00:26:16,560 Speaker 1: new theatrical enterprise, not as the Glogognol, but that also 439 00:26:16,640 --> 00:26:20,119 Speaker 1: quickly failed, and in March nineteen sixty three the entrance 440 00:26:20,160 --> 00:26:23,719 Speaker 1: and portico of the space were demolished. There were two 441 00:26:23,760 --> 00:26:27,200 Speaker 1: spinoff theater companies launched in London that carried the name 442 00:26:27,280 --> 00:26:30,080 Speaker 1: grandiol one of the nineteen twenties and one of the 443 00:26:30,160 --> 00:26:32,800 Speaker 1: nineteen forties, but neither of them ran for very long. 444 00:26:33,280 --> 00:26:36,720 Speaker 1: The theater has been referenced in numerous films throughout the years, 445 00:26:36,800 --> 00:26:41,480 Speaker 1: both documentary and fictional, including the first season of Penny Dreadful. Yeah. 446 00:26:41,520 --> 00:26:44,960 Speaker 1: If you watch a show, and I do, because it's fantastic, Uh, 447 00:26:45,000 --> 00:26:49,479 Speaker 1: there's a whole whole episode that is titled Golgagno. And 448 00:26:49,520 --> 00:26:51,879 Speaker 1: there is also a similar theater in the book and 449 00:26:51,960 --> 00:26:55,240 Speaker 1: subsequent film interview with a Vampire called the Ala de Vompieu, 450 00:26:55,760 --> 00:26:58,400 Speaker 1: But apparently author and Rice has said that she did 451 00:26:58,400 --> 00:27:01,920 Speaker 1: not know about the Glogognol when she wrote of the theater, which, 452 00:27:02,000 --> 00:27:05,719 Speaker 1: if you missed either the book or that film, audiences 453 00:27:05,800 --> 00:27:08,320 Speaker 1: believed they were watching fiction, but we're in fact observing 454 00:27:08,359 --> 00:27:10,840 Speaker 1: real deaths at the hands of vampire, so it was 455 00:27:10,840 --> 00:27:15,040 Speaker 1: sort of like the snuff film equivalent of the theater. Today, 456 00:27:15,119 --> 00:27:18,359 Speaker 1: theater companies around the world still stage modern productions of 457 00:27:18,359 --> 00:27:21,720 Speaker 1: some of the surviving plays for the Grand Yole. Yeah, 458 00:27:21,800 --> 00:27:25,639 Speaker 1: there are actually textbooks on how to stage clogignol plays, 459 00:27:25,760 --> 00:27:29,240 Speaker 1: and there are because you know, for a modern audience, 460 00:27:29,440 --> 00:27:32,240 Speaker 1: if you stage them as written, they would probably seem 461 00:27:32,320 --> 00:27:34,719 Speaker 1: very hokey in some cases, although they were doing some 462 00:27:34,720 --> 00:27:37,960 Speaker 1: pretty amazing stuff with effects at the time. And in fact, 463 00:27:38,040 --> 00:27:41,520 Speaker 1: the word cloignol has kind of come to be associated 464 00:27:41,560 --> 00:27:47,119 Speaker 1: with shocking, uh sort of extreme horror, So it's taken 465 00:27:47,119 --> 00:27:49,720 Speaker 1: on a life of its own. Like I said, it 466 00:27:49,800 --> 00:27:52,280 Speaker 1: shows up sort of everywhere. You'll you'll be now that 467 00:27:52,359 --> 00:27:54,320 Speaker 1: you have have heard of it, if you hadn't before, 468 00:27:54,359 --> 00:27:56,040 Speaker 1: you will start to see it everywhere, and now you 469 00:27:56,040 --> 00:27:59,760 Speaker 1: know what it's referencing. So that is the clogignon. That's 470 00:27:59,760 --> 00:28:02,199 Speaker 1: one of those things that if I could time travel, 471 00:28:02,240 --> 00:28:06,600 Speaker 1: I would probably pick as a place to visit. Kind 472 00:28:06,600 --> 00:28:10,560 Speaker 1: of spectacular to do that, not you, I'm not into it. 473 00:28:11,880 --> 00:28:15,800 Speaker 1: I will report back if I remain conscious after both 474 00:28:15,840 --> 00:28:19,199 Speaker 1: my time travel and seeing a terrifying play or a 475 00:28:19,320 --> 00:28:21,680 Speaker 1: terrifying play and a comedy, and a terrifying play in 476 00:28:21,720 --> 00:28:25,000 Speaker 1: a comedy and one more terrifying play. Uh yeah, I 477 00:28:25,080 --> 00:28:28,280 Speaker 1: think it would be spectacular, which is why I thought 478 00:28:28,320 --> 00:28:31,560 Speaker 1: it would be perfect Halloween fair for the podcast. But 479 00:28:31,640 --> 00:28:37,160 Speaker 1: now I have not scary at all listener mail. This 480 00:28:37,240 --> 00:28:40,280 Speaker 1: comes from our listener Jenna, and she sent it with 481 00:28:40,360 --> 00:28:44,040 Speaker 1: a postcard, but it was a parcel. Uh. And she says, Hello, 482 00:28:44,080 --> 00:28:47,680 Speaker 1: Holly and Tracy. Obviously I'm not sending this from Stockholm, 483 00:28:47,680 --> 00:28:50,520 Speaker 1: which is what the postcard depicts, but I was recently 484 00:28:50,560 --> 00:28:52,720 Speaker 1: there and I picked this up with a mind to 485 00:28:52,760 --> 00:28:55,280 Speaker 1: send it to you. I work on a cruise ship 486 00:28:55,320 --> 00:28:58,160 Speaker 1: as a production manager of entertainment and travel all around 487 00:28:58,160 --> 00:29:00,480 Speaker 1: the world, and I am currently home away a visa 488 00:29:00,560 --> 00:29:03,200 Speaker 1: to my next job in Dubai. I love listening to 489 00:29:03,200 --> 00:29:05,840 Speaker 1: the podcast and hearing about places I've been, just so 490 00:29:05,880 --> 00:29:08,160 Speaker 1: I can say, hey, I've been there, and now that 491 00:29:08,160 --> 00:29:10,160 Speaker 1: I'm home for a little while, I've cut up, caught 492 00:29:10,240 --> 00:29:13,440 Speaker 1: up with my backlog of episodes. Uh cruise ship WiFi, 493 00:29:13,560 --> 00:29:16,440 Speaker 1: she says, not so good. While I spend my time sewing. 494 00:29:16,680 --> 00:29:18,360 Speaker 1: You guys are great to listen to while I work, 495 00:29:18,400 --> 00:29:20,600 Speaker 1: and I get to learn while sewing, two things I love. 496 00:29:20,680 --> 00:29:22,760 Speaker 1: So in this package, I've included some of the things 497 00:29:22,760 --> 00:29:24,920 Speaker 1: I make for you to use. I hope you liked 498 00:29:24,920 --> 00:29:27,160 Speaker 1: them and find some use out of them. I've got 499 00:29:27,160 --> 00:29:29,360 Speaker 1: several I made for myself that I use while traveling 500 00:29:29,360 --> 00:29:31,320 Speaker 1: for work. Thank you so much for the podcast, Jenna. 501 00:29:31,360 --> 00:29:33,920 Speaker 1: Thank you so much. She made us these two beautiful 502 00:29:33,920 --> 00:29:38,800 Speaker 1: little cosmetic bags, uh, which mine is going to become 503 00:29:38,840 --> 00:29:42,200 Speaker 1: pretty standard in my travels going forward because I love 504 00:29:42,200 --> 00:29:45,720 Speaker 1: it so much. Yep, you sent me picture. I'm very 505 00:29:45,720 --> 00:29:48,280 Speaker 1: excited to pick mine up from you the next time 506 00:29:48,320 --> 00:29:51,080 Speaker 1: we're in the same place. We are actually traveling right 507 00:29:51,120 --> 00:29:53,960 Speaker 1: after we record this, so Tracy will get hurt very 508 00:29:54,000 --> 00:29:56,560 Speaker 1: soon because I will bring it to where we are going. 509 00:29:57,200 --> 00:30:00,000 Speaker 1: And um, yeah, I was just so sweet and they're 510 00:30:00,000 --> 00:30:03,880 Speaker 1: beautifully made. So thank you, thank you, thank you, Jenna. 511 00:30:03,960 --> 00:30:06,280 Speaker 1: We just love them and they're delightful. If you would 512 00:30:06,280 --> 00:30:07,719 Speaker 1: like to write to us, you can do so at 513 00:30:07,720 --> 00:30:10,239 Speaker 1: History Podcast at how stuff works dot com. You can 514 00:30:10,240 --> 00:30:13,120 Speaker 1: also connect with us across all of social media just 515 00:30:13,200 --> 00:30:17,600 Speaker 1: by looking for missed in History, which is our our name, 516 00:30:17,640 --> 00:30:20,280 Speaker 1: on virtually everything. We're on Twitter at misst in history, 517 00:30:20,520 --> 00:30:23,440 Speaker 1: that Facebook dot com, slash mist in history at misston 518 00:30:23,480 --> 00:30:26,360 Speaker 1: history dot tumbler dot com. We're on pinterestes mist in History, 519 00:30:26,840 --> 00:30:29,240 Speaker 1: and on Instagram as miss in history. So we hope 520 00:30:29,280 --> 00:30:31,160 Speaker 1: to see you at all of those. Uh, if you 521 00:30:31,200 --> 00:30:33,880 Speaker 1: would like to do a little bit of research. You 522 00:30:33,920 --> 00:30:35,720 Speaker 1: can go to our parents site, how stuff Works. You 523 00:30:35,720 --> 00:30:38,080 Speaker 1: can type in the words horror or Halloween and you're 524 00:30:38,080 --> 00:30:40,120 Speaker 1: going to get all kinds of results to explore and 525 00:30:40,160 --> 00:30:42,520 Speaker 1: keep you busy. You can also visit us at misst 526 00:30:42,520 --> 00:30:45,680 Speaker 1: in history dot com for a backlog of every episode 527 00:30:45,720 --> 00:30:48,640 Speaker 1: we have ever had of the podcast before Tracy and 528 00:30:48,680 --> 00:30:51,800 Speaker 1: I all the way to present day, as well as 529 00:30:51,800 --> 00:30:53,640 Speaker 1: show notes on any of the episodes that Tracy and 530 00:30:53,720 --> 00:30:56,560 Speaker 1: I have worked on together. So we encourage you come 531 00:30:56,600 --> 00:30:58,400 Speaker 1: and visit us at how stuff works dot com and 532 00:30:58,520 --> 00:31:06,320 Speaker 1: mist in history dot com for more illness and thousands 533 00:31:06,320 --> 00:31:20,800 Speaker 1: of other topics because it has stuff works dot com