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The Théâtre du Grand-Guignol (French pronunciation: [lə teɑtʁ dy ɡʁɑ̃ ɡiɲɔl]) was a theater in the Pigalle district of Paris (7, cité Chaptal). From its opening in 1897 until its closing in 1962, it specialized in horror shows.
Barry Alan Richmond (born c. 1933), [1] a stage actor/director, [2] [3] [4] theatrical designer, [5] [6] author of articles on the Grand Guignol, [7] proclaimed the Most Serene Federal Republic of Montmartre's existence and borders c. 1965 [8] (mostly within Manhattan's Theatre District, "roughly 39th to 59th Street with a strip up the Hudson ...
The film contains six stories, each inspired by Paris’ legendary Grand Guignol theatre. [1] The six stories are presented within a connecting framework, "Theatre Guignol": Enola Penny is intrigued by an abandoned theatre in her neighborhood. One night the theatre door mysteriously opens and she enters.
In 1897, Oscar Méténier bought a theatre at the end of the impasse Chaptal (9th arrondissement) to present his own plays. This was the Théâtre du Grand-Guignol, one of the most original theatres in Paris, and he remained its director until 1898.
Max Maurey was a French playwright born in Paris in 1866 and died in Neuilly-sur-Seine in 1947. He was also the theatre manager of the Théâtre des Variétés from 1914 to 1940 and from 1944 to 1947, and director of the Théâtre du Grand Guignol from 1898 to 1914.
Juan Jose G. Levy (Portsmouth, 29 June 1884 - 6 October 1936) was an English theatre practitioner who attempted to import the ghoulish and grisly Grand Guignol aesthetic for London audiences. [1] Levy was born in Portsmouth, England and educated at the Ecole de Commerce, Lausanne. He wrote a number of plays between 1908 and 1925. [2]
The theater director at the Grand Guignol is known for his gruesome stories and realistic gory special effects that often leave audience members shocked and disgusted. Journalist "Jean" from Le Petit Journal is tasked with writing a critique of Maxa's performances. He arrives at the theater one night and seeks Maxa after her performance.
Gordon wrote two books on the sexual histories of Berlin [4] and Paris, a book on the history of the Grand Guignol theatre [7] and a two-volume history of the Stanislavski method. He was finishing books about American fascist love cults and flappers at the time of his death. [2]