http://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&feed=atom&action=historyGrand Guignol - Revision history2024-03-29T10:07:03ZRevision history for this page on the wikiMediaWiki 1.25.2http://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=12699&oldid=prevFinnb: Undo revision 12527 by Egugecuge (Talk)2010-11-24T14:49:47Z<p>Undo revision 12527 by <a href="/deadmedia/index.php/Special:Contributions/Egugecuge" title="Special:Contributions/Egugecuge">Egugecuge</a> (<a href="/deadmedia/index.php?title=User_talk:Egugecuge&action=edit&redlink=1" class="new" title="User talk:Egugecuge (page does not exist)">Talk</a>)</p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=12699&oldid=12527">Show changes</a>Finnbhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=12527&oldid=prevEgugecuge at 04:31, 24 November 20102010-11-24T04:31:20Z<p></p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=12527&oldid=8725">Show changes</a>Egugecugehttp://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=8725&oldid=prevHarris: /* References */2010-04-12T18:05:23Z<p><span dir="auto"><span class="autocomment">References</span></span></p>
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<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Aristotle. Poetics. Trans. SH Butcher. ReadHowYouWant.com, 2006. Web.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Aristotle. Poetics. Trans. SH Butcher. ReadHowYouWant.com, 2006. Web.</div></td></tr>
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</table>Harrishttp://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=8712&oldid=prevRooney.meg: /* The Reception of Violence: Visceral Output and the Eroticization of Horror */2010-04-12T17:37:35Z<p><span dir="auto"><span class="autocomment">The Reception of Violence: Visceral Output and the Eroticization of Horror</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== The Reception of Violence: Visceral Output and the Eroticization of Horror ==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== The Reception of Violence: Visceral Output and the Eroticization of Horror ==</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[image:Grand.jpg|thumb|left]]</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Viewing Grand Guignol as a cyborgian apparatus of human, animal and machine highlights not only the mechanical components analyzed thus far but also the various outputs produced by the 'running' of the machine. The circuits of attention between actor and audience, flesh and object are viscerally electrified, creating automatic reactions which feed back into the stage and drive the machine forward in it's production of horror. The primary input in this apparatus can be seen as the performative act on stage. Defined much more by the depiction of spectacular violence, madness, disease and corporeal dismemberment than any given arbitrary narrative of the plot, most intellectual interaction is passed over. Film maker David Cronenber describes the exchange of horror as going "right into the viscera, before it gets to the brain" (Hand and Wilson, 71). The analytical mind plays little role in these automatic reactions to the stage, muscles get tense, heartbeat quickens and nerves jangle, even if the story has been seen before (Brophy, 279). There is a guttural dialogic of reactions spoken out through shreirks, grunts, moans, flailing of limbs and fainting;these actions are not controlled, but arise in the particular situation of the constructed horrifiable subject. As automated cathartic responses of a horrifiable body, these actions are, despite their semiotic meaningless, a performative act that runs willy nilly on and off stage, through plot and atmosphere, actor and audience.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Viewing Grand Guignol as a cyborgian apparatus of human, animal and machine highlights not only the mechanical components analyzed thus far but also the various outputs produced by the 'running' of the machine. The circuits of attention between actor and audience, flesh and object are viscerally electrified, creating automatic reactions which feed back into the stage and drive the machine forward in it's production of horror. The primary input in this apparatus can be seen as the performative act on stage. Defined much more by the depiction of spectacular violence, madness, disease and corporeal dismemberment than any given arbitrary narrative of the plot, most intellectual interaction is passed over. Film maker David Cronenber describes the exchange of horror as going "right into the viscera, before it gets to the brain" (Hand and Wilson, 71). The analytical mind plays little role in these automatic reactions to the stage, muscles get tense, heartbeat quickens and nerves jangle, even if the story has been seen before (Brophy, 279). There is a guttural dialogic of reactions spoken out through shreirks, grunts, moans, flailing of limbs and fainting;these actions are not controlled, but arise in the particular situation of the constructed horrifiable subject. As automated cathartic responses of a horrifiable body, these actions are, despite their semiotic meaningless, a performative act that runs willy nilly on and off stage, through plot and atmosphere, actor and audience.  </div></td></tr>
</table>Rooney.meghttp://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=8708&oldid=prevRooney.meg: /* Stageness */2010-04-12T17:35:03Z<p><span dir="auto"><span class="autocomment">Stageness</span></span></p>
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<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:gg003.jpg|thumb|right|Les Crucifies]]</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Essentially functioning as a circuit of horror, the primary mediatic dimension of Grand Guignol can usefully illustrated in terms of a sense of "stageness", that is, a reciprocal connection established between audience and actor through mutually corresponding vectors of attention. Although the actors possess the primary role of performatory output, the audience takes on a similarly active role of reception and response. Arguably the relation between actor and audience can be seen as that of two stages, related in varying degrees of primacy. Although the actor traditionally occupies the 'primary stage' and the audience as the 'secondary stage' relational politics of Grand Guignol imbues the audience with a high degree of agency, creating an active communicative circuit between the violent spectacle of the actor and visceral reaction of the audience. Casting the audience as "meaning-makers" Richard J. Hand and Michael Wilson argue that "the audience is irrefutably implicated in the creative process and an equal partner in the audience-performer dynamic" (77). As observed by Hand and Wilson, the stageness of Grand Guignol is characterized by this equal partnership, a circuit embedded in the larger conceptual apparatus-of-horror; a machine constructed from flesh, seats, darkness and illusion. These cogs work in synchrony, producing and consuming fear, disgust and sexual arousal in a complex web of input and output, in which "form and meaning are negotiated and created" (Hand and Wilson, 77) in the synaptic space between actor and audience and powered by electric viscerality.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Essentially functioning as a circuit of horror, the primary mediatic dimension of Grand Guignol can usefully illustrated in terms of a sense of "stageness", that is, a reciprocal connection established between audience and actor through mutually corresponding vectors of attention. Although the actors possess the primary role of performatory output, the audience takes on a similarly active role of reception and response. Arguably the relation between actor and audience can be seen as that of two stages, related in varying degrees of primacy. Although the actor traditionally occupies the 'primary stage' and the audience as the 'secondary stage' relational politics of Grand Guignol imbues the audience with a high degree of agency, creating an active communicative circuit between the violent spectacle of the actor and visceral reaction of the audience. Casting the audience as "meaning-makers" Richard J. Hand and Michael Wilson argue that "the audience is irrefutably implicated in the creative process and an equal partner in the audience-performer dynamic" (77). As observed by Hand and Wilson, the stageness of Grand Guignol is characterized by this equal partnership, a circuit embedded in the larger conceptual apparatus-of-horror; a machine constructed from flesh, seats, darkness and illusion. These cogs work in synchrony, producing and consuming fear, disgust and sexual arousal in a complex web of input and output, in which "form and meaning are negotiated and created" (Hand and Wilson, 77) in the synaptic space between actor and audience and powered by electric viscerality.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">[[Image:gg003.jpg|thumb|right|Les Crucifies]]</del></div></td><td colspan="2"> </td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Apparatus of Horror ===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Apparatus of Horror ===</div></td></tr>
</table>Rooney.meghttp://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=8706&oldid=prevRooney.meg at 17:34, 12 April 20102010-04-12T17:34:27Z<p></p>
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<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:<ins class="diffchange diffchange-inline">GrandGuignol-Couverture</ins>.jpg|thumb|right|<ins class="diffchange diffchange-inline">Les Crucifies</ins>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Le Théâtre du Grand-Guignol was a theatre in Paris popular between World War I and World War II known for its naturalist horror shows with explicit violence. The 293-seat venue, the smallest in Paris, opened in 1897 as a naturalist theater staging taboo performances involving prostitutes and criminals. But the theater soon became a house of terror, featuring insane characters engaged in explicit acts of rape, brutal murders, disembowelment, and dismemberment. But the audience dwindled after World War II as real-life violence overshadowed that of the Grand Guignol, and the theatre closed down in 1962.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Le Théâtre du Grand-Guignol was a theatre in Paris popular between World War I and World War II known for its naturalist horror shows with explicit violence. The 293-seat venue, the smallest in Paris, opened in 1897 as a naturalist theater staging taboo performances involving prostitutes and criminals. But the theater soon became a house of terror, featuring insane characters engaged in explicit acts of rape, brutal murders, disembowelment, and dismemberment. But the audience dwindled after World War II as real-life violence overshadowed that of the Grand Guignol, and the theatre closed down in 1962.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Stageness and the Horror Machine ==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Stageness and the Horror Machine ==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Stageness ===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Stageness ===</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Essentially functioning as a circuit of horror, the primary mediatic dimension of Grand Guignol can usefully illustrated in terms of a sense of "stageness", that is, a reciprocal connection established between audience and actor through mutually corresponding vectors of attention. Although the actors possess the primary role of performatory output, the audience takes on a similarly active role of reception and response. Arguably the relation between actor and audience can be seen as that of two stages, related in varying degrees of primacy. Although the actor traditionally occupies the 'primary stage' and the audience as the 'secondary stage' relational politics of Grand Guignol imbues the audience with a high degree of agency, creating an active communicative circuit between the violent spectacle of the actor and visceral reaction of the audience. Casting the audience as "meaning-makers" Richard J. Hand and Michael Wilson argue that "the audience is irrefutably implicated in the creative process and an equal partner in the audience-performer dynamic" (77). As observed by Hand and Wilson, the stageness of Grand Guignol is characterized by this equal partnership, a circuit embedded in the larger conceptual apparatus-of-horror; a machine constructed from flesh, seats, darkness and illusion. These cogs work in synchrony, producing and consuming fear, disgust and sexual arousal in a complex web of input and output, in which "form and meaning are negotiated and created" (Hand and Wilson, 77) in the synaptic space between actor and audience and powered by electric viscerality.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Essentially functioning as a circuit of horror, the primary mediatic dimension of Grand Guignol can usefully illustrated in terms of a sense of "stageness", that is, a reciprocal connection established between audience and actor through mutually corresponding vectors of attention. Although the actors possess the primary role of performatory output, the audience takes on a similarly active role of reception and response. Arguably the relation between actor and audience can be seen as that of two stages, related in varying degrees of primacy. Although the actor traditionally occupies the 'primary stage' and the audience as the 'secondary stage' relational politics of Grand Guignol imbues the audience with a high degree of agency, creating an active communicative circuit between the violent spectacle of the actor and visceral reaction of the audience. Casting the audience as "meaning-makers" Richard J. Hand and Michael Wilson argue that "the audience is irrefutably implicated in the creative process and an equal partner in the audience-performer dynamic" (77). As observed by Hand and Wilson, the stageness of Grand Guignol is characterized by this equal partnership, a circuit embedded in the larger conceptual apparatus-of-horror; a machine constructed from flesh, seats, darkness and illusion. These cogs work in synchrony, producing and consuming fear, disgust and sexual arousal in a complex web of input and output, in which "form and meaning are negotiated and created" (Hand and Wilson, 77) in the synaptic space between actor and audience and powered by electric viscerality.</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L42" >Line 42:</td>
<td colspan="2" class="diff-lineno">Line 42:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Come Closer, I Won't Hurt You: The Active and Passive Positioning of the Audience-Body ===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Come Closer, I Won't Hurt You: The Active and Passive Positioning of the Audience-Body ===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The horrify-able subject is uniquely defined by the act of witnessing the stage. Crary's analysis of the phenakistiscope raises the issue of positioning, "the very physical position required of the observer by the phenakistiscope bespeaks a confounding of three modes: an individual body that is at once a spectator, a subject of empirical research and observation, and an element of machine production" (112). Though the connection between actor and audience has been already identified in terms of 'stageness', to further examine the production of the horrify-able subject constructed through its interaction with the greater apparatus of Grand Guignol a discussion of the spatial particulars is in order. Crary suggestions that the positioning of a subject in relation to the apparatus shapes the role and identity of that subject. Within the apparatus-of-horror the positioning of the audience-body in relation to the actor-body largely determines the conditions of possibility for action, interaction and reaction. Crary identifies this positioning of the subject as coinciding with "procedures of discipline and regulation,"  illustrated through the structure of seating (112). The audience-body is confined to a regulated direction and distance from the stage through seats designed to ensure that “no member of the audience felt far from the performers and vice versa” (Hand and Wilson, 31). This positioning lends greater freedom of movement and attention to the actors, defining the audience as the subordinate receiver. The stage commands the optical field as the main source of light, directing the audience's gaze by illuminating the 'right' object of attention. In this way, the theater acts as an optical device of the 19th century, which according to Crary (1992) “involved arrangements of bodies in space, regulations of activity, and the deployment of individual bodies, which codified and normalized the observer within rigidly defined systems of visual consumption. They were techniques for the management of attention" (18). In this arrangement, then, members of the audience become examples of Foucault's (1977) docile bodies, subject to the manipulation of body and attention. Even among this structured discipline of arranged bodies, there is also a degree of freedom in the disorder and chaos.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The horrify-able subject is uniquely defined by the act of witnessing the stage. Crary's analysis of the phenakistiscope raises the issue of positioning, "the very physical position required of the observer by the phenakistiscope bespeaks a confounding of three modes: an individual body that is at once a spectator, a subject of empirical research and observation, and an element of machine production" (112).  </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">[[Image:ggcap1.jpg|thumb|right|[http://www.youtube.com/watch?v=Av1GeuxVV4E&feature=player_embedded Click here to watch the video]]]</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Though the connection between actor and audience has been already identified in terms of 'stageness', to further examine the production of the horrify-able subject constructed through its interaction with the greater apparatus of Grand Guignol a discussion of the spatial particulars is in order. Crary suggestions that the positioning of a subject in relation to the apparatus shapes the role and identity of that subject. Within the apparatus-of-horror the positioning of the audience-body in relation to the actor-body largely determines the conditions of possibility for action, interaction and reaction. Crary identifies this positioning of the subject as coinciding with "procedures of discipline and regulation,"  illustrated through the structure of seating (112). The audience-body is confined to a regulated direction and distance from the stage through seats designed to ensure that “no member of the audience felt far from the performers and vice versa” (Hand and Wilson, 31). This positioning lends greater freedom of movement and attention to the actors, defining the audience as the subordinate receiver. The stage commands the optical field as the main source of light, directing the audience's gaze by illuminating the 'right' object of attention. In this way, the theater acts as an optical device of the 19th century, which according to Crary (1992) “involved arrangements of bodies in space, regulations of activity, and the deployment of individual bodies, which codified and normalized the observer within rigidly defined systems of visual consumption. They were techniques for the management of attention" (18). In this arrangement, then, members of the audience become examples of Foucault's (1977) docile bodies, subject to the manipulation of body and attention. Even among this structured discipline of arranged bodies, there is also a degree of freedom in the disorder and chaos.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Even as it controls and shapes audience attention, the structure of the horror-machine can also be seen as creating a space for a messy and chaotic actor-audience interaction, pulling the audience-body into the performance through through a clash roles. The scream of the victim rooted merely in a theatrical representation of fear is challenged by the authenticity of the audience, shrieking out in sincere horror thereby upsetting traditional role of active stage and passive seat. Within the performative act itself, there is an interplay of light and darkness, where disorientation and visual obstruction collide with the stage as the principal source of light and information, rendering the audience-body docile in its ignorance of what to expect next, but active in it's visceral reactions and bodily excitement. The uncontrolled reactions of the audience-body, together with the violent chaos of the stage create a vicious orchestration of a collective, "carnivalesque body" (Bakhtin, 219), a disordered and leaking circuit of fear, excitement and arousal.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Even as it controls and shapes audience attention, the structure of the horror-machine can also be seen as creating a space for a messy and chaotic actor-audience interaction, pulling the audience-body into the performance through through a clash roles. The scream of the victim rooted merely in a theatrical representation of fear is challenged by the authenticity of the audience, shrieking out in sincere horror thereby upsetting traditional role of active stage and passive seat. Within the performative act itself, there is an interplay of light and darkness, where disorientation and visual obstruction collide with the stage as the principal source of light and information, rendering the audience-body docile in its ignorance of what to expect next, but active in it's visceral reactions and bodily excitement. The uncontrolled reactions of the audience-body, together with the violent chaos of the stage create a vicious orchestration of a collective, "carnivalesque body" (Bakhtin, 219), a disordered and leaking circuit of fear, excitement and arousal.</div></td></tr>
</table>Rooney.meghttp://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=8704&oldid=prevRooney.meg: /* Stageness */2010-04-12T17:30:51Z<p><span dir="auto"><span class="autocomment">Stageness</span></span></p>
<table class='diff diff-contentalign-left'>
<col class='diff-marker' />
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<col class='diff-marker' />
<col class='diff-content' />
<tr style='vertical-align: top;'>
<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:30, 12 April 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L5" >Line 5:</td>
<td colspan="2" class="diff-lineno">Line 5:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Stageness ===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Stageness ===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">[[GrandGuignol-Couverture.jpg|thumb|right|]]</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Essentially functioning as a circuit of horror, the primary mediatic dimension of Grand Guignol can usefully illustrated in terms of a sense of "stageness", that is, a reciprocal connection established between audience and actor through mutually corresponding vectors of attention. Although the actors possess the primary role of performatory output, the audience takes on a similarly active role of reception and response. Arguably the relation between actor and audience can be seen as that of two stages, related in varying degrees of primacy. Although the actor traditionally occupies the 'primary stage' and the audience as the 'secondary stage' relational politics of Grand Guignol imbues the audience with a high degree of agency, creating an active communicative circuit between the violent spectacle of the actor and visceral reaction of the audience. Casting the audience as "meaning-makers" Richard J. Hand and Michael Wilson argue that "the audience is irrefutably implicated in the creative process and an equal partner in the audience-performer dynamic" (77). As observed by Hand and Wilson, the stageness of Grand Guignol is characterized by this equal partnership, a circuit embedded in the larger conceptual apparatus-of-horror; a machine constructed from flesh, seats, darkness and illusion. These cogs work in synchrony, producing and consuming fear, disgust and sexual arousal in a complex web of input and output, in which "form and meaning are negotiated and created" (Hand and Wilson, 77) in the synaptic space between actor and audience and powered by electric viscerality.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Essentially functioning as a circuit of horror, the primary mediatic dimension of Grand Guignol can usefully illustrated in terms of a sense of "stageness", that is, a reciprocal connection established between audience and actor through mutually corresponding vectors of attention. Although the actors possess the primary role of performatory output, the audience takes on a similarly active role of reception and response. Arguably the relation between actor and audience can be seen as that of two stages, related in varying degrees of primacy. Although the actor traditionally occupies the 'primary stage' and the audience as the 'secondary stage' relational politics of Grand Guignol imbues the audience with a high degree of agency, creating an active communicative circuit between the violent spectacle of the actor and visceral reaction of the audience. Casting the audience as "meaning-makers" Richard J. Hand and Michael Wilson argue that "the audience is irrefutably implicated in the creative process and an equal partner in the audience-performer dynamic" (77). As observed by Hand and Wilson, the stageness of Grand Guignol is characterized by this equal partnership, a circuit embedded in the larger conceptual apparatus-of-horror; a machine constructed from flesh, seats, darkness and illusion. These cogs work in synchrony, producing and consuming fear, disgust and sexual arousal in a complex web of input and output, in which "form and meaning are negotiated and created" (Hand and Wilson, 77) in the synaptic space between actor and audience and powered by electric viscerality.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:gg003.jpg|thumb|right|Les Crucifies]]</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Apparatus of Horror ===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Apparatus of Horror ===</div></td></tr>
</table>Rooney.meghttp://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=8702&oldid=prevRooney.meg: /* Stageness and the Horror Machine */2010-04-12T17:30:12Z<p><span dir="auto"><span class="autocomment">Stageness and the Horror Machine</span></span></p>
<table class='diff diff-contentalign-left'>
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<col class='diff-content' />
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:30, 12 April 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L6" >Line 6:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[<del class="diffchange diffchange-inline">Image:gg003</del>.jpg|thumb|right|<del class="diffchange diffchange-inline">Les Crucifies</del>]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[<ins class="diffchange diffchange-inline">GrandGuignol-Couverture</ins>.jpg|thumb|right|]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Essentially functioning as a circuit of horror, the primary mediatic dimension of Grand Guignol can usefully illustrated in terms of a sense of "stageness", that is, a reciprocal connection established between audience and actor through mutually corresponding vectors of attention. Although the actors possess the primary role of performatory output, the audience takes on a similarly active role of reception and response. Arguably the relation between actor and audience can be seen as that of two stages, related in varying degrees of primacy. Although the actor traditionally occupies the 'primary stage' and the audience as the 'secondary stage' relational politics of Grand Guignol imbues the audience with a high degree of agency, creating an active communicative circuit between the violent spectacle of the actor and visceral reaction of the audience. Casting the audience as "meaning-makers" Richard J. Hand and Michael Wilson argue that "the audience is irrefutably implicated in the creative process and an equal partner in the audience-performer dynamic" (77). As observed by Hand and Wilson, the stageness of Grand Guignol is characterized by this equal partnership, a circuit embedded in the larger conceptual apparatus-of-horror; a machine constructed from flesh, seats, darkness and illusion. These cogs work in synchrony, producing and consuming fear, disgust and sexual arousal in a complex web of input and output, in which "form and meaning are negotiated and created" (Hand and Wilson, 77) in the synaptic space between actor and audience and powered by electric viscerality.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Essentially functioning as a circuit of horror, the primary mediatic dimension of Grand Guignol can usefully illustrated in terms of a sense of "stageness", that is, a reciprocal connection established between audience and actor through mutually corresponding vectors of attention. Although the actors possess the primary role of performatory output, the audience takes on a similarly active role of reception and response. Arguably the relation between actor and audience can be seen as that of two stages, related in varying degrees of primacy. Although the actor traditionally occupies the 'primary stage' and the audience as the 'secondary stage' relational politics of Grand Guignol imbues the audience with a high degree of agency, creating an active communicative circuit between the violent spectacle of the actor and visceral reaction of the audience. Casting the audience as "meaning-makers" Richard J. Hand and Michael Wilson argue that "the audience is irrefutably implicated in the creative process and an equal partner in the audience-performer dynamic" (77). As observed by Hand and Wilson, the stageness of Grand Guignol is characterized by this equal partnership, a circuit embedded in the larger conceptual apparatus-of-horror; a machine constructed from flesh, seats, darkness and illusion. These cogs work in synchrony, producing and consuming fear, disgust and sexual arousal in a complex web of input and output, in which "form and meaning are negotiated and created" (Hand and Wilson, 77) in the synaptic space between actor and audience and powered by electric viscerality.</div></td></tr>
</table>Rooney.meghttp://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=8688&oldid=prevRooney.meg: /* The Reception of Violence: Visceral Output and the Eroticization of Horror */2010-04-12T17:21:13Z<p><span dir="auto"><span class="autocomment">The Reception of Violence: Visceral Output and the Eroticization of Horror</span></span></p>
<table class='diff diff-contentalign-left'>
<col class='diff-marker' />
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<tr style='vertical-align: top;'>
<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:21, 12 April 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L48" >Line 48:</td>
<td colspan="2" class="diff-lineno">Line 48:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== The Reception of Violence: Visceral Output and the Eroticization of Horror ==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== The Reception of Violence: Visceral Output and the Eroticization of Horror ==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Viewing Grand Guignol as a cyborgian apparatus of human, animal and machine highlights not only the mechanical components analyzed thus far but also the various outputs produced by the 'running' of the machine. The circuits of attention between actor and audience, flesh and object are viscerally electrified, creating automatic reactions which feed back into the stage and drive the machine forward in it's production of horror. The primary input in this apparatus can be seen as the performative act on stage. Defined much more by the depiction of spectacular violence, madness, disease and corporeal dismemberment than any given arbitrary narrative of the plot, most intellectual interaction is passed over. Film maker David Cronenber describes the exchange of horror as going "right into the viscera, before it gets to the brain" (Hand and Wilson, 71). The analytical mind plays little role in these automatic reactions to the stage, muscles get tense, heartbeat quickens and nerves jangle, even if the story has been seen before (Brophy, 279). There is a guttural dialogic of reactions spoken out through shreirks, grunts, moans, <del class="diffchange diffchange-inline">and </del>flailing of limbs and fainting;these actions are not controlled, but arise in the particular situation of the constructed horrifiable subject. As automated cathartic responses of a horrifiable body, these actions are, despite their semiotic meaningless, a performative act that runs willy nilly on and off stage, through plot and atmosphere, actor and audience.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Viewing Grand Guignol as a cyborgian apparatus of human, animal and machine highlights not only the mechanical components analyzed thus far but also the various outputs produced by the 'running' of the machine. The circuits of attention between actor and audience, flesh and object are viscerally electrified, creating automatic reactions which feed back into the stage and drive the machine forward in it's production of horror. The primary input in this apparatus can be seen as the performative act on stage. Defined much more by the depiction of spectacular violence, madness, disease and corporeal dismemberment than any given arbitrary narrative of the plot, most intellectual interaction is passed over. Film maker David Cronenber describes the exchange of horror as going "right into the viscera, before it gets to the brain" (Hand and Wilson, 71). The analytical mind plays little role in these automatic reactions to the stage, muscles get tense, heartbeat quickens and nerves jangle, even if the story has been seen before (Brophy, 279). There is a guttural dialogic of reactions spoken out through shreirks, grunts, moans, flailing of limbs and fainting;these actions are not controlled, but arise in the particular situation of the constructed horrifiable subject. As automated cathartic responses of a horrifiable body, these actions are, despite their semiotic meaningless, a performative act that runs willy nilly on and off stage, through plot and atmosphere, actor and audience.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The audience, prepped to experience fear, receives the violent images, processes them vicerally and produces not only gutteral jerk responses as immediate calls back to the stage but also, at times, a more subtle output of erotic arousal. The intimacy of the space, both in closeness of audience to stage and between viewers canoodling in the dark, is rife with opportunity for impropriety.  The performers would engage the audience in suggestive eye contact, implicating them in their violent acts and providing a conduit for voyeurism, "the relationship becomes almost one of pornographer and consumer of pornography"(Hand and Wilson, 44). The sexualization of fear feeds back into the apparatus-of-horror, further implicating the audience-body <del class="diffchange diffchange-inline">in the flesh of the machine </del>as <del class="diffchange diffchange-inline">subjects </del>both <del class="diffchange diffchange-inline">consume </del>and <del class="diffchange diffchange-inline">produce </del>arousal as cogs integrated into the working machine. The output of this particular reception of fear is physical in it's nature, According to Agnés Pierron (cited in Hand and Wilson, 74) "cleaning ladies would find traces of sexual pleasure from the audience". In her own study of the form, she comments: "It was well-known that during the notorious Monday matinees, that women would prepare for adultery by snuggling, half-dead with fear, into the arms of the man in the next seat" (ibid). In these situations, the reactions that were claimed to be involuntary and visceral, <del class="diffchange diffchange-inline">were </del>hacked to be used for a completely different purpose - clandestine sexual pleasure. This deviant use of the norms did not depend not on a malfunction, but was made possible through the proper functioning of the stage as the primary director of attention.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The audience, prepped to experience fear, receives the violent images, processes them vicerally and produces not only gutteral jerk responses as immediate calls back to the stage but also, at times, a more subtle output of erotic arousal. The intimacy of the space, both in closeness of audience to stage and between viewers canoodling in the dark, is rife with opportunity for impropriety.  The performers would engage the audience in suggestive eye contact, implicating them in their violent acts and providing a conduit for voyeurism, "the relationship becomes almost one of pornographer and consumer of pornography"(Hand and Wilson, 44). The sexualization of fear feeds back into the apparatus-of-horror, further implicating the audience-body<ins class="diffchange diffchange-inline">, </ins>as <ins class="diffchange diffchange-inline">a subject who </ins>both <ins class="diffchange diffchange-inline">consumes </ins>and <ins class="diffchange diffchange-inline">produces </ins>arousal as <ins class="diffchange diffchange-inline">a </ins>cogs integrated into the working machine. The output of this particular reception of fear is physical in it's nature, According to Agnés Pierron (cited in Hand and Wilson, 74) "cleaning ladies would find traces of sexual pleasure from the audience". In her own study of the form, she comments: "It was well-known that during the notorious Monday matinees, that women would prepare for adultery by snuggling, half-dead with fear, into the arms of the man in the next seat" (ibid). In these situations, the reactions that were claimed to be involuntary and visceral, <ins class="diffchange diffchange-inline">are </ins>hacked to be used for a completely different purpose - clandestine sexual pleasure. This deviant use of the norms did not depend not on a malfunction, but was made possible through the proper functioning of the stage as the primary director of attention<ins class="diffchange diffchange-inline">, creating a space of secrecy in the seats</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Suspension of Disbelief: The Audience as the True Actor ==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Suspension of Disbelief: The Audience as the True Actor ==</div></td></tr>
</table>Rooney.meghttp://www.cultureandcommunication.org/deadmedia/index.php?title=Grand_Guignol&diff=8682&oldid=prevElisaverna at 17:15, 12 April 20102010-04-12T17:15:36Z<p></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:15, 12 April 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L1" >Line 1:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:ggcap1.jpg|thumb|right|[http://www.youtube.com/watch?v=Av1GeuxVV4E&feature=player_embedded Click here to watch the video]]]  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:ggcap1.jpg|thumb|right|[http://www.youtube.com/watch?v=Av1GeuxVV4E&feature=player_embedded Click here to watch the video]]]  </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">intro intro intro intro intro intro intro </del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">Le Théâtre du Grand-Guignol was a theatre in Paris popular between World War I and World War II known for its naturalist horror shows with explicit violence. The 293-seat venue, the smallest in Paris, opened in 1897 as a naturalist theater staging taboo performances involving prostitutes and criminals. But the theater soon became a house of terror, featuring insane characters engaged in explicit acts of rape, brutal murders, disembowelment, and dismemberment. But the audience dwindled after World War II as real-life violence overshadowed that of the Grand Guignol, and the theatre closed down in 1962.</ins></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Stageness and the Horror Machine ==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Stageness and the Horror Machine ==</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The audience, prepped to experience fear, receives the violent images, processes them vicerally and produces not only gutteral jerk responses as immediate calls back to the stage but also, at times, a more subtle output of erotic arousal. The intimacy of the space, both in closeness of audience to stage and between viewers canoodling in the dark, is rife with opportunity for impropriety.  The performers would engage the audience in suggestive eye contact, implicating them in their violent acts and providing a conduit for voyeurism, "the relationship becomes almost one of pornographer and consumer of pornography"(Hand and Wilson, 44). The sexualization of fear feeds back into the apparatus-of-horror, further implicating the audience-body in the flesh of the machine as subjects both consume and produce arousal as cogs integrated into the working machine. The output of this particular reception of fear is physical in it's nature, According to Agnés Pierron (cited in Hand and Wilson, 74) "cleaning ladies would find traces of sexual pleasure from the audience". In her own study of the form, she comments: "It was well-known that during the notorious Monday matinees, that women would prepare for adultery by snuggling, half-dead with fear, into the arms of the man in the next seat" (ibid). In these situations, the reactions that were claimed to be involuntary and visceral, were hacked to be used for a completely different purpose - clandestine sexual pleasure. This deviant use of the norms did not depend not on a malfunction, but was made possible through the proper functioning of the stage as the primary director of attention.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The audience, prepped to experience fear, receives the violent images, processes them vicerally and produces not only gutteral jerk responses as immediate calls back to the stage but also, at times, a more subtle output of erotic arousal. The intimacy of the space, both in closeness of audience to stage and between viewers canoodling in the dark, is rife with opportunity for impropriety.  The performers would engage the audience in suggestive eye contact, implicating them in their violent acts and providing a conduit for voyeurism, "the relationship becomes almost one of pornographer and consumer of pornography"(Hand and Wilson, 44). The sexualization of fear feeds back into the apparatus-of-horror, further implicating the audience-body in the flesh of the machine as subjects both consume and produce arousal as cogs integrated into the working machine. The output of this particular reception of fear is physical in it's nature, According to Agnés Pierron (cited in Hand and Wilson, 74) "cleaning ladies would find traces of sexual pleasure from the audience". In her own study of the form, she comments: "It was well-known that during the notorious Monday matinees, that women would prepare for adultery by snuggling, half-dead with fear, into the arms of the man in the next seat" (ibid). In these situations, the reactions that were claimed to be involuntary and visceral, were hacked to be used for a completely different purpose - clandestine sexual pleasure. This deviant use of the norms did not depend not on a malfunction, but was made possible through the proper functioning of the stage as the primary director of attention.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">=</del>==Suspension of Disbelief: The Audience as the True Actor <del class="diffchange diffchange-inline">=</del>==</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>== Suspension of Disbelief: The Audience as the True Actor ==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The final component, critical to the functioning of Grand Guignol as an apparatus-of-horror, lies in the audience's suspension of disbelief. Although violent murders enacted using animal parts and fake weapons are likely enough to elicit a reaction, the true terror it sought out to evoke depends on the conditioning of the psych of the audience-mind, achieved through the willing entrance into a state of known falsehood. The willing participation of the subject in this horror machine speaks to a desire for 'safe' entertainment which is achieved only through a conscious forgetting of that very fact, that this is all a big bloody show. Indeed "Grand-Guignol offered a chance to be scared in complete safety.  Most people are vicarious lovers of violence and danger, and the majority of people find the theatrical depiction of violence to be cathartic...to release their own sadism and/or masochism." (Hand and Wilson, 68). Only by suspending one's awareness of the pops and hisses of production, the visual cues that the heroine is actually still breathing after being sliced and garroted, the mismatch of the bang of the revolver and the blood fountain from one's chest, or the vague sound of the cast member who, instead of being burned alive is instead smoking a cigaret backstage, which is, incidentally a place which acts as a black box primarily in the audiences desire to wish it away. The logistics of live theater intrude upon the illusion, requiring mechanisms of denial in the audience to function properly. Bad weather of cynicism, distraction or disengagement shatter this illusion and cut the circuit of reciprocal horror production. The knowing suspension of disbelief speaks to the subject's self awareness of the manipulation of perception, understanding the visual experience as a subjective and imperfect mechanism of the flesh, manipulatable by oneself in pursuit of reactions of fear, arousal, entertainment and catharsis. This truly non-automatic action, a prerequisite for membership as part of the functioning apparatus-of-horror, that is Grand Guignol, shows the audience as the true performer, the causa sui of the machine itself, without which there would be no one to horrify.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The final component, critical to the functioning of Grand Guignol as an apparatus-of-horror, lies in the audience's suspension of disbelief. Although violent murders enacted using animal parts and fake weapons are likely enough to elicit a reaction, the true terror it sought out to evoke depends on the conditioning of the psych of the audience-mind, achieved through the willing entrance into a state of known falsehood. The willing participation of the subject in this horror machine speaks to a desire for 'safe' entertainment which is achieved only through a conscious forgetting of that very fact, that this is all a big bloody show. Indeed "Grand-Guignol offered a chance to be scared in complete safety.  Most people are vicarious lovers of violence and danger, and the majority of people find the theatrical depiction of violence to be cathartic...to release their own sadism and/or masochism." (Hand and Wilson, 68). Only by suspending one's awareness of the pops and hisses of production, the visual cues that the heroine is actually still breathing after being sliced and garroted, the mismatch of the bang of the revolver and the blood fountain from one's chest, or the vague sound of the cast member who, instead of being burned alive is instead smoking a cigaret backstage, which is, incidentally a place which acts as a black box primarily in the audiences desire to wish it away. The logistics of live theater intrude upon the illusion, requiring mechanisms of denial in the audience to function properly. Bad weather of cynicism, distraction or disengagement shatter this illusion and cut the circuit of reciprocal horror production. The knowing suspension of disbelief speaks to the subject's self awareness of the manipulation of perception, understanding the visual experience as a subjective and imperfect mechanism of the flesh, manipulatable by oneself in pursuit of reactions of fear, arousal, entertainment and catharsis. This truly non-automatic action, a prerequisite for membership as part of the functioning apparatus-of-horror, that is Grand Guignol, shows the audience as the true performer, the causa sui of the machine itself, without which there would be no one to horrify.</div></td></tr>
</table>Elisaverna