GROTESQUE INVERSIONS on Stage, in Film: HORRID YET CURIOUS, FASCINATING YET ALARMING
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GROTESQUE INVERSIONS On Stage, In Film: HORRID YET CURIOUS, FASCINATING YET ALARMING A thesis submitted in fulfilment of the requirements for the degree of Master of Arts at The University of Waikato by DELWYN DELLOW 2012 ii Abstract Grotesque theatre is not a genre but a style of theatre made up of many strands which has been employed over many centuries beginning in Ancient Greece, particularly with Aristophanes and moving through time to the present. François Rabelais recognised the grotesque in Church Feasts, Festivals, Guild performances, sotties and farces. This thesis investigates through theatre and film the seven strands Bakhtin identifies: grotesque image, abusive language, grotesque madness, scatalogical humour, light, reversals and the lower bodily stratum (1984, pp. 24-41). In particular the thesis traces inversions in both theatre and film. These two mediums have been selected to compare and contrast the use of the grotesque in each, as they share two strong commonalities in acting and the requirement of scripts. Each chapter of this thesis deals with a script, and the last two chapters incorporate the use of a movie for contrast. The Introduction introduces the grotesque, offering an explanation of the styles of the grotesque as defined by Mikhail Bakhtin and Philip Thomson. Examples are shown in pictures. Chapter one explores two plays written by Eugene Ionesco: Amedée or How to Get Rid of It, and Rhinoceros. Chapter two moves back through time to Aristophanes' Lysistrata and explores the power women's bodies might have when men are in need. The third chapter investigates The Roaring Girl, written by Middleton and Dekker. This delves into the life of the character Moll Cutpurse and shows why Moll chose to dress as a man. Chapters four and five deal with the fantasy and the gothic elements in Frankenstein and Dracula respectively: focusing on bodily transformations; as well as the treatment of the monster and Dracula by society, and their treatment in turn of society. iii The grotesque is an intriguing style of theatre because it deals essentially with human nature and the human body in its imperfect and ever-changing form. The grotesque therefore lends itself to horror, comedy and exaggeration making it a style which does not have to be limited by strict parameters. The grotesque can be successfully woven into other genres such as the gothic or the absurd giving it even greater dimensions in storytelling, staging and special effects. Human beings are often torn between the gory or visually disturbing whilst needing the safety of the normal and acceptable. The grotesque offers both, which can make a scintillating piece of entertainment by fulfilling our needs at both ends of the emotional spectrum. Grotesque theatre therefore by its very nature is a style which will continue to exist so long as it keeps its patrons in suspense. iv Acknowledgements The words "Dellie, you are a closer" spoken by Dr. Mark Houlahan my Chief Supervisor, I have clung to throughout my two years writing journey while working fulltime and during periods when the task seemed endless and my energies were low. Mark has been an incredible guide who has a depth of knowledge of which I can only listen to with amazement. I shall always value and be appreciative of his energy, his time, his advice, his correction and his compass which always pointed me in the right direction for writing and resources which Mark has always offered me without hesitation. Roy, my partner and quiet mentor upon whom I became reliant to ensure our home remained liveable, who fed me and was a firm and encouraging shoulder upon which I could lean. It is Roy's kindness and good grace which have allowed me to write this thesis. Dr. Fiona Martin and Dr. Kirstine Moffat, both are dear friends with such wonderful generosities of spirit who have volunteered to read and re-read my work offering salient and well-grounded suggestions. Proof-reading is never an easy task as it requires great patience and large slices of uninterrupted time, all of which my dear friends have given me without setting parameters. Mr Gerald Scarfe, CBE who most generously allowed me to use three of his satirical cartoons Fouling Britain, Nixon Flag and Hell. Mr Scarfe has worked with prestigious magazines including Punch and Private Eye and newspapers such as the London Sunday Times (44 years) and the magazine The New Yorker (21 years) as their v political cartoonist. Mr Scarfe's extraordinarily ability does not stop with printed media alone. Collaborations have included the Los Angeles Opera, English National Opera at the London Coliseum as well as the English National Ballet designing set and costumes for many of their shows as well as other plays, operas and musicals worldwide including New Zealand. For full details regarding Mr Scarfe and his work please go to: http://www.geraldscarfe.com/about-gerald-scarfe/. Mr Simon Annand, has generously allowed the reproduction of his picture of Benedict Cumberbatch being made up backstage as Frankenstein's Creature with latex prosthetics. It is Dr Sarah Shieff who, during her lectures about gothic texts, piqued my interest and desire to embark on a voyage of discovery into how the gothic may be played out on stage. It is Dr William Farrimond who informed me of a style of theatre named the 'grotesque' which allowed me to follow my desire for the pursuit of further knowledge turning it into reality. My sincere thanks to you both. Professor Daniel Zirker, I began working for as his PA, engaged with my interest in the grotesque and found me DVDs and books from overseas which assisted me in understanding how the grotesque touches all cultures with all the strands I have become familiar with. Thank you Professor for your encouragement, your enthusiasm for my study and for sourcing such wonderful additional information for me. I am most grateful. This thesis would never have become a reality if it had not been for the generosity of the Sir Edmund Hillary Scholarship. The late Sir Edmund I understand was vi not one to settle for goals which he thought he could achieve, he settled for goals which pushed him further than he ever dreamed possible making him the success he shall always be remembered as. This idea I too embraced. This thesis is the product of a goal which I never thought I would be able to accomplish, but it is with the help of wonderful scholars, family and friends that I have been able to reach my goal. My sincerest thanks to you all. vii Table of Contents Abstract .............................................................................................................................. ii Acknowledgements ...........................................................................................................iv Illustrative Plates .............................................................................................................. ix Introduction: ...................................................................................................................... 1 Everything You Wanted to Know About the Grotesque But Were Too Afraid to Ask ........................................................................................................................................ 1 Chapter 1: ......................................................................................................................... 31 The Changing Human Form ........................................................................................ 31 Amédée or How to Get Rid of It ................................................................................ 32 Rhinoceros ................................................................................................................ 39 Conclusion ................................................................................................................. 50 Chapter 2: ......................................................................................................................... 52 "No, You Can't Always Get What You Want" ............................................................. 52 Lower Bodily Stratum ................................................................................................ 53 Inversions of Power .................................................................................................. 64 Disharmony ............................................................................................................... 66 Abusive Language ..................................................................................................... 67 Bodily Degradation.................................................................................................... 68 Conclusion ................................................................................................................