00001.tif

PDF

Download

Open document

Transcript (if available)

Content .MICHEL DE GHELDERODEs INTERPLAY BETWEEN TEXT AND THEATRICALITY by Donald Laird Simons A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (Communication-Drama) November, 1981 Copyright Donald Laird Simons 1981 UMI Number: DP22934 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI DP22934 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48 1 0 6 - 1346 UNIVERSITY OF SOUTHERN CALIFORNIA TH E G R AD UA TE SC H O O L U N IV E R S IT Y PARK K LOS A N G ELES, C A L IF O R N IA 9 0 0 0 7 » m V— * This dissertation, written by .......Donald _Lai_r_d__Simons........... under the direction of h.i s... Dissertation Com mittee, and approved by all its members, has been presented to and accepted by The Graduate School, in partial fulfillm ent of requirements of the degree of D O C T O R O F P H I L O S O P H Y " f ( Dean ^ t S f c = ....... TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ii CHAPTER I INTRODUCTION 1 CHAPTER II BACKGROUND ON THE PLAYWRIGHT 13 CHAPTER III DEMONIAC PLAYS 2k Chronicles of Hell 25 The Devil Who Preached Wonders 51 Hop, Signor! 68 Red Magic 89 Lord Halewyn 10? CHAPTER’ IV :MASQUE AND CARNIVAL PLAYS 129 A Night of Pity 130 Ostend Masks 137 Don Juan 1^8 Barabbas 176 CHAPTER V PLAYS ABOUT INNOCENCE AND DEATH 209 Christopher Columbus 210 Pantagleize 22k Piet Bouteille 2k5 Miss Jairus 253 CHAPTER VI PLAYS WITHIN A PLAY 288 Three Actors and Their Drama 293 Exit the Actor 302 ii CHAPTER VI Page The Death of Doctor Faust 318 Escurial 3 ^ School for Buffoons 355 CHAPTER VII CONCLUSION 387 BIBLIOGRAPHY ^07 i i i ACKNOWLEDGEMENTS Special thanks to Mr. Stephen Infantino for his fine ■unpublished translations of The Devil Who Preached Wonders, Ostend Masks, Don Juan, and Exit the Actor. I wish also to express my sincere appreciation to Dr. Richard E. Toscan for his thoughtful advice and counsel during the development of this project, to Dr. James H. McBath for his invaluable assistance in the formulation of the research problem, and to Dr. Moshe Lazar for his scholarly guidance in the selection of this topic, and for his overall academic direction and friendship, without which this graduate experience would not have been as rewarding as indeed it has been. CHAPTER I INTRODUCTION Since the turn of the century, "modem" drama has expressed itself through many movements -- naturalism, symbolism, expressionism, futurism, surrealism, epic, absurdism, to name the most prominent. Among the modem playwrights whose work stands apart from the various move ments is Michel de Ghelderode. As a Flemish playwright active between the two world wars, one of Ghelderode's more unique features is his special sense for what is visually and aurally dramatic on stage. This sense for the theatrical may be exemplified by the following stage directions for his play Chronicles of Hell: Scene - A decaying episcopal palace in bygone Flanders, around which an invisible and threatening crowd snarls persistently during the whole of this tragedy. ...Tapestries hang in shreds on the walls, to which portraits of prelates are fastened, very high up. Everywhere at the base of the walls there are piles of baroque objects, idols, suns, witches' masks, multi colored devils, totems, stakes, and instru ments of torture. But in the foreground stands a heavy table with a crimson velvet cloth, sumptuously laden with silver plate and crystal. The chaplin goes around the table shiftily, stealing pieces of meat and swallowing them, while the Vicar-General, who has taken up position on the steps , at the back, looks through the keyhole. Abundant with sights and sounds, these plays instantly u draw’ us in, solely on their visual and aural theatricality. STATEMENT OF THE PROBLEM It is the purpose of this study to investigate the aspect of theatricality in the plays of Michel de Ghelderode. Theatricality as a concept has been variously 2 defined, by Judith Herr who speaks of the relation of actor and audience as the essence of theatricality, and by 3 Susan Passler who defines the concept as any artistic process which overtly increases the interaction between an artistic work and its audience. In her use of the term "theatricality," Alice Benston adds that a dramatist consciously writes within the scope and restrictions of the theatre, and that his awareness of his medium is apparent in the script itself. Close to this, but perhaps more Dbvious still, is my use of the concept of theatricality. In short, what sights and sounds has the playwright written into his plays for intended dramatic effect on his audience? To investigate this conception of theatricality in Ghelderode, the following constituent questions will be considered: 1. What is the physical appearance of the setting? 2. What is the physical appearance of the characters? 3• What physical acts take place on stage? 4. What auditory effects have been indicated? SIGNIFICANCE OF THE STUDY Though written in French, Ghelderode's plays 2 remain distinctly Flemish. Frequently set in medieval Flanders, many of the plays reflect the influence of paintings by the playwright's countrymen Hieronymous Bosch, Pieter Bruegel,' and later James Ensor. Indeed, Ghelderode based several of his plays directly on the works of these painters. Throughout the more than thirty major plays, a common theme is the vision of man as a creature whose flesh overpowers his spirit. As such, corruption, death, and cruelty are always in the fore front . Further, Ghelderode typically downplays language in favor of spectacle. This is to say, his visions are revealed through theatrical images, sound, color, light and shadow, and atmosphere. His characters apart from what they say, reflect spectacle by what they are, by what they look like, by what they do to things and to each other, and by how they otherwise communicate (e.g. facial expression, gesture, and vocal quality). Directly related to spectacle is the concept of "the grotesque," for indeed many of Ghelderode's scenes are spectacular by their grotesque'nces. With this we move not only into the area of physical appearances (e.g. red clad executioners, and humpbacked monks) but again into physical acts such as bringing broken bodies whole or in part on stage. That these matters take place on stage, leads to the _________________ 3 central rationale for this dissertation. While studies have "been conducted on spectacle, the grotesque, and various other aspects of the visual and aural in Ghelderode, these studies typically overlook the fact that in this playwright these elements are not simply literary concepts, hut are specific dramatic devices employed for theatrical purposes. The significance of this study is the perspective that Ghelderode is, in the final analysis, a playwright. While interesting reading, his descriptions of sights and sounds are meant for the stage. Indeed, previous studies consistently overlook the theatrical dimension of Ghelderode's work, opting for psychological and literary analysis. This dissertation focuses on Ghelderode in the theatre. SCOPE OF THE STUDY This investigation is limited to the four constituent questions stated in the research problem. I am dealing only with the playwright's indications regarding the physical appearance of the setting, the physical appearance of the characters, the physical acts, and the auditory effects, the sum of which constitutes the concept of theatricality as applied in this dissertation. Dialogue is not specifically at issue here. In effect, I am concerned with everything other than dialogue, except in instances where the dialogue indicates some appearance, action, or sound relevant to theatricality. Also, 4 this study will not focus on any given production of a Ghelderode play. How a particular director or designer staged any of the plays is not the issue. The focus of the study is the theatricality the playwright himself intentionally wrote into his plays. REVIEW OF LITERATURE The major studies of Ghelderode are either "biographical or textual, or as I have suggested, either psychological or literary. The biographical works generally attempt to explain Ghelderode's dramatic world "by centering on the circumstances of his personal life and on the conflicts and pressures which shaped it. For example, the playwright's Flemish background is emphasized by such writers as Pol Vandromme, Jean Francis, and Albert Lepage, all personal friends of the dramatist at various stages of his life.^ In general, these writers tend to accept Ghelderode's own interpretation of his personality, promoting the play- • wright's idea that he was a character born into the wrong century. Many of the playwright's notions about himself and his work may be found in the Entretiens d'Ostende, an important interview conducted by Roger Iglesis and Alain £ Trutat in the summer of 1951 • One of the better known biographical sources is the one 7 by Roland Beyen. Based on exhaustive research into Ghelderode's background, the biography established a new perspective for considering such problems as the negative _______ 5- image of women and the emphasis on death in the plays. Beyen's perspective is based upon his reading of Ghelderode's correspondences, of magazine and newspaper articles, and of unedited manuscripts, as well as his interviews with surviving members of the playwright's family. Yet while Beyen implies that the nature of Ghelderode's work may be explained by the writer's psycho logical profile, the scope of his study does not lend itself to an analysis of the text. His perspective, like those of other biographical critics, remains external to the plays themselves. A variety of approaches is offered by textual critics. 8 9 For example, Jean Decock and Elizabeth Deberdt -Malaquais are concerned with Ghelderode's place in modem drama. They evaluate his kinship with the so-called Theatre of the Absurd, and the Theatre of Cruelty. Deberdt Malaquais, however, specifically addresses the issue of man's search for identity in Ghelderode's plays. In her study, La Quete de XMdentite dans le trheatre de Michel de Ghelderode, she analyzes the failures both of heroes who seek identity through reason, and by heroes dominated by sensual desires. Further, she explores the themes of the actor and of the clown-fool, as they relate to the search for self. A very creative textual study is Ingelise Koenig's analysis, "Creation as Sacrilege: A Symbolic Study of 1 0 Michel de Ghelderode's Theatre." Here a look is taken 6 at the playwright's dramatic universe through a psycho logical analysis of its symbols — the nature of the characters, the pattern of the action. The drama is seen as a consistent expression of the creative struggle itself, from the psychological point of view. Conversely, the function of language in Ghelderode has been considered by 11 Op de Beeck. Here, selected plays are analyzed from a purely linguistic perspective. Employed are such concepts as Belgian French, patois (illiterate or provincial speech), argot (dialect), and idiolect (the language or speech pattern of an individual at a particular period of his life). Another category of textual analysis includes a variety 12 of studies on archetypes in the plays. Douglas Cole has an article on the Faustian archetype in Ghelderode's, The 1C Death of Doctor Faust, while Helen Heilman ^ has developed an informative study dealing with the heroic fool in the plays. Along similar lines, Ann Rylander's investigation, "The Hero Archetype in the Theatre of Michel de Ghelde- rode," traces the evolution of the hero archetype as Ghelderode's vision of the world changed. She demonstrates the complexity of this evolution while explaining that if the central vision of the world changes, several aspects of the hero's character and function must likewise adapt themselves. In a different vein though still on archetypes, Beth Althofer has written, "Aspects of the Archetype __________________ L Feminine in the Plays of Michel de Ghelderode. Using principles of analytic psychology and psychoanalytic theory, her study focuses on the psycho/sexual aspects of Ghelderode's characters. A final category of textual analysis, and an area of direct relevance to this dissertation, is the work focusing on the visual in Ghelderode. Three studies are especially 16 useful. Marie Margaret Collins has reviewed the concept of the "dance macabre" in Ghelderode's theatre. As the subject of many medieval paintings, the dance of death as well as the personification of death may be seen in situations and characters in Ghelderode. Indeed, it is the graphic, the pictorial, the visual representation of these themes which is of special interest here. Related to this 17 is Anita Sicroff's excellent study of spectacle in the playwright. She reminds uS that Ghelderode's stage settings are reminiscent of Flemish festivals such as Bruegel's kermesses and Ensor's carnavals, of religious processions, and of semiprofane ommegang. She notes that Ghelderode also uses decors, characters, and techniques inspired by folk- loric puppet shows, or borrowed from modem fairs, circuses and music halls. In any discussion of the visual and aural aspects of this playwright, there will also be some reference to the 1 fi grotesque. Peter Fersch has investigated this phenomenon in Ghelderode. His analysis is especially helpful for two 8 reasons: special attention is given loth to the vision which produces the grotesque and to the devices and techniques through which it is evoked. Secondly, Fersch refers to Wolfgang Kayser's The Grotesque in Art and Literature. Here the point is made that among the methods of analysis which gauge the grotesqueness of a work, is its intended effect on the audience, This issue is also central to my analysis. Yet in all the discussions on the visual and aural aspects of Ghelderode, no one has mentioned the concept of theatricality, with theatricality again defined as the sights and sounds the playwright writes into a script for intended dramatic effect. Ghelderode was not simply a story teller. His work was written not just to be read, but to be seen and heard. He wrote for the stage and as such his work must always be viewed as pieces of theatre. This is the perspective of this dissertation. METHOD OF STUDY The analytic strategy for this investigation is three fold. First will be the reading of the major plays for content. I will be drawing from the five volume collection published in French by Gallimard, while English translations will be from the Hill and Wang volumes, George Hauger translator. Other sources include Kenneth S. White's English translation of School for Buffoons, and Lionel Abel's translation of Escurial. From these then I will 2_ select those plays which best exemplify the aspect of theatricality in Ghelderode. The second phase will be the analytic reading. At this point I will isolate specific instances of theatricality as may be found in the play wright's stage directions and in some cases, in the dialogue. Examples may be stage indications for certain colors, light, sound, costumes, facial expressions, gestures, and vocal quality, as well as descriptions of specifically theatrical stage business. The third phase will be to organize all the elements according to whether they pertain to the setting, to the characters, to the action, or to the sound of the play. These four categories which correspond to the four aspects of theatricality as indicated in the statement of the problem will, along with a list of characters, a synopsis, and a discussion of the interplay between text and theatricality, constitute the analytical structure for each play discussed. For convenience, the plays will be divided into chapters according to thematic similari ties . 1 0 FOOTNOTES: CHAPTER I Michel de Ghelderode, Seven Plays, Vol. I., trans. by George Hauger (New York: Hill and Wang, i9 6 0), p. p. 238-2 3 9. 2 Judith Lauren Herr, "A Philosophy of Theatricality: A Phenomenological Description of the Aesthetic Structures in the Arts of Performance" (unpublished Ph.D. dissertation, Florida State University, 1971 )• 3 ■^Susan Miller Passler, "Theatricality, The Eighteenth Century, and Fielding's 'Tom Jones'" (unpublished Ph.D. dissertation, University of North Carolina at Chapel Hill, 1971). h. Alice Naomi Benston, "Theatricality in Contemporary Drama" (unpublished Ph.D. dissertation, Emory University, 1962). 5Pol Vandromme, Michel de Ghelderode (Paris: Eds. Universitaires , 19 6 3) > Jean Francis, L'Etemel Au.jourd'hui de Michel de Ghelderode (Bruxelles: Louis Musin, 1968); and Albert Lepage, Michel de Ghelderode (Paris: Eds. Dutilleul, i960). ^Michel de Ghelderode, Les Entretiens d*Ostende, recorded by Roger Iglesis and Alain Trutat (Paris: L'Arche, 1956). "^Roland Beyen, Michel de Ghelderode, ou la hantise du masque (Bruxelles: Palais des Academies, 1971)* O Jean Decock, Le Thet-tre de Michel de Ghelderode: une dramaturgie de 1'anti-thgtl.tre et de la cruante (Paris: Nizet, 1969 ) • ^Elizabeth Deberdt Malaquais, La Quete de l'identite dans le thialtre de Michel de Ghelderode (Paris: Editions Universitaires, 1967 ) • 10 Ingelise Koenig, "Creation as Sacrilege: A Symbolic Study of Michel de Ghelderode's Theatre""(unpublished Ph.D. dissertation, University of Wisconsin at Madison, 1978)* 11 11 Ludo Auguste Op de Beeck, "Nonstandard French Elements in the Language of Michel de Ghelderode" (unpublished Ph.D. dissertation, University of Pittsburgh, 1973 5- 12 Douglas Cole, "Faust and Anti-Faust in Modem Drama," Drama Survey, 5 (1966). 13 -^Helen Heilman, "The Heroic Fool of Michel de Ghelderode" (unpublished Ph.D. dissertation, University of Pennsylvan ia, 1967). 1A Ann Rylander, "The Hero Archetype in the Theatre of Michel de Ghelderode" (unpublished Ph.D. dissertation, University of Oregon, 1975)■ 1 3 -G3eth Adelsberg Althofer, "Aspects of the Archetypal Feminine in the Plays of Michel de Ghelderode" (unpublished Ph.D. dissertation, University of California at Berkeley, 1976). Marie Margaret Collins, "The 'Danse Macabre' in the One-Act Flemish Plays of Michel de Ghelderode" (unpublished Ph.D. dissertation, New York University, 1 9 6 9)- Anita Edith Sicroff, "Popular and Traditional Spectacles in the Works of Ghelderode: A Study of the Relations Between Setting, Technique, and Theme" (unpublished Ph.D. dissertation, Vanderbilt University, 1977)- 1 P Peter Paul Fersch, "A Study of the Grotesque in the Plays of Michel de Ghelderode" (unpublished Ph.D. disserta tion, Ohio University, 1968). CHAPTER II BACKGROUND ON THE PLAYWRIGHT On April 3» 1898, Michel de Ghelderode was born Adolphe-Adhemar-Louis-Miehel Martens, the name being legally changed in 1 9 2 9. His birthplace was Elsene, 1 Belgium. His father was principal clerk at the Archives Generales where he worked as a subordinate for historians and genealogists, deciphering and copying for them various documents, charters, ancient obituary registers, patent 2 letters, and acts of magistrates. While the young Ghelderode's education included the study of art and music, he would nevertheless go on to follow in his father's footsteps as an archivist. In this capacity he worked in Schaerboek, Belgium for twenty years. A Roman 3 Catholic, he married in 192^. It is Ghelderode the poet, playwright, and journalist however, which is of specific interest to us here. Except' for Marie the Miserable written in 1952, the majority of Ghelderode's plays were written between 1918 and 1937* A h, < list of his principal works would include: 1918 Death Looks at the Window Piet Bouteille The Beasts' Meal The Old Men The Strange Rider 12 1921 A Night of Pity 1925 The Death of Doctor Faust 1926 Three Actors and Their Drama 1927 Escurial Christopher Columbus Images of the Life of St. Francis of Assisi 1928 The Women at the Tomb Don Juan, or The Chimerical Lovers 1929 Chronicles of Hell Pantagleize 1930 The Liars' Club Caroline's Place Ostend Masks Exit the Actor 1931 Red Magic 1933 The Siege of Ostend The Sun Sets The Blind Men 1934 The Devil Who Preached Wonders Lord Halewyn The Ballad of the Grand Macahre Miss Jairus Adrian and Jusemina 1935 The Magpie on the Gallows Hop, Signor! 1936 The Farce of the Band 1937 The School for Buffoons Ghelderode was considered an introvert, possibly because of ill health. As a child he had nearly died from a serious illness which left him partially paralyzed. Upon being stricken by asthma many years later, he withdrew from society, surrounding himself with his favorite 1 4 objects: puppets, masks, and marionettes. By this time however, he was a principal playwright with the Theatre Populaire Flamand, and was considered a master of his 6 art. Between 19^6 and 1953» he was also a writer for the Journal de Bruges. Among his awards and honors: the Belgium Society Author's prize, 19^55 the Malpertuis prize for drama, Belgian Royal Academy of Language and Litera ture, 1951} twice awarded the Triennial prize, the second time in 195^» the recipient of the Picard Award for Dramatic Literature. Ghelderode died in Brussels, April 1, 1962.7 The playwright remained virtually unknown outside Belgium until his Chronicles of Hell shocked Parisian audiences in 19^9. It has been suggested that his plays gained in popularity in postwar France due to their O affinity with absurdist drama and Artaud's theories. Until recent years however, Ghelderode's anonymity continued in England and the United States. Writing between the two world wars, Ghelderode was not a part of other European dramatic activity. It will be remembered that during Ghelderode's most productive period, 1918 to 1937> Europe was amidst or in the wake of Expressionism, Futurism, Constructivism, Dadaism, Surrealism, the Bauhaus, Brecht, and Artaud. But Ghelderode did not participate in any movement, nor was he himself a movement, nor a proponent of a given theory of drama. ____________________________________________________________15_ It is said however, that no writer writes in a vacuum. Inevitably, there are influences. It is so with Ghelderode, and he freely speaks of them in his personal interviews. The details are rather surprising because again there are few references to current dramatic trends. Rather he speaks of early personal encounters with, and impressions of, things of the past. His parents of course were a significant influence on him during his childhood years. He would sit with his archivist father as he labored over various obscure historical texts. Ghelderode says, . . i 1 fell in love with things of the past as every other child falls in love with his toys. I saw nothing else around me - the great wax or metal seals, and those fine counter seals in their wooden box, these greasy sheets of parchment, these diplomas in weird writing, these letters patent ornamented with coats of arms, at the bottom of which tremendous signatures displayed themselves, the Empress Maria Theresa, Philip II, Charles V, and others - from time to time, a Duke of Burgundy.9 The playwright admits that it was no doubt from his mother that he derived his taste for the supernatural. He describes her as a timid, primitive soul. She grew up in a convent where she was taught the lives of the saints, learned liturgical chant, and ecclesiastical Latin. She was rich in proverbs, forgotten songs, ancient legends, 1 n and hair-raising stories. 16 There were other childhood experiences which would later influence his writing: ■ . . r When I was quite a child, I was sensitive to public demonstrations - processions, parades, fairs, strikes, popular disturbances - to all open air entertainments, funerals as well, triumphal entries, liturgical pomps, carnivals, masked balls. Equally, I conceded a great deal of importance to furniture, to clothes, to decora tion, to the worlds of things that are believed to be dead. I was struck by everything that ordinarily doesn't surprise other children: dummies in shop windows, electric signs, statues in gardens, the enigmatic Hermes in the old park, the gesticulations of the trees, all that was color or movement - or seemed to contain mystery. And then, I was curious about entertainments that were still forbidden to me because of my age. I mighthave been twelve years old when I made my way into fascinating halls - where-I passed unnoticed. There I gazed on operas which I little understood but which enchanted me. I initiated myself into ballet. I witnessed bloody melodramas.... So, little by little, this vocation for the theatre strengthened itself in me. 1 By age eighteen, Ghelderode had begun to read a great deal of dramatic literature including Schiller, Victor Hugo, and Hoffman. He was fascinated by Elizabethan drama, reading Shakespeare, Ben Jonson, Kyd, and Marlowe, among others. He was similarly intrigued by writers of the Spanish Golden Age, noting specifically Lope de Vega, Tirso de Molina, Alarcon, and Calderon. Generally however, Ghelderode confessed he was not an avid reader as perhaps _________________________________________________________________________ lz some other authors. Nevertheless he had favorites*. Cervante's Don Quixote, and Charles de Coster's Legend of Eulenspiegel, not to mention Baudelaire and Edgar Allan Poe .^2 Was he familiar with any contemporary dramatists? When I was a young man I had an interview with Maeterlinck. He talked to me about what he called "the deeper life" and I've never forgotten what he said....He taught me that dramatic art is not only physical but metaphysical.... Many of his ideas have become mine.13 What about Strindberg? Strindberg was my idol for quite a long time. Although my technique is not related to his, I do feel a fraternal bond with him. Perhaps our kinship is in the need both of us have to go to the center of the problem and see it through. Neither of us is afraid. The reason, above all, that I like him is that he was a suffering and sensitive soul.l^ One more. Bertolt Brecht: Yes, I know Brecht's work, the ideas in which I despise. He is a didactic playwright, a crusader for materialism. His plays teach me nothing because he is wrong. Yes, he is mistaken. Maybe his plays are those of the future; if so I'm relieved that I belong to the past - to Sophocles and Shakespeare. Divination and instinct are essential. Yes, Brecht is wrong...but he is a theatrical genius. But his ideas are banal.15 Painting, on the other hand, was a favorite of Ghelderode's, and was an art form which considerably influenced his drama. He singles out his past and present _____________________________________________________LS__ countrymen Hieronymus Bosch, Pieter Bruegel, Teniers, Jordaens, and his friend James Ensor. Two plays inspired * by Bruegel were The Blind Men, and The Magpie on the Gallows. Ostend Masks, on the other hand, came directly from the eerie carnival-masked characters of James Ensor's paintings Finally, one cannot speak of the influences on Ghelderode without mentioning music. Far from being a fan of the contemporary music of his time, the playwright loved medieval and pre-Renaissance polyphony. Yet, he would never go to a concert to hear these things; ...I deny myself this delight. That is because I am very receptive and it has happened that I have been plunged into an inexpressible condition after certain hearings, certain revelations of important works. Prolonged euphoria became a means of atrophying the creative will. So, I avoid concerts as one avoids pleasures that are too violent, too powerful....17 Phonograph records were all right, however, and he would play Guillaume de Machaut, Dufay, Qbrecht, Orlandus de Lassus, and Palestrina, among others. Bach, of course, was essential. The occasional liturgical chant. Spanish music. When he was in the mood, Ghelderode also enjoyed "fairground cacophonies, orchestrions, street organs, 18 mechanical pianos, not forgetting nostalgic accordions." Indeed, it is with these latter we will become familiar in the sections of this study dealing with auditory effects. Among the auditory effects will also he found, bells: ...1 am a bell-fancier. A strange passion, isn't it? Not only religious bells, but civil bells also, those carillons that Flanders invented, both the tragic bells with bloody mouths and the triumphant with golden tongues. ...You will frequently come across them in my writings, in my plays. They are like an obbligato accompaniment. They are a musical sign announcing the intrusion, the imminence of the supernatural, the approach of mystery.lV This chapter has provided background information on the playwright, including a review of some of the influen ces on his work. The facts about, and comments by Ghelderode in this section, will become of still greater interest in the next chapter, which begins the analysis of the plays. There we will see all the unusual objects and startling events, hear the medieval music and the bells, and all the other elements which grew up in his imagination and manifested themselves in his plays. Mean while, I would close this chapter with one additional enlightening comment by Ghelderode. Concerning the role puppets and marionettes have played in his life, the play wright remarked candidly, ...Yes, marionettes were the great concern of the whole of my childhood, I’ll even say of the whole of my career. Even today I collect marionettes, dolls, puppets, little rag creatures that the children of today scorn - also dummies with lovely mortal faces of wax, models 20 of hands, adorable heads of young martyrs, severed by what executioner? All these effigies thrill me by the fact of their somewhat magical nature, and even though flesh and blood actors can weary me and often disappoint me, marionettes, because of their natural reserve and silence, manage to console me from the cacophony of the play and the crazy glibness of the impudent creatures 2o that theatre people most often are. 21 FOOTNOTES: CHAPTER II i Frances Carol Locher, ed., Contemporary Authors, Vols., 85-88 (Detroit, Mich.: Gale Research Co., 1980), p. 206. 2 . Michel de Ghelderode, "The Ostend Interviews," in Michel de Ghelderode: Seven Plays, trans. by George Hauger, Vol. I. (New York: Hill and Wang, I960), p. ■^Locher, op. cit., p. 206. George Hauger, "Notes on the Plays of Michel de Ghelderode," Tulane Drama Review, Vol. k, No. 1 (Sept., 1959), p. p. 29-30. ^Locher, op. cit., p. p. 206-207. 6Ibid., p. 208. ^Ibid., p. 206. Q Oscar G. Brockett and Robert R. Findlay, Century of Innovation (New Jersey: Prentice-Hall, Inc., 1973), p. 392. g 7Ghelderode, Seven Plays, Vol. I., p. 5. ^°Ibid., p. k. 11Ibid., p. 1 5. 12Ibid., p. p. 12, 15, 18-20. 13 ^Samuel Draper, "An Interview with Michel de Ghelderode," Tulane Drama Review, Vol. 8, No. 1 (Fall, 1963), p. ^3. Ibid. ■*"^Ibid., p. 47. 1 6 Ghelderode, Seven Plays, Vol. I., p. 16. ■^Ibid., p. 8 . 22 ^ Ibid. , p.p. 8-9 . ^^rbid. , p.p. 6-7 . 20 Ibid., p. 23. _23J CHAPTER III DEMONIAC PLAYS Chronicles of Hell (1929). The Devil Who Preached Wonders (193^). Hop, Signor! (1935). Red Magic (1931). Lord Halewyn (1934). As part of my introduction to this chapter, I wish to remind the reader that the plays in the next four chapters have been grouped for convenience, according to thematic similarities. The plays have not been arranged to show a chronological relationship, nor are they meant to be final groupings, thematically. As the title of this chapter suggests, these plays have been grouped together because they are good examples of devilish or sinister plots. Chronicles of Hell presents a collection of grotesque clergy blasphemously celebrating the murder of their bishop, only to have his Eminence come back to life seeking revenge. It is a very colorful play theatrically, with lots of thunder and lightning, physical > violence, and shouts from a threatening crowd. Conversely, The Devil Who Preached Wonders is more humorous, reminding us that Ghelderode does have a sense of humor. Among others, the characters in this play include a bagpipe- playing witch, a drunken nightwatch, and a rather likable devil complete with a tail. A more pathetic story is that __________________________________________________________ 24 of Hop, Signori, which centers around the death of a curious little sculptor of cathedral gargoyles. Other colorful characters in this play include two highly entertaining dwarfs, a red-clad executioner, and a skulking monk. A miser is the center of attention in Red Magic, his chest of coins being the target of a plot. Involved in the scheme are the miser’s wife, a shifty beggar, a dis guised thief, and a gluttonous monk. Finally, Lord Halewyn is a macabre tale of enchantment and death based on an ancient Flemish folk song. Chronicles of Hell Cast of Characters: Jan of Eremo, Bishop of Lapideopolis Veneranda, a servant • Simon Laquedeem, auxiliary bishop Sodomati, the Nuncio's secretary Krakenbus, vicar-general Real-Tremblor, archdeacon Dom Pikkedoncker, pleban (rural dean) Camibos, chaplain Duvelhond, guardian of the holy relics The Master of the Butchers The Butchers An Arquebusier Four Swiss The Crowd 25 SYNOPSIS As the play begins, we see various members of the clergy blasphemously celebrating the funeral of the bishop, Jan of Eremo. Presently Sodomati, an emissary from the Pope arrives with the suspicion that the auxiliary bishop, Simon Laquedeem, may have been responsible for Jan's death. Indeed it will be revealed that the auxiliary bishop administered the last sacrament to an ailing Jan, with the sacrament being a poisoned wafer sealed into the bishop's throat with hot wax. As the issue comes to the fore, thunder and lightning signal the resurrection of the revenge-seeking bishop. A great physical battle takes place between the bishop and the auxiliary bishop. All this suddenly comes to a halt however with the appearance of an old servant woman who had been attending the remains of the bishop. It seems this is Jan's mother who, after scolding him for coming back to life, demands he absolve Simon and the other priests. Only by forgiving them can he expect his forgiveness in Heaven. Having coughed up the poison wafer as evidence of his having been murdered, the bishop is very reluctant to absolve the others. Eventually he does, however, and is led by his mother back to the mortuary chamber to die. Soon after though, as the old servant is about to leave the chamber, she is seized by the auxiliary bishop who forces down her throat the same poisoned wafer her son had choked up. She then dies. The butchers then appear and threaten- 26 ingly claim the "body of their trusted "bishop. The play concludes with a grinning Simon, notorious for his "bowel problems, crouching on stage. PHYSICAL APPEARANCE OF THE SETTING Ghelderode describes this setting as a decaying episcopal palace in bygone Flanders, around which an invisible and threatening crowd snarls persistently during the whole of this tragedy. At the back of the set (up stage) there is a wide double door which is framed between two columns supporting a pediment. Reached by several steps, this is the entrance to the mortuary chamber. On the left is a gothic doorway, with another exit, low and narrow, located farther downstage. On the right there is a glass bay window which looks onto the public square, and through which "...breaks the morbid light of a stormy summer dusk." There are tapestries hanging in shreds on the walls, along the top of which are fastened portraits of prelates. All around the base of the walls are piles of baroque objects, idols, suns, witches' masks, multicolored & Note that there will be instances in this category where I will refer to elements in addition to only the set, as in this case I mention sounds. I will also be indicating who is on stage as the act begins. This is to give a proper sense of 'tableau,' which is the artistic grouping of theatrical elements especially at the beginning of major sections of the play. These elements will again be indicated in their appropriate categories as auditory effects. etc.. devils, totems, stakes, and instruments of torture. Mean while in the foreground stands a heavy table with a crimson velvet cloth, sumptuously laden with silver plate and crystal. To complete the tableau, Ghelderode has the chaplain, Carnibos, going around the table shiftily, stealing pieces of meat and swallowing them. Upstage, the vicar-general peeks through the keyhole of the mortuary 2 chamber door. The next description we have is of the mortuary chamber itself, and of its contents. The chamber is "...blazingly illuminated by a hundred candles which light up a tilted funeral couch on which, clothed in his canoni cals, mitered, and with his crook, lies a man of remarkable height and breadth, with a grayish and shining face, and all angular, like a recumbent figure cut in stone...."^ This of course is the bishop, Jan of Eremo. Four Swiss guards carrying halbreds stand rigidly at the corners of the funeral couch. There is a large crucifix above, while at the foot of the bed, there is the bishop's coat of L arms, "...sable anchors on a field of gold." PHYSICAL APPEARANCE OF THE CHARACTERS In this category, Ghelderode provides us with a clear description of the bishop, Jan of Eremo, just indicated, and a description of the Master of the Butchers, who appears in the final scene of the play. He is "...a 28 colossus, bald, torso bare, with sheathed cutlasses at his leather breeches. Beyond this we have certain physical problems and behavioral traits which would indicate something of what the other characters look like: By his behavior, the chaplain Carnibos is obviously a glutton and would appear as such. Carnibos' opening speech indicates that Krakenbus, the vicar-general, is hump- 7 backed. The rural dean, Dorn Pikkedoncker, is hard of 8 hearing and carries an ear trumpet. Duvelhond, guardian g of the relics, stutters. The archdeacon, Real-Tremblor, is 10 afraid of the dead. (Note the descriptive value of the names!) Sodomati, a young priest and emissary from the 11 Pope, is physically attractive. Finally, Simon Laquedeem, the auxiliary bishop, has bowel problems and would appear 12 accordingly. PHYSICAL ACTS The first items here are those involving the chaplain, Carnibos, and the vicar-general, Krakenbus. As indicated earlier, Carnibos is first seen going around the large table where he shiftily steals pieces of meat and swallows them. It is suggested that in this typical feeding frenzy, Carnibos scarcely takes the time to chew the meat. At one point he is seized by a violent cough which results in his spitting a piece of meat back into his hand. He then 13 eats it again. J Meanwhile, Krakenbus is seen bent over, 22_ peeking through the keyhole of the mortuary door, a hit of theatricality designed to arouse the audience's l i f . curiosity about what is behind there. Krakenbus then comes down and confronts Carnibos, the former demonstrating what is apparently one of his favorite tricks. -With a sudden stamp of his heel, Krakenbus crushes Carnibos' A < foot. - ■ Tauntingly, Krakenbus then picks up a piece of meat and stuffs it into Carnibos' mouth, the chaplain paying no attention to the intent, and greedily gobbling 1 f ) up the food. The vicar-general and the chaplain have gone to the mortuary chamber door where each in-turn peeks inside. All Carnibos can see is a hairy body which he calls "meat," as though it were a side of beef. There then begins a shoving match with Krakenbus again attempting to stamp on Carnibos' foot. Finally they declare a truce but as they go to embrace, they accidently bang their foreheads 17 together. What had been laughter is now doubled. The hard-of-hearing rural dean, Dorn Pikkedoncker, has entered. Carnibos begins singing a little tune into Dorn's ear-horn, which inspires Dorn to sing too. He picks up a knife from the table where he begins to strike the 1 8 crystal glasses making as though they were bells. Duvelhond, guardian of the relics, has come in stutter ing. Carnibos imitates him and, catching Duvelhond with his mouth agape, stuffs a piece of meat in it. Meanwhile 20 Krakenbus crushes Duvelhond's foot with a swift stamp of his heal. Lymping and moaning, he makes off to the left, shaking his fist. He bumps into the entering arch- 19 deacon, Real-Tremblor, whom he almost knocks over. ' Real-Tremblor is afraid of death. Krakenbus suggests that Real-Tremblor go and lick the dead man's nose. He orders the others to bind him. Everyone rushes at the archdeacon who throws himself flat on his belly on the ground. There is a scuffle. Ghelderode chooses this moment for the entrance of the sinister auxiliary bishop, Simon Laquedeem. He swoops down on the group which, startled, breaks up. He then kicks Real-Tremblor who is 20 still lying on the floor, accusing him of being drunk. Simon was the one who, as previously noted, has bowel problems. Soon after his arrival, he is speaking to the others when suddenly he stops and holds his stomach. His face is drawn. Presently he gives a "big sigh" which, by indications in the dialogue, means that he has farted. The auxiliary bishop then mops his brow. This will not be the only occurrence in Ghelderode of this theatrical 21 device. As the group of priests gathers to go onto the balcony to speak to the crowd, Ghelderode employs another of his theatrical effects. He uses lightning to give the eerie effect that not all is well in the universe. Prior to the group going onto the balcony, there are these indications: : ; 2 1 "Plashes of silent lightning quiver on the . panes of the 22 halcony." "Plashes of lightning outside. A silence 23 during which the crowd is heard snarling." ^ "Outside, oh, flashes of silent lightning." The lightning will occur again during the halcony scene, hut for now the group has formed and is ahout to go out to face the people. Incidentally, the only priest the towns people apparently trusted was the now dead hishop. They are clearly antagonistic toward this other lot. Krakenbus has opened the halcony windows with a crash. A harsh, gloomy light floods the room. Led hy the auxiliary hishop, the group of priests moves slowly to the right and disppears onto the halcony. Only Camihos lingers behind, seizing the opportunity to steal some more pieces of meat which he devours ravenously. Flashes of lightning, nearer and hluish, silently follow. Suddenly a fierce clamor breaks out. There is booing, whistling, harking and laughing. The violent crowd is insulting the priests. The latter fall hack inside in disorder. The halcony windows are shut and the clamor diminishes. The priests look at each other as though counting their number. The next moment of theatricality comes when the double doors to the mortuary chamber are opened for the first time. With the auxiliary, Simon Laquedeem, leading, the priests take several steps toward the double doors. 22 which the death-fearing Real-Tremblor opens with a calculated slowness. The chamber, with its one hundred blazing candles, elaborately adorned deceased bishop, and four Swiss guards, is revealed. At the auxiliary's command, the priests kneel, turned toward the chamber. Simon goes up the steps and stops at the threshold. After a moment he admits that the corpse of Jan of Eremo is more formidable dead than living. He turns away and comes back down the steps where, beginning to pray aloud, he yawns and mumbles some Latin words. The others confusedly make responses. On Simon's command, the priests get up and the double doors are closed. Following all the illumination from the candles, the doors being closed make the room appear especially gloomy. Outside, the lightning flashes almost continuously. In this very eerie atmosphere, all are seated at the table now as Simon Laquedeem begins to tell the story of the bishop, Jan of Eremo. At one point Simon is interrupted by Real-Tremblor who says that the people believe Jan was bom of the fornication of a monk and a mermaid. Simon resents being interrupted and after taking a drink from his cup of wine, he throws the dregs in Real-Tremblor's face The auxiliary's telling of Jan's story has been interspersed by eerie thunder, another favorite sound effect of Ghelderode*s. (The playwright typically likes 21 to use these special lighting and auditory effects to punctuate and reinforce certain situations, creating greater tension and suspense.) The young priest, Sodomati, has begun to question Simon's account of Jan's death. The auxiliary bishop has become nervous and upset, gest iculating uncontrollably without words. During this silence filled with gestures, a long flash of lightning creates a pale false daylight. Simon suddenly denies having anything to do with Jan's death, as though he had been accused. Another blinding flash of lightning, with a thunderbolt falling and striking quite close. Everything p O makes a crackling sound. As Ghelderode explains: "For a brief moment the room seems to be crackling in an out break of bluish fire as it is filled with a violent astral light that all at once goes out."^^ Stunned, the priests have stood up and made defensive gestures. Outside the crowd answers the thunderbolt with a great outcry. There is considerable disturbance around the table. Voices are confused. Only Simon has remained seated. His voice dominates the uproar as he demands everyone settle down. The priests draw close to him for strength. The auxiliary tries his utmost to laugh. In a moment, the double doors to the mortuary chamber can be seen opening part way, as one after the other, the Swiss guards escape. They seem incoherent. They head straight for the door on the left. Simon springs toward the door ___________________________ 3^ and bars their exit. The four utter inaudible words, 30 and shoving Simon out of the way, they go out like madmen. Ghelderode describes what happens nexts The auxiliary runs to the double door. He pushes the halves of the double door wide open, and the mortuary chamber is revealed, blazing with its thousand lights. Six toneless cries, the six cries of terror of the six priests, who are congregating at the left ready to flee, and the ominous laugh of the auxiliary rumbling above the bleatings. At the foot of the couch and turned toward the room stands Jan Eremo, crook in hand, made taller still by his high miter, a dark and heavy mass hieratically sculpted and as though vibrating in the light.31 Ghelderode's sense for the theatrical continues as he now has Simon address the bishop, Jan Eremo, who stirs at his name. Jan takes a step forward like a block that is about to topple over. Simon draws back and the other priests begin to leave. The bishop comes forward very slowly, his right hand raised to his throat. Simon and the other priests have now all exited. There is the noise of the door being bolted, and running around in the corridor. 32 Shouts. Outside, the crowd growls. There is thunder. The bishop clumsily makes his way into the room, wielding his crook like a blind man's staff. "At each lightning flash, his face shines like metal; the gold embroidery that covers him lights up.... At each lightning flash, the crystal glass and silver plate flare up."-^ _____________________________________________________________ _35 The bishop seizes a knife which he pokes into his mouth, flicking and spitting out pieces of wax. He throws the knife down, grabs a goblet and attempts to drink, his head flung back. He throws the goblet away, spewing out the wine he was trying to swallow. He then becomes transformed. "A permanent rattle, like the grating of a rusty pump, comes from his freed mouth, and nothing other than this 3 L rattle will come from it."^ Jan will continue to poke at his throat. The wax is out but the poison wafer is still lodged in there. Mean while he is looking for the exits. He goes to the right where the lightning leaps about the balcony. He is heard shaking the windows, and the windows fly into pieces. Outside, the crowd is throwing stones and bellowing. Jan comes back in, hugging the walls. He goes to his idols and touches them pitiably. Suddenly there' is the sound of the door bolt working. The door opens, the light marking the way. Then there are voices calling to him in the walls, and the bishop storms out.-^ The room stays empty for a while. The noise of running around resounds in the walls, when suddenly the priests appear in the mortuary chamber coming in from the back. The auxiliary rushes into the main room where , he quickly shuts the door through which the bishop had just exited. The others sit, breathless, also now in the main room. Real-Tremblor bolts the big double doors to the mortuary chamber. Simon now attempts to rally the others for a show down with Jan, hut the priests show little enthusiasm. Infuriated by their apparent cowardice, Simon "...hurls himself into the group of priests and drives them to the 37 exit with blows of the fists. It is now time for Simon's confrontation with Jan. Note that I have been presenting these linked sequences of physical theatricality to demonstrate a characteristic technique of Ghelderode's. We will note in a number of the other plays as well, that about half to two-thirds of the way into a story, Ghelderode will initiate a sequence of physical events which will gain in intensity to the end. This play is a good example of this technique. Simon now beckons to the bishop. There is a violent impact which shakes the double doors. Meanwhile, the auxiliary has set up an arquebus and aimed it at the door. The shot goes off with a cloud of smoke, shattering some of the door's boards. The face of Jan Eremo appears, open- mouthed in the hole, which is lit up. His throat rattles. Simon pushes the arquebus into the hole in the door, only to have it seized from the other side. A struggle for possession ensues. Panels smash, and the hole grows bigger. Finally, Simon lets go of the weapon which disappears inside. Suddenly there is a tremendous explosion outside which rocks the palace. Applause and hurrahs from the 38 crowd. They are storming the palace. _____________________________________________ 3Z- The room stands empty. Soon a hand appears, then an arm through the hole in the door. It seeks the latch, hut cannot reach it. Then, shaft first, a processional cross comes out. It hangs and pries until at last the door gives way completely. The bishop looms in the opening, no longer with crook and miter. His hands are held forward ready for the attack. He comes into the room hut is sur prised not to find Simon. Suddenly there is a noise. Jan goes over and stands motionless in the shadows among his idols. Ghelderode now puts in a second explosion which shakes the palace and which is answered hy the storm. Outside, crazy with lightning and gunpowder, the crowd 39 roars. Through the mortuary chamber, the auxiliary enters carrying an ax. He comes down into the room; looking in every direction, he continuously turns about. He calls to Jan. Nothing. Unsuspecting, he begins to drift toward the idols. He again calls Jan, and again there is no answer. Finally he calls the bishop a murderer. The idols come tumbling down as the bishop attacks the auxiliary, knocking the ax from his hands. A violent standing struggle. Then they fall to the ground and roll about. Carnibos enters momentarily, only to run in terror. For a second, the pair disentangle themselves; then, head down, they rush toward each other. Simon collapses under the impact, but escapes k'O on all fours. Jan Eremo picks up the ax. 38 The priests then rush in from the left hut stand paralyzed in terror against the wall as they see the hishop approaching Simon with the ax. The auxiliary hellows woefully as the bishop's rattle has transformed into a kind of fiendish laugh. Suddenly however, Real-Tremblor has come in, violently dragging Veneranda, the old servant. He pushes her into the center of the action which now has come to an abrupt halt. The crowd is silent. The If . 1 storm stops. The ax dangles in mid-air. The old woman is seen hopping to the bishop where she shouts in his face, demanding to know why he has come back from the dead. The bishop has lost his.stiffness and _some of his height, as he bends humbly toward the old woman and tries to speak. His mouth moves but nothing comes out. He points to the back of his throat. Veneranda thrusts her fingers into his mouth, then tells him to spit it out. In a spasm, the bishop spits out something, at which he gazes with amazement for a moment on the floor. She then leads the bishop, now little more than a tottering old man, back to the mortuary chamber. As they are about to enter however, Jan raises up again and turns back to face Simon and the other priests. Veneranda has anticipated this renewal of hatred and demands that he absolve them. He is exceedingly reluctant until the old woman says that she, his mother, demands he absolve them. This Jan finally does, and the two reenter the mortuary chamber. Veneranda's _____________________________________________________________ 39 voice can be heard comforting Jan as she closes the 42 double doors. Then silence. The auxiliary has gotten up and stands by a gap in the double door where he observes the interior. As though crushed by the weight of the blessing received, none of the other priests moves, except Sodomati who has gone over to retrieve the object spat out by the bishop. It is the poisoned host. There is an immense flash of lightning, lighting the room like a dawn. Then the thunder and lightning stop altogether. The crowd has begun mutter ing again, only this time without anger, and sorrowfully. 43 Knells come from nearby towers. But Ghelderode does not stop with this. He has Simon come down and take the poison wafer from Sodomati and ask who would like communion. Real-Tremblor indicates old Veneranda who has slipped through the slightly opened double door and is making her way toward the exit. Simon rushes over, seizes her, and shoves the host into the old woman's mouth. He murmurs the consecratory words of which only a couple are heard. Releasing her, she takes a few steps toward the exit, then slides down the wall and dies^ Next is the butchers' scene. There is shouting in the corridors as the butchers approach. A great blow on the door which is then opened, a flood of red light entering the room. The master butcher and nine giants enter, some carrying torches. (As guildsmen, they represent the towns 40 people and have come to claim the hody of their trusted bishop.) Simon points toward the mortuary door. At a signal from the master, four butchers separate from the rest and go into the chamber. Once again the light of the funeral candles floods the room. Presently the four re appear carrying the couch bearing the bishop's remains. They stop near the master. The auxiliary has begun a prayer which is interrupted by the roaster as he signals i j . < for the butchers to exit. There is one last scene now which will conclude the presentation of physical acts in this play. The butchers have gone. Simon puts his hands on his stomach and laughs derisively. Suddenly he bends at the knees and staggers, a behavior which has brought the other priests around him. He writhes on the spot, but soon, after a long shudder he rises up again. Carnibos holds his nose and exits, coming back with a smoking censer which he swings majestically. "Dung!", shouts Dom Pikkedoncker. Laughter rings out as the priests sniff each other like dogs. Panic laughter and wild gesticulations. Thunderously, Simon accuses the others of filling their cassocks with dung where upon he crouches, gown tucked up, "...his rabbinical face expressing A6 demoniac bliss." AUDITORY EFFECTS There are numerous instances in this play where Ghelderode has indicated sound effects. Most of them are either crowd sounds, or sounds of the storm. To begin, the playwright suggests that the threatening crowd "snarls persistently"- during the entire play, creating a kind of undertow of sound which to some degree or other is always theret^.Shortly after Simon Laquedeem's first appearance during which we learn of his sinister nature, there is "a silence during which the crowd is heard 48 snarling." The crowd is heard in full force when the group of priests goes out onto the balcony to speak to them. In this instance, "...suddenly a fierce clamor breaks 4 Q outs booing, whistling, barking, laughter...." 7 The first occasion of thunder occurs while the auxiliary is relating the legend of Jan of Eremo to the other priests. "During the short silence, a rumble of thunder, still j a -it i .n ■ .50 The situation distant, is heard. All perk up their ears." is repeated as Simon pauses again in his story. "A fairly long silence. Stillness. The rumbling of the storm is heard, greater than before." With this, it becomes apparent that what Ghelderode is doing is using the device of an approaching storm to create suspense and tension which ultimately will lead us to the climax of the play. Of course the placement of these sounds is also important. This playwright is using thunder, lightning, crowd sounds, and so on, to underline or punctuate a given statement or situation. Interestingly, in this play the storm and the crowd are virtually characters themselves which in a sort of omnipotent and omniscient fashion are precisely aware ___________________________________ 42. of what is going on in the one room of the palace. Indeed at times the storm and the crowd appear as one. One such instance occurs when Simon, having just completed his story of Jan of Eremo, has practically confessed his guilt in the murder of the bishop. There is a great crash of thunder. "The crowd answers the thunderbolt by a tremendous outcry."-^ Further evidence of this partnership of the storm and the crowd comes at the end of a stage direction during which several sounds are described. The resurrected bishop has just appeared for the first time in the doorway of the mortuary chamber. Simon and the other priests have exited; Noise of the door being bolted - noise of running around in the corridors, and calling. The hubbub dies away. And there is silence. A solemn silence which is aggravated by the growling of the crowd, like the rumbling of the ceaseless thunder, and on which is superimposed the deep pedal of the storm that seems vocal and growls in unison with the crowd.53 There are two related references: "The noise of running around resounds in the walls. This occurs when the priests lure the bishop out into the hallway. Then, as Simon decides to take on the bishop in combat, he "...listens to the crowd and the storm growling. The final two instances of crowd sounds I will mention are interesting because they also include another favorite sound of Ghelderode's b'ells. When the bishop is finally ^3 laid to rest again toward the end of the play, the crowd can "be heard muttering, but this time without anger and in a more sorrowful tone. "Knells come from nearby towers." Finally, as the butchers leave the palace with the body of the. bishop, "...the crowd gives a final howl of triumph that is prolonged and becomes a kind of lamentation that will continue to get more distant. And the great bells, countless in number, will start ringing in the towers."^' INTERPLAY BETWEEN TEXT AND THEATRICALITY To introduce this first "interplay" section, I would like to once again quote from one of Ghelderode's inter views, this time to provide evidence of the playwright's early awareness of theatricality. Speaking with Samuel Draper, Ghelderode was recounting the situation which promp ed the writing of his first play. It seems a "half-starved- looking bohemian" approached him one day asking if the writer could give a lecture to a group of young avant-garde artists and writers. Ghelderode agreed to do this, indicat ing that his subject would be Edgar Allen Poe. This would be fine but it was felt that a play should be provided as well, as a lecture alone might be too brief. Thus it was that Ghelderode wrote his first play which in this instance was deliberately in the style of Poe. Ghelderode describes it t It was lugubrious beyond belief, a drama I called Death Looks Through the Window. The stage was plunged in darkness. Three candles were the only light. It was a frightening play in which all the characters were physically or morally defective, filled with blemishes. There was a senile and cynical old princess, a young woman with an enormous head, a deaf and hunchbacked chamberlain in the Pope's employ, an archdeacon who kept an inventory of his crimes, his rapings and kidnappings, and poisonings. ...The drama unfolded in a storm during which the church bells peeled forth, and wolves howled. Everything ended in hell and damnation. It was frightful, incoherent, macabre, and flamboyant. It was a smash hit, a howling success. I wondered if all the yelling and applause were for the play or for the lights which had finally come on. But whatever the reasons, the lesson was great for me. I had, without knowing it, applied all the theatrical ingredients. This early play then is evidence that from the very beginn ing the playwright knew, albeit "without knowing it", what was theatrical. Death Looks Through the Window was not simply literature, but a lively piece of theatre. The succ ess and influence -of this first play with all its "theatri cal ingredients" is apparent in all the plays that followed. Chronicles of Hell was written some eleven years after Death Looks Through the Window, but they are clearly related theatrically. As for the meaning of the later piece, about which there has been a great deal of speculation, the bottom line must be what the playwright himself has indicatedj "Chronicles of Hell is a play about an authentic . Christian who is in a state of grace and who is opposed by shammers, fake believers, anti-Christians who are ’so- called’ priests. The true Christian dies in the end, hut he dies fulfilled and appeased."-^ To begin the discussion of the interplay between text and theatricality, how does the physical appearance of the setting support the meaning of the play? As audience, several aspects of the set, of the opening tableau, catch our attention the moment the curtain goes up. First, the overall look of the stage is reminiscent of the hell paint ings of Bosch and Bruegel. In what was once no doubt a serene and beautiful episcopal palace, we see for example that the tapestries on the walls are in shreds. Also, around the base of the walls are such -unlikely objects as idols, suns, witches' masks, multicolored devils, totems, stakes, and instruments of torture. Adding to the tableau we note that a threatening crowd can be heard "snarling" outside the windows through which stares the morbid light of a stormy summer dusk. Upstage center there are two wide double doors framed by columns suggesting that this will be the center of the action. Finally to this overall tension- producing incongruity, and feeling of conflict which is of course the essense of the play, we note the grotesque character Carnibos. He circles a large table of food reminiscent of the Last Supper. Whatever the feast's religious purpose, Carnibos obviously could not care less U-6 as he stuffs himself even "before the other participants have arrived. Except for one. The opening curtain has also caught the vicar-general Krakenbus in the voyeuristic act of peaking through the key hole of the mortuary chamber. Thus does the theatricality of the physical -appearance of the opening scene establish through incongruity the idea of conflict which is central to the meaning of the play. One further note on the setting: The mortuary chamber is a tour de force of theatricality. Ghelderode does not show it to us right away. He lets the suspense build. In fact when the double doors finally are opened, we are a little startled that it has actually happened. Enhancing the theatrical effect which is already visually spectacular with all the candles and the mitered corpse, is the notion that this is, in its sacredness, something at which we are really not supposed to be looking. However, once our eyes and our minds have adjusted to what we are seeing, the effect is that this mortuary chamber is tantamount to the tomb of Christ, which ultimately is the association Ghelderode wants us to make with his character Jan Eremo. Jan Eremo of course is not Christ, but he is on that end of the spectrum. On the other end of the spectrum are all the other clergy. They represent a sort of "demonical infestation" which has taken over the church. As corrupt and sinful clergy, they provide the perfect opportunity for Ghelderode 4-7 to employ a visual technique which has its roots in medieval Christian art. This is to say, there was once a notion that the nature and degree of one's sinfulness was reflected in one's outward appearance. Thus does Ghelderode make this group of clergy especially grotesque in appearance and action. The theatrical effectiveness of the physical appearance of these clergy is -undeniable, as is the case with another group, the butchers. Ghelderode could have made Jan Eremo patron, as the story would have it, of any other guild (e.g. carpenters, bakers et.al.) but that he is patron of the butcher's guild is yet another marvelous example of this playwright's sense for the'theatrical. Thus do we have on stage these ; colossii bald, bare chested characters with cutlasses at their leather breeches. The physical acts have been presented in detail in the appropriate section, but I would like to put them in perspective. The first sequence of events up to the balcony scene is primarily for the introduction of the corrupt clergy. Each appears in turn to display his physical (theatrical) peculiarity. The scene of the priests going onto the balcony is to underscore the hostility and dis trust the townspeople have for these characters. The intro duction of Jan of Eremo follows with the first opening of the mortuary doors. This is handled in a very blase manner by Simon Laquedeem, his attitude further communicating the unfortunate nature of this fellow. The relating of Jan's story by Simon comes next, all during which we become increasingly aware of the thunder and lightning outside. Apart from their tension-producing effect, these elements serve another purpose. Ghelderode, like Shakespeare, has here used nature in the medieval sense of being a medium through which God speaks. Thus as Simon recounts in a some what guilty fashion the story of Jan, God through nature accusingly and persistently responds. With all but Simon registering fear and terror, which we as audience are also now feeling by contagion, the tension reaches its peak with the bursting forward of the resurrected archbishop. What .follows then is the climax scene which is the big battle between Jan and Simon, the personifications in the medieval sense of good and evil. While this symbolic battle is wonderful theatricality, what is perhaps of greatest significance is the manner in which the situation is resolved. Ghelderode has stated that this is a conflict between an authentic Christian and a false believer. In light of this, Ghelderode cannot let Jan, despite his vengeful rage, kill Simon. A true Christian does not murder, his only true course of action being to absolve the wrong-doers. This of course is exactly what happens. But the story does not end with the subsequent dying of Jan "fulfilled and appeased." The play ends on a pessimistic note with Ghelderode having Simon poison the archbishop's mother, and having life at the palace continue in its state of sin and corruption. ___________________________________________________________________________ We have seen how the theatricality of the physical acts has supported the theme of the conflict between true Christian and shammer, but how about the auditory effects? As noted in the appropriate section, the principal sounds of this play are crowd noises and thunder. Ghelderode has used the hostile crowd sounds for tension, rhythm, and momentum to move us inexorably toward the show-down between the forces of good and evil. The thunder has been used similarly, although its effect tends to be that of a series of exclamation points. Also, as with the lightning, which we have discussed in the medieval context, the thunder may likewise be considered reactions by God. 50 The Devil Who Preached Wonders (A mystery play for marionettes) Cast of Characters: Bashuiljus, monk-preacher Capricant, devil Fergerite, a witch Lamprido, nightwatch Mgr Breedmaag, Bishop of Brugelmonde Dorn Vispoel, chaplain Didyme, Abbess Messire Uttekas, city treasurer Dame Cloque Uttekas, his wife Abraham Goldenox, banker Her Capoen, judge Her Gresil, attorney Her Sturlut, notary Master Sifflo Grammaticus, theologian Della Villaflor, captain Pecton, trader Sir Plumhail de Villehain, gentleman Gargarismus Begga, poet Jehan Efront, doctor Roquefijn, son of his family 51 Messire Candelie, ducal historian Dame Maberthe Candelie, his wife SYNOPSIS This is a "mystery play for marionettes." In Act One we are introduced first to an outrageous witch named Fergerite, and then to a drunken nightwatch called lamprido. What follows then is a sort of eavesdropping on a steady stream of townspeople,' including clergy, who are on their way to the church to hear a special sermon by a visiting nonk from Rome. As the various characters pass by, it be comes apparent that this is a grossly immoral community and that they are dreading the sermon of the visiting monk, Bashuiljus. They, are certain he will publically reveal sach person's wrong doings. This might have been the case lad it not been for the witch who tricked the approaching Bashuiljus into going the opposite direction than to the church. The monk's place will be taken by the devil Capri- cant, who will deliver the sermon. Capricant's sermon in Act Two is far from a condemna tion of the immoral ways of the clergy and townspeople. If anything it is simply an opportunity for the devil, who likes to hear himself talk, to tell tall tales. The crowd is thoroughly entertained and certainly relieved by it all, and cheer the devil. All then leave for a night of celebration. Act Three primarily deals with the meeting of ____________________________________________: ______ 52 Capricant, still in monk's robes, and Bashuiljus who somewhat the worse for wear, has found his way back to town. Making himself out to be the most meek, humble, and righteous of all monks, the devil has tricked Bashuiljus, as in the last scene they are seen skipping off arm in arm for Rome. PHYSICAL APPEARANCE OF THE SETTING The opening 'tableau' is a street in the evening. There are some gables barely visible "...in the violet of 1 a crepusculary sky." Reddish brown shadows come from a lighted lantern. The silence is broken by the sound of bagpipes playing a soldier's march. It is Fergerite, the 2 ragged witch who enters playing with great conviction. Act Two takes place in the church called San Salvador. Below are seated the crowd of townspeople while above, hanging on an enormous pillar is the lectern. A narrow staircase leads up to it. Above this are the naves which 3 are "...bathed in a mauve and gold twilight. Act Three is -situated in the middle of the night, on the same street as Act One. Beyond this we have simply the indication that the play takes place in Flanders, in the (fictional) city of Brugelmonde on the Zwiun, in a world five centuries younger.-^ _____________________________________________________53 PHYSICAL APPEARANCE OF THE CHARACTERS The witch, Fergerite, is a ragged woman known to carry "bagpipes. Ghelderode adds however, that despite her condi tion, she remains somewhat beautiful.^ Lamprido, the night- watch, is a drunkard. He is staggering, red-faced, and hiccupping. He squints terribly and remains standing only by the aid of his halberd. Lamprido wears a helmet, a 7 trumpet around his neck, and carries a lantern. The Bishop Monsignor Breedmaag is huge, fat, and completely resembles a mitered pig, while the chaplain Dom Vispoel is skinny and dry with a funny little belly. He looks sickly, Q sordid, and worried. Messire Uttekas is a little, rat faced, shifty old man.^ The banker, Abraham Goldenox, 10 wears furs. Her Capoen, a judge, is glabrous, with a 11 bird-like profile. Sifflo Grammaticus, the theologian, 12 is hidden under a long mantle, his hood over his eyes. The captain, Della Villaflor is described as a proud man 13 in military costume. We learn that Pecton, the trader, 1A is fat. The gentleman, Sir Plumhail de Villehain is 1 3 plumed like a peacock but walks like a turkey. ^ The poet, Gargarismus Begga is shining and greasy, while Jehan 16 Efront, the doctor, is pale and thin. The devil, Capri cant is described in greater detail. He is a thin, pompous character who moves very slowly and mechanically. He is draped in a long green cape which covers his tail. On his head is a white velour hood on top of which shines a __________________________________________________________________________ small illuminated lantern. Relies and scapularies are sewn into the cape. He walks with difficulty, aided "by a 17 silver crutch. He wears yellow leather gloves. ' In the second act, Capricant appears disguised as the monk 1 R Bashuiljus, and wears monks robes and a false beard. Meanwhile, Bashuiljus himself is described as stocky with 1 9 a bushy beard. On his belt hangs the jawbone of an ass. ^ PHYSICAL ACTS It must be remembered that this play was written for marionettes and as such, it is a wonderful bit of theatri cality to have the puppeteer step forward and address the audience before the play begins. This is true whether the 20 marionettes are wooden or flesh and blood. The puppeteer's saluatory note having been given, Ghelderode has the witch, Fergerite, enter enthusiastically playing bagpipes. She explains that she is looking for the devil, Capricant, the mere name of whom, "...gives her love’s nettle rash. 21 She scratches furiously." There is then a scene between Fergerite and Lamprido, the night watch, who has entered in his typical drunken state. Fergerite has hidden in a dark corner along side a niche wherein stands a statue of Mary. Lamprido has stumbled into this spot, and recognizing the statue, he removes his helmet and salutes. He then falls to his knees crying and asking forgiveness for his drunkenness. From the dark comer, Fergerite addresses him and he 55 thinks it's the statue talking. He addresses the statue 22 as "Holy Mother," not realizing it is the witch. Presently Fergerite lets go with some long sharp cries as covered, she jumps from her hiding place and begins to run dizzyingly around Lamprido. Struggling to stand up, the nightwatch is getting seasick as he tries to balance himself. The witch then stops abruptly and knocks Lamprido over with a kick to the behind.^ In the parade of clergy and townspeople which follows, there are these amusing instances of physical theatrica lity: The bishop has been describing how, for some reason, dogs come up to him and urinate on his leg. As he speaks, o h , he strikes at imaginary dogs with his cross. Further, the bishop and the chaplain are debating.:, what is inside each others' stomach, to which the bishop responds by 2 * 5 letting go a resounding fart. ^ Finally, there is the picture of Messire Candelie and his wife as they enter, arguing heatedly and striking each other incessantly. Both are trying to drag the other along. They exit, scratching and pushing without mercy. At last Fergerite confronts the love of her life, the devil Capricant. Though they have met before, Capricant pretends not to know her. She calls his bluff by jumping on his cape which conceals his tail. He howls in pain, then strikes at her with his crutch as she dances around 27 him. There is a reconciliation, especially after the ________________________________________________________________________ 56 witch reveals her plan to substitute Capricant for the visiting monk Bashuiljus at the big sermon. For this deception, which will surely enhance Capricant,s reputation with his masters below, the devil must agree to make love all night with the witch. He agrees. "Hug'me quick and 28 let me suck your sweet tongue," says Fergerite. The witch and the devil kiss and part. As Capricant exits, Fergerite grabs her bagpipe, fills them and plays a loud 'contredanse.' Frenetically, she stamps the ground to the 29 music. The witch continues playing and stomping without noticing the stocky, bearded monk, Bashuiljus who has just entered. With great surprise he contemplates her. Finally, he bursts out laughing thunderously. Startled, Fergerite 30 falls on her bagpipes, crushing them. Not realizing he is speaking to a witch, Bashuiljus describes how he is going to put the town to the test. He unhooks the jawbone of the ass from his belt and threaten ingly swings it about in the air. He then exits for the church but, thanks to Fergerite, he heads in the wrong direction. On his way out he bumps into and knocks down the nightwatch, Lamprido. The monk continues on as Fergerite rushes over and stands Lamprido back up. She then jumps on his back and heads for the church. The church bell is 31 heard to stop ringing. In Act Two, Ghelderode provides numerous moments of _________________________________________________5Z_ physical theatricality, some amusing, some grotesque. The scene is the church where Capricant has entered wearing monk's robes and a false beard. It is indicated that he even walks like a monk. Fergerite follows him and sits at the foot of the lectern staircase so as not to been seen by the congregation. Capricant, after many preparatory grimaces, gives himself an edifying mien and climbs into the lectern very devoutly. The church organs which have been playing, now become silent. Quickly the noise in the naves dissipates. Then in solemn silence, the devil begins 32 his sermon. Part way into the sermon, which obviously is much ado about nothing, Capricant tells the congregation to relax. He tells them he is not going to take them to task, as he blows his nose. From the relieved crowd mounts a slight clamor. The devil then snaps his finger and all is silent.^ A few moments later, Capricant is again reassuring the congregation, as he again wipes his nose. The crowd's relief is more noticeable this time as there is a vast, unanimous sigh of deliverance. Meanwhile, the devil bows, smiles, then swelling up, continues in a more sonorous voice. He is obviously having a good time. There is an atmosphere of celebration as the crowd, seemingly delivered from oppression, hums joyously. Capricant seems pleased with himself and waves to all. Meanwhile, Fergerite has climbed up the stairs and has £8. slid a dusty bottle into the preacher's hand. A hit sur prised, the devil takes the bottle and drinks in gulps, smacking his lips. A certain hilarity is felt beneath the rafters to which Capricant responds with contained, smug laughter expressing his satisfaction. The bottle emptied 3 3 and discarded, the devil takes his pose and continues. ^ Capricant has been telling tall tales. The crowd app lauds frantically. He waves. The applause doubles.^ In the middle of another story, ‘ Fergerite appropriately places a bouquet of flowers in the idle hand of Capricant. He hesitates for a moment, appears troubled, then quickly brandishes the bouquet which he tosses to the assembly. 37 Admiring murmurs from the crowd. Meanwhile, Fergerite has tiptoed up the stairs near Capricant where she grabs his tail exposed from under his frock. She twists the tail, hangs on it, pulls sharply on it, then gives it a good bite. The devil lets go a cry of pain and begins jumping on the podium. Thinking he is acting out a confrontation with the devil, the crowd laughs in waves as the poor devil screams. He leans on the lectern and kicks with his heels to get rid of the witch, who pulls all the more. Rolling on the steps, he smashes Fergerite against the staircase and, grabbing her by the throat, hammers her face with his free hand in total rage. The witch howls sharply, shouts, whistles, and finally lets go awful inhuman moans. The crowd laughs intensely and as ________________________________________________________ 52. Capricant, dropping the limp witch, climbs back into the lectern, he is greeted by immense ovation. Tired now, he remains collapsed on the podium and makes small gestures of thanks. He wipes the sweat from his brow.^^ Having completed his sermon, Capricant disappears as the crowd applauds deliriously. The organ joins in to complete the atmosphere of triumph. Descending the stair case, the devil rubs his hands together, then jumps several times on the stomach of the fainted witch. He then exits skipping and dragging Fergerite by one foot like a 39 dummy. ^ Act Three begins with an amusing piece of theatricality as Ghelderode again presents his comic nightwatch character. With his lantern lit, Lamprido enters. His helmet is half over his eyes and his trumpet hangs on his heels. He teeters and rocks. He shouts that all should hear the trumpet of the. vigilant watch, as, looking for his trumpet, he turns around himself like a dog chasing his tail. Soon he is all twisted up in the cord of his horn. He admits the idea is to blow the horn with his mouth, not with his feet. Finally he succeeds in grabbing the horn. He tries to blow but produces only a lamentable false note, and he falls against the wall. Presently he tries to blow again, then a third time, but to no avail. He concludes that his trumpet must ^0 be drunk. Lamprido exist as presently Capricant, still in monk's 60 clothing, and Fergerite enter. She hugs and kisses him mercilessly. The devil tries his best to fend off the kl witch who cannot wait to make love with him. Capricant would rather go to the bishop's party, but finally agrees to go to the inn with the witch. He slaps her, which excites her to the point of jumping on him right there in the street. Rolling on the ground, the demon fights but the crazy Fergerite holds him down. Capricant calls for help which brings Lamprido back in. He accidently knocks into them, only to fall onto the rolling heap. Everyone shouts as Lamprido jumps up again. He thinks he has encountered a beast with four legs, four arms, and two heads. Forgetting that he is a guard, he calls for a I f . 2 guard, blowing some flat notes on his trumpet. The devil and the witch have gone to the Skinned Ape Inn when Lamprido is taken aback by the approach of another monk, this one tattered and covered with mud. It is Bashuiljus who is just now making his way back from having trudged around the countryside looking for the church. Lamprido tells Bashuiljus he should go to the inn for some physical pleasure like the other monk. Bashuiljus takes offense at this and, brandishing his ass's jawbone, he clobbers the nightwatch on the side of his helmet. Down goes Lamprido, as though dead. The monk then yawns and collapses in exhaustion from his long day. He begins to snore in a cadence which grows louder. He is soon joined 61 by the snores of Lamprido, not dead, and the two of them seem to carry on a sort of droning dialogue. The monk then raises his pitch to the point of waking Lamprido. He gets ip 3 up and begins to flee this assassin-monk. On his way out, the nightwatch is stopped by Capricant. It seems the devil has locked the witch into the attic at the inn. Lamprido meanwhile warns Capricant about the hostile monk sleeping there by the wall. The devil recog nizes Bashuiljus and sees another golden opportunity for a deception. He pays Lamprido to go stand guard over the witch at the inn, the devil now approaching the monk.^ Capricant contemplates the sleeper with wicked joy, then kneels down beside him, his hood over his eyes and his arms in a cross. After a pause, he begins to whine in a sorrowful tone. He prays aloud for Bashuiljus who awakens during this demonstration. The monk gets up on his knees to face Capricant who remains kneeling. Bashuiljus cannot believe that he has actually encountered one good soul in this town, an event which the monk says has saved the town from destruction. The devil takes the opportunity to really ham it up as he begins to sob in joy and sadness over his ip £ difficult fate. As he speaks, he cries noisily. ^ After praising each other's virtue' at great length, the two decide they shall go together to Rome. They are about to leave when a terrible noise bursts out. Enter Fergerite blowing her bagpipes. Seeing the monks, she lets go a series of ferocious cries and begins dancing, throwing her instrument into the air. She has once again found her devil. Fergerite would pull the frock off Capricant to expose him as a devil, hut Bashuiljus inter cedes. He clobbers the witch on the forehead with the ass's jawbone, and the two monks exit arm in arm, singing. Meanwhile, Lamprido has entered and claimed the unconscious Fergerite whom he carries off in his arms. AUDITORY EFFECTS There are several instances of sound in this play. As the play begins, Ghelderode has the witch enter playing bagpipess "In the silence erupts bagpipes playing a soldier's march, but instead of a soldier, enter a ragged woman who fills and empties the bag of the instrument with 47 conviction." In Act One, there are four references to church bellss In the opening scene, the witch "scratches 49 furiously then stops, listening. Bells are. heard." ^ In his scene, the banker Abraham Goldenox stops and listens, saying, "These bells tell me, beat it!When Fergerite first approaches Capricant, she tells him, "Listen. The SI bells beckon you."^ Finally, as Act One ends, Fergerite has jumped on Lamprido's back and as they head for the <2 church, "the bells are heard stopping."^ At the beginning and end of Act Two, a church organ S3 plays, but perhaps more typical of the sounds of this act are the numerous occasions where the congregation is heard reacting to the devil's sermon. For example, "from the ________ 63 <4- relieved crowd mounts a slight clamor." Or, "admiring murmurs from the crowd and noises of pushing in the church.Finally, throughout the whole of Act Three there are to he songs, music, and outbursts of celebration near and far, around the city.-^ Also in this act, Lamprido is 47 heard to blow a couple flat notes on his trumpet. INTERPLAY BETWEEN TEXT AND THEATRICALITY The idea of devil-as-preacher did not originate with Ghelderode. It is seen elsewhere in, for example, an anonymous seventeenth century Spanish comedy, El Diablo Predicator. Ghelderode has indicated however that his principal source of inspiration for The Devil Who Preached Wonders, was Erasmus’ Praise of Folly, in conjunction with c ' o Holbein’s drawing of ’Folly’ mounting the pulpit. Subtitled "a mystery play for marionettes," The Devil Who Preached Wonders is certainly a wild farce in the tradi tion of the puppet theatre. (Indeed there are certain physical acts called for which could only realistically be performed by marionettes.) This is not a didactic play, its sole purpose, as Grossvogel suggests, being to entertain. Further, despite the puppeteer's salutory notes where he speaks of the play's "moral in reverse," Ghelderode insists his intent here as always was not to be moralistic, but simply to once again depict the eternal follies of society, and of man. 64- How does the theatricality support this free-wheeling farce in the tradition of puppet theatre, whose theme is human folly? Act One and Act Three are street scenes, set in the evening and at night. The setting is appropriate for the procession of townspeople (marionettes) as well as for the character of Lamprido, the nightwatch. The night is also symbolic of evil and devilishness. Act Two takes place in the church where the pulpit hangs on an enormous pillar. i A narrow staircase leads to it, at the foot of which sits Fergerite. For this precise scene I would draw your atten tion to the left half of Bruegel's drawing entitled "Fides" (1559). There is literal and symbolic humor in the physical appearance of the characters. Fergerite is a ragged witch who in her typically uninhibited manner, puffs out military marches on bagpipes. She is trouble personified. Lamprido is a drunken slob. Though likable,, as the nightwatch he certainly does not contribute to one's sense of security. His helmet half over his eyes and his trumpet at his heels, says it all. The devil Capricant is wonderfully outrageous with his green cape covering his tail, the little lantern on his velour hood, his yellow gloves and silver crutch. An obvious eccentric who cares very little about this world of late, he is nevertheless very theatrical in appearance. With the jawbone of an ass on his belt, the monk Bashmiljus is described as a big man with a bushy beard. Yet in his 65 extreme "fire and brimstone" manner, he is also being lampooned. As the salutory notes state, while the monk may be a saintly man, he is nevertheless guilty of the sin of pride, and therefore deserving of ridicule. The townspeople on the other hand, represent not only literal but symbolic humor. This is to say, the physical appearance of these sinners is comic in itself, but their appearance is in keeping with the medieval notion noted in Chronicles of Hell, that the way one looks is a mirror of one's soul. Wellwarth has stated that Ghelderode, "...adapted the medieval view that when man succumbs to sin, his experience is reflected in his outer form. Thus each Ghelderode character is a sort of walking portrait of his ^ > 1 own soul...." Thus does Bishop Monsignor Breedmaag appear huge, fat, and completely resembling a mitered pig; the chaplain Dorn Yispoel looks sickly and sordid with a funny little belly; Messire Uttekas is a rat-faced, shifty old man, and so on. Farce by definition contains a lot of physical humor, not only in what the characters look like and say, but especially in what they do. Thus a review of the physical acts section for this play reveals that what we have here is a series of sight gags. This is especially true for acts Dne and three. Even Act Two which is primarily a monologue, is a visual joke when we remind ourselves of this grand ieception to which we have been made privy. Yet there is mother fact of this physical humor of which we must remind ourselves. As a play for marionettes, much of the action here is in the Punch and Judy style. Examples are Fergerate kicking Lamprido in the behind, her jumping on Capricant*s tail, her leaping on Lamprido's back at the end of Act One, Capricant's beating up of Fergerite, jumping on her stomach and dragging her away, Bashuiljus' clobber ing of Lamprido, and so on. Among the auditory effects supporting this farce, are those coming from musical instruments. First is Fergerite's bagpipes. Why bagpipes? Apart from being comical because they are loud and unexpected, much like Fergerite himself, the bagpipes are after all a traditional Flemish instrument. In fact, they are frequently found in the paintings of Bosch and Bruegel. Then there is Lamprido's trumpet which is used to great comic effect, not only as a prop in which he is entangled, but as a noise maker capable of producing the occasional flat note. Church bells are heard periodi cally, but unlike some of Ghelderode's plays where bells are associated with death, here the bells are used more as a thematic thread. They remind us that the church, San Salva dor, is the focal point of the play. It is where the devil's deception is to take place. The remainder of the play is filled with various crowd sounds, including the sound of distant songs and outbursts of celebration all of which eontribute to the theatrical dimensionality of this highly entertaining farce on the theme of human folly. 67 Hop, Signor! Cast of Characters: Margaret Harstein, sculptor's wife Jureal, called Signor, a sculptor of cathedral gargoyles Adorno, nobleman Helgar, nobleman Dorn Pilar, a monk Larose, executioner Tallow, a dwarf Wick, a dwarf The Magistrate Halberdiers The Crowd SYNPOSIS Seven of the principle characters are introduced almost immediately in this play. As the curtain rises, the monk, Dom Pilar, is seen spying from the bushes as elsewhere in this garden-courtyard setting, the two mischievous dwarfs, Tallow and Wick, are seen playing. The owner of the house and these grounds appears. He is Jureal, an artisan who sculpts grotesque creatures for the roofs of cathedrals. Next to appear is his shrewish wife, Margaret, whom it is learned would not be unreceptive to extramarital affairs as she plays into the hands of two visiting wolves, the noblemen Helgar and Adorno. In light of this situation, it is revealed that the two noblemen have arranged a 68 cruel experience for the pathetic Jureal. There is a festival in town and Helgar and Adorno have asked Jureal to walk in procession with them and to witness a clown show in the square. The cruelty will follow. ,Dom Pilar presents himself now and he is referred to by the dwarfs as a "scaffold monk," that is, one who takes the confessions of the condemned before execution. While at the moment not in line for execution, Margaret in all her seeming wickedness, is the monk's target for confess ion. She,: however, soundly rejects him. Enter now the blond, athletic-looking, scarlet-clad executioner, Larose. Margaret is enchanted by him and speaks of love, while Larose intimates that to him love is death, that execution is in fact his love making . Going to the window, together they watch the procession in the streets below. At this point, the noblemen's plan for Jureal is revealed. He is to be publically portrayed as a cuckold, his wife's Clovers being Helgar and Adorno. Out of honor then, the fragile Jureal, who is certainly no swordsman, is to challenge the two noblemen. All this indeed takes place in the streets, but before Jureal can act, he is swept up by the crowd and tossed in a blanket. Higher and higher he is tossed, only to have the blanket released at the last moment resulting in Jureal's death. The noblemen arranged everything. Helgar and Adorno then present themselves to 69 Margaret who to their surprise has passed off the incident of her husband's death and has invited to her room which ever one was ultimately responsible for this act. Predict ably, there is a struggle, Adorno stabbing Helgar. The monk having witnessed all this from his hiding place shouts, "Stop the murderer!" Adorno escapes. Present for the final scene are Dorn Pilar, Margaret, Larose, the dwarfs, the Magistrate, Halberdiers, and towns people. At this point Margaret says to Dorn Pilar and especially to Larose, "There is no doubt it was you I was waiting for! Ah, deliver me: It is in your power...." Dorn Pilar then proceeds to accuse Margaret of being possessed by the devil, and the Magistrate takes her into custody. She exits with the executioner who speaks poeti cally in anticipation. PHYSICAL APPEARANCE OF THE SETTING Ghelderode has set this play in an uncultivated garden. Among the bushes and rank weeds lie carved stones, statues of saints, bas-reliefs, capitals, pillars, sundials, which make the garden look like a neglected yard or even like some old forgotten cemetery. The indication is that in the center, toward the back, there is a double flight of a balustraded stairway which is in a state of decay. This leads to a covered gallery which is lit from the back by a wide stained-glass window opening onto a market place. ______________________________________________________________ZO This sort of landing, cloistral in architecture, also contains sculptures scattered about. From the landing, there are several more steps which lead to the main build ing where there are entrances right and left. To complete the opening 'tableau,* enter two dwarfs mounted on stilts, one following the other. They whistle in elementary harmony an old marching song. Meanwhile, in the bushes, and like them of neutral color and all angles, a lean monk stands i skulking. PHYSICAL APPEARANCE OF THE CHARACTERS Ghelderode describes his two dwarfs as being hunch backed and bearded. Tallow wears a plumed helmet and a tabard which is half yellow and half blue. Wick is dressed like a woman, a stuffed owl stuck on his mop of hair. 2 Hanging on their belts are blown-up bladders. Other than the fact he is lean, little else is known about the appear ance of the monk. On the other hand, Ghelderode describes the sculptor Jureal as, ...A nimble little creature, frail in appearance, stooping as though out of joint, whose too heavy head, with face wrinkled but lit with wonderful eyes, seems badly fixed on his shoulders. This frailness is bundled up in a gown of quilted black velvet edged with miniver, in the obsolete B'urgundian s tyle . 3 \ Later, when Jureal appears to go to the procession in ________________ 71 the town, he is described as gleaming with pomade, which is a kind of perfumed ointment. He wears boots and has on a huge feathered hat. Around his shoulders is a gold-braided, garnet-colored velvet cloak. His movement however, is hampered by this cloak which is over-long, and by a great sword. We don't have a description of Jureal*s wife, Margaret, and her two young suitors, Helgar and Adorno, are described simply as young noblemen of great style and perfectly handsome. Conversely, Ghelderode provides a brief but wonderful description of the executioner, Larose: A man of considerable stature.... He is a blond athlete, superbly molded in scarlet, beardless, with a nonchalant feline gait. He constantly chews a rqse by the stem, seems all the time lost in vagueness, and smiles ceaselessly and without motive. PHYSICAL ACTS The first instance of theatricality in this category is the fact the two dwarfs enter on stilts while whistling in harmony an old marching song. It is further explained that they progress with some difficulty appearing somewhat like big insects. Suddenly Tallow stops dead and goes, "Chirrup!" To which Wick responds by asking, "Quack?." Tallow points out to Wick, and to us, the presence of the half-hidden monk spying from the bushes.^ In another moment, the dwarfs on their stilts walk menacingly toward each other and appear as though they are ___________________ 72 going to collide in battle. Instead of fighting however, they hug each other and, swaying like ducks, sing in high- pitched voices. Then they bow to each other and bump their O heads together. A moment later, the dwarfs are again at it. On stilts they are having a mock battle with the blown-up bladders. There are blows and counter-blows, as yelping, the dwarfs grab each other, getting dangerously tangled up. In due course, they lose their balance and topple over. They lie on the ground, helplessly encumbered by their stilts and weeping with rage. Presently they are up on their feet, a this time crossing stilts like duelists. In another amusing instance of theatricality again involving the dwarfs, Jureal has offered to sculpt two cathedral reliefs of them. Wick says he should be depicted as a witch flying to the sabbath. He then sits astride a stilt and skips around. Tallow corrects him and says he should be a nun carrying her devil, whereupon Tallow jumps 10 on Wick's back who continues going around in a circle. There are two spirited scenes which not only define the relationship between Jureal and his wife, but reveal a great deal about the fiery nature of Margaret herself. The two noblemen, Helgar and Adorno, who have actually come to see Jureal's wife, have nonetheless set about teaching Jureal swordsmanship. Suddenly a burst of laughter rings Dut from the gallery. Margaret has just appeared. Jureal 73 and the two noblemen give a start as though stung by this laughter. Margaret comes down the steps, and snatches the sword from the shame-faced Jureal's hands and throws it away. He attempts to apologize to the noblemen for his wife’s outbursts, but can no longer contain himself and weeps. Margaret pushes Jureal onto the steps, where he hastens to exit. Margaret and the two lords, burst out 11 laughing. Secondly, the noblemen have gone and Jureal appears again dressed for the big procession in town. He asks his wife to accompany him as is the custom but she can only taunt and ridicule him. Her mocking laugh is heard as she returns to her room. Jureal is overcome by anger as he dances on the spot and stamps on the ground. He utters incomprehensible words, bites his fists and seems to choke. Then as if levitated by his anger, he leaps on the steps and runs along the gallery to Margaret's door which he tries to open. He comes back, picks up a carved stone which he raises above his head and tries to throw at the door. The weight of the stone is too much for him and it topples back into the garden where it narrowly misses 12 flattening the spying monk, Dorn Pilar. The monk meantime lets out a cry of terror and leaps from his hiding place. He tries to flee but sees that he is 13 detected. Jureal is struck with consternation. Assuming his friend the monk has overheard the situation, Jureal ______________________________________________ zi asks him what he would do with this ridiculing’ wife. At first Dom Pilar laughs dully, then he violently seizes the leather straps which hang at his belt and, as though nothing can stop him, he begins to flog an imaginary Im penitent. Teeth clenched, he strikes the air doggedly. More theatrical antics from the dwarfs: Tallow asks Dom Pilar whether they will be angels when they die. The monk responds by agreeing they will have wingsi Bat wings. He exits, as Tallow spits toward him. The two dwarfs then say they are going to play monk and nun, and that Tallow is going to confess Wick. Tallow flings Wick over his knees and pulls his skirts up, the latter squealing that 1 5 he zs gozng to be deflowered as he gets a spanking. The dwarfs imply to Jureal that he is being portrayed as a cuckold at the town fair. Tallow recites a few poetic lines to this effect. He disguises his voice and struts about like an actor, one finger in the air. Wick does the same, following which they take a deep bow. Jureal exits, bent on defending his honor. At once, the dwarfs roar with laughter, exchanging slaps. They must tell Margaret. Jostl ing each other and giving little shouts of joy, they clamor up the steps-only to come tumbling down again as an uproar breaks out on the gallery. Hiding behind statues in the garden, Tallow and Wick observe the appearance of Dom Pilar 1 6 and Margaret. Apparently the monk has been trying to set Margaret 75 straight in her ways, but she will have nothing of it. Coming from Margaret's room, Dom Pilar is seen covering his face as the two of them threaten each other. The monk weeps, supposedly out of pity for her. She pushes him on the steps and raises her hand as though to strike him. 17 Dom Pilar flees backward through the garden. Margaret has spotted the dwarfs who proceed to tell her that a certain small man and two noblemen are going to be the source of a disturbance at the fair. Tallow and Wick begin to exit, holding their hands to their heads in imitation of horns, symbol of the cuckold. As they are about to go, a man of considerable stature comes into view on the right, blocking their way. It is Larose, the executioner. The dwarfs leap to the side, but it is too late. Larose catches them and holds them by their wrists. Tallow and Wick struggle to free themselves while Larose watches them impassively. The terror of the dwarfs amuses him. He grips their wrists tighter and they moan. Ringing laughter from the executioner as Tallow and Wick fall, writhing on the ground, their two long cries fuse together. Larose then flings them to the end of the garden where, panic-stricken they run in every direction. Larose laughs i , 18 hugely. The next instance of physical theatricality occurs as Margaret and the executioner go to the window to observe the festivities down in the square. The din of the crowd _____________________________________________________ Z6 explodes merrily as the music from the street grows louder. Cheers rise up. Margaret leans out the window, as below, the voices of Helgar and Adorno salute her. (I should note in passing that this is a good example of theatricality involving action the audience does not actually see, but which is indicated by the dialogue and by sounds external to the set.) Margaret has acknowledged the two noblemen, and there is short applause, mingled with laughter. Some instruments play a prelude as a chorus strikes up a tune. Suddenly the concert is interrupted by shouts and catcalls. Jureal has appeared in the crowd below and, with laughter and applause from the crowd, has apparently challenged the two noblemen. Meanwhile Margaret calls to her husband to come inside before he further makes a fool of himself.^ The din of the crowd is heard to begin moving away. Margaret asks why they have taken out a red blanket. The executioner explains that Helgar and Adorno have no doubt paid the crowd to tos.s Jureal in the blanket, which Larose goes on to describe and Margaret playfully encourages. What Larose isn't telling Margaret however, is that as Jureal's body reaches the roof tops, the blanket is pulled away, permitting the body to impact on the ground. This indeed happens as Margaret looks on, following which she quickly shuts the window and staggers. Larose supports her. An interesting ;bil. of theatricality concludes this 77 moment as Ghelderode has the executioner respond to Margaret's instant of suffering. He quickly draws near to her and goes around sniffing at her. Her reaction to this, however, is to smile enraptured. Outside, the crowd 20 rumbles dully. Enter the dwarfs again/:, Tallow, playing a guitar, comes running into the garden, Wick at his heels. Wick wants Tallow to play a love song for him to which Tallow responds by pounding his guitar on his partner's humpback. Presently however, Tallow plays the guitar and sings a short poetic song for Margaret, the song refering to Jureal's death. The two dwarfs then get down,, on all, fours and approach the steps where they mimick dogs urinating. After a few more poetic lines, the two stand up again, 21 applaud themselves, and laugh shrilly. Further physical theatricality occurs when the monk, Dom Pilar, appears again. He looks very grim having just witnessed the blanket tossing incident. The dwarfs growl at the monk. Larose catches hold of him around the waist and makes him jump up several times as though he were straw. He says, "Hop, father!", in parody of the crowd's shouting, "Hop, Signor!" as they tossed Jureal. The 22 dwarfs and Margaret roar with laughter. At this point there are voices and shouts nearby as presently several people come into the garden. These are Helgar and Adorno, bareheaded, followed by some citizens ___________ 78 carrying a lighted candle. These are followed by a slow- moving group carrying a red sheet which contains a human shape. They stop in silence, setting the burden down center stage. All kneel, lords, dwarfs, citizens, peasants. In the gallery, Margaret looks at the gathering, then comes down the steps. She stares arrogantly at each person. 23 There are murmurs as all gazes turn on Margaret. Margaret will have nothing to do with this and orders the funeral procession to leave. They exit, led by the monk, and followed by the dwarfs and the executioner. Helgar and Adorno remain. Surprisingly, as she exits, Margaret invites to her room whichever of the two noblemen was most responsible for Jureal's demise. This sparks a scuffle between Helgar and Adorno. Daggers glisten and in a moment', Helgar falls. Meanwhile, the monk has returned and from his hiding place he has witnessed the stabbing. He rushes out shouting for the law as Adorno escapes. Margaret comes into view from her room, hair down and scarcely hiding her nakedness under a pelisse. Pilar hides himself, lying full length on the steps. Margaret rushes upon Helgar and, clasping his body in her arms, says she would close his wound with her lips. This is abominable to the monk who once again jumps to his feet. Margaret who rises at the same time, her tunic under her pelisse covered with blood, is startled to see Dom Pilar and shouts at him. Angered, she rushes over to him and brings out one of her ________________ZSl breasts from the fur and holding it out, saying she would thrust that in his mouth. Pilar tries to flee through the 24 garden but is followed by Margaret who torments him. At one point, Margaret clasps Pilar in her arms and hugs'him against her. She then releases the monk who slips to the ground where he lies hiding his face. He begins a prayer in Latin, as Margaret gives a puerile laugh. She helps Pilar get up, but he draws back. Suddenly however, he makes a movement toward her as though he were going to clasp her. He speaks her name, only to turn away describing himself as an accursed monk. He then rushes out to the 2 5 right, calling for the law. v There is also much theatricality in the final scene. Tallow and Wick have entered carrying a black sheet con taining some object. A murmur outside begins. Margaret is still standing center stage from the previous scene, as Larose enters and pushes her back toward the garden. Dom Pilar then enters again. Margaret quickly grasps the hand of both the executioner and the monk and asks to be "delivered." She becomes rigid and falls into a sudden stupor, her eyelids lowered. Larose supports her cautiously and covers her with his own cloak. Meanwhile the crowd has burst into the garden, with Pilar trying his best to drive them off. Enter the Magistrate, followed by Halber diers and drums. The crowd is immediately forced back. Acting as the prosecutor, the monk begins his accusations, 80 saying Margaret is possessed by the devil while pointing out Helgar's body. Margaret does'noit resist .The Magistrate places her in custody and the Halderdiers surround her. She exits like a sleepwalker being pushed at the shoulder by the executioner. The drums beat, leading the procession. Dom Pilar has lowered his cowl over his eyes and exits. Several of the crowd bear off Helgar’s body in the train of the procession. Gradually all are gone as outside the din fades away. Only Tallow and Wick remain on stage, stupefied. A long silence, then Tallow begins to weep. Wick shakes him. Presently Tallow brightens and unfolds the black sheet in which is nestled a little disjointed marionette, dressed like a lord with sword and plume. Wick kisses it and pushes it in Tallow's face, who also kisses it. Then the sheet is stretched tight and the marionette is flung into the air. They go out, continuing to play at this game. The stage stays empty. Outside there are bursts of laughter and applause, and soon the crowd doggedly resumes the chant of "Hop, Signor!." As the scene ends, the little marionette can be seen in the window 27 rising and falling. 1 AUDITORY EFFECTS The sounds of this play are limited almost entirely to those of the crowd outside. As Margaret and Larose prepare to watch the festivities below in the town square, "out side, music bursts forth and there is an approaching 81 28 din." Then, at the moment Margaret opens the window, "the din explodes merrily. The music grows louder. Cheers 29 rise up." 7 This is followed hy a "...short pause, mingled with laughter. The instruments play the prelude; the chorus, from which Helgar*s and Adorno's voices are separate, strikes up the tune. There is then an indica tion that suddenly this little concert is interrupted hy a 31 scuffle, then, "hullabaloo, catcalls."^ Voices in the crowd are heard, followed hy laughter and applause, as "the din grows, then moves into the distance. Also, subsequent to the incident of Larose sniffing at the momentarily distraught Margaret, "the crowd rumbles 33 dully. Then immediately prior to the final scene involving the crowd, the Magistrate, and Halberdiers, "a murmur outside begins."-^ When Dom Pilar accuses Margaret of being possessed by the devil, "the crowd roars. The final crowd sound occurs when the dwarfs exit tossing the little marionette in the black sheet. "Outside, there are bursts of laughter and applause. And soon the crowd doggedly resumes, 'Hop, Signor!' with the dwarfs.... Having indicated the use of bagpipes in The Devil Who Preached Wonders, I would note that in this play, 37 Ghelderode has Tallow at one point playing a guitar, ' and that drums accompany the Magistrate and his soldiers.^® 82 INTERPLAY BETWEEN TEXT AND THEATRICALITY Ghelderode provides several indications as to the sources and the meaning of the plays ...First, there is folklore, a popular game, very popular in Brabant: tossing in a blanket, which is also well known in Spain. Goya exhibited it in a celebrated tapestry and in a picture entitled "El Pelele" where young women are seen throwing a doll into the air....Further, there used to be in the Low Countries a sort of judicial punishment, something like the pillory, by which certain people, adjudged scandalous by their conduct or their morals, were publically jeered at. They were delivered up to the crowd who applied themselves to the matter with their natural justice....Either they were put into a cage which was plunged into the river, or they were tarred and feathered and made to run through the town, or they were led about naked on an ass, with their faces turned in the direction of the tail, of course, or again, and this is what is of interest to us, they were tossed in a sheet. And when the person was really odious, it was contrived so that he fell badly, and so a knave who couldn't be awarded a heavy penalty ended up broken on the street. And the party was over! Part of this work is about that. ...Nowadays in Flanders, people who offend are no longer smashed up, at least not in this way; but the game, in which the man is replaced by a marionette, still goes on.39 As for the source of the character Margaret, Ghelderode informs us, Take note that Margaret Harstein whose strange temperament - as strange as all that? - disturbs you, isn't of my invention and that she did live and that she was the object of a criminal action in Antwerp in the year 1555* 83 . . .No doubt I shall fully satisfy you "by telling you that she was burned alive at the execution palace at Berchem. ...It is known that she was a sort of courtesan, of great beauty, and that she had committed a crime that remains unaccountable.^ Finally, the meaning of the play is expressed this way by Ghelderode i ...Hop, Signori is the drama of impotence. This woman is impotent! Her husband is impotent! The two lords are impotent! And all the smaller characters, with their various styles, are impotent! ...And there is the hangman who is called Larose - impotent! We discover further a monk, impotent after his fashion, and most frightening! ...To complete the gallery., we see the dwarfs who frequent this dangerous house where only the impotent meet; but these dwarfs, they don't belong to humanity. Once more, they make up the antique chorus, like the old women in Miss Jairus. Thus, central to the meaning of the play is, according to the playwright, the concept of impotence or "impuissance," as the French text has it. Before proceeding however, some clarification of this term is necessary. By impotence Ghelderode appears to mean not physical impotence, but that aspect of the concept defined as "helplessness." Each character is helpless in the face of his particular condition. Jureal is helpless against Margaret. Margaret is helpless and a slave to her passions and lust. Larose is at the mercy of his peculiar sensibilities, incapable of changing what he is. Even Dom Pilar who is, as 8k Ghelderode states, "impotent after his fashion," is so in the sense of his "being a representative of the Church, an affiliation without which he is nothing, socially or psychologically. Extrapolating, I believe this play is, above all else, a statement about the human condition, in the context in which Ghelderode typically makes such statements, that of human folly. In this context I would mention in passing, a passage from Erasmus* In Praise of Folly, which I believe relates well Ghelderode's view of the human condition as expressed through many of his plays, and particularly Hop, Signor!. As Erasmus said, Jupiter "has confined reason to a narrow comer of the brain and left all the rest of our body to our passions; has also set up, against this one, two, as it were, masterless tyrants - anger, that possesses the region of the heart, and consequently the very fountain of life, the heart itself; and lust, that stretches its Z j , 2 empire everywhere." Having said this, how then does the theatricality of setting support the meaning of the play? The single set of this play may be viewed as an arena, virtually a circus arena when the dwarfs are on stage. Beyond this it is obviously a sculptor's home as evidenced by the various (theatrical!) objects lying abouts statues of saints, bas- reliefs, capitals, pillars, sundials, and other such carved stones. Not so much a symbol for the play's meaning then, 81 the setting is functional, theatrical in appearance, and a clue to the ownership. If we include the element of Dom Pilar standing in the shadows in the opening tableau, we may say that the setting also generates a sense of tension and anticipation. What may be said about the physical appearance of the characters in relation to the play's meaning? That they are all theatrical in appearance is unquestionable, that is, those characters the playwright has made it a point to describe for us. The physical appearance of the characters however, seems to be principally for theatrical effect as opposed to, for example the clergy in Chronicles of Hell, , where there were certain overtones. Their physical appearances were indicative of the state of their souls. Mind you in Hop, Signor! we have dwarfs, which during a period of the Christian era were viewed as individuals branded by God and hence to be avoided as bad luck. How--' ever, the image gradually changed and by their association l\, 3 with the comic, dwarfs became a symbol for good luck. ^ Serving as a chorus, as Ghelderode has indicated, the dwarfs are pure theatricality, and at times clearly "steal the show." But where do the dwarfs come from for this playwright? It is entirely possible the source is Jacques Callot (1592-l635)» an artist to whom Ghelderode has referred on other occasions. In ca. 1622, Callot completed a series of twenty-two etchings entitled "Gobbi" 86 (Grotesque Dwarfs).^ In this series, one dwarf appears in each plate, hut they are arranged in corresponding pairs, not unlike the pair Tallow and Wick in this play. As for Callot's.source for "Gobbi," it was no doubt the companies of performing dwarfs popular at the Medici court in Callot's time.^ In the physical acts category, what specific instances communicate the theme of impotence, i.e. helplessness and folly? Jureal*s case is defined by his two encounters with Margaret during which she severely ridicules him. His pride has been injured and it is again the sin of pride which takes him into town to avenge himself in a situation which can only result in his destruction. This is his folly. Dom Pilar is a little different situation. If anything he is over-zealous, hence all the skulking about, spying on others. Margaret is a particular problem for him (1) becaus^ he is somehow attracted to her and is titilated by spying on her, and (2) he cannot make her repent her evil ways. Both of these aspects of Dom Pilar's problem come to a head in the scene where the monk shouts "Abomination!" upon discovering Margaret kissing the wound of the stabbed Helgar. In this scene the monk is simultaneously attracted and repulsed by Margaret, but his allegiance to the Church, his role in society, and his image of himself as thwarter of evil, win out, and he winds up calling the authorities and proclaiming her possessed by the devil. 87 o In her capacity as would-be adultress, Margaret is lust personified. Intensified by the frustration of an apparently sexless marriage, as the play proceeds it is clear she is little more than an animal. She has yielded to her instincts and passions, and has subsequently become a slave to them. She is helpless. That she is now only concerned with her lustful appetites is apparent in all her interactions, especially with Helgar and Adorno, and with Dom Pilar and Larose. What about Larose? How is he helpless? It may be said that he is also victim of and slave to his passions, but they are the passions of a twisted mind. Psychopathically, he is capable of both a sort of poetic tenderness, and of great brutality. He makes a living killing, and, in the sense of a showman, seems to revel in the spectacle of it all. Indeed there is a sensuality, according to his descriptions, whereby the executions are more like acts of love than acts of death. Relatedly, it's as though he were making a sacrifice to some god, that god being himself in his capacity as the giver of death. That Margaret is and has long been enchanted' by this "god" is apparent by her behavior toward him and by her readiness to submit to what she sees as the ultimate act of passion, death at the hands of Larose. (For further information on the subject of the linking of death and sensuality in Ghelderode, see also the "Interplay" section for Lord Halewyn.) 88 These four central characters then, and their inter actions may he seen as communicating the theme of the play, which we have stated via Ghelderode as impotence. Each is helpless, having somewhere along the line become slave to aspects of his nature over which he now has no control. Consequently, each is doomed to folly. Finally, as with many of Ghelderode's plays, the predominent auditory effect is the sound of a crowd. Invariably there is no real symbolism to this effect, its primarily being employed for theatrical purposes. Upon reviewing the crowd sounds in this play, one is struck by the fact that an event, Jureal*s confrontation and death, is communicated by these sounds. I note this because it is rare in Ghelderode. Typically, he uses the crowd sounds as a reaction to something taking place on stage. In Hop, Signor!, the crowd and their noises are external, that is, not dependent upon what is happening on stage. Red Magic Cast of Characters: Hieronymus, a miser Sybilla, his wife The Cavalier Armador, a thief Romulus, a beggar The Monk The Magistrate_______________________________________________89_ Men at Arms The Crowd SYNOPSIS It is night time as the play begins, and Hieronymus, the miser, is seen itemizing his possessions. A large coin chest sits in the center of the room. Meanwhile his wife, Sybilla, has been having an affair with, what the miser thinks is a ghost, but who is actually a thief called The Cavalier Armador. Other characters introduced in the first act are a gluttonous monk, and a bearded beggar named Romulus. As the act ends, it is apparent that Sybilla, Armador, The Monk, and Romulus plan to dupe the miser out of his money. Armador will present himself to Hieronymus as an alchemist who, for the use of the cellar and Sybilla's assistance, will make gold coins to be shared with the miser. As the play continues, Sybilla and Armador become aware that Romulus is going to doublecross them. This information comes from ; The Monk who has revealed this for the promise of sexual favors from Sybilla. Armador proceeds to stab Romulus and will do the same for The Monk who has gone up to Sybilla's room. The play ends with Armador and Sybilla running away with Hieronymus' money, leaving the miser to be caught with two dead bodies and a chest full of counterfeit coins, switched for the real ones by the thieves. 90 PHYSICAL APPEARANCES OF THE SETTING The play takes place In a chamber in the old style of Flanders. A door and a window are to the left, with a low door to the right. Still farther to the right is a stair case leading to the upper floor. A table and some chairs, with a great metal-bound chest center stage. The text also indicates that the house is located over an old burial ground (the contents of which the miser insists he also owns). The play begins toward the end of night as 1 Hieronymus enters carrying a candle. PHYSICAL APPEARANCE OF THE CHARACTERS 2 Hieronymus boasts of having a fine paunch, which is 3 also true of The Monk. Ghelderode says the beggar Romulus is bearded and filthy, but, " . . .jraughty, like his name." The Cavalier Armador is described as"cold and haughty."-5 Finally we have three different descriptions of Hieronymus' wife, Sybilla, as she appears at different moments in the play. She-is first seen coming down the stairs wearing a long white nightgown and, "...looking like a sleepwalker. Shortly after, she reappears wearing a black mantle and 7 hood,on her way to mass. Lastly, she enters midway through the play, having spent some time in the cellar supposedly making gold with Amador. "She is disheveled _________ 91 and she staggers. She is visibly happy. Her eyes have violet rings round them. She has patches of gold on her O cheeks, her arms, and her throat." PHYSICAL ACTS To begin, the miser Hieronymus picks up an empty jug and goes through the motions of filling a glass. He then drinks from this empty glass. Next, he pretends to take something, actually nothing, from a dish and puts it in his mouth, chewing and swallowing it. He sits at the table and faces the audience. The candle on the table lights up 9 his face as he begins describing all his possessions. Hieronymus observes, as he opens his coin chest, that half his gold coins have the head of the emperor on them, the other half the empress. He reasons that if he mixes these male and female coins they will procreate, yielding still more coins. With this, he makes a great noise as he 10 scoops and mixes the^. coins together. Presently, however, there is a disturbance as a shape is seen gliding rapidly down the stairs. It passes in front of the table, blows out the candle and disappears noisly through the door. In the darkness, Hieronymus howls with fright, bumping against 11 the furniture. (We learn that the miser thinks this is the ■ ' resident ghost,when in fact it is his wife's lover, Armador.) The miser's wife Sybilla, has entered and indicates to her husband that she is hungry. Hieronymus, takes down a 92 picture from the wall and tells her to feed her imagina- 12 tion on the food depicted in the painting. She exits, only to have the fat monk appear at the street door. In the context of food, he represents the other extreme. As he talks with Hieronymus, he fumbles in his robe, bringing out a bag. He gropes in it, and in a moment produces a black pudding and a bottle of wine. He eats the black 13 pudding in a couple bites and drains the bottle. As this same scene proceeds, The Monk is seen giving blessings to the miser in return for a few coins for the poor. Hieronymus however, only goes through the motions of giving money. He doesn't really give the real thing. The Monk pretends to take the imaginary money then laughs coarsely. The Monk farts, then exits laughing. Hieronymus says he'11 talk to The Monk in the same language and turns his bottom to the door. He changes his mind however, deciding to keep the fumes for himself. Instead, he shakes 1 A his fist at The Monk. The next occasion of theatricality has Hieronymus asleep at the table. After a moment, the street door opens quietly and the beggar Romulus enters. On tip toe he walks around the miser's chair and strokes the chest of coins. Romulus surpresses laughter as in his dreams, Hieronymus itemizes his possessions. From his beggar's sack, Romulus takes out half a loaf of bread, a roast pigeon, a bit of candle, and a stone flagon. Hieronymus wakes up, startled. 93 He takes this food Romulus has brought for him and eats 1 5 gluttonously. He drinks from the neck of the bottle. Presently, Sybilla enters from the street and Hierony mus steps out for a moment. Romulus and Sybilla gaze at each other. Their teeth begin to show and they begin to laugh. Romulus caresses her, then takes a dried fish from 16 his sack and gives it to her. She eats the fish greedily. Another small incident of interest finds the miser alone in the room which is now lit up as sunlight strikes the windows. Hieronymus has been told about a man, Armador, who will make gold coins for him. Excitedly, he is talking to himself about this, but so'"the ghost" won't hear him, he speaks only by moving his lips. He has an expression of 17 great joy on his face. Romulus has introduced Armador to Hieronymus and an agreement has been made that for three days' use of the cellar for making gold, the miser will receive a payment equal to what he currently has in his gold chest. Armador's assistant is to be Sybilla, who has now reentered. Romulus and Hieronymus exit, leaving Armador and Sybilla alone together. They gaze at each other for a long time, then rush into each other's arms. They hug each other passionate ly as The Monk, who has pushed open the street door, gazes 1 8 on concupiscently. Theatricality begins in Act Two with the miser down on his knees pressing his ear to' the floor. It has been __________________________________ 9k one full day and there has been no indication of progress from the cellar. During the night however, he did hear 19 the sound of thrashing, and frolicking about. 7 During this opening monologue, Hieronymus also takes hold of a baby which is lying on a chair. (Sybilla was seen holding it at one point during Act One.) This is actually a doll baby which is referred to as though it were the child of the miser and his wife. As such, it is yet another example 20 Df Hieronymus V miserliness. The Monk has reappeared, and judging by Hieronymus' expression of guilt, a suggestion is made that the miser be confessed. Seeing no way out, this is agreed to for later in the evening. As The Monk exits, he laughs deri- ; 21 sively, giving his blessing and farting at the same time. Sensing deception, Hieronymus takes a sword down from the wall. He makes passes like a swordsman as though he were slicing up The Cavalier Armador. Meanwhile, Armador has appeared in the cellar doorway. Convinced he has killed the intruder, and bathed in perspiration, the miser goes over to sit down. Armador comes forward nonchalantly startling Hieronymus who gives out a cry of fright, dropp ing his sword. He retreats, seeking to hide, stammering. 22 Armador spits on him. Presently, the miser and Armador are, by the Cavalier's designs, drinking wine together. The latter fakes getting drunk and proceeds to turn over the supposed formula for ________95 making gold to Hieronymus. The greedy one also learns of a black stone around the Cavalier's neck which supposedly gives immortality to the wearer. This is confiscated as Armador pretends to sleep from the wine. Having achieved these aspects of his plan, Armador stands up abruptly and exits, the startled miser having fallen seated on his coin chest.^ The Monk has reappeared to give confession but instead sits and drinks wine with the ever more intoxicated Hieronymus. The result is the miser .writing a provision j . in his will for the church to receive his house and proper ty in return for a guarantee of paradise if and when he should die. The Monk accepts the will and the provision, thanking Hieronymus, laughing coarsely, and farting. They must drink to this. The Monk forcibly introduces a flask of wine into Hieronymus' mouth and pours. Hieronymus, drunk, oh, collapses face down. Joining The Monk now are Romulus, Amador, and Sybilla. As it turns out, they are all accomplices in doing the miser out of his money. Romulus says he will stand guard and that The Monk should join the festivities in the cellar. The Monk's face reddens as he looks at Sybilla, then tries to hug her as she laughs. The three of them exit below as Romulus stands guard in the shadows. In the mean time , Hieronymus has regained consciousness. Hiccuping, he Irags himself toward his coin chest where, with difficulty, 96 he hoists himself up and disappears inside. His voice can he heard muttering with pleasure as the lid to the chest closes over him. In the shadows, Romulus can he seen 2 'i laughing noiselessly. Theatricality in the third act begins with the sound of tremendous snores coming from the chest. It suddenly stops as the lid of the chest opens, Hieronymus', head emerging. He begins talking to himself again, gradually hoisting his body out of the chest. Presently he is seated on the chest where in a carefree manner, he decides to drink some more. Suddenly he senses he's being watched, as his attention now turns to the doll baby in the chair. He comes close to the child, then from a drawer in the table, he takes out a knife which he promptly thrusts into the doll's chest. ^ There are several theatrical moments now as first, Romulus throws a sheet over himself which prompts the miser, who has caught sight of him, to address Romulus as the resident ghost. Hieronymus instructs him to watch over the coin chest as he is going in town to the taverns and whorehouses. This incidentally was prompted by the erotic moans coming from the cellar. Hieronymus exits as Romulus bursts into laughter. He rushes over and summons the others. Noises of voices and footsteps as The Monk appears, flushed and staggering. He is upset because Sybilla was O Q just raising her petticoat. 97 The four accomplices are now in the room. Sybilla draws Armador toward the front of the stage where she in forms him that Romulus is not to be trusted. Apparently The Monk divulged this in one of his moments of "lustful delirium." At the first opportune moment then, Armador thrusts a dagger between the shoulders of Romulus who staggers, falling to his knees. Armador laughs. Romulus remains on his knees for a moment, rattling in his throat, then slumping to the floor. Sybilla laughs brutally, as Armador wipes his dagger. With this it is revealed that The Monk had offered this information as a deal so he would be certain to have Sybilla. He reminds her of their terms. He then hugs her as they go up to her bedroom. Subsequent ly, Armador stuffs the beggar's body in Hieronymus' coin chest. Closing the lid, he proceeds up the steps, dagger 29 in hand, toward the bedroom. Next, the street door opens with a crash as Hieronymus enters, bent double, out of breath, and without a hat or cloak. Apparently in town, he tried to pass what turned out to be one of Armador's false coins made in the cellar. Consequently he was chased out of town. Hieronymus is no sooner in the door however, than there is a muffled cry, and the noise of a struggle heard above. Hieronymus takes down his sword but draws back as two shadows, covered by dark cloaks, hurry down the stairs. They tell the miser to open the door (presumably they.are carrying pouches of gold coins) so they can run after his enemies. Trembling, Hieronymus opens the door. The pair rush outside and laugh without restraint. They disappear hut can still he 30 heard laughing in the distance. Ghelderode now begins his final theatrical sequence. Suffering from a stah wound, The Monk staggers down the stairs and collapses, dead. Thinking him drunk, Hieronymus goes over and kicks him a couple times. Suddenly a window pane shatters, as a clamor grows in the street. (Apparently this is the same crowd which chased him out of town.) Hieronymus howls and seizes his sword. There is yelling, shattering of windows, hlows at the door. Then the door hursts in. Suddenly the shouts die down, although the crowd continues to snarl.. Enter The Magistrate, followed hy Men at Arms. Hieronymus surrenders his sword as it is noted that the room contains a stahbed monk, a chest full of counterfeit coins (of course switched for the real ones hy Armador), and the body of the stabbed Romulus. With this, the miser is taken into custody to be turned over to the executioner. In disbelief, Hieronymus is still able to say arrogantly, if not ironically, that apparently no one realizes he is immortal, recalling to mind the so-called black stone of immortality he wears around his neck. He laughs heartily as he is dragged away to the accompaniment of the boos and jeers of the crowd. ^ AUDITORY EFFECTS There are several sounds here which should be noted. ______________________________ 99 First, when Hieronymus initially opens his metal chest, he makes a great deal of noise as he mixes together the 32 so-called male coins with the female coins. Next, "a drawn-out moan from a woman or animal is heard from 33 above." J (This of course is Sybilla.) Then, when the resident ghost, actually Armador, exists during the early moments of the play, the cock is heard to crow at day 34- break. Two sounds in the beginning of the third act are, "twelve strikes heard in the distance," followed by 3 ^ Hieronymus* loud snoring inside the chest. ^ Sybilla's voice is heard again, only this time from the cellar. We hear hysterical laughter followed by a series of moans. ^ As The Monk is being done in by Armador, "a muffled cry, 37 then the noise of a struggle are heard from above."v' Lastly, in the final scene there is the booing and jeering of the crowd.^ INTERPLAY BETWEEN TEXT AND THEATRICALITY The theme of this play is miserliness, or if you prefer, greed. It is one of several plays where, in the medieval tradition, Ghelderode has addressed the issue of human folly by depicting one or more of the seven deadly sins. The sin of greed is the central motif of Red Magic but, by presenting the miser's wife as an adultress, the sin of lust is also treated. We are reminded that a number of playwrights throughout history have dealt with the _________________________________________________________________________m miser theme. Among them are Plautus, Moliere, Fielding, Shadwell, and Wycherly. George Wellwarth in noteing Moliere's The Miser in relation to Red Magic, also mentions O Q Jonson*s The Alchemist, for indeed The Cavalier Armador in Ghelderode's play purports to “ be an alchemist. I would add to this that Bruegel also has a drawing entitled "The Alchemist"-^ which among other things depicts the family going hungry while the central character indulges his obsession, much as Hieronymus' wife goes hungry while he feeds on his greed. Along similar lines, George Hauger has related Red Magic to Bosch's painting entitled "The Con juror," noteing thematic similarities.^0 Indeed one might well point to another Bosch depiction entitled "Death and The Miser," which coincidentally presents a large strong box big enough for a man to fit in. Could this be the strong box of Red Magic? Let us now go directly to the play. What does the theatricality communicate here? Regarding the set, the most conspicuous element is the large metal-bound chest. Because of its size and its location center stage, it is apparent that this object is of great significance. Indeed, it is what the play is all about. Also on the set we see a painting which Hieronymus describes as, "a fine Dutch picture, showing fruits, fish, crested flagons, and flowers," something by Jan Davidsz de Heem, or Abraham van Beyeren, perhaps. Our first impression is that this is a 101 rather odd painting for a miser to he displaying, as it depicts abundance, while one tends to associate miserliness with austerity. Indeed in a room which contains but one table and a few chairs, it seems odd to find a picture on the wall at all. One suspects it will be of some signifi cance during the play. Further, while the stage directions make no mention of it, the text suggests that one might see some evidence of a cemetery outside the room's single window. Hieronymus has indicated that his house is situated over an old burial ground, the contents of which he says he also owns. A couple notes on the physical appearance of the characters, are important. That the monk in this play is fat is not surprising as Ghelderode associates obesity in his characters with corruption and immorality. It is surprising however, that.the miser is also fat. While it is true Hieronymus is also corrupt and immoral, he is still a miser, and misers are supposed to be skinny. Thus the surprise physical appearance of Hieronymus is no doubt meant as a sort of visual joke. This miser with his extremes is afterall a comic character. Hieronymus' miserliness is played up in the theatrica lity of the physical acts early in the play. At one point he picks up an empty jug and goes through the motions of filling a glass. He then drinks from this empty glass. He also pretends to take something, actually nothing, from 102 a dish and puts it in his mouth, chewing and swallowing it. I should mention that these events are occurring in the light of only one candle, no doubt a small candle at that. This single candle also communicates another aspect, specifically when we see the miser sitting at his table describing his possessions. As the small light illuminates his round face, we get the impression that Hieronymus' world is a closed, protective, secretive one. He lives in his own little kingdom of possessions. At the center of his world of possessions of course, is his precious chest of gold coins. Note that while he would never settle for fewer coins than he has, he could always use more. This prompts the business of mixing the supposed male and female coins in hopes they will procreate, yield ing still more coins. His excitement over such a prospect is communicated by the theatricality of his making a great deal of noise in his mixing together of the coins. Hieronymus' miserliness is again seen with the appear ance of his wife, Sybilla. On her saying she is hungry, the miser takes down the Dutch painting of food and tells Sybilla to feed her imagination on the food depicted there. This is contrasted with the scene that follows where The Monk produces from his robe a black pudding and a bottle of wine. He proceeds to eat the pudding in a couple of bites, and drain the bottle. Miserliness again is communicated by Hieronymus* only 103 pretending to give The Monk coins for the church. The Monk pretends to accept the imaginary money, laughing coarsely and farting as he exits. With this, Hieronymus says he*11 talk to The Monk in the same language turning his bottom toward the door, only to decide to keep his fumes for himself. He shakes his fist at The Monk instead. This is again followed by incidents of eating, presum ably once more to contrast the extremes. Gluttony of course is the opposite of miserliness. But here again is where Ghelderode himself makes fun of the miser by making him a walking contradiction. Hieronymus is a fat miser, and at this point in the play, the beggar Romulus has brought him a half loaf of bread, a roast pigeon - and a stone flagon. Hieronymus eats gluttonously and drinks from the neck of the bottle. Further, as Hieronymus steps outside, Sybilla appears and we see that Romulus has also brought her some food, in this case a dried fish. This she eats greedily. Ghelderode has Sybilla eating presumably to communicate two things. First it makes the connection between the shifty character Romulus and the miser*s wife, especially as he caresses her upon giving her the fish? and secondly, Sybilla's long stare at Romulus, then the greedy if not sensuous eating of the fish, tells us something further of the appetites of this woman. The theatricality in the second act further supports the theme of miserliness as we see actually the second 104 appearance of a doi'ljbaby. Sybilla was carrying it at one point in Act One. The idea is that Hieronymus is so miserly that he is •unwilling to give of himself so that his wife can have a child. The doll baby then is a sort of mock child. Also in Act Two, to show that Hieronymus is really no physical threat to anyone, and also to interject some braggart soldier style buffoonishness, Ghelderode writes in an incident with a sword. Sensing a deception by The Cavalier Armador, Hieronymus takes down a sword from the wall. He makes passes like a swordsman as though he were slicing up Armador, only to have Armador appear in the doorway. Convinced he has killed the intruder, and bathed in perspiration, the miser is suddenly confronted with the real person, causing him to cry out in fright. Dropping his sword, he tries to' hide, stammering. Ghelderode further makes Hieronymus a fool by permitting him to be induced by Armador to get drunk. This enables the thief to set up the miser for a destruction to match his miserliness. Indeed Ghelderode uses Hieronymus' drunken stupor to bring all the crooks on stage at the same time. This in turn is used to show the lecherousness of The Monk who is all primed for some fun with Sybilla. This then further prepares us for the Monk's eventual demise. The beginning of Act Three again has our attention drawn center stage, with the sound of tremendous snores _________ 105 coining from inside the chest of coins. This wonderful hit of theatricality reminds us of the psychological value of the coins to the miser, while also reminding us that he is about to be duped. The still intoxicated Hieronymus helps the whole situation by leaving his house for the whorehouses in town, which permits Ghelderode the opportun ity to once again bring all the crooks on stage. It is at this point that we learn of double-dealing and double- crossing along with yet another reminder of The Monk's lechery involving Sybilla. All this results in the stabbing deaths of Romulus and of The Monk. The play ends with the big final scene where The Cavalier Armador and Sybilla run away with the miser's gold, actually getting him to open the door for them. Then with a crowd yelling and banging at the doors, a magistrate enters to confront Hieronymus who has been "framed" for two murders and passing counterfeit coins. This, Ghelderode felt, was the just dues for a miser of Hieronymus' stature. Of the auditory effects in this discussion of the inter play between text and theatricality, I would mention two. With Hieronymus asleep inside his chest of coins, Act Three begins with the sound of twelve strikes in the distance. Ghelderode has used this in other plays to signal the approaching resolution or climax of the play. The other item to note is the Ghelderodian trade mark of a threatening erowd. Ghelderode has again used the crowd sound very effectively to charge the air, to in this instance________106 give a burst or energy in the final moments of the play. Indeed having just experienced two murders in the preceding scene, the only way to keep the final scene (Hieronymus' demise) afloat, was to interject a booing, jeering, rock throwing crowd. Thus has Ghelderode employed yet another theatrical device for the purpose of communicating the theme of this play, which eventually I suppose could be further phrased, "greed does not pay." Lord Halewyn Cast of Characters: Lord Halewyn Edwiggha, Halewyn's mother Griffons, one of Halewyn's men Hylejock, one of Halewyn's men Ulford, one of Halewyn's men Wolventand, one of Halewyn*s men Purmelende, Countess of Ostrelande Barbara, her waiting-maid The Duke of Ostrelande The Dutchess of Ostrelande Karole, Count of Ostrelande Iwyn, a soldier The Forester His Wife The Watchman The Vassals of Ostrelande Note: This play is based on an ancient Flemish song, and _______________________________ 10Z. as such, remains more a song than a play. It is comprised of fourteen brief scenes with very little description of setting and characters. The action however, provides several examples of theatricality. SYNOPSIS The play opens on -the walls of the castle of Ostrelande where a captain and a soldier discuss among other things, Purmelende, Countess of Ostrelande. In the next scene we are introduced to the evil Halewyn whose favorite pastime is to seduce maidens, only to murder them and hang their bodies in a tree. Halewyn*s next target then is young Purmelende who by her nature and circumstance proves especially receptive to the enchanting, beckoning song of Halewyn. Despite friends and family, off she goes across the snowy plain to meet Halewyn. Through a series of scenes then we come to learn that the unexpected has in fact occurred. In the final scene which takes place in the Great Hall of the castle of Ostrelande, enter Purmelende carrying Halewyn*s sword in one hand, and his..severed head in the other. She explains to the Duke, Duchess, and vassals how she was able to break out of Halewyn*s spell just in the nick of time. In the final moments of the play we find Purmelende hugging the head to her, only to collapse and die from her terrible ordeal. PHYSICAL APPEARANCE OF THE SETTING The only indications we have here are that the story ____________________________________________________________ LQ£_ takes place, "in the Flanders plain, not far from the German Ocean. The season is winter} the time, the Middle Ages." The scenes are divided as follows*. Scene 1. On the walls of the Castle of Ostrelande. 2. A cellar in Halewyn's castle. 3- On the walls of the Castle of Ostrelande. k . The interior of the Forester's hut. 5- In Purmelende's ‘ bedchamber. 6. In the nightbound plain. 7* In the passages of the Castle of Ostrelande. 8. On the walls of the Castle of Ostrelande. 9• The plain. 10. A room in the Castle of Ostrelande. 11. In the plain. 12. In the plain. 13* On the walls of the Castle of Ostrelande. 14. The great hall in the Castle of Ostrelande. PHYSICAL APPEARANCE OF CHARACTERS The only character description is of Purmelende. Godfrund, captain of the guard describes her as, "...-white of skin and golden hair, slim as a lily, as a stalk of golden wheat....Her age is sixteen years, her eyes are violet-hued...."2 109 PHYSICAL ACTS The first instance of theatricality occurs in the cellar of Halewyn's castle. The evil Halewyn has been confronted by his mother Edwiggha, who implores him to stop his evil ways. He, on the other hand, wants her blessing. As she refuses, Halewyn strikes her and she falls.3 In Scene Four which takes place in Purmelende*s bed chamber, the waiting-maid sings'a song. In an obviously agitated state, Purmelende finds this singing upsetting and she claps her hand over the maid's mouth. This same maid, seeing that her mistress is enchanted by the beckoning trumpets of Halewyn, tries to bar her way from going out to the plain. With this, Purmelende violently grasps the maids wrists.3 Purmelende has had her encounter with Halewyn. Seeing the Countess riding across the plain, Halewyn's mother stops her, asking if she has seen her son. Purmelende says he is looking at her as she suddenly holds up Halewyn's severed head. The mother shrieks and dies.^ The grotesque final scene takes place in the great hall where the lords and vassals are celebrating Purme lende 's return. She enters carrying a sword and Halewyn's head covered with a cloth. The Duke has her set these down as he proceeds to hold up the head to show the people. Purmelende is asked to tell how it all happened, which she 110 will not do until the head is returned to her. She snatches the head and hugs it to her. In a most graphic manner, she proceeds to tell the story, only to herself collapse 7 and die at the end. AUDITORY EFFECTS For such a short play, there are an abundance of sounds, most of them trumpet calls. I will present them as they occur in the play. In the opening scene, the cap tain has the sentry blow his trumpet: "The soldier sounds a plaintive note." As this same scene ends, the captain again orders a trumpet call, this one to announce the snow which has begun to fall: "The trumpet sounds quietly, g three times." In Scene Two which takes place in the cellar of Halewyn's castle, Lord Halewyn is heard singing a grisly 1 0 song. Then, in true melodramatic fashion, the hinges 11 creak as Edwiggha enters the evil cellar. As this scene 1 2 - ends, "a horn sounds." During the next scene, again on the walls of the Castle of Ostrelande, "a horn is heard 13 in the distance," J and as the scene ends, "a distant call li i, of trumpets." Scene Four begins with a dog growling at 1 3 The Forester's hut. Midway through the scene as the 16 /tfatchman approaches, the dog growls again. The Watchman 17 • is singing a song of warning, as the scene ends again with 1 ft "the sound of a horn." In Scene Five, Purmelende's wait ing -maid sings a song,^ but soon again a horn sounds,20 this time from Halewyn. This same horn "...sounds a rapid 111 -------- 2T------------------------------------------------------------------- call," which acts as an imperative to the Countess who now must go out to the plain. The next scene begins out on the nightbound plain as, "a sound of horns and galloping 22 horses," signals the arrival of Halewyn and his men. The scene ends with Lord Halewyn riding off to meet Purmelende. As he does, he sounds his horn and is heard 23 singing his song of love and murder. Scene Seven takes place in the passages of the Castle of Ostrelande where, as the Countess goes to speak with her family, Halewyn's 24 voice can be heard singing and beckoning in the distance. During the scene that follows, the captain and the sentry hear a dull sound which is the castle drawbridge being 2 3 lowered for the Countess' ride to the plains. There is P ^ "a noise of galloping," as, "the soldier blows a rapid 27 call, then the ducal summons." There is a horn sounding and the noise of galloping also as the next scene opens 28 on the plain. As Purmelende rides madly toward Halewyn's singing voice, the horn of the evil one is heard to echo 29 a note of triumph. ' There are no special sounds in Scene Ten, but in the scene that follows, there is "a cry in the distance, followed by, "another cry, closer at hand."-^ These come from one of Halewyn's men who has discovered the decapitated body of his master. Immediately prior to the encounter between Purmelende and Edwiggha, "a trumpet 32 blasts close at hand,"-' signaling the arrival of the Countess. In Scene Thirteen, again on the castle walls, 112 there are four trumpet calls back and forth between the sentry and the approaching Purmelende. The final scene, situated at the great hall, is a festive occasion which 3 h , begins with a fanfare and singing. The Duke announces that a dead man has been brought into the castle and 3 3 orders the trumpets to sound a dirge. ^ Finally, despite Purmelende's dying in the last moments of the play, The Duke orders celebration. Halewyn is dead, and the honor of his family remains intact. "There is a sound of blasts and singing. INTERPLAY BETWEEN TEXT AND THEATRICALITY In "The Ostend Interviews," Ghelderode makes only brief mention of this plays [Halewyn] is a medieval character whose 'geste* could have Frankish or perhaps even Eastern origins: it could equally well have been brought back from Syria by the Crusaders; but in any case it constitutes the oldest known Flemish song - the most dramatic as well. [The moral of Lord Halewyn?] For you, that virtue is rewarded. For me, that the most obvious lever to heroism is fear. It must be said in any event, despite its themes of virtue rewarded, and heroism via fear, that this play remains more a song (or a film!) than a stage play. As there is very little description for the setting and characters, we will go directly to the physical acts. 113 How does the theatricality of the physical acts support the theme of this play? A review of this category suggests a rephrasing of the theme from virtue rewarded to evil thwarted. Indeed all the action of this play is steeped in evil. Halewyn is evil personified. "I am the devil's bondslave," he says, and as he commands his magic mirror in Scene Two, one wonders if he is the precursor of the "Wicked Witch" in a story similarly about the battle between good and evil, Sleeping Beauty. Yet in Lord Halewyn, unlike Sleeping Beauty, there is another dimension. Halewyn is not simply evil in the sense of his striking and cursing his mother, he is also a seducer and murderer of young maidens. Hence an important element in the dramatic effec tiveness of this play, is the association of eroticism and death. Incidentally, Beyen has indicated that Ghelderode was responsible for adding the aspect of eroticism to the ballad which was already about death, and that this teaming O Q of elements is the real significance of the play. Indeed, yet another side of the phenomenon of Lord Halewyn comes to light when one takes into consideration such other evil seducer types as for example, Dracula. For a fascinating discussion of the association of eroticism and death, I draw your attention to George Bataille's Death and 39 Sensuality: A Study of Eroticism and the Taboo. Violent and gruesome as they are, the physical acts are unquestionably theatrical in the sense of their dramatic Ilk effectiveness. As for the auditory effects, we have noted that the predorainent effect was the trumpet call. These may be considered supportive of the theme in two regards: The continual calling of the horns maintains the mood and tension of the piece, while also providing, in the case of Halewyn's Sail, <a symbol for evil, seduction, and death. To conclude, in this group of plays Ghelderode dealt primarily with the issues of good vs. evil, sin, and folly. Theatrically, the playwright's task was to determine how best to visually and aurally represent these qualities and conflicts. Thus in the settings, for example Chronicles of Hell, there are incongruous elements creating tension and suggesting conflict. The sinfulness of the characters in many of these plays is depicted by their grotesque physical appearance, as Ghelderode borrowed from the medieval notion that one's body reflected the state of his soul. The characters' level of sin and corruption was seen also in the physical acts, which in their theatricality, were typically violent and shocking. Throughout, the sound effects supported the theme of the plays while otherwise underscoring dramatic moments, and feeding energy levels and momentum. In the next group of plays we will see a slightly different thematic orientation with corresponding variations in theatricality. 115 Chapter III: Footnotes Chronicles of Hell ■^Ghelderode, Seven Plays, Vol.I., p. 238. 2Ibid., p.p. 238-239. 8Ibid. , p. 2 5 5• L l Ibid. •^Ibid. , p. 2 7 1. 6Ibid., p. 2 3 9. 7Ibid., p.p. 239-240. 8Ibid., p. 242. ^Ibid., p. 244. 1°Ibid., p. 245. 1:LIbid., p. 250. 1 2Ibid., p. 248. 1 3Ibid., p. 2 3 9. lij'lbid. 1- 5Ibid.f p. 240. l6Ibid. 1 7Ibid., p. 241. 1 8Ibid., p.p. 242-243. ^Ibid., p.p. 244. 116 20Ibid • » p.p. 247-248. 21Ibid > p. 249• 22Ibid 23Ibid 9 P • 250. ^Ibid 9 p. 253. 23Ibid 26Ibid 9 p.p. 255-256. 27Ibid 9 p. 257. 28Ibid 9 p.p. 260-2 6 2. 29Ibid 9 p. 2 6 2. 3°Ibid 31Ibid 9 p.p. 262-2 6 3. 32Ibid 9 p . 263 • 33Ibid 3^Ibid 9 p.p. 263-264. 35Ibid 9 p. 264. 36Ibid 37Ibid 9 p. 266 . 38Ibid 9 p. 2 6 7. 39Ibid 9 p. 2 6 8. ^°Ibid 9 p. 268-2 6 9. 117 41 Ibid., P> 2 6 9. ^2Ibid., P« p. 2 6 9-2?0. ^3Ibid., P* 270. ^Ibid. , P- p. 270-271. ^Ibid., P* p. 271-272. ^6Ibid., P*p. 272-273. ^7Ibid., P- r \ ) 00 ^8Ibid., P* 2 5 0. ^Ibid. , P- 253. 3^Ibid., P* 257. 3lIbid., P* 261 . 52Ibid., P* 2 6 2. 33Ibid., P- 2 6 3. -^Ibid. , P- 264. 33Ibid., P* 266 . 56Ibid., P* 2 7 0. 3^Ibid., P* 2 7 2. 38Draper, "Ari Interview 3^Ibid., P* 44. 118 The Devil Who Preached Wonders ■^Michel de Ghelderode, Theatre. Vol. III. (Paris: Gallimard, 1953), P- 1^7* 2Ihid. •^Ihid. , p.p. 186-187. 4 . Ibid.., p. 2 0 2. ■^Ihid. , p. 145. 8 Ibid., p. 14?. ^Ibid., p.p. 149, 2 0 2, 2 0 7. 8Ibid., p. 152. 9Ibid., p. I6 3. 1°Ibid., p. 165* 1:LIbid. , p. 167. 1 2Ibid., p. 170. 1 8Ibid., p. 171- l2 4'lhid. , p. 173. 1 5Ibid., p. 17^. l6Ibid., p. 175. ^Ibid., p.p. 179-180. l8Ibid., p. 187. 1 9Ibid., p. 184. 119 20Ibid., p. 144. 21Ibid., p.p. 147-148. 22Ibid., p.p. 149-150. 23Ibid., p. 151. 2/jIbid. , P• 153 • 25Ibid., P. 154. 26Ibid., p.p. 178-179- 2?Ibid., p. 182. 28Ibid.. p . 184. 29Ibid., p.p. 183-184. 3°Ibid., p . 184. 31Ibid., p.p. 1 8 5-1 8 6. 3 2Ibid., p. 187- 33Ibid., p. 188. 3^Ibid., p. I8 9. 33Ibid., p.p. 192-193. 3 6Ibid., p. 1 9 6. 3 7Ibid., p. 1 9 8. 3 8Ibid., p.p. 2 0 0-2 0 1. 3 9Ibid.. p. 2 0 2. ^°Ibid., p.p. 2 0 2-2 0 3. 120 ^Ibid., p. 204. ^Ibid., p.p. 2 0 6-2 0 7. ^3Ibid., p.p. 2 0 8-2 0 9. ^Ibid. , p.p. 2 0 9-2 1 0. ^Ibid., p.p. 2 1 0-2 1 2. ^6Ibid., p.p. 2 1 7-2 1 8. ^Ibid., p. 147- ^8Ibid., p. 217. ^Ibid. , p. 148. 3°Ibid., p. 1 6 7. ^Ibid., p. 1 8 1. 52Ibid., p. 1 8 6. 53Ibid., p.p. 1 8 7, 2 0 2. 5^Ibid., p. 1 8 8. 33Ibid., p. 1 9 8. 38Ibid., p . 2 0 2. 3^Ibid., p. 2 0 7. 38Ghelderode, Les Entretiens, d*Ostende, p. 1 1 8. 3^David Grossvogel, Twentieth York: Gordian Press, 196 7)» P Century French Drama (New 2 9 2. 8°Hellman, op. cit., p. 91* . 121 f i 1 George E. Wellwarth, "Ghelderode's Theatre of the Grotesque," Tulane Drama Review, Vol. 8, No. 1 (Fall, 1963) p. 21 . Hop, Signor! i Ghelderode, Seven Plays, Vol. II., p. 51. Ibid. 8Ibid. p. 53. h Ibid. p.p. 6 8-6 9. •^Ibid. P- 55. 6Ibid. p. 73- 7Ibid. P- 51 • 8Ibid. P- 52. 9Ibid. P* 53* 10Ibid , p. 5^-55* 11Ibid , p.p. 58-59. 12Ibid , p . 6k. 13Ibid li+Ibid , p. 66 . 15Ibid , p . 68. l6Ibid , p.p. 70-71. ^ibid. , p.p. 71-72. 1 8Ibid. , p.p. 73-74. 122 1 9Ibid., p.p. 79-80. 2°Ibid. , p.p. 80-82. 2 1Ibid., p.p. 8 2-8 3. 2 2Ibid., p. 8 3. 23Ibid., p . 84. 2^Ibid., p.p. 85-90. 2 3Ibid., p.p. 90-91. 26Ibid., p.p. 91-93. 27Ibid., p.p. 93-94. 2 8Ibid., p. 79. 2 9Ibid. 3°Ibid. 3 1Ibid., p. 8 0. 32Ibid. 3 3Ibid., p . 8 2. 3^Ibid., p. 91 . 3 5Ibid., p. 92. 3 6Ibid., p.p. 93-94. 3?Ibid.. p . 8 2. 3 8Ibid., p.p. 91*93. 3 9Ibid., p . 48. ^°Ibid.. p.p. 48-49. ^Tbid., p. 49. h p Desiderius Erasmus, In Praise of Folly (Michigan,' 1958)» p . 26. L j , 3 ^E. Tietze-Conrat, Dwarfs and Jesters in Art (Londons The Phaidon Press, 1957)* P* 8. 44 Howard Daniel, ed., Callot.'s Etchings (New York: Dover Publications Inc., 197?X* 4 * 5 ^Ibid., p . xv. Red Magic "^Ghelderode, Seven Plays, Vol. II., p. 3* Ibid. P- 5. -^Ibid. P- p. 7-8. ^Ibid. P* 10. ■^Ibid. P* 14. 6Ibid. P« 6. 7Ibid. P- 9. 8Ibid. P- 2 3. ^Ibid. P- 4. 1°Ibid » P • 5. 11Ibid . P . 6. 12Ibid » P. 7. 13Ibid » P . 8. ■^Ibid » P . 14. 124 15Ibid., p. 10-11. ^Ibid., P- 13- 17Ibid., p.p. 13-1^. l8Ibid., p.p. 214-216. 19Ibid., p . 1 6. 20Ibid., p. 17- 21 Ibid., ,p. 20. 22Ibid., p. 21 . 23Ibid., p.p. 27-29. 2^Ibid., p.p. 31~32 « 25Ibid., p.p. 33-34. 26Ibid., P* 34. 27Ibid., p.p. 3 4-3 6. 28Ibid., p.p. 37-38. 29Ibid., p.p. 38-40. -^°Ibid. , p.p. 40-42 . -^Ibid. , p.p. 43-45* 82Ibid., p. 5 . 93Ibid. •^Ibid. , p. 3 4. 8^Ibid. , p. 37- 125 36Ibid., p. 42. 37Ibid., p. 45. 88Wellwarth, "Ghelderode's Theatre of the Grotesque," p.p. 16-17* ^^Wolfgang Steehow, Bruegel (New York*. .Harry N. Adams, Inc., n .d.), p . 34. ^Hauger, "Notes on the Plays of Michel de Ghelderode," p. 22. h * 1 Carl Linfert, Bosch (New York: Harry N. Adams, Inc.,,n.d.); . Lord Halewyn ■^Ghelderode, Seven Plays, Vol. I., p. 2 7 8. Ibid. P* 280. ■^Ibid. P* 283. 4 Ibid. P* 287* 5Ibid. P* 288. 8Ibid. P* 299* ^Ibid. p.p. 301-303* 8Ibid. P* 279* ^Ibid. P* 281 . 10Ibid » P .p. 281-284. 11Ibid » P . 282. 12Ibid . P . 284. 18Ibid * P . 285. 1^' l'bid. 1 5Ibid. l6Ibid., p. 2 8 6. 1 7Ibid. 1 8Ibid. 1 9Ibid., p. 2 8 7. ^9Ibid., p. 288. 2 1Ibid., p. 289- 2 2Ibid. 2 3Ibid., p. 291. 2^Ibid., p.p. 291, 293- 2- 5Ibid., p. 29^. 2 6Ibid. 2 7Ibid. 2 8Ibid. 2 9Ibid., p. 2 9 5. 3°Ibid., p. 2 9 7. 3 1Ibid. 3 2Ibid., p. 2 9 8. 3 3Ibid., p. 2 9 9-3 0 0. 3^Ibid., p. 3 0 0. _____________________________________________________________127 33Ibid., p. 301. 36rbid., p. 304. 37lMd., p. 277. 3^Roland Beyen, Michel de Ghelderode, ou la hantise du masque (Bruxelles: Palais des Academies, 1971)» P^ 6 8. 39 -^George Bataille, Death and Sensuality: A Study of Eroticism and the Taboo (New York: Walker and Co., 1 9 6 2). 128 CHAPTER IY MASQUE AND CARNIVAL PLAYS A Night of Pity (1921), Ostend Masks (1930)> Don Juan , (1928 ), Barabbas (1928). This is an interesting group of plays because each involves a carnival or," as in the case of Barabbas, a fair which was supposed to coincide with the celebration of Passover, but which is upstaged by the crucifixion of Christ. Especially with the first three plays, masks and disguises provide added dramatic impact. We are reminded that Ghelderode*s use of masks was inspired by his country man and contemporary, artist James Ensor. It is not difficult to imagine the extraordinary effect Ensorian carnival masks would have on stage. Combine this with Ghelderode's theatricality in action and sound, and the effect would be hypnotic. With this in mind, A Night of Pity is the story of a dissolute bar, which must contend with an invasion of mysterious masked revellers. Written as a mime, Ostend Masks is set in a fishing port in Flanders during a carnival. As with A Night of Pity, the play Don Juan also takes place in a bar during carnival time. This play however, is more a story of disguises than of masks, per se. Finally, Barabbas is biblically oriented, with a bizarre final act set in a fairground, . complete with a hustling showman and a deadly clown. ____________________________________________________________ 129 A Night of Pity Cast of Characters! Bacchus The Woman The Soldier The Showman The Flowered Mask The Fiery-nosed Mask The Quaking Mask The Trumpeter Mask The Mask of Carnival Death The Voice of the Nocturnal Vocalist SYNOPSIS This play takes place in a tavern on the outskirts of a town. As a small empty merry-go-round turns outside, we see the inside of the tavern which is equally as empty, except for the proprietor named Bacchus, and The Soldier asleep at a table. Presently The Woman enters drenched with rain, and carrying a child wrapped in her apron. Some peculiar conversation centers around the child when suddenly the place is besieged by a group of masked carnivalers. They taunt The Woman who then follows them as they exit back into the street. The proprietor tells The Soldier to leave and to take the baby which was left behind. The Soldier picks up the child and throws it __________________________________________________130 against the wall, exclaiming that it is only a doll. He exits as the proprietor falls asleep at daybreak. PHYSICAL APPEARANCE OF THE SETTING The location for this plays is a shabby tavern on the outskirts of a town. There is a bar to the right, with a bench, tables and chairs to the left. Grubby posters hang on the walls. A window and a door to the street take up the whole of the upstage wall. It is night time and the room is lit by gas lighting. Further, at times the room lights up with the lamps on a little merry-go-round that is rotating in the street. Ghelderode adds, This luminous wheel, to which is added woeful music from a tiny organ grinding out old-fashioned tunes, forms the accompaniment to the playv-.reflections and sound torn by the wind and making „ their way through the meshes of the rain. To complete the tableau, The Soldier, spattered with mud, is sleeping slumped on a table. Bacchus, the proprietor, a big, meek man with a mustached red face, is seen dogged- 2 ly putting bottles in a straight line on the bar. PHYSICAL APPEARANCE OF THE CHARACTERS As mentioned, The Soldier is spattered with mud, and the proprietor Bacchus is a big, meek man with a red face 3 and a mustache. Another character, The Showman, is 131 - — — described as a sort of bearded ruffian wearing a jersey. The Woman is drenched with rain and carries a child wrapped up in her apron.^ Beyond this, there are the five carnival characters whose physical appearances are described by their masks: The Flowered Mask, The Fiery- nosed Mask, The Quaking Mask, The Trumpeter Mask, and The 6 Mask of Carnival Death. PHYSICAL ACTS Drinks are free this night at Bacchus' tavern, as he is going out of business. While The Soldier sleeps at one of the tables, Bacchus takes a drink as he surveys his otherwise empty bar. The Showman then comes in from his empty merry-go-round, has a drink then goes back out. Periodically, The Voice of The Noctural Vocalist is heard passing by, singing his song of lost love and contemplated suicide. Through the front window, the lights of the 7 merry-go-round are seen periodically gliding by. The Woman enters carrying a baby wrapped up in her apron. She holds it out to The Soldier who rocks it for a moment only to quickly give it back, saying it is dead. (As in Red Magic, it will later become apparent that this is actually a baby doll. For now however, its dramatic effect lies in the illusion that this may indeed be a flesh and blood child.) Meanwhile, The Showman comes in again to announce that there is a procession of camivaleis approaching.® _____________________________________________________ 132 Boisterous and in a mob, some people enter wearing masks. Among them are The Flowered Mask, The Fiery-nosed Mask, The Quaking Mask, and The Trumpeter Mask. Bacchus begins pouring drinks. In a moment, The Trumpeter Mask blows a note signalling the arrival of The Mask of 9 Carnival Death, who enters "...like a theatre coquette." All the other masqueraders stand aside like courtiers. The Woman seems especially unnerved by all this and no doubt because of it, is singled out by the carnival characters. Death comes over and stretches his hand toward the child as The Woman draws back. In turn they taunt The Woman, The 10 Flowered Mask offering a bouquet of cemetery flowers. As they drink, a silence grows. The Masks look at each other and make peculiar signs among themselves. The Voice of The Nocturnal Vocalist is heard, again threatening suicide. Having gained some courage, The Woman goes around among the men. The Flowered Mask tries to grasp The Woman but is pushed away by The Soldier. The Woman then puts the child down on the bench and jostles Carnival Death, 11 who in turn clasps her. Presently, The Masks go out in an uproar, followed by The Woman. Bacchus tells The Soldier to go away and take the baby with him. The Soldier picks up the child from under the bench and flings it against the wall. He says it is only a doll, as he spits. As The Soldier exits, Bacchus lays his head on his arms and falls asleep at a table. Dawn has broken.^____________________________________________ 133 AUDITORY EFFECTS Music is part of the sound of this play as with the initial stage indication, "...woe-ful music from a tiny organ grinding out old-fashioned tunes, forms the 13 accompaniment to the play." J Periodically throughout this story, there is The Voice of the Nocturnal Vocalist who 1 i p sings his suicidal song. There is "a trumpet blast in 1 * 5 the neighborhood. Clamor." With this, Bacchus notes that the district is having a carnival. As the crowd approaches, 1 f i there are two indications: "The din is closer," "...Din and shouts."1' ' 7 To announce the arrival of Carnival Death, The Trumpeter Mask "...puts his trumpet to his lips and 18 blows a call." As the carnivalers are about to leave, this same mask mutes the bell, and "...plays his trumpet 19 mournfully." Finally, as the masks go out with an uproar, 20 "the merry-go-round plays incoherently." INTERPLAY BETWEEN TEXT AND THEATRICALITY While the generic characters and sections of illusive dialogue are reminiscent of German expressionism, the influence of James Ensor is clearly apparent in this play. Ensor's "Strange Masks" (1892) and "Masks and Death" (1897) may well have been among those inspiring Ghelderode's A Night of Pity. Misfortune, the bitterness of love, and finally, human folly, are the themes of this brief story. Misfortune is 13^ seen in the bar owner who is going out of business for lack of clientele. After working his way from dishwasher to proprietor of a high class hotel, he is now on a contin uing streak of bad luck. So is The Showman whose empty merry-go-round symbolizes his misfortune. The bitterness of love is reflected in the sad characters of The Soldier who deserted the army for a woman, The Nocturnal Vocalist who sings of loneliness and lost love, and The Woman who was left by her lover. She subsequently had a child who died. The physical appearance of the setting supports this sad theme. It is a shabby tavern not in, but on the out skirts of a town, on a road which is now scarcely traveled. "Grubby posters" hang on the "leprous walls." There is dim gas lighting. It is nighttime, and it is raining. Further, as the dialogue suggests, there is a cemetery nearby as hearses are now about the only things passing by the tavern. Adding to this tableau are The Voice of the Nocturnal Vocalist singing his suicidal song as he passes outside, and the sight of the lighted arm of the empty merry-go- round which occasionally traverses the bar window. This turns to the woeful music of a tiny organ grinding out old-fashioned tunes. The physical appearance of the characters also supports the theme. Sleeping slumped on a table, The Soldier is spattered with mud. Bacchus, the bar owner, is fat with a __________________________________________________________________________i n red face, suggesting over-indulgence. Carrying a child (doll baby) wrapped in her apron, The Woman is drenched with rain. Finally, The Showman is described as a sort of bearded ruffian in a jersey. He remains on the scene simply to have a place to drink. To this dismal appearance then, Ghelderode adds the masked characters who enter boisterous and in a mob. But these are not the fun loving masquerading friends of Ostend Masks, but a mysterious, somehow threatening group. In the true spirit of Ensor, these masks are made of flesh, permanently frozen in their terrifying grins and grimaces. They are ghosts, as they readily admit, ghosts perhaps of past patrons, or for The Woman, of past lovers. The key to this short play, and no doubt the reason Ghelderode wrote it, lies in what happens at the end. Foll owing various taunting and jostling, The Woman and the maskers leave together, The Woman saying, "You're ugly, ludicrous, but you're men. Which of you will carry me off?" Similarly, following the business of The Soldier's throwing the doll baby against the wall, The Soldier spots The Woman out rolling in the mud. Bacchus suggest to him that he should go sleep with her. "Why not," says The Soldier, "it's a woman." The play concludes then as it began, with the gluttonous Bacchus proclaiming his name. Thus despite their prior experiences, The Soldier and The Woman have once again yielded to the flesh and to the spirit of Bacchus, _____________________________________________________________1.36 if you will, and have chosen to repeat those behaviors which were the source of their previous misfortune and pain. In the medieval tradition therefore, Ghelderode has written a "modem" painting once again depicting his con ception of sin and human folly. Ostend Masks Cast of Characters;(mimes): The Wretch The Water Nymph The Three Fish-wives Death The Devil Curious Masks SYNOPSIS This pantomime takes place in the house of a fisherman in the port city of Ostend (Flanders). When the fisherman, called "The Wretch," enters it is apparent that he is sick from drink and from otherwise over-indulging at the carnival going on outside. All he wants to do is sleep. He no sooner dozes off then he is quickly awakened by the sound of a smashing window, screams, and a dog barking. Finally this subsides and The Wretch again begins to doze Dff. Two characters in their carnival masks appear in the window. They decide to have some fun so they open the ioor and bombard the sleeper with rotten fruit. He falls 137 over backwards. He then tries one last time to sleep. Drifting off, he begins to dream of a water nymph. She appears, dancing provocatively around him. He chases her, only to have a chamber pot put over his head. He is awake now. Suddenly enter The Three Fish-wives wearing ugly masks which The Wretch makes fun of. They want a kiss but he pushes them away. As they run back into the street how ever, they have taken off their masks revealing, to The Wretchis frustration, pretty young ladies. A funeral march is now heard outside which inspires the miserable fisherman to kill himself. He climbs up on a chair, secures a rope to the ceiling and to his neck, and is about to jump when a character costumed as Death bursts into the room. He orders The Wretch to get down, then scolds him with his broom. Enter another character as The Devil, carrying a trident. He joins in the abuse. Suddenly how ever, The Wretch recognizes these men and the other masqueraders present, as his fellow fishermen. All laugh heartily. The Wretch is provided an angelic-looking mask as he, Death, and The Devil dance a sort of sailor's jig. They dance into the street to the cheering crowds. PHYSICAL APPEARANCE OF THE SETTING The play is set in Ostend, Flanders on the rainy spring evening of a carnival. The pantomime is played in a low, narrow, ground level dwelling typical of the old _____________________________________ 138. port city. The upstage wall, rusty in spots, has a door to the left which opens onto the street. To the right, a gable window at eye level. In the middle of the room stands a "bloated" stove whose pipe extends into the shadows of the ceiling. A rickety chair and a white chamber pot are nearby. There is a brown dresser with a coffee service on top, while on the backdrop there is the painting of a sail- boat. As for light, Ghelderode indicates, Rust light with red highlights is projected triangularly from above by a big lamp hung from the ceiling. Modest, yet warm, this light focuses on the stove and the chair, bathing the rest of the room in an obscure light, just right for the birth of the fantastic and the burlesque.2 An additional description for lighting occurs as The Water Nymph is about to enter. Representing The Wretch/s dream state, the lighting becomes bluish and vapor-like, as if the room were inside a luminous cloud. PHYSICAL APPEARANCE OF THE CHARACTERS Ghelderode tells us that The Wretch is a merry fisher man in his forties who, as the play begins, is illuminated I 4. by gin. Otherwise he is, ...Ocherous and dark, dull and thick like varnish; cap cocked, his body moves by the mechanism of a strange marine movement. Not exactly the walk of a drunkard, but more precisely that of a drunk Ostend fisherman.5 112. The Water Nymph is a tall, relatively graceful girl wearing a pink bathing suit. She has an appetizing figure and a bright smile. A mermaid is embroidered on her bulging pink chest, while her right buttock bears a heart, the left an anchor. Vaguely dancing, she intermittently shakes her transparent veils which are embroidered with black dolphins and starfish.^ The Three, Fish-wives wear large skirts, dark shawl's, and white bonnets. Their faces are covered with ugly masks of vulgar colors, with mustaches, broken teeth, and warts. Beneath these masks, however, are pretty young girls. Among the other masked characters is Death. He is described as lank, limp, and feeble. He wears a long, old and soiled bed sheet with bloody crosses on the back. On his head is a collapsed top hat, and his mask is the classic one with a receded jaw. He carries a broom. The third mask is The Devil. He is a fat man wearing a jacket and cocked hat. He has horns and a tail, and carries a trident with a fish stuck on it. His mask is scarlet like his clothing, but his pants are white and his stockings green. Finally, the masks of the onlookers are various figures inspired by Ensor. Incidentally, The Wretch's ' angel mask of the final scene is described as "...a moon-like mask of angelic Q expression...crowned with flamboyant red hair." 140 PHYSICAL ACTS Before the curtain opens, there' is carnival music accompanied by various noises. Suddenly the music stops, and the curtain opens. Noises continue as the door swings, but no one enters. Finally, The Wretch enters backward. He moves left, then right, then in profile, his false 9 nose held high. He turns m a complete circle. Near the door, he laboriously begins a few heavy dance steps, but a masked passerby appears in the doorway and with a burst of flour and confetti, knocks The Wretch back into the room. He hiccups and spits to the false note of a brass instru ment. He is sick. He picks up the chamber pot and spits into it as though he were going to throw up, but decides to do it later. He falls asleep bent over the mildly warm 10 stove. Three times now, The Wretch will be awakened from his attempt to sleep. The first time there is the sound of glass breaking outside, a subsequent dog barking, a woman 11 screaming for help, and a wicked laugh. Next, two masked figures appear at the window observing the sleeping Wretch. They then open the door, let go long yells, and bombard the 12 sleeper with rotten fruit. Finally, The Wretch dreams the appearance of a water nymph. He chases her around only to have her put the chamber pot over his head. He then makes a nasty gesture and spits toward where the nymph 1 3 has disappeared. _________________________________________________ 1H The Three Fish-wives now enter wearing their ugly masks which The Wretch makes fun of. They want a kiss, but he pushes each away, laughing at them. The three then kick high, revealing fine lingerie, bits of lace, and perfect thighs. As they exit, they remove their masks showing them to be pretty young girls. The Wretch runs after them but'is too late as the girls disappear into the 1 4 street. The next theatrical moment begins with the passing by of a funeral procession with a chorus of gravediggers. The Wretch is convinced he should kill himself. Curious masks peer in the window and observe The Wretch symboli cally breaking his clay pipe in half. He climbs up on a chair and secures a rope to the ceiling, hammering in the hook in time with the funeral march. Covering his eyes with a red hankerchief, he is about to jump when the mask- 1 5 ed onlookers sound the alarm. Cries and whistles. ^ With this, the door is kicked in and enter Death, who orders The Wretch to get down. He does, falling to his knees. Death then swats him with his broom, much to the delight of the masked on-lookers. The swats become in time with an allegro music which has replaced the funeral march. Now enter The Devil who decides to get in on the fun by poking The Wretch with his trident. To escape this torture, The Wretch lays on the floor feigning unconsious- ness 1U2 The scene continues as The Devil and Death remove their masks, laughing hysterically. The Wretch opens his eyes and recognizes his fellow fishermen. They give him a drink and they all laugh. The Wretch now wants a mask too, and he is soon provided one. It is a moon-like mask of angelic expression, crowned with flamboyant red hair. In a falsetto voice, another mask shoutss Dominus vobiscum..., and all the masks in the street respond: Et cum spiritu tuo. With this, the angelic wretch religiously opens up his arms and blesses everyone, including masks, Death and The Devil. A coarse music is heard, with rattles and reed pipes very drawn out. The various masks gesticu late and clear the doorway. The Angel Wretch, The Devil, and Death hold each other around the waist and dance in place, stomping the floor, with the soles of their feet. It resembles a raucous sailor's dance on a ship's deck. A cloud of confetti envelops them. As the whole city cheers them from outside, they exit in single file, continuing to 17 dance about and thumbing their noses at the audience. AUDITORY EFFECTS The numerous theatrical sounds of this play include several before the curtain opens. These include music of a popular style, joined by blasts of an off-key trumpet and the striking of a bell. Voices grow louder, accompanied by hissing. This din grows, then stops abruptly as the 18 curtain opens. However, the stage remains empty. _______________________________________________________ 1^3 Lamentably, a voice moans nearby. Reed pipes then drown it out, followed by laughter and shouts. Various carnival 19 musics mingle in the distance. Next, The Wretch hiccups and spits to the false note of a brass instrument. He gazes at the chamber pot and a light refrain indicates that he recognizes it. Meanwhile, outside, the music is heard again unfurling and rolling 20 into the distance. The first time The Wretch is awakened from his attempt ed sleep, it is the result of a breaking window, a dog 21 barking, a woman screaming for help, and a wicked laugh. Later, the entrance of The Water Nymph is accompanied by a 22 languid, rhythmed music. Following her scene, a sudden storm of kettle drumming erupts, with other drums, accord- 23 ions, and Chinese bells. v Following the Fish-wives' scene, there is a funeral march, then a chorus of grave diggers. When Death inter rupts The Wretch's suicide, the funeral march is replaced 2 II by allegro music. Then, in the final scene, there is to be coarse music with rattles and reed pipes very drawn out.2- 5 INTERPLAY BETWEEN TEXT AND THEATRICALITY Hoping to rehabilitate the lost art of pantomime, Ghelderode wrote this play based upon his knowledge of the Ostend Mardi Gra and on his familiarity with the paintings 144 2 ^ of Ensor. Grossvogel reminds us that at the time Qstend 27 Masks was written, Ensor*s studio was in Ostend. ‘ That there is a direct connection between this play and the paintings is undeniable when one considers the the final scene of Ghelderode's pantomime with Ensor's "Masks (Skeletons) Fighting for the Body of a Hanged Man" (1891)* Typifying Ghelderode's penchant for the obscene, burlesque, and sentimental, the play is presented from the point of view of a single Chaplinesque character called "The Wretch." Our question is, how has the playwright used theatricality to support this farce with a carnival theme? The setting is the interior of a ground level dwelling typical of Ostend. The meager furnishings suggest that probably only one person lives here, possibly a fisherman because of the paintings of a boat on the wall. What is important is the focal point of the room. Everything is directed center stage. The big lamp in the ceiling shines its modest rust colored light down on the pot-belly stove, rickety chair, and white chamber pot. This is the "space" of the central character. It symbolizes him. Presently, in The Water Nymph scene, we will see this space become "bluish and vapor-like" symbolizing the dream state of The Wretch. The physical appearance of the characters is appropri ate for farce. The Wretch is kind of a dumpy fellow, not too bright, and rather drunk, all of which provides comic lhc exaggeration in appearance and movement. His sexual fantasy involves The Water Nymph who is a tall, relatively graceful girl wearing a pink bathing suit. It must be remembered that she is his fantasy. She is what he finds exciting. Thus does she have a mermaid embroidered on her bulging pink chest, while her right buttock bears a heart, the left an anchor. The Three Fish-wives represent the carnival. They are actually three pretty girls who are costumed as fishwives, complete with ugly masks. Along with the other masked characters appearing in the windows, the pantomime also presents grotesquely costumed characters representing Death and The Devil. Note the distinction here between these masqueraders and those of A Night of Pity. On the one hand, we have harmless carnival masks, and on the other, the true Ensor mask. Grossvogel was aware of this distinction when pO referring to the latter as being made of flesh and blood. Thus in Ostend Masks, the carnival masks have the Ensor appearance, without the interpretation. The physical acts consist of a series of comic episodes. The opening sequence which is the introduction of The Wretch, is a major event. It includes the pre-curtain carnival music and noises, the swinging door and delayed entrance, The Wretch entering backwards, and his circling about showing profiles. This is followed by flour and confetti by masked passerbys, The Wretch hiccuping, spitting _________ l M to the false note of a "brass instrument, and threatening to be sick, only to fall asleep over the stove. Thus in the opening sequence, there is quite a lot /of_comic activity. The next sequence, which includes The Water Nymph scene, has to do with The Wretch's attempt to sleep and the three interruptions which prevent it. Again there is a lot of sight, sound, and activity. Some of this activity has to do with the playing of tricks on The Wretch. These are important to note because they will lead to his attempted suicide. The tricks include two maskers throwing rotten fruit at him, The Water Nymph eluding him and putting a chamber pot over his head and the Three Pish-wives turning out to be pretty girls who also elude him. With all this frustration, The Wretch now truly feels sorry for himself. A funeral procession passing outside convinces him that he should hang himself. This episode is also comic however, as here the pantominist can fumble and stumble, and carry on, in an attempt to rig his rope. Obviously he hasn't had much experience in this sort of thing in any case, as it is comically apparent to us that a little hook pounded in the ceiling is not sufficient to hold a body of his magnitude. Cries and whistles save The Wretch as in a storm a group of maskers lead by Death and the Devil. As though to punish him, Death swats him with a broom in time with allegro music which has replaced the music from the funeral _________________________________________________________________________ 147 procession. The Devil gets in on the fun by pokeing The: Wretch with his trident. Comically, the latter feigns unconsciousness in hopes of being spared. Thus in typical Ghelderodian fashion, the energy level for the conclusion of the play is once again very high. The play concludes with the revelation that the masks are really The Wretch's friends in disguise, and that they care about him. He dons an angelic mask provided by the others and exits with them, dancing a sailor's jig to the cheers of the crowd outside. That this is a pantomime, a play without dialogue, makes the visual and aural theatricality that much more significant. We have seen how Ghelderode has used the visual for comic effect, but he has also used a great deal of sound. As isolated in the previous section, the use of everything from trumpet blasts to dogs barking has contri buted to the overall comic effectiveness of this farce with a carnival theme. Don Juan Cast of Characters! Don Juan Olympia, a barmaid Beni-Bouftout, a negro patron Hanski, a mute patron Pamphile, a hard-of-hearing patron Theodore, a nearly-blind patron 148 Aurora, a wench Diana, a wench Venuska, a wench The Little Green Man The Humbug SYNOPSIS It is carnival time. Upon entering the Babylone Tavern, Don Juan is descended upon by three fun-seeking bar wenches. He chooses to have nothing to do with them, but as he is about to leave, he is run down by the big negro Beni- Bouftout who has barged into the bar. The parade of characters continues with the nearly blind Theodore, the mute Hanski, and the nearly deaf Pamphile. They all drink, dance, roll dice and are entertained by the three bar girls. Suddenly behind the counter there appears the lovely and provocative barmaid, Olympia. All the men are entranced by her, but it is only Don Juan who wins her. The act ends with the two of them disappearing into the back room, and the first appearance of The Little Green Man. Act Two begins with a despairing Don Juan, only to have the scene livened up by a now colorfully costumed Beni-Bouftout. He has decided to be Don Juan so he can also have Olympia. This is also true of Theodore who enters as a chivalrous knight in armor, and of Pamphile and Hanski who are costumed as king's musketeers. The only one _____________________________________________________________________ 1^-9 to have Olympia however, is Don Juan as he again slips away into the hack room. Not for long though as the enraged Beni-Bouftout and others rush through the doorway into the hack room where they proceed to tear the place apart. Don Juan tumbles hack out into the front room, hut Olympia has heen killed. With great remorse, all hut Don Juan exit. As with Act One, the end of Act Two again has the appearance in the shadows of The Little Green Man. Act Three opens with Olympia's corpse covered with a sheet, and Don Juan soliloquizing about the absurdity of this whole situation. Suddenly and strangely, Olympia's voice can be heard calling to Don Juan from the hack room. All this confusion is too much for Don Juan who takes out his sword and stabs himself, falling to the floor. With this, the door to the street opens and in comes Beni-Bouf- tout, Theodore, Pamphile and Hanski. This time however, they enter with no costumes and no unusual characteristics. Beni-Bouftout is not even negro anymore, hut white. They are just ordinary people who at this time have returned to that bar to pay last respects to Olympia, and as it turns out, also to Don Juan. Sadly then, they exit. Up stands Don Juan again who says he really didn't kill himself. He is surprised however when the door to the hack opens and in storms Olympia. She then exposes Don Juan as a man whose real name is Francois-Rene, a man who so identified himself with Don Juan, he assumed the identity. She then uncovers ____________________________ 150 the corpse of what was supposed to be herself, and it proves to be only a sort of enchanted mannequin. Finally, she holds up a wallet full of money and asks Don Juan to share it with her. Pondering, finally Don Juan agrees and he hugs her powerfully. She crumbles to the floor, dead. Removing her veils, Don Juan discovers a frail old woman who also, as it turns out, is bald. Don Juan casually takes her wallet and is about to leave when his way is barred by The Little Green Man. This ugly creature reveals that he is the true, original Don Juan. The little man attacks Don Juan who races screaming in horror into the street. lit PHYSICAL APPEARANCE OF THE SETTING The play begins on a street in front of the window of a tavern. There is no attempt to disguise the fact that this is a theatrical production as this opening scene is described as little more than a black curtain stretched from one side of the stage to the other. Its height Is set at three meters. Above this curtain hang black letters spelling "Babylone," the name of the tavern. It is windy and rainy as, to complete the tableau, The Humbug is seen • t walking along hidden by an umbrella. Following this brief opening scene, there is a quick blackout during which the black curtain is removed revealing the interior of the « tavern. With red and gold colors, the place is old-fashion ed, full of mirrors and palm trees. Upstage there is a shining counter full of crystal, behind which is a mysterious velour doorway. There is an entry from the stree to the right, and a service door to the left. In the corner sits a jukebox with colored lights, while on the counter is a phonograph. All around are benches with velour seats and 2 tables. PHYSICAL APPEARANCE OF THE CHARACTERS Don Juan is a gentleman of the eighteenth century wearing a costume decorated with gold braids, a three- cornered hat on his head. His stockings are questionably ____________________________________________________________ 152 white and he wears r ' ' ’rubber shoes for the rain. Ghelderode goes on to describe him as blond, curly, skinny, small, 3 pale, and nervous. Wearing straw dresses, the three bar wenches, Aurora, Diana, and Venuska, are described as thick h fifty-year-olds with prodigious thighs. The negro Beni- Bouftout is powerful, and wears a red jersey and a gray bowler.In his sixties, Theodore is polished and proper wearing a hat, a candboard false nose, and dark glasses. £ He feels his way along with a cane. Hanski is described as brown, wooden, hermetic, and drunk like an Englishman. He wears a navy officer's jacket and is otherwise dressed in dark blue. He is mute and displays peculiar mimics. Meanwhile, limping and hunched over, Pamphile holds a 8 listening horn to his ear. Next, appearing between the crystal bottles, Olympia is described as looking like a madonna on a shining altar. Pale and haunting like the Mona Lisa, she is entirely beautiful. Blond with almond eyes and rosy flesh, she appears to be superimposed on the garnet background of the archway even though she is rig orously mobile . Her shoulders are covered with an Indian shawl.^ On the other extreme, the Little Green Man is a fluid being, wearing a green suit and a black derby. Held up by frighteningly large ears, this hat comes down very low over his head. One would think he was a rat. He holds a hankerchief in front of his face, his eyes burning with a strange fire. He wears bandages around his heck and . . 10 Wrists. 1 rq We have some additional descriptions for these characters in Act Two. Beni-Bouftout appears hilariously costumed as a ;Florian shepherd, crackling in his flowered 11 taffeta clothing. Colored ribbons decorate his round hat. Theodore enters as a knight in armor, while arm in arm, 13 Pamphile and Hanski are dressed as king's musketeers. v Midway through the third act, Olympia appears framed in the doorway . * /fhis time she has red hair, burning eyes, and a mauve dressing gown. She is skeletal in appearance, a gauze scarf around her face and neck exposing only her gaze. She is panting as she comes forward in an unsteady manner. She seems to have come from a traveling museum. Ik Her step is that of a robot. PHYSICAL ACTS This is also a very physical play with many fine exam ples of theatricality. The first instance occurs when Don Juan enters the tavern. Aware of his arrival, the three fifty-year-old bar wenches begin dancing obscenely. Feel ing threatened by this display, Don Juan begins making his way back toward the door, only to have the three jump on him. The jukebox stops as Don Juan struggles to free him- 1 self. The next occasion centers around the entrance of Beni-Bouftout. Don Juan has freed himself and is backing out of the tavern when suddenly the door, swinging in the opposite direction, smacks him in the back and knocks him to the ground. Enter the negro Beni-Bouftout, like a __________ 1 5k locomotive. There is a lot of commotion as, laughing joy ously, the negro pushes the women. The three fat women respond by hanging around his neck. The jukebox starts up again and the negro stomps in time. Seated, Don Juan looks on with anger awaiting an apology. He is completely , 16 ignored. Presently Don Juan gets up, walks over to Beni-Bouftout and, dancing to the music.proceeds to rebuke the negro. Indeed Don Juan puts his hand on the small sword at his side, which greatly amuses the women. One of them stops the jukebox as Beni-Bouftout takes Don Juan by the back of the neck and shakes him. With perfect speech, no longer a negro dialect, Beni-Bouftout says Don Juan has offended 17 the women and should buy them a drink. 1 Don Juan yields and agrees to buy them all a drink. He sits on a bench squeezed in between Diana and Aurora, the negro facing him. Yenuska is within arm's reach, the glasses having been poured. During a short silence, one can hear the echoes of the carnival outside. Finally, one of the women breaks 1 ft the ice, and begins speaking. Enter Theodore who is in his sixties and wears a false cardboard nose and dark glasses. He feels his way along with his cane in one hand, while with his other hand he feels the ladies' breasts. He then greets Beni-Bouftout 19 by rubbing his hand on the negro's head. The appearance of Olympia is preceded by a new silence among the group. Smoking and drinking, they seem to be dreaming. The women yawn monstrously and there is general immobility. The Humbug can be seen along the proscenium when suddenly Olympia appears almost impercept- 20 ibly behind the counter. Outside, more as an aside, The Humbug tells Don Juan to prepare for Olympia. He then exits. Inside the bar, Don Juan alon^e senses the presence of the barmaid. Two or three times he turns his head to ward the counter without seeing her. He is uneasy. His nostrils smell the invisible as would a hunting dog. Finally he sees her and registers a slight startle. At this moment, the mute Hanski enters. Without making any noise or looking at anyone, he goes to the counter, salutes Olympia, and sits down. Don Juan has become nervous and 21 suddenly blurts out acknowledgement of the lady. Enter Pamphile with a listening horn to his ear. He spots Olympia and goes immediately to the bar. It is with s sense of jealousy now that Beni-Bouftout goes up and collars Hanski and Pamphile pulling them away from the bar. Don Juan takes advantage of the situation and slips to the bar to get a closer look at Olympia. He returns to the others and beg in, s ' • a lengthy discourse directed more at the lady than to anyone else. He says in essence that he wants nothing to do with this woman, that among others things she is too beautiful. He can't be bothered. Suddenly, unexpectedly, Olympia has stirred. She staggers, smilingEcstatic, she exits through the velour doorway. _____________ 156 This is Don Juan's signal and he follows her, the sound of 22 a door locking behind him. With this, the jealous Beni-Bouftout goes wild. Calling after Olympia, he begins knocking over tables. The others become all agitated as the negro takes the revolver and shoots the jukebox which, wounded, lets out a burst of music. The women shout from fear which does not keep the negro from shooting up the bar glasses and the mirror. Aurora hangs on him asking for pity as the madman says he is going to kill everyone. He slaps Aurora who falls down . screaming. Hysterical, Diana rolls on the floor. The negro then throws Venuska against the wall, Pamphile into the chairs, and Theodore across the bar. Hanski comes forward registering approval only to receive a blow to the jaw. As the jukebox stops, Beni-Bouttout looks around to see who else he can hit. He pauses, considering this carnage with stupefaction. The women are crying while the men groan or whine in a jumble on the floor. A vocal poly phony. Suddenly Beni-Bouftout also bursts into tears, be coming the soloist of this concert. Forming his arms in a 23 cross, he rolls his eyes back, lamenting. Ghelderode's theatricality continues as he arranges an interesting sequence of physical events which will lead to the end of this first act. All is quiet now in the tavern as the negro and the nearly blind Theodore play a game of rolling dice as the others look on. They all drink 157 in little sips. The game becomes animated as suddenly reappearing behind the counter is Don Juan. His embroidered vest and three-cornered hat under his arm, he is buttoning himself backup. He has an overwhelmed expression on his face. One of the women has seen him and in a low voice has signaled his presence to the others. It is apparent that they have decided to ignore him, as the dice game gets faster. Bewildered, Don Juan takes several steps out into the bar. Then timidly and with an eye on the players, he begins to make his way toward the door,having decided not to risk injury. He reaches the door, puts on his vest and hat, and watches the players. Vexed that he has not been notic ed, he nevertheless takes the door in his hand. He coughs a bit to draw attention to himself. No one moves. The dice game continues, although the negro like a sleeping cat, 2*5 watches Don Juan. Giving up the idea of leaving without danger or out burst, on tiptoe Don Juan approaches the group. They insist on not seeing him. Then out of frustration, Don Juan makes a remark about the game. Beni-Bouftout jumps up, a large knife in his hand, and grabs Don Juan by the throat. Cries of horror from the others as they get out of the way. Don Juan wastes no time in expressing remorse over taking Olympia from Beni-Bouftout. With this, everything settles down again and before long, the dice game resumes. Finding 158 himself once again being ignored, Don Juan orders champagne for everyone. The bottles are brought out indifferently. He grabs a bottle, uncorks it, tries to drink in gulps but winds up pouring it all over himself. Much hilarity. Enough with the champagne, Don Juan orders whiskey for everyone. Hearing this, Beni-Bouftout stops playing and embraces Don Juan. Pouring the whiskey in the champagne glasses, they all drink. Don Juan gulps and the women guzzle. Movement suddenly becomes more animated as now ther is laughter. Beni-Bouftout grabs Venuska while Aurora responds to the mimed propositions of the mute Hanski. Meanwhile, Pamphile rubs up against Diana, while the still seated Theodore drinks conscientiously. Making the motions of an orator, Don Juan has climbed onto a chair. No one pays attention to him. Presently, Hanski drags Aurora through the service door, soon followed by the negro and Venuska, then Pamphile and Diana. Theodore has grown tired as off stage we hear laughter and shouts. Up on his chair, 27 Don Juan speaks the entire time, no one listening. Don Juan continues to speak. He wipes his brow with his lace cuff and tries to spit. His equilibrium is perilous. He takes a flask of whiskey out of his pocket and drinks, when suddenly out of nowhere The Little Green Man appears. He walks timidly across the bar, then seems to evaporate behind the counter. Don Juan has vaguely per ceived him and with the politeness of a drunkard, has greeted him. In the interim, Theodore has begun to come L5. out of his sleepy state. Remaining prostrate, he begins , , . , .28 to drink again. Don Juan pastily continues his oration, though he has lost his eloquent fire. As he speaks, he loses his balance and falls on the floor. Getting up and leaning against one of the tables, he notes that there is no one present but the nearly blind Theodore. He has had enough and is about to leave when suddenly all the lights go out except the red and blue bulbs above the counter. Calling for Don Juan, Olympia appears naked. She dances, undulating back into the doorway. He follows her hypnotically, disappearing behind the doorway. Very much alert now, Theodore stands up bumping into tables. The voices of Don Juan and Olympia are heard. There is laughter, a sharp cry, the sound of falling, then hurried words which lose themselves. Like a crazy man, Theodore has climbed onto the counter from which crystal glasses fall and break. Like an ape, he hangs in the doorway from which passes a bit of yellow light. He stutters, panting, to see what they are doing. The Act One curtain falls quickly. The beginning of Act Two finds a tired, hung-over, despairing Don Juan. He takes out his small sword and places it to his chest. Pushing, the blade bends. Despite his desperation, Don Juan stops this action, as now the parade of would-be Don Juans begins to appear. Enter Beni-Bouftout in his ^Florian costume of flowered taffeta. 160 Next comes a man in full armor, the visor down on his helmet. He uses his large sword like a cane. Startled, Don Juan hides behind the counter, only his head showing. As the negro addresses the knight, the latter raises his visor revealing the dark-glasses of Theodore. During the discussion which follows, Theodore inadvertently offends Beni-Bouftout who comes over and severely shakes Theodore, sounding like pots and pans. To complete the group, enter Pamphile and Hanski arm in arm, dressed as king's muske teers . The next theatrical moments center around the negro's effort to establish himself as the best new Don Juan. First, however, he must get the original Don Juan to call Olympia out of her room. To this end, the negro threatens to pull off Don Juan's pants,,but instead begins to torture him with tickling. Freeing himself, Don Juan goes to the doorway where he calls to Olympia. Then, to impress upon the other would-be Don Juans his superiority, Beni-Bouf- tout takes out his American pocket knife. He proceeds to open out numerous blades looking like a sprocket. The others are impressed and go over and sit out of the way. Having revealed the knife, the negro tells the others to smile, which they do with constraint. Satisfied with this, 31 Beni-Bouftout closes the knife. Determined to do things right, Beni-Bouftout winds up the phonograph on the counter and puts on a record. Out of _______________________ , l6l| the comer of his eye however, he has noticed that the heads of the other four have simultaneously turned toward the bar. Olympia has entered. The negro has suddenly lost his self-assurance but nevertheless has started the record playing. In a broken voice, the recording begins speaking 32 about evil. Frightened, the negro stops the machine. To Olympia, Don Juan introduces ^eni-Bouftout who says he’s in heat. In a flash however, Don Juan has again disappeared with Olympia behind the door. The negro becomes enraged. He rushes head first through the door, followed by the musketeers Hanski and Pamphile. There is the sound of falling furniture and the shouts of a woman in distress. Restricted by his armor, Theodore is content to brandish his sword and bellow threateningly. The fracas is heard throughout the house. Presently, Don Juan comes tumbling out through the service door, followed by a furious Aurora and Yenuska in sticky dressing robes. One of them is carrying a sack of supplies, the other a bucket and a brush. They obviously have not appreciated having their chores disrupted. After a few heated words, they exit • 33 again. Meanwhile Theodore has been carrying on threatenly to which Don Juan responds by pushing the knight clanging into an armchair. However, with nothing else to do at this point, Theodore joins Don Juan at the counter where they begin tossing dice. There is silence as shortly, Hanski 162 Pamphile, and Beni-Bouftout come tiptoeing out through the curtain of the doorway. In distress, they wear expressions somewhere in between laughing and crying. There is a painful silence except for the sound of the rolling dice. Don Juan does not want to look at them, although his expression shows a kind of perverse joy. The three aggressors begin to sigh and cough to be noticed. Finally, Don Juan speaks, telling them they had at last met the beauty they had long sought. With this, the three burst out in tears, to which Don Juan soon yields by contagion, also beginning to cry. They cry with all the sincerity and spontaneity of clowns. The theatricality continues as Ghelderode now has the mute Hanski advance and begin a discourse which is obvious ly mournful in nature judging by his gesticulations. It's about burial. Beni-Bouftout and Pamphile follow his grimaces, nodding their heads approvingly but with resigna tion. Don Juan also "listens" attentively as finally Hanski stops, out of breath. Don Juan consoles them as, trying to smile, Beni-Bouftout, Hanski, and Pamphile exit without turning around. Meanwhile, Don Juan has become uncomfortable under the stare of Theodore's dark glasses, obstinately fixed on him. Yet Theodore has been moved by Don Juan's kind words to the others and in a moment he also 33 has gone. Don Juan begins to pace despairingly. Twice the dying Olympia is heard calling from the back but Don Juan , does not respond. Suddenly out of nowhere, The Little Green Man appears again. His hankerehief over his face and his derby pulled down,make him a sinister silhouette as he approaches the phonograph. Without making a sound, he places a record on the phonograph, rubs his hands together in anticipation, and hides behind some palm trees. Repeatedly snapping his fingers, Don Juan begins a mono logue. The horn of the phonograph turns in his direction as the invisible finger of The Little Green Man starts the record. The machine gently, with passion, begins to sing an exotic ballad from the faraway Pacific. Accompanied by strings and harps, the music breaks from time to time. His mouth open, Don Juan is entranced by this, and he leans toward the phono. Soon he is dancing alone in a sort of ecstacy, mixed with an otherwise inexpressible sadness. Partially exposed behind his palm tree, and in a senile fashion, The Little Green Man keeps measure like the leader of an orchestra. The curtain slowly falls.-5 Act Three begins in dim light as The Humbug speaks outside. Don Juan is seen sobbing as he lights a candle. It produces large shadows as he kneels down and places the candle next to the draped body of Olympia. Suddenly, all the lights are switched on. Startled, Don Juan shouts for them to be turned off again. They are, and three dark shadows approach. Diana, Aurora, and Venuska are crying but this gradually turns to laughter as they sense the 16k comic irony of Don Juan and this body. This laughter becomes a sort of hysterical shouting as Don Juan tells them to get out. The women huddle behind him pointing, then as they exit, they smack each other uttering sharp cries. 37 Don Juan slams the door behind them. A few moments later, in an isolated moment of theatri cality, Don Juan discovers a tear in an awkward spot of his costume. With the urgency of a wound in his flesh, he grabs a needle and thread from behind the bar, and comi cally twists around trying to sew. He eventually gives 38 up. Without a change of mood, Don Juan is suddenly struck by the absurdity of this tavern situation. Defiantly, he kicks the corpse of Olympia and rushes for the door. As he opens it, there is the roar of the carnival. A cloud of confetti envelops him. Then, a masquerader wearing a big dog's head, jumps into the bar and pushes Don Juan. The "dog" then races back out into the screams and madness of the streets. Shaken, Don Juan closes the door and 39 returns into the room. ' Don Juan continues his monologue. Presently there is a pounding on the walls as the voice of Olympia is heard. Frightened, Don Juan quickly runs behind the counter where he turns out the lights to the bar. The room remains bathed in the trembling light of the candle. This is all too much for Don Juan who has now decided to kill himself. He takes out his small sword and runs it through his vest, the blade coming out the back. He falls. There is more interesting theatricality as this scene continues. A noise prompts Don Juan to raise his head and look around the bar. Nothing. Sitting up now beside the corpse of Olympia, he ponders what to do next. As the noise becomes more precise, he lays back down on the floor and does not move. Now the door opens from the street as enter Beni-Bouftout, Hanski, Pamphile, and Theodore. They have obviously taken off their carnival costumes and appear as ordinary people. Indeed the negro now has a white face like the others, the deaf man no longer has an ear trumpet, and the blind man has rid himself of his dark glasses and cane. The mute is no longer a mime and. will speak when he k - i has to. The group comes forward softly whistling the allegretto of the Seventh Symphony as a cadence for their funeral march. They line up before the two bodies, where they be come like statues, speaking one after the other without gestures. The four eulogize the corpses and begin to speak philosophically. Running short of adequate words, they fall into each others' arms and remain stuck together in silence. After a moment, they detach themselves and, looking a last ♦ time on the two bodies, they slowly leave as they entered, L lo in single file and whistling the funeral march. Overcome by emotion, Don Juan gets up and announces that the Don Juan character is dead, but that 'he' is alive. 166 He is suddenly petrified as all of the lights of the "bar come on. In the doorway to the "backroom now stands Olympia, at the same moment her supposed corpse lies draped center stage. Don Juan hacks up speechless. What follows is a harrowing if not comical chase around the counter. Finally they are nose to nose as their voices are heard, the strained and weak one of the man, and the rough and dark one of the woman. She goes to strikp him hut suddenly topples over, out of hreath. J Olympia draws attention to her other self, the per petually beautiful one now lying dead under the sheet. She removes the sheet and stands up the dehis of a waxed mannequin, losing stuffing from its stomach. Scarcely attached to the hody, the head is snatched off and stuck in Don Juan's face. Olympia then throws the head away. The theatrical surprises continue as Olympia notes that this Don Juan's real name is Francois-Rene, a person who so identified with the legendary Don Juan, he decided to assume the identity. With this, Olympia produces a wallet full of money which she invites Don Juan to share with her if he will remain her lover. He ponders, then provides a more or less convincing statement that indeed he has loved her all along and that he will marry her. With this, he goes over to her and hugs her powerfully. Olympia has trouble breathing in this hug and asks Don Juan to stop, but it is too late. She falls to her knees, her head lowered to her shoulders. In desperation she tugs at her clothing as though trying to get more air. Don Juan takes the body in his arms and places it in a chair where it leans against a table, immobile and stiff like a mummy^ Olympia is now no more human looking than the dis mantled mannequin lying nearby. The veils covering her face have come undone, revealing a death-like mask. With a paleness covered by violet stains, her face is wrinkled and plaster-like. The mouth is a black hole. The eyes in deep sockets remain glassy and r u n n y , and the exposed neck is that of an old, defeathered bird of prey. In a stupor, Don Juan finds himself contemplating a sad sixty-year-oId who Death has just crushed, upon whom Death has placed his own mask. To complete the horror, as Don Juan attempts to put the veils back over this mask, Olympia's flamboyant hair roles onto the floor, a mere wig. He gives a sharp laugh, a mixture of. horror and humor. He picks up the wig and replaces it eschew on the head. He then retrieves the L l6 wallet from the torso, and puts it in his own pocket. With this, Don Juan hiccups and places the sheet from the mannequin over Olympia. He takes the lighted candle and sets it next to the body, then turns off the other lights. He is about to exit when his way is blocked by The Little Green Man who holds his hands up high. Tied at the back, he still wears his hankerchief over his face. His derby, looking like a bell, is stuck with a peacock feather, while around his shoulders he wears an old checked 168 table cloth. Brandishing a wooden sword, he shouts sharply. The Little Green Man challenges Don Juan, and what follows is more a parody of a duel than the real thing. Before long, The Little Green Man is out of breath, 4 7 and Don Juan stops. The Little Green Man now reveals his identity. He is the original Don Juan, somewhat the worse for wear having been struck by some mysterious lovers disease, but he is still the original. With this he removes the hankerchief from his face. What we see is a spongy green surface pierced with bleary eyes, no nose, with a bloody wound for a mouth. Don Juan screams with fright and runs about chaotically, knocking over The Little Green Man who screams Zj-8 sharply like an enraged ape. The stage goes dark. To complete the theatricality of this play, as the lights come up again we are out in the street with the same setting as at the beginning. In front of the bar windows, the letters *Babylone' float dimly lit above the curtain at mid-height on the stage. The Humbug is at his post throwing confetti and ridding himself of the streamers twisted around him. Enter right Don Juan at full speed, being chased by The Little Green Man. The monster grabs hold as Don Juan tries to defend himself. Both men scream loudly as they fight. Above the curtain, in the ocherous penumbra, appears the macabre medusan head of Olympia. She watches the fight, screaming without sound. Finally Don Juajn _______________________________________________________ 169 gets free and flees like a madman, The Little Green Man on all fours at his cuffs. Flapping her arms, Olympia falls like a marionette into a trap door behind the win dow, as The Humbug bursts out laughing. He then announces to the audience that the carnival is over, and he exits l \ , Q happily. 7 AUDITORY EFFECTS There are several sources of sound in this play. The opening moments inside the tavern are punctuated by the bursting forth of song from the jukebox. Toward the end of Act One, this machine again burst out, only this time it is the result of having been shot by the enraged Beni- Bouftout. A phonograph with a horn is also used. The negro begins to play a record which unexpectedly speaks about evil."^ This is in the second act, while in the third, The Little Green Man plays a recording of an exotic ballad from the Pacific.^3 Carnival sounds are heard on three occasions. First, during an awkward silence which finds Don Juan squeezed in at a table with his new "friends," echoes from the carnival can be heard outside. A short time later, while the group is smoking, drinking, and daydreaming, there are sounds of the carnival in the C c ? distance, then a gust of wind. J (it is in this atmosphere that Olympia now appears for the first time.) Finally, in Act Three, the defiant Don Juan is about to exit when a 170 masquerader "bursts in, accompanied "by the roar of the carnival.^ This same act incidentally, begins not with carnival sounds, but with the "long bronze voices" of cn boats leaving from a nearby port.^f The last theatrical use of sound I would note centers around the Act Three entrance and exit of Beni-Bouftout, Hanski, Pamphile, and Theodore. They have come to pay last respects and are heard whistling a funeral march. INTERPLAY BETWEEN TEXT AND THEATRICALITY As with the legend of Faust, the story of Don Juan has for centuries been treated by poets, playwrights, and musicians. The seventeenth century saw for example, Tirso de Molina *s The Trickster of Seville, or The Stone Guest (l6l6?), Moliere*s, Don Juan; or The Libertine (16 6 5), and Shadwell's, The Libertine (16 7 6). Perhaps the most familiar of the eighteenth century is the Mozart-DaPonte, The Punished Libertine, or Don Giovanni (1 7 8 7). Among those of of the nineteenth century, there is Moracrieff's, Giovanni in London; or, The Libertine Reclaimed (1817)> Grabbe's Don Juan and Faust (1829), and Zorrilla's Don Juan .Tenorio (18^4-). Some of the versions of the story appear ing in the twentieth century include, George Bernard Shaw's Man and Superman (1903)» Rostand's, The Last Night of Don Juan (1921), Montherlant*s Don Juan (1956), and Max Frisch's, Don Juan or The Love of Geometry (1962).-^ _____________________________________________________________171 These are only a few of the many variations of which Ghelderode's Don Juan (1928) is yet another. Unlike the other two "mask" plays by Ghelderode which we have discussed, this play deals more with the concept of disguise for the purposes of deception, both of others and of one's self. What more appropriate situation and character to present this theme than a carnival or Mardi Gra, coupled with one of the greatest legendary deceivers, Don Juan? How does the physical appearance of the setting support the theme of this play? The first item of interest here is the manner of staging. It is done in music-hall style, with no attempt to hide the fact that this is theatre: a show. Staging the play this way is very clever because it adds yet another dimension to the illusion, to the deception, if you will, which occurs in this play on several levels. Thus the opening scene is little more than a black half-curtain stretched across the stage above which hangs a sign with the name of the tavern. This brings us to the second noteworthy aspect of the setting which is the name of the tavern. Of all the names he could have chosen, Ghelderode selected "Baby1one," name of the legendary city of sin. Therefore we know from the opening moments of the play, precisely with what we are dealing. Incidentally, note the depressing atmosphere created by the wind and rain of the opening scene. It tells _________________________ 172 us something about the mental state of Don Juan as he enters, while also setting us up for the opposite mood in the next scene. A discussion of the characters begins with a note about The Humbug. We know little about his physical appearance except that he is hidden by an umbrella. His purpose however is interesting. He is the chorus, the commentator, perhaps the playwright himself. He is of the music-hall motif, part of the outer frame of the play. As noted, he is also disguised, his mask being his umbrella. Don Juan, on the other hand, wears an eighteenth century costume which is somewhat the worse for wear. Not at all looking like the Don Juan we would expect to see, the playwright makes him Chaplinesque in nature, describing him as blond, curly, skinny, small, pale, and nervous. His appearance, like the character himself, is oddly comical. Don Juan's quest of course is for beauty, but the women characters of the tavern are not beauty-as- beautiful, but beauty-as-grotesque. Ultimately this includes even the initially radiant Olympia. I would note' also the contrast between the grotesque women characters and their goddess-like, names: Aurora, Diana, Venuska (Venus?), Olympia. In marked contrast to Don Juan's eighteenth century costume, are the disguises of the four other men. Each has his physical (theatrical) peculiarity, characteristic of 173 many of Ghelderode's plays. We are periodically reminded however, both by our own minds and by the text itself, that all these characters in Don Juan, are in disguise. We must remember that this is Mardi Gra on the one hand, and a music-hall show on the other. Illusion is the name of the game, except for Don Juan of course whose game of illusion also includes deception, remembering that the Don Juan of legend was first and foremost a trickster. Perhaps the biggest visual surprise of the play next to the disintegra tion before our very eyes of Olympia, is the grotesqueness of The Little Green Man. Appart from the theatricality of his physical appearance, his horribleness, Ghelderode seems to be saying,,this is the fate of all Don Juans who' seek to live in extremes, and to deceive themselves and othe What may be said about the theatricality of the physical acts in relation to the meaning of the play? By way of overview, I would note that first of all this is a very physical play, the physical!ty of it being primarily for theatrical effect. Much of it comic. This after all is ultimately meant to be a music-hall show. What is of greatest significance for the inner story however, is what happens in the final third of the play: The characters remove their disguises. The bar wenches appear in their work clothes; Beni-Bouftout, Hanski, Pamphile, and Theodore enter as everyday people; Olympia is revealed for what she really is, a frail old woman; even The Little __________________________________________________________________________1 7 4 rs . Green Man unveils his face while divulging his true identity. Only one remains in disguise. Don Juan, who is really one Francois-Rene, will not unmask, or more correctly, cannot unmask. He even attempts suicide, the ultimate unmasking, hut it is no use. The temptation to he Don Juan is too great, the deception too well established. It is once again then, with a sense of human folly that the play ends with The Little Green Man (original Don Juan) seeking to punish the masquerading Don Juan for the folly of his ways. Finally, the majority of the auditory effects in this play are for theatrical purposes, which is to say they do not have a meaning beyond what they are. I would however underscore the playwright's use of distant carnival sounds which reinforce the play's circumstances. 175 Barabbas Cast of Characters; Barabbas Caiaphas Pilate Herod Judas, an apostle Peter, an apostle John, an apostle Magdalene Yochabeth Pilate's Wife The Governor of the Prison The Watcher The Good Thief The Bad Thief The Priest The Clown The Showman The Other Apostles The Beggars The Soldiers The Crowd Jesus 176 SYNOPSIS This play tells the story of the criminal who was preferred to Jesus, when the mob was given the traditional privilege of releasing a prisoner at Passover. Indeed the play begins in prison where we are given some ahsight into the basic criminal natures of Barabbas, The Good Thief, and The Bad Thief. Jesus is also present in the prison of Act One but we learn little about him as he remains silent here as throughout the play. The Second Act takes place on a terrace outside Pilate's palace. Introduced there are such historical characters as Judas, his wife Yochabeth, The Apostles, Pilate and his wife, Herod, and the priest Caiaphas. It is during this act that Barabbas and Christ are brought before the cheering and jeering crowd which will select Barabbas to be set free instead of Jesus. The last act is set in a fairground hollow in the shadow of Calvary. Appearing here in contrast are the weeping Magdalene and Apostles, versus The Showman and his clown who are upset because Christ's crucifixion has drawn the crowds away from the fair. They brighten for a moment however, when it appears they have enlisted the services of Barabbas. Indeed they will dramatize the story of 177 Barabbas' release from prison, and the death of Christ. Barabbas however ceases to be amused by these plans and proceeds to knock about and threaten The Showman and The Clown, and to tear down their booth stage. Magdalene and The Apostles appear again on stage for the final dying moments of Christ, followed by the reappearance of Barabbas with a band of beggars. Ironically, Barabbas and his friends are on their way into the city to avenge Christ's death. As everyone leaves and Barabbas is about to follow, The Clown appears from behind the ruins of the booth stage and stabs Barabbas in the back. PHYSICAL APPEARANCE OF THE SETTING Ghelderode provides descriptions for each of the three acts of this play. Act One takes place in a jail with high bars. It is surrounded by a raised inspection walk. Granite steps are in the center of this cage, and there is 1 deep silence and gloom. Act Two is set m part on a street. Set back a little is the entrance to Pilate's palace, the edge of whose pediment porch can be seen to the left. In front of the entrance and extending into the main area of the stage, is a terrace which can be reached by steps. A fire bums on the promontory, making the crowd, massed on p the other side, invisible. There is a fairground atmos phere in the final act. The scene is a hp-llow in Jerusalem where the shadow of ,CTalvary hovers over all. Ghelderode — ___________________________________________________________U K explains that "in this place the actors will he as though in a cistern, and since everything is strange and panic stricken during this act, they will have the manners of madmen or sleepwalkers."^ Various people will go by almost continually in the gloomy upstage area. To the left, there is a small entrance to a portable booth. This booth includes a platform for a stage, colored panels, a red lantern, and a cracked bell. A ruined wall is on the other side of the stage and will be the permanent outpost for L The Watcher. PHYSICAL APPEARANCE OF THE CHARACTERS The descriptions of the characters in this play, are sketchy at best. We know that Judas’" wife is "sordid and hideous,"-3 and that Pilate is "lean and smooth." Further, The Apostles wear sort of half-masks and are 7 covered by cloaks. The only description given for Magda lene is that she is, at least toward the end of the play, 8 "disheveled and haggard." Finally, during Act Three, The Clown appears wearing a red robe and is crowned with dead branches, in parody of Jesus. PHYSICAL ACTS The first instance of physical theatricality occurs with Barabbas* violently proclaiming that he is truly a bandit. Shaking the other thieves, he asks why they don't applaud. Feebly they clap their hands, as The Good Thief "bursts into tears. Asked why they have killed, The Bad Thief says it was because he wanted to. With this, Barabbas mocks him, then spits on him. Barabbas childes The Good Thief for feeling sorry for the one he killed, knowing he 10 was detestable. Barabbas then spits on him. Barabbas rushes at the bars and shakes them violently, grunting as he does so. Suddenly a dark lantern lights up, its beam striking Barabbas" face, blinding him. For a moment he remains motionless, then he tries to escape the circle of light which follows him. Presently a soldier appears, coming close to the cage. A sudden cry, and the light goes out. Barabbas has managed to grab hold of the soldier who can be heard struggling for breath. Barabbas laughs as the other thieves become agitated. Quickly how ever, three lamps from above appear and, joining their beams together, concentrate their brightness on Barabbas. The bandit releases the soldier and draws back, fleeing 11 the light. He paces around, followed by the lamps. Shadows come down the inspection walk, and the lamps go out, revealing an ash-gray dawn above. The soldiers stand fast, holding their spears toward the cage. Enter r The Governor of the prison. Following some conversation, Barabbas asks The Governor to blow in his face which he c S does. Barabbas goes into ecstasy over the scent of wxne on The Governor's breath, the bandit imploring that they too be given some wine. The other two thieves pick up the . 180 chant for drink. As these are condemned men, The Governor agrees to it, and a tall jar is brought in and passed through a grille at the bottom of the cage. The soldiers 12 and The Governor exit. Barabbas is the one who first grabs the jar and says he is not going to give any to the others. Only after they get down on their knees does he pour wine into their gaping mouths. After a while, the half-drunk Barabbas begins to sing a "song of crime" during which he mimics 1 3 the killing of someone on the side of a road. J Pausing a moment in his song, Barabbas looks attentive ly at a mass which lies motionless at the end of the jail, a mass which none of them had previously noticed. Spurred on by the others, the bandit approaches the mass as though to kill it. Suddenly there is a heart-rendering cry, and Barabbas draws back, stammering. Frightened now, all three flatten themselves against the bars as the mass stands up. Each thinks ih is the ghost of one of his vic tims. Mustering courage, Barabbas approaches, fist raised. The mysterious person staggers, then little by little sinks to the ground. Barabbas rubs his eyes. Seeing that it is a dying man, the bandit chooses not to harm him. The three remain motionless and attentive. The man, Jesus, ik is no,w lit by a light from below. Following a scene during which Judas enters to explain his betrayal to the oblivious Jesus, Barabbas struggles 181 to raise Jesus to his feet. He then draws back as an un real light shines around Jesus, who seems blind as he staggers toward the stone steps. On reaching the steps, he falls to his knees in a praying position from which he does not move for the remaining moments of the act. The act ends then with a sudden light and the appearance of soldiers along the cage. There is heavy rhythmical marching as drums beat funereally. The two thieves lie at Barabbas' feet as though to protect themselves, as Barabbas gazes 1 ^ at Jesus. Theatricality in Act Two begins with a lighting effect. Pilate and his wife appear on the terrace of their home. A fire bums on the promontory over which they stand, their faces lit up from below. They look at each other coldly.^ A scene with Judas and his wife Yochabeth follows. When we first see Judas, he is counting his money with exagger- 17 ated motions. ' (This is the money he was paid for betray ing Jesus.) Then, with hatred for his wife, Judas says he is going to show her how much he loves her, whereupon he attempts to strangle her. She lets go with hideous cries, which brings on the sound of arms from Pilate's men. Judas quickly lets go of Yochabeth's neck, and after a 18 pause, the noise from the guards can be heard dying away. The next scene begins after a silence. Then, "...shin ing circles from dark lanterns, like stars, come and sweep 1Q the stage sinisterly...." 7 Covered by cloaks, shadowy 182 forms appear, their faces hidden by black dominoes. These are The Apostles. Ghelderode uses their lanterns or lamps very effectively as for example, a lamp lights up the 20 apostle John as he is about to utter a truth. In a subsequent situation, The Apostles have decided to rally the people to save Jesus. They shout for torches and swords, and there is a great uproar. This brings Pilate out onto his terrace, and the calling out of his guards. 21 With this, all the apostles’ lamps go out simultaneously. As we have seen, one of Ghelderode's favorite and most effective theatrical devices is The Crowd. This play is another good example, and begins with Pilate walking up stage where, at a glance, he quickly appraises The Crowd. (They, as always, are not visible to us.) Recognizing 22 Pilate, The Crowd explodes, chanting his name. Presently, Caiaphas and The Priest address this crowd. Caiaphas meditates in front of them, his face in his hands. The pair of them then begin to emit doleful cries as, in simulation of vehement sadness, they beat their heads and their breasts with their fists. The Priest then asks them for the name of the man they unanimously denounce. As he puts his right hand to his ear, The Crowd howls, "Je-sus-of- Na-za-reth. Barabbas is now brought before The Crowd which acknowledges him with tremendous clamor, applause, and outcry. Disconcerted, yet trying to assume a pleasant 183 expression, he thanks them for coming to see him die. Caiaphas tells him to bow his head and to weep if he can. 2 h. Barabbas bows his head and sniffles powerfully. Next, Jesus appears, being pushed along by a soldier. As he is brought before the people, the two priests move aside with 4 2 ^ scorn. In a frenzied chorus, /phe C-rowd boos him. D The theatricality continues as Pilate now advances toward The Crowd. As he thrusts aside Caiaphas and position himself between Barabbas and Jesus, a strong sun is seen lighting up the group. There is total silence. Pilate asks -The Crowd which prisoner they want released as is the tradition at Passover. Except for Judas, they all shout "Barabbas." In a tiny high pitched voice, Judas has shouted "Jesus," following which he shrinks, fearing he has been seen. The reaction to all this is astonishment by Barabbas, resentment by Pilate, and satisfaction by ;the ,-priests. Meanwhile, Herod sneers, and Jesus remains with- 26 drawn. Jesus is led out to be beaten, as Caiaphas begins mak ing a case to The Crowd in support of Barabbas' release. With Caiaphas speaking at one moment and coaching at the i, next, Barabbas weeps, moans, and wails in supposed repentance for his evil deeds. At one point he even has Herod in tears. With this, The Priest tells Barabbas to fall to his knees and say something to The Crowd.-. Anything On his knees, Barabbas cries hoarsely for mercy. In joyful 18^ 27 chorus, The Crowd chants his name. ' Now Pilate reappears. The sound of trumpets, then silence. Jesus is brought back, covered with blood, hideously crow-ried with thorns, and a reed between his bound hands. As if ready to slump, he is a pitiful, night mare figure. Pilate indicates Jesus to The Crowd which after a long silence, snarls threateningly. Pilate again asks the Crowd who they want released, to which in triump hant chorus they again shout Barabbas. Pilate then asks what should be done with Jesus to which The Crowd thunders,, . 28 crucifixion. An interesting bit of theatricality occurs as a soldier removes Barabbas' chains. There^is a moment of insecurity as Ghelderode has Barabbas taking back his chains, press- 29 ing them to him, and asking to be returned to his prison. This state of mind is short lived however, as Barabbas' friends, The Beggars, rush up and surround him. They give him a jar of wine from which he drinks, then throws away. He is given flowers, and a dagger which he kisses. Soon one of The Beggars begins playing an accordion to which the released bandit dances. Amid the savage yelling, Barabbas leaps like a wild beast. The Beggars shout with him and clap their hands, as in the distance, The Crowd echoes the merriment.-^0 Set in a hollow in Jerusalem, there is a fairground atmosphere as Act Three begins. In front of a makeshift, booth, The Showman beats a big drum and yells through a megaphone. Bursting with, laughter, The Clown then comes into view from the tooth. He is about to begin a routine when The Showman tells him not to bother. The fair has been 31 ruined by the forthcoming crucifixion. Disheveled and haggard, Magdalene enters. She is distraught over what is proceeding on C'alvary. She points to the skyline, only to quietly collapse, exhausted. Un able to bear the sight of the execution, she puts her hands to her eyes and goes to leave. When she gets in front of the booth however, The Clown startles her by beginning a dance. Magdalene takes fright and flees. The Showman punches The Clown, who blows kisses, and drops back into the booth. A similar situation occurs when Magdalene reappears with The Apostles. They are calling to Jesus in evidence that they have not forsaken him, whereupon The Clown comes into view again, making antics. The Showman pushes him 33 back into the booth, as The Apostles take fright. There's an interesting lighting effect which I would note in passing. Immediately preceding this most recent appearance of The Apostles, the stage is seen to grow dark with the proceeding of the crucifixion. Ghelderode then has The Showman light a lock-keeper's lamp creating an eerie atmosphere.-^ Peter is the next to enter. He is obviously a broken man as he weeps with the knowledge of having denied Jesus 186 three times before the cock crowed. Savagely taking a strangled cock from his cloak, he twists it at the neck 3< as he speaks. Judas also has his symbolic object as he appears holding a rope. As he speaks with Peter, he makes a slip-knot in the rope."^ It is now time for Barabbas to reappear. He is a little drunk, with flowers in his hair, and carrying his chains around his neck "...like the collar of an honorific 37 order." Meanwhile the distraught and guilt-ridden Judas has asked Barabbas to spit on him. Barabbas tells him to get out of his way, and with a thump, knocks him into the road. The Clown on the other hand, obliges Judas and spits in his face. The Clown then laughs until he cries, only to again disappear into the booth. With this, Judas gets up and says he is going to hang himself, which prompts Bara bbas to grab him by the nape of the neck and to tell him that if he isn't hanged by tonight, he will break his neck. Judas flees. Great theatricality now as The Showman and The Clown have decided to build an entire act around Barabbas and the crucifixion of Jesus. To this end, The Clown has gone into the booth, only to reappear wearing a red robe and a crown of branches in parody of Jesus. The Showman describes the proposed show to the bandit, punctuating his descrip tion by banging on a big drum. He then turns to The Clown and, boxing his ears, kids him for daring to play the King of the Jews. Barabbas has his own ideas of how the act _____________________________________________________________187 should go and as he describes his plan, the bandit seizes The Clown by the throat and hammers his face with his fist. Horrified, The Clown manages to free himself, only to have Barabbas grab him by the seat of the pants and fling him 39 into the booth. 7 Meanwhile, a figure seen briefly earlier, again appears. Dressed in a black cloak and with his face covered, he hides himself against the booth. Barabbas is aware of this spy, observing him out of the corner of his eye. This how ever, does not keep him from continuing with The Showman and The Clown. Barabbas has taken out his dagger and tells The Showman how he plans to demonstrate to the audience that he is still a criminal by neatly cutting The Showman's throat, bleeding him like a pig. The bandit then brutally throws The Showman down. The latter attempts to flee, but Barabbas grabs him, lifts him by the throat, and holds him back The plan now is for The Clown to be crucified, where upon Barabbas reaches into the booth and drags out The Clown. The bandit opens The Clown's arms saying he'11 need nails and a hammer and that he'll nail him to the wall like a bat. Barabbas throws the terrified clown to the ground as The Showman bleats with fear. Like a bull now, Barabbas smashes in the sides of the booth with one thrust of his shoulders. He again knocks down The Showman and tears the robe and the crown from The Clown. Both characters dis appear amidst the sudden total collapse of the booth's 188 — — . — - canvas and planks. Barabbas laughs vehemently. The next instance of physical theatricality occurs when again mysterious men in black cloaks appear. They maneuver and creep about, but again the bandit has spotted them. He lays hold of a board from the demolished booth, relaxes a moment, then leaps toward the shadows which scatter in . Ur2 panic. The Apostles have now returned wearing their masks and carrying dark lanterns. They conceal themselves as they go along. In the distance, flashes of lightning begin ’ .to light up the scene faintly. There are rumblings of a storm. Barabbas speaks to The Apostles who upon recognizing him, close their lanterns. The lightning*becomes tinged with , 4 - 3 red. v The moment of Jesus' death is now at hand. The Watcher who has been observing and commenting on the crucifixion all during Act Three, covers his head with a cowl. He says that what now is happening can no longer be gazed upon. Psychically, Magdalene begins describing the moment of Christ's death. The Apostles hide their faces, as Magdalene lies on the ground. The former also then fall to the ground as there is a formidable clap of thunder. With this, The Watcher announces Christ's death and calls for silence. As if the city and the sky heard this command, everything suddenly stops. The silence seems to last an eternity beneath a wan light. Only a voice very far away shouts that they have killed a holy man. Suddenly everything begins ______________________________189 L lL again. A tocsin rings wildly and The Crowd howls. As The Apostles are about to leave, enter Barabbas and a pack of beggars carrying torches. There is a violent laugh as Barabbas pushes The Apostles back. He wants every one to come with him into the city to avenge Jesus' death, but The Apostles flee in all directions. Yelling with joy, The Beggars on the other hand, rush off to the city, Barabbas to join them presently. As he lingers however, the men in black again begin to appear. This time Barabbas draws his dagger and there is a confrontation. From the debris of the booth though, comes The Clown. Supple and silent, he hops behind Barabbas and thrusts a knife in his back. He then disappears with a high pitched laugh, as the men in black also disperse. Barabbas staggers, compli ments the deed, and falls to his knees like an ox. He notes the irony of this action, calls Jesus his brother, i j , K then dies looking toward Calvary. J AUDITORY EFFECTS Once again Ghelderode has provided many sounds for this play. In the opening moments of the prison scene, a distant crowd can be heard shouting Barabbas' name to in clude, "...prolonged whistles, as though signals, followed 4-6 by calls like hoots." As the scene proceeds, "a trumpet sounds, then a long silence, made deeper by the sound of 4-7 dragging chains." The appearance of Judas and The Priest in this scene, is preceded by, "trumpets outside. 190 h g The sound of arms." These same trumpets are heard again I 4 . 9 as The Priest exits. y The prison scene of Act One is about to end when Ghelderode's love of trumpets and musical instruments is again apparent: "Trumpets outside. Music strikes up, bagpipes and kettle-drums. There is a distant hum like the noise of a town waking on a holiday morning" The act ends then with more trumpets and the sound of arms, prolonged whistling as voices outside call to Barabbas, and finally, a heavy rhythmical march and the funereal beating <1 of drums Act Two has soldier and crowd sounds. First there is the sound of arms as Yochabeth cries out over being strangledNext, during a moment of agitation, The Apostles arouse Pilate's guards and there are the sounds of military commands.^ Shortly after, "orders are shouted in the distance. A trumpet sounds. Other trumpets reply and sound reveille." Then, bells are heard ringing at day- break, as Herod approaches. v A while later, there is a similar indication: "Day has broken. The hum of the crowd can be heard.Caiaphas has now come onto the terrace where he has indicated The Crowd to Herod and Pilate. "Suddenly, as though on a signal from Caiaphas, the noise <7 of a great Crowd, which was already loud, is heard." Some moments later, as Pilate goes upstage to appraise them, The Crowd explodes, chanting Pilate's name.^ Needless to say, there are numerous outbursts by The Crowd when _____________________________________________________________191 Barabbas and Jesus are brought forward, not to mention, "the Crowd snarls dully," ^9 when Jesus is taken away to be beaten. The act ends with the newly freed Barabbas dancing 6 0 to the sounds of an accordion. Ghelderode's indication for sound in the beginning of Act Three is that "the murmur of a Crowd will be heard, like a deep organ pedal, almost ceaselessly and with silences that heighten it. Now and then, shouts, jeers, trumpets, and percussion instruments that emphasize the 6l dramatic action." Crowd sounds and instruments are indeed the case as first we hear "bugles sounding the salute... in the distance."^2 As The Watcher speaks, there is a "distant outcry.Then as he finishes speaking, "the clamor mounts 64 like an acclamation." (All this sound of course is coming from out at Calvary.) Moments later when The Watcher speaks again, an "ominous trumpet calls.Ghelderode likes to use The Watcher to introduce sound effects because when this character speaks again, we hear "drum rolls from a passing patrol. The same sequence a bit later and "the wind is 67 heard mingling with the clamor of The Crowd." ' Again following a statement by The Watcher, The Showman rings a tell.68 By this time some eerie foul weather has come up and we 69 hear "rumblings of a storm." ^ As Christ's death becomes imminent, The Watcher covers his head with a cowl, and following a statement, "the tocsin begins to ring. An outcry 192, 70 starts in the dxstance."' Moments later he speaks again 71 and there is a "hue and cry,"' which will continue to 72 grow until there is a "formidable thunder clap." With this The Watcher announces Jesus’ death and calls for silence. Ghelederode then tells us, ...As if the city and the sky heard this command, all comes to a standstill, storm, tocsin, hue and cry. It is an opaque, lethargic silence that seems to last an eternity.... Only a 'voice, very far away, howls.73 This voice exclaims that a holy man has been killed, follow-- ing which, "...everything begins again. The tocsin rings wildly. The Crowd howls. The trumpets sound the alarm. The 74 storm rages in the void."f INTERPLAY BETWEEN TEXT AND THEATRICALITY This play was the result of a request by the Flemish Popular Theatre that Ghelderode create a play, which could be performed during Holy Week. Despite the fact the Bible does little more than name the bandit who was released from prison in place of Jesus (John 18:39-40), it was sufficient to inspire this play. Ghelderode describes his approach: ...1 thought of writing something provoking, unexpected, and yet popular. I saw the other side of the Passion, the Passion seen through ________________________________________________ 192. the eyes of the people, seen from below, from the lowest depths in Jerusalem. Instead of being on Calvary with the Honorable Witnesses, I went to the foot of Calvary with the rabble. I wondered how the crowd, the' lower orders of Jerusalem, had stood that dreadful and sublime day, in its consequences the most tragic in human history. And naturally, I found Christ and all the actors of the Passion on my way. I did not make a speaking character of Christ - something I would refuse to do - but Christ appears in my play like a ghost, a presence: He is a light and, at the same time, a nightmare. He is not the Christ we know from the plaster figures of Saint-Sulpice, from the religious pictures of the Munich school, but a gothic Christ, the Christ of the Gruewald of the Isenheim altar-piece, bloody, befouled, covered in spit, crowned with thorns, actually murdered, but still living because He has not suffered enough. To embody the people, the mob, that violent, emotive crowd in its state of trance, I chose the character no one ever speaks of, and whom the Scriptures no more than name, Barabbas, he who was preferred to Jesus, he who was released instead of Jesus. For some years now, a literary fate has been created for this obscure Barabbas, as one has been created for Judas. But in my time, nothing like it existed.75 Further defining his approach, Ghelderode tells Samuel Draper: Some critics have called Barabbas a passion play. But I don't think it's a religious drama although it does deal with Christ's crucifixion. It's more a human tragedy than a Catholic play... .7o 1 9^ How then does the theatricality in this play support this "human tragedy" on a biblical theme? The first act is set in the prison, its being essentially a cage with high bars. In its deep silence and gloom, a profound sense of tragedy is in fact felt when it is eventually revealed that the Son of God has been imprisoned with common thieves and murderers, and especially with Barabbas, the lowest of the low. It is a stark and ugly scene. Act Two is set outside Pilate*s palace, the setting reminiscent of two remarkable paintings by Bosch, each entitled "Ecce Homo." What makes these paintings so extraordinary is their emphasis on the ugliness and insanity of the mob mocking Chirst, this aspect also being stressed by Ghelderode in his play. Unlike the paintings however, the playwright does not actually show us the mob. We only hear them. It is a technique used consistently by Ghelderode, where he leaves it to our imaginations as fed by sound alone, to conceive of the size and appearance of the crowd. Yet another painting, this one by Brnegel entitled "The Procession to Calvary," may well have inspired the setting for Act Three. Like the painting, Act Three of the play is situated below Calvary, in a hollow with a fairground atmosphere. Incidentally, Bruegel was not the only sixteenth century painter to depict this setting. Herri met de Bles painted it in 1535* as did Pieter Aertsen in 1552. Any one of them may have inspired Ghelderode's setting. It is ___________195 meaningful to note that all these paintings, as with Ghelderode's setting, have the same theme which is the callousness and insensitivity of the masses to the tragedy which is taking place. As for the physical appearance of the characters, there are really only two descriptions with any substance. The Apostles wear half-masks and are covered by cloaks. Having the Apostles masked is an interesting visual interpretation by Ghelderode, the impression being one of protective secrecy which is consistent with the Scriptures. The other description is of The Clown who appears at one point wearing a crown of dead branches and a red robe, in parody of Jesus. The parody is fairly close as John 19 j2 states that Jesus wore a crown of thorns and a purple cloak. Interestingly the two Bosch paintings ("Ecce Homo") cited earlier, have Christ with a crown of thorns all right, but wearing a green cloak. The theatricality of the physical acts also supports the theme of human tragedy, and of man's inhumanity to man and the Son of God, if you will. Virtually all the activity of Act One is for purposes of introducing Barabbas, and for demonstrating what a bad guy he is. In fact, all the other characters act as "foils" for the central character. Only toward the end of the act, with the indirect introduc tion of Jesus, is Barabbas* power challenged. Indeed his power is challenged by the mere presence of Jesus (who does 196 not speak) as on stage we suddenly have the symbolism of a confrontation between evil and good. Act Two, which represents the central panel of this triptych, if you will, takes place at Pilate's palace. While Ghelderode has taken some liberty with the historical facts, e.g. the business between Judas and his wife, the act is essentially an enactment of John 19:1-16. Act Two may be considered the center piece of this play as it is the only segment coming directly from the Scriptures. Needless to say, all the action here supports the tragic theme. Set in a hollow in Jerusalem, Act Three is also very colorful theatricality. As with the various paintings of "The Procession to Calvary" which stress the callousness and insensitivity of the masses, Ghelderode establishes these same ideas in the ’ characters of The Showman and The Clown. They are angry about the crucifixion of Christ because it has taken everyone away from the fairground, i.e. bad for business. Ghelderode's own feeling about these characters and this whole idea, is apparent by virtue of the fact that he unleashes the sadistic Barabbas on the two of them. The result of course is a massacre. This leaves the way clear for the other prevailing emotion of Act Three which is the lamentation over the on-going execution of Christ. This is underscored theatrically by nuch thunder and lightning. With the death of Jesus then, only one item of business remains: the death of Barabbas. ____________ 197 Obviously wanting the play to end on a note of hope, and not of despair, the playwright must kill the symbol of evil. This is done brutally and absurdly, not by The Show man or The Apostles, but by The Clown. Then to emphasize the idea of hope, Barabbas calls Jesus his brother as he rolls over and dies facing Calvary. As with so many of Ghelderode's plays, this piece also has woven into its theatrical fabric a great deal of sound. While I have detailed all the effects in the appropriate section, I would simply say that in Barabbas one will find virtually all the playwright's favorite sounds. While they are employed variously for theatrical effect, the "central sound" of the play is worth noteing, for it carries aurally the theme of Barabbas. These are the crowd sounds, and like the Bosch and Bruegel paintings mentioned, and indeed like the Scriptures themselves, the emphasis is on the ugliness and insanity of the mob which sentenced Christ to die. To conclude, crowds and disguises are common to these' plays, several of which take place in a carnival atmos phere. Of particular interest has been the playwright's use of masks. The masks in these plays range anywhere from the true menacing Ensorian mask, made of flesh, to drunken though friendly masks, to deceptive masks of the Mardi Gra. Unlike the sixteenth century characters in the last chapter whose physical appearance reflected the state 198 of their souls, the characters in this chapter, except for Barabbas, are from the twentieth century and are often disguised. Again the physical acts are marked by violence, the most vicious centering around the criminal Barabbas. The most colorful of the plays aurally is Ostend Masks which uses a variety of sounds for comic effect. In the next chapter we will see elements of Ghelderode*s theatricality not present in the plays thus far reviewed. 199 FOOTNOTES! CHAPTER IV A Night of Pity ^Ghelderode, Seven Plays, Vol. II., p. 179* 2Ibid. 3ibid. ^Ibid., p. 181. 3Ibid., p . 183* ^Ibid., p.p. 186-187- 7Ibid., p.p. 179-182. ®Ibid., p.p. 184-185- 9 Ibid., p . 187. ^°Ibid., p.p. 186-187. ^Ibid. , p . 188. 12Ibid., p.p. 190-191- 13Ibid., p. 179- 1^Ibid., p.p. 179, 182, 185, 188. 13Ibid., p. 185- ^8Ibid., p . 186. 17Ibid. 18Ibid., p. 187. 19Ibid., p. 189. 200 20Ibid., p. 190. Ostend Masks ^Ghelderode, Theatre, 2Ibid., p. 316. •^Ibid. , p. 319. 4 Ibid., p. 316. ^Ibid. ^Ibid., p.p. 316-317. 7Ibid., p. 317. 8 . , Ibid., p. 324. ^Ibid., p. 317- 1°Ibid., p. 318. 1:LIbid. 12Ibid., P- 319. 13Ibid., p.p. 319-320. lif'lbid. , p. 321. ■^Ibid. , p.p. 3 2 2-3 2 3. l6Ibid., P * 323• 17Ibid., p.p. 323-3 2 4. 18Ibid., p. 317. 19Ibid. 201 20Ibid., p. 318. 21Ibid. 22Ibid., p. 319. 23Ibid., p. 320. Oh, Ibid., p.p. 322-323. 2^Ibid., p. 32k. Sicroff, op. cit., p.p. 151-152. 27 Grossvogel, Twentieth Century French Drama, p. 268. 28Ibid., p. 276. Don Juan ^Ghelderode, Theatre, Vol. IV., p. 33* 2Ibid., p.p. 3^-35* 8Ibid., p . 33 > Vbid., p. 35. 8Ibid., p. 38 . 6Ibid., p. M. ^Ibid., p. ^5- 8Ibid. ^Ibid., p. . ^ Ibid., p . 56. 1:LIbid., p. 60. 202 12rbid. p . 6 2. 13Ibid. p. 64. ^Ibid. p. 8 8. ■ ' ' - ’ibid. P* 35* l6Ibid. p. 3 6. ^Ibid. p. 37- . l8Ibid. p. 3 8. 19Ibid. p. 41. 20Ibid. p.p. 4-3 -44. 21Ibid. p. 45. 22Ibid. p.p. 4 5-4 9. 23Ibid. p.p. 4 9-5 0* 2^Ibid. p. 5 2. 23Ibid. 26Ibid. p.p. 52-53* 27Ibid. p.p. 54-55* 28Ibid. P* 56. 29Ibid. p.p. 56-5 8. 3°Ibid. p.p. 59-64. 31Ibid. p. 6 6. 32Ibid. p.p. 66 -6 7 * 33Ibid. p.p. 6 7-6 8. 203 ^Ibid , p.p. 68-6 9. 33Ibid p.p. 70-71. 36Ibid p.p. 71-73. 37Ibid p.p. 74-80. 38Ibid p.p. 80-81. 3^Ibid p . 81 . 4°Ibid p.p. 82-83- ^ Ibid p . 84. ^Ibid p.p. 84-87* ^Ibid p.p. 8 7-8 8. ^Ibid p. 90. ^3Ibid p.p. 91-93. ^6Ibid p.p. 93-94. ^Ibid p.p. 94-95* 48Ibid p.p. 95-97. ^9Ibid p. 97. 3°Ibid p. 34. 31Ibid p. 49. 52Ibid P- 6 7. 33Ibid p.p. 72-73. 5^Ibid p. 3 8. 33Ibid p. 44. 204 56Ibid. , p . 81 . ^ibid. » P* 59. 58Ibid. , p.p. 84, 8 7. so -^Oscar Mandel, The Theatre of Don Juan (Lincoln: Univer sity of Nebraska, 1963). Barabbas "^Ghelderode, Seven Plays, Vol. I., p. 51* 2Ibid., p. 70. ■^Ibid., P- 95- 4 Ibid. •^Ibid. , p. 7 0. 8Ibid., p. 7 2. ^Ibid., p. 75. 8Ibid., p. 9 6. ^Ibid., p . 108. 10Ibid. p.p. 53-54. 11Ibid. p.p. 54-55- 12Ibid. p.p. 55-57- 13Ibid. p.p. 5 8-6 2. ^Ibid. p.p. 6 2-6 3. 15Ibid. p. 6 8-7 0. i6Ibid. p. 72. 205 17Ibid. 18Ibid. , p.p. 7^-75. i9Ibid., P. 75- 20Ibid., • ON • 21Ibid., P. 77. 22Ibid., P. 83. 23Ibid., p. 84-85* 2^Ibid., p.p. 8 6-8 7. 23Ibid., p. 8 7. 26Ibid., p.p. 8 7-8 8. 27Ibid., p.p. 8 8-9 0. 28Xbid., p.p. 9 0-9 1. 29Ibid., p . 91 • 3°Ibid., p.p. 94-95* 31Ibid., p.p. 95-96. 32Ibid., p.p. 96-97. 33Ibid., p . 99 • 3^Ibid., P. 9.7. 33Ibid., p. 102. 38Ibid., p. 102, 104. 3?Ibid.. p . 104. 38Ibid., p.p. 1 0 4-1 0 5. 206 -^9Ibid. , p.p. 108-110. ^°Ibid., p.p. 1 1 0-1 1 1. ^Ibid., p. 111. ^2Ibid., p. 116. ^Ibid., p.p. 116-117. ^Ibid., p.p. 118-120. ^5Ibid., p.p. 1 2 1-1 2 3. ^6Ibid., p. 51 • 4?ibid., P • 52 • ^8Ibid., p. 6 3. ^9Ibid., p. 6 7. 5°Ibid., p. 6 9. . Ibid., p. 70. 52Ibid., P- 75. -5-*Ibid., p. 77. ^Ibid. , p. 78. -^Ibid., p. 79. 56Ibid., p. 81. 57Ibid. 58Ibid., p. 8 3. 59Ibid., p . 88. 6°Ibid., P- 95- 207 61Ibid. 62Ibid., p. 9 6. 63Ibid. ^Ibid. 63Ibid., p . 99 • 66Ibid., p . 100. 67Ibid., p . 102 . 68Ibid., p. 108. 69Ibid., p. 117. 7°Ibid., p. 118. 71Ibid. 72Ibid., p . 120. 73Ibid. 7^Ibid. 7 ^ ' -'Hauger, "Notes on the Plays of Michel de Ghelderode," p. 25. 76 ' Draper, "An Interview with Michel de Ghelderode," p. 45- 208 CHAPTER V PLAYS ABOUT INNOCENCE AND DEATH Christopher Columbus (1927). Pantagleize (1929). Piet Bouteille (1918), Miss Jairus (193^)* While we witness the innocence of the central char acters in the first two plays of this chapter, we experi ence their dying in the second two. On the other hand, it could be argued that each of the four plays is about both innocence and death. For the purposes of this dissertation however, it is sufficient to say that again we are dealing with several fine examples of theatricality in Ghelderode's work. The playwright has designated Christopher Columbus as a "dramatic fairy tale," suggesting it should have a dream-like quality. There are some very unusual theatrical devices in this play, devices which would be very effective on stage. Pantagleize, conversely, is designated as "a farce to make you sad," and indeed it is a play with a great deal of humor. Be prepared however, for a tragic finish. Piet Bouteille is a short play, but one which is nevertheless memorable theatrically. It centers around a dying old peasant, and a mysterious blind girl. Finally, Miss Jairus is a truly bizarre story, with an equally bizarre collection of characters, one of whom is brought back from the dead. 209 Christopher Columbus Cast of Characters s Christopher Columbus The Crowd Man The Reporter Friend The Sleepwalker The Learned Man The Minister The King Folial The Woman The Lookout The Helmsman Montezuma The Angel Azuret Visquosine The Poet Admiral Death The American Buffalo Bill SYNOPSIS In what Ghelderode has subtitled, "a Dramatic Fairy Tale in Three Scenes," this play begins with Christopher Columbus sitting alone on his suitcase. He ponders while blowing soap bubbles from his pipe. During subsequent 210 encounters with The Reporter, The Friend, The Minister of State, and The Learned Man, it is revealed that Columbus has a vision of the earth as round, and as he is feeling weary, he simply wants to get on a boat and sail around the world. For society and the politicians however, it is not that simple. Presently, The King arrives and as it is to his political advantage, he gives Columbus a ship. Scene Two is aboard this ship. The sailors are essent ially asleep up forward. There is a Lookout up top. In the captain's quarters, Columbus contemplates his situation, suggesting that he just as soon not reach a location, but sail’ ^forever. There is greater value in the striving for something than in actually attaining it. His thoughts are interrupted however, by a porthole encounter with a bloated old mermaid who would charm the lonely sailors. She is shooed away by Columbus. Next, through a trap in the deck, Columbus' guardian angel appears who is curious to know if Columbus does indeed intend to discover America. Moments later, Columbus has in fact reached the New World. He is greeted by Montezuma and a band of feathered indians who have been expecting him. The final scene takes place back in Europe. There are three doorways, one titled Glory, another Shame (a prison), and a third, Silence (death). Columbus enters through the center 'Glory* door, only to be imprisoned by The King for political reasons, only to be led away to the death door by _211_ a character called Admiral Death. As though in a dream, Columbus does not resist any of these occurrences .No sooner, does he enter the death door than there is a parade on stage including The American, Buffalo Bill, a dancer, a bombardon, and a big-drum beater. In the meantime a human figure covered with a sheet takes its place on a statue base. Buffalo Bill pulls the sheet away to reveal Christopher Columbus. As a statue who now begins to weep, his final words are, "There's nothing you can do about any thing. You have to be a statue to understand...." PHYSICAL APPEARANCE OF THE SETTING Scene One of this three scene play, consists of a plain wall on which are some trite posters about whether the earth is round. Sitting alone on his suitcase, Columbus is seen blowing soap bubbles from his pipe. Later in the scene, the overall appearance of a ship with multicolored 2 flags extends across the stage. Scene Two is the sailing ship seen in cross section. The audience is looking from the poop forward. There are practical red and green lights on the deck, with white lights in the rigging where The Lookout is in position. Meanwhile, Columbus sits at a table in the hold, a narrow place bathed in bluish light. Upstage toward the prow, are the quarters where the crew is sleeping. All around, ropes and ladders run up and down. 212 Scene Three has a building with three doors upstage. The door on the right is red, with the inscription "Shame." The one on the left is black, with the word "Silence." The third door in the center is gold and bears the word "Glory." In effect then, there is a truimphal arch in the center, a jail? on the right, and a tomb on the left. Center stage is the base for a statue on which is written "In Honor of...." To complete this tableau, The Crowd Man appears brandishing newspapers and dancing about.^ PHYSICAL APPEARANCE OF THE CHARACTERS Several brief descriptions are provided for some of the characters. We don't know too much about Columbus himself except that he wears a period costume and blows soap bubbles from a pipe.-^ The Sleepwalker wears a nightshirt and carries a lighted candle and a suitcase.^ The Minister of State appears like such a character in an operetta, while The Learned Man looks more like a fairground astro- 7 loger. The King has "a golden crutch and a fantastic crown, and is followed by his fool, Folial, who is in 8 motley." The sailors have shaven heads and, "their eyes are like those of attentive dogs, and their tongues are g ‘ hanging out." Montezuma is "gorgeous" in his feathered 1 0 costume. In Scene Three, Columbus carries a case, and 11 wears a raincoat over his period costume. The Poet wears 12 high heels, while the character Death is described as an 211. ageless naval officer.'*'? Meanwhile, The American wears a dress coat made from his national flag, and an opera hat of the 1840 style, while Buffalo Bill has a goatee and 14- revolvers . PHYSICAL ACTS When the curtain rises, Columbus is seen blowing soap bubbles from his pipe. He is deep in a daydream when The Reporter comes up and comments about the lovely bubbles. Dreamily, Columbus stirs in the bowl of the pipe creating a 1 S magnesium flash. J This moment of theatricality is followed by the appearance of The Sleepwalker. Columbus is rooted to the spot as this character passes through, wearing a 16 nightshirt and carrying a suitcase and a candle. Suddenly an alarm clock rings loudly. Columbus opens his case, takes out a clock, and goes pale. The Minister of State and The Learned Man now on the scene, take out their watches. Columbus says the-clock is a present from his mother as he 17 rewinds it and puts it back in his case. Next, a bugle sounds to announce the arrival of The King. The Minister and The Learned Man bow and scrape and loudly cry "The King!", as they go out backwards. For political reasons, The King has decided to give Columbus a ship, following which he and his fool, Folial, weep as a 1 ft farewell courtesy. With this, a woman passes by whom Columbus addresses as his mother. He kisses her goodby, wipes away a tear, takes several steps, but comes back. 2lh He says he has made a mistake, and that this is his fiancee. He calls her darling, kisses her again, wipes away 19 another tear and exits. 7 A gangway is now slid onto the stage which Columbus begins to climb. As The King waves goodby with his hanker- chief, The Crowd Man arrives. This delightful character, a clever invention, is a single actor who rims around shouting a string of statements giving the impression of an entire crowd.^ We are on board ship now as Scene Two begins. The first instance of theatricality occurs as the sailors are asleep and snoring up forward. In a monologue, Columbus has refer red to his "poor ragtime sailors," which prompts him to go 21 to the crews quarters, spit in it, and return. Next*, a porthole at left is pushed open from the out side. The face of a sixty year old woman, purple and bloat ed after long immersion, appears in profile. She identifies herself as the famous mermaid of the Atlantic, Visquosine, and says she would charm the lonely sailors. Gurgling and ogling, she begins to sing raucously. Columbus throws a handful of coins in her face and tells her to be off. As she disappears from the porthole, she squirts a jet of 22 water from her mouth at Columbus . Pensively, Columbus begins a philosophizing monologue which prompts The Lookout up top to give a tremendous yawn. Columbus then yawns similarly. He is about to doze off when there is a cautious knocking in the timbers. He lifts a trap and a mournful and insipid creature comes into view. He is The Angel Azuret. As Columbus' guardian angel, he wears a clerical gown and has wings rigged up at his shoulder blades. He says he has appeared simply out of curiosity, to know if Columbus in fact expects to discover America. After a moment, he is gone.2- ^ Columbus takes a flat flask of whiskey from his pocket and drinks. The deck.grows light. There is muffled music with a persistent rhythm beginning in the distance. Appearing in a line above the partition of the crew's quarters, are the shaven heads of the sailors, looking as though they have.been cut off. Their eyes are like those of attentive dogs, their tongues hanging out. They then leap from their quarters and scatter about the ship, but not without the sudden appearance everywhere of Indians. These magnificently feathered characters, dancing to rhythmic music, excitedly embrace the astounded sailors. Montezuma appears and says the voyagers had been expected and that all should celebrate. He laughs heartily. Columbus hugs him, and the crew and the Indians dance to an accord- 2b ion. Theatricality in Scene Three begins with the appearance of The Crowd Man. He brandishes newspapers and dances about as presently the center gold door lights up. Columbus enters through it, carrying his case and wearing a raincoat over his period costume. Not quite sure who he is, The Crowd Man greets him triumphantly and exits. Following a silence, 2±6 Columbus looks sadly on the triumphal arch. He goes over and turns out its light, then comes back and sits on his case.26 After some consideration, he wonders why he should not celebrate his achievement. He leaps up and throws his hat into thr air, only to retrieve it, put it on, and exit dragging his feet.26 However, Columbus is intercepted by The Minister of State who ceremoniously decorates him for his accomplish ment. A bugle sounds as The Minister exits. Enter The King on crutches and with a ring of keys. For obscure political reasons, The King has decided to place Columbus in prison. They go toward the red door which lights up, and as Colum bus enters, The King pulls a grille down in front of him. Columbus does not resist, and says he is content to sit 27 and travel in his imagination and memory. As he sits in his jail, Columbus encounters a poet wearing high heels, who wants to know what he saw in the New World. Columbus drifts off in a monologue, and The Poet goes out on tiptoe. Lost in his memories, Columbus' words become mixed with music, tender and sad. Montezuma and three Indian dancers, resplendent in jewels, come in and dance to its rhythm. "Under the burden of their plumes, they mime what seems to be the agonies of hieratic birds."26 Presently, a bell rings and the prison grille rises. A ship's siren moans and Columbus comes forward on stage. _________________________________ ________________________ 217 The character Death, described as an ageless naval officer, now enters. Hands in his pockets, he dances springily to the music.whose rhythm has quickened. As he dances off, Admiral Death invites Columbus aboard. The music stops and the prison light goes out as night approaches. Columbus makes a farewell statement then, through the black door, 29 he enters the tomb. x Columbus is scarcely gone from sight when a raging Sousa-style march rings out. Lights come on everywhere as a human form covered by a sheet climbs up and positions him self on the statue base. Next to enter are The American, a pretty girl dancer in a tutu, a Bombardon player, a big- drum beater, and Buffalo Bill who joyously shoots off his revolvers. The procession halts in front of the building as the musicians stop playing. The American takes out his written speech as Buffalo Bill tears away the sheet cover ing the statue. It is Christopher Columbus. He looks petrified and abstract, as he holds one hand on his breast and the other out-stretched to see if it is raining. The American makes his speech with "stops" as though he were dictating to a secretary. At a signal from the speaker, the musicians attack Luther's chorale,"Ein* Feste Burg." Meanwhile The American, The Ballerina, and Buffalo Bill howl a quatrain to the rudimentary music, Buffalo Bill punctuating the song with revolver shots. The procession goes off cacophonically. Then, a silence occurs during which 218 the lights go out and the stage is drowned with shadow. On the base, Columbus takes out a hankerehief and begins to weep, saying, "There's nothing you can do about any- 30 thing. You have to be a statue to understand."-^ j AUDITORY EFFECTS Theatricality in sound begins with the Scene One incident of an alarm clock going off inside Columbus' 31 case. Next, Ghelderode uses a bugle to announce the Scene 32 One and Scene Three arrivals of The King. As Columbus' ship sails away, "some national fanfare or other sounds 33 somewhere. A clamor breaks out and dies away."^ At the beginning of Scene Two, we hear the incoherent voices of the half-sleeping sailors in the prow. There's 3 Z j , the sound of an accordion and various kinds of grunts. A short time later, "the peaceful snoring of the sailors is heard, then silence. Someone sings. Still later, as day breaks and the heads of the sailors begin_ ’to appear, "muffled music with a persistent rhythm begins in the distance.Then, as the scene ends, the crew and the Indians dance about to the sound of an accordion.^ Scene Three has two incidents of music. In the first, "a raging march in the manner of Sousa rings out. Secondly, Luther's chorale, '!Ein' Feste Burg," is played, 39 punctuated by shots from Buffalor Bill's revolvers. 7 _________________________________________________________ 215 INTERPLAY BETWEEN TEXT AND THEATRICALITY In a letter to George Hauger in 1957» Ghelderode described this play as follows! Christopher Columbus is a work of many shades, at times bordering on music-hall and circus - the burlesque and humor of clowns, but also, at other moments, rising to the level of formal chant, prayer, or invocation. Just like the good Pantagleize, Christopher Columbus is an image of the Poet, of the sensitive man or seer, seeking to escape from a society that is not his, from an age that is not of the order of his dreams....^0 Further, in an interview with Samuel Draper, Ghelderode says! ...I am like my Christopher Columbus.^ Like him I sought freedom. He is a synthesis of all travelers, all the wandering gypsies, all the 'seekers' of his time and of all time. Christopher Columbus was the man who escaped. Escape! What a magic word! But this problem of escaping seems to confront modern man as much as it did the Italian discoverer. Men have always tried to escape because life is hard. Columbus is related to Parsifal by his purity, and perhaps he's as mad as Don Quixote. And Columbus was misunderstood. Civilization rewarded my Columbus by putting him into prison and making him into a statue. But the innocent have been tortured since the beginning of the world. Thus the meaning of Christopher Columbus, while centering on innocence, i.e. the innocence of the poet and dreamer, is also relatedly about escape. 220 This play subtitled, "A Dramatic Fairy Tale in Three Scenes," might well have been subtitled, "A Dramatic Dream in Three Scenes," for indeed there is a dream-like quality which prevades the entire play. Incidentally, this effect is achieved on stage by the use of certain techniques generally associated with expressionism. These- include minimal and/or symbolic scenery, generic characters, the mixing of time references as in a dream, and so on. It is not out of order therefore for me to suggest that this play by Ghelderode might well be considered a "dream play" in the spirit of Strindberg. This is to say, just as Strindberg's "Daughter of Indra," representing Strindberg himself, dreams A Dream Play, so does Columbus, represent ing Ghelderode, dream his play. Columbus is present in each of the three scenes, the physical settings consisting only of those elements focused upon by Columbus in his dream state. Thus in Scene One there is only a wall with some posters about whether the earth is round, and Columbus himself blowing soap bubbles while sitting on his suitcase. Of course the effectiveness of the theatricality in this opening tableau is undeniable. Apart from capturing our attention, it immediately communi cates the essence of the entire play. Similarly, despite the fact the whole ship is on stage, Scene Two is situated in the captain's quarters. Again the entire scene is presented, from Columbus' point of view. It is his dream. 221 The same is true of Scene Three where in a symbolic sett ing, with symbolic characters, Columbus submits to his dream, permitting his mind to carry him off to what he sees as his fate. In his "Note for the Director," at the beginning of the play, Ghelderode statess "Dances, lights, music, some acrobatics, pathos, absurdity, tragedy, a message for those who like them. This play is spectacle and enchantment, and plays swiftly, without pause, in the perspective of I f , ? dream." This "dream spectacle," if you will, also has a certain music-hall or circus quality to it. The physical appearance of the characters testifies to this. In Scene One Columbus acts as a sort of "straight man" for a procession of peculiar generic types, all attired and behaving as Columbus conceives them in his dream. Scene Two is full of visual surprises with the -unexpected appearances of a grotesque mermaid, a guardian angel, and a collection of colorfully costumed indians. Again Scene Three includes an unlikely collection of characters in the spirit of a wild west show. A review of the theatricality of the physical acts reveals a two-fold purpose. In the spirit of the preceding paragraph, perhaps the most apparent purpose of the physi cal acts with all their spectacle and absurdity is to entertain. In this regard, Christopher Columbus is not unlike The Devil Who Preached Wonders. Yet much of the 222 entertainment is at the expense of Columbus, which brings us to the other purpose of the physical acts, which is to reveal the essential nature of the central character. To summarize, Scene One conveys the notion that Columbus feels that he does not belong to this society, and that whether the earth is round and a new world is waiting to be dis covered, is secondary to Columbus' desire simply to escape. Scene Two reinforces this theme with Columbus insisting that he really doesn't want to discover anything. He is quite content to just be "underway." Yielding to unexpected feelings of homesickness, Columbus is back in his native land in Scene Three. With this comes a sense of defeat as the dreamer yields to what he sees as his fates momentary glory, imprisonment, death, and ultimately enshrinement in a land he tried not to discover. Ghelderode's sense for the theatrical once again carries over into the area of sound. These range anywhere from the ringing of an alarm clock, to accordian music, to a march by Sousa, and a chorale by Luther. While the auditory effects in this play are primarily for theatrical purposes, the march by Sousa, and Luther's chorale, "Ein'Feste Burg," deserve a further comment. John Phillip Sousa, a well-known American bandmaster who was still living at the time this play was written, was famous for the composing of many marches associated with America, among them "Stars and Stripes Forever." A loud, imposing march by Sousa was a good choice by Ghelderode for the introduction of The American, a character displaying the same qualities as the music. The chorale "by Luther was an interesting selec tion. "Ein'Feste Burg ist unser Gott" (A Mighty Fortress is Our God) is based on Psalm 46, and was composed by Luther A3 in 1529* It is a majestic and powerful piece, even with out Buffalo Bill's unfortunate revolver shots, generally inspiring a conviction of the invincibility of Christ's followers, or as this play would have it, of the invinci bility of Columbus' followers. This notion is reinforced by the little quatrain to Columbus which accompanies the playing of the chorale. All this is ironic of course, because the last thing Columbus wanted was, to quote the quatrain, "immortal fame." Pantagleize Cast of Characters: Pantagleize Rachel Silberchatz, a Jewess Creep, a policeman, thick but cunning Bamboola, a negro Innocenti, a waiter Banger, lame and bearded Blank, a wavy-haired, stripling; a poet The Balladmonger Macboom, a general The Bank Manager The Assistant Bank Manager A Soldier 224 Another Soldier The Distinguished Counsel Six Military Judges The Generalissimo The Officer Soldiers of a Patrol Sentries The Crowd (off-stage) Four Waiters SYNOPSIS In the comic opening scene, the negro Bamboola awakens his "boss" Pantagleize. In the conversation that follows, the latter innocently uses the expression, "What a lovely day!", which unknown to him is the statement which is to signal the beginning of a revolution. Bamboola is aware of the significance of this phrase and is beside himself, not only that the revolution is about to take place, but that his "boss" is the leader. What follows is a comedy of error which plays on the ignorance and innocence of Pantagleize. The word spreads to a cafe, the gathering place for the would-be revolutionaries, Innocenti, Blank, Banger, and of course Bamboola. The undercover policeman, Creep, is also present in the cafe and will be seen periodically through out the play as he attempts to bring to justice those responsible for the revolution. It is along a promenade during an eclipse that Pantag leize fe.els moved to address a crowd of spectators. ___________________________________________________________ 22.5.1 He does not want them to think the eclipse is the end of the world, and during his speech again innocently uses the expression, "What a lovely day!" With this, fighting breaks out in the streets. The revolution has begun. Following instructions from the mysterious Rachel, Pantagleize comically steals the treasury out from under the nose of the bumbling, braggart-soldier type, General Macboom. The treasury, in the form of a case of diamonds, is then taken to the Objective Bar where the four previous ly mentioned revolutionaries are gathered. All celebrate except for Innocent! whom we learn is, along with Rachel, a real revolutionary. Again Creep has infiltrated this gathering and before long, all are in custody except Pantagleize who escapes. Pantagleize is eventually captured however, and in front of a clearly biased tribunal, all are sentenced to death byfiring squad. PHYSICAL APPEARANCE OF THE SETTING The first scene of this play is set in Pantagleize's room, described as a "garret." There is dingy early morning light as we see Pantagleize sleeping. His barefeet stick out from his bed which is a sugar box, an open umbrella serving as a canopy. There is no furniture. On the left, there is a huge calendar which will remain for the length of the play. Scene Two is a cafe. A*t the back there is a counter, behind which hangs a backdrop • painted to represent 226 mirrors. The waiter, Innocenti, is seen cleaning up. Talk ing to himself all the time, he arranges seats, tables, and p bottles to complete the tableau for this scene. The next scene takes place on a promenade. There is a wall with a street lamp behind which skyscrapers and towers are seen rising up. It is broad daylight as an incessant 3 din is heard. Scene Pour is Rachel Silberchatz's room. There is dark ness as an eclipse is taking place. Little by little, light will filter feebly through the up stage curtains. There is a table, an armchair, and a reading lamp. Initially, there is no one on stage. When Rachel arrives, she switches on the lamp which projects huge shadows.^ Next, the scene is the central tower of the State Bank. There is a civilian at each of two grilles up stage. At the center is a huge safe. Gates are to the left and right which are guarded by sentries. To complete the tableau, General Macboom trails a huge saber as he paces about seemingly gripped by fierce terror. Scene Six is The Objective Bar. It has heavy curtains and a big palm tree. There is a green light, and the outline of a double bass.^ Scene Seven is again in Rachel's room. The light of late afternoon filters through the curtains. In the room, all has been turned upside down, maps and papers on the floor. Appearing asleep with her eyes open, Rachel is in the armchair.^ The next to last scene is described simply as a street , Q with debis. Light comes from fires and search lights. The final scene is also described simply. It is a bare room at the back of which is a table for the War Council. Ghelderode has provided an Epilogue for this play. The setting is a wall in a barrack yard at night. Above the wall, a luminous mist rises from the town. Two hanging lanterns throw a sinister light on the ground. Looking like "fallen 10 scarecrows," four bodies lie against the wall. PHYSICAL APPEARANCE OF THE CHARACTERS In Scene One, the negro Bamboola appears in shirt 11 sleeves and carrying a lighted candle and feather duster. Pantagleize wears a "flowery dressing gown, trousers too 12 short, seaman's white and blue sweater." However, at the _ end of the scene, Pantagleize is "wearing a deerstalker and 13 a checkered jacket, with his umbrella under his arm...." J In Scene Three, two characters are in disguise. BamboolEi is dressed as an astronomer, wearing a robe, pointed hat, 1A and false beard. He carries a telescope. The policeman, Creep, enters grotesquely dressed, also as an astronomer. He wears a top hat, dark glasses, and also carries a tele scope Ghelderode provides only three other brief descriptions, In Scene Five, General Macboom wears a huge saber,^ and in the final scene, the members of The War Council wear 22 8 identical masks.' The'Generalissimo is in black and 17 silver, with an outrageously plumed medieval helmet. 1 PHYSICAL ACTS The opening moments of this play provide the first examples of theatricality. Pantagleize is asleep in his sugar box bed when an alarm clock goes off somewhere. Carrying a lighted candle, the negro Bamboola enters. Yawn ing uncontrollably, he goes toward the bed where ;'he gazes upon Pantagleize's protruding feet. He swings a feather duster-in his right hand as he calls to his boss. The feet have heard and they quiver. After a moment, a furious Bamboola calls again to Pantagleize, following which the feet move again and there is a great snore. Bamboola puts down the candle, makes some movements with the feather duster, yawns, and sits on his behind, worn out already. Presently, however, he gives the box a violent kick. He then leaps about and sings in a falsetto voice, accompany ing his singing with kicks on the box, in a mock-jazz fashion. The feet quiver and in a moment, Pantagleize has 1 f t jumped out of his box in a single bound. The next example centers around the negro's reaction to Pantagleize's innocently uttering, "What a lovely day!", which apparently is the secret phrase to beging the revolu tion. Having heard Pantagleize say this, Bamboola jigs up and down nervously. Then, giving vent to roars of pleasure, the negro rushes at his boss, who falls under the impact. __________________________________________________________229 Bamboola lifts him up and hugs him. With this, Pantagleize says the phrase again causing Bamboola to collapse, groan ing. Pantagleize- stands him up, the negro babbling as if in a trance. Bamboola then dances and gesticulates - a menacing war dance. Still unaware of the reason for this behavior, Pantagleize imitates him by also dancing. Bamboola suddenly bursts out sobbing with joy which prompts Pantag leize to do the same. The negro hugs his boss violently, and as he can no longer speak, he exits making triumphant 19 gestures. ' Bamboola's ecstatic state continues into the next scene. His vociferous entry into the cafe _is accompanied by a terrible din. He appears hilarious in his gray bowler and yellow gloves. The happy Bamboola walks up to the waiter Innocenti, and the poet Blank, and jostles them. He wants them to be happy too. He gives a heavy blow of his fist to Blank, who staggers. Bamboola claps his hands and, in a sinister fashion, begins to dance. Unconsciously, Blank and Innocenti imitate the negro by clapping their hands and * , . 20 shouting. Brilliantly amusing theatricality now as policeman Creep, enters in plain clothes. Bamboola senses it is not safe to speak openly with his comrades, so he requests two hankerchiefs. Placing one in each hand, he moves back a few steps and begins to signal in semaphore. Meanwhile Innocenti and Blank raise and lower their arms to indicate that they _____________________________________________________________________________ 2.30 understand. Bamboola then uses sea lion language. With un believable grimaces, he gives forth long and short sounds. His comrades "honk" in acknowledgement. Finally, the negro uses the sign language of the deaf and dumb. Creep, mean while, seems to be knowledgeable of all these languages, 21 as he has been taking notes all along. Next, Bamboola is playing a game with the others about the identity of the secret leader of the revolution. Perhaps he is hiding somewhere in the cafe. They search about, all the time paying no attention to the presence of the police man. They search under the tables, behind the counter, only to disappear crouching under the benches. Finally Creep, no longer seeing anyone, calls for the waiter. A startled, fearful sound comes from behind the counter. Slowly the heads of Innocenti, Blank, and Bamboola emerge, gazing with 22 stupefaction at Creep on his high stool. Presently, Creep begins to read his newspaper, which he holds completely covering his' face. Suspecting he is a policeman, the trio wipe their foreheads and, indicating Creep, make signals for discretion. Bamboola produces a knife and explains in signs that he is going to cut Creep's throat. The others calm him down. There is.a pause as suddenly outside, someone is heard walking with a peculiar gait. They listen; then enter Banger. He carries with diffi culty a heavy object wrapped in a cloth. The trio get up and shuffle several paces toward Banger who, startled by ___________________________________ n L this greeting, remains rooted to the spot. Standing in a straight line, Bamboola, Blank, and Innocenti all signal together: Bamboola with two hankerchiefs in semaphore, Blank whistling dots and dashes, and Innocenti in deaf and 23 dumb sign language. ^ Banger bursts out laughing at this display. As he puts down his bundle, more signals from the trio to keep him quiet. As Banger talks, there are more violent, then threatening signals. Realizing the anger of the others, Banger desists.. He then pulls away the cloth covering the object. It is a fully equipped machine gun. The trio retreat in panic, arms flung in the air. Banger replaces the cloth, asking who the man is reading the newspaper. p i t , Bamboola imitates a policeman directing traffic. The scene ends with the fully informed Creep phoning into police headquarters. Suddenly,in bursts Rachel Silberchatz, a revolutionary, who snatches up a stool and flings it at the policeman's head. Creep collapses, knocked out.2- 5 In the next scene, Ghelderode has Bamboola enter dis guised as an astronomer. He wears a robe, pointed hat, and false beard. As he sets up his telescope, he makes signs to unseen people over the wall of the promenade. He then takes out his dark glasses and unrolls a picture of the eclipse, which he waves. Meanwhile, Creep has entered grotesquely dressed also as an astronomer. He wears a top hat and dark glasses, and also sets up a telescope. _____________________________ 232 Bamboola is taken aback, and proceeds to observe the new astronomer through his telescope. So he can better see the eclipse and the procession, Pantagleize has climbed onto the wall. As he leans against the street lamp, the two telescope's focus on him. Pantag leize begins to dance as the music comes closer. The light grows ever dimmer with the onset of the eclipse, and black flags go slowly past on the other side of the promenade wall. Moved by all this, Pantagleize begins to address the crowd. There are cries, laughs, threats, and jeers as he proudly gestures and the darkness closes in rapidly. Pantagleize gesticulates like a scarecrow as he says he 27 wxshes to speak in all altruism. He hugs the street lamp. Pantagleize proceeds to tell the procession that there is no need to fear the eclipse, that it is not the end of the world. There is much confusion. Pantagleize has scarce ly shouted "What a lovely day!", the significance of which remains unknown to him, then the darkness becomes total. A shot then smashes the street lamp, and Pantagleize tumbles onto the promenade. On his behind, Pantagleize concedes that it is indeed the end of the world and he weeps bitterly. There are explosions in the distance as the crowd yells and sings a revolutionary song. Flags go by in the red light. Incessant shots signal fighting behind the promenade. Bamboola gets rid of his disguise as does Creep, only to have the former toss the latter over the wall. ______233 Bamboola then leaps on the wall shouting indistinguishable words. Other silhouettes rise on the wall - Blank, Inno- 2 8 centi, and Banger waving flags. They shout to the crowd. Two further examples of theatricality occur, this time in Rachel Silberchatz's room. First, Ghelderode has the faces of Pantagleize and Rachel lit up as they lean over a 2 9 v map. Then, after Pantagleize has gone, Rachel hears her name called in the room. As the curtain moves, she quickly puts out the light and fires a shot. In the pale light, a man (Creep) leaps out and there is a brief hand to hand struggle. Then silence, followed by a gruff voice laughing in short bursts.-^ The next scene of interest is the State Bank. Sensing impending disaster, General Macboom says he is prepared to die...for his wife. He weeps, as do the two civilian bankers. A canon is heard in the distance, as Macboom struggles to pull himself together. He staggers. A sentry holds him up. Wiping his forehead, he brandishes his saber which he waves about as though demonstrating certain exercises in swordsmanship. The soldiers draw back, and the 31 bankers hide. Another canon roars, and Macboom shudders. Two nasty moments at the beginning of the next scene. We are in The Objective Bar where there is drinking amidst a heated discussion by the would-be revolutionaries. Bamboola has declared himself Minister of War which Inno centi challenges as he spits toward the negro. Moments later, Blank accuses Innocenti of being a traitor which 32 has the two exchanging blows. Pantagleize has also been drinking and decides to get up on a table and make a speech. As he speaks, four waiters station themselves behind each of the seated revolutionaries. In turn then, each waiter knocks out his revolutionary, remaining motionless after the act. Pantag leize thinks they have fallen asleep, but continues speak ing. Then a whistle sounds and the four waiters each grab a man and drag him out. Unnoticing in his intoxication, Pantagleize steps down. A palm tree which is really Creep in disguise, moves in behind Pantagleize. Pantagleize and . the palm tree exchange remarks which prompts Pantagleize to knock over the tree and escape. Creep blows his whistle from inside the tree.-^ The theatricality in Scene Eight begins with a body lying face down in the middle of the street setting. With his case of diamonds from the State Bank, Pantagleize enters running. Talking all the time, he runs around and around the body. He then goes to the left to see if there are any patrols or armored cars coming. The corpse (Creep) takes advantage of this situation and momentarily sits up to observe Pantagleize. Quickly, he lies down again. Pantagleize comes back and sits on the body. Suddenly the approach of a patrol is heard which prompts Pantagleize to play dead. He lies motionless, face down. A patrol enters, followed by a breathless General __________________ 215. Macboom. They march around the stage, then halt. As Macboom mops his forehead, he decides not to fire on the two corp ses saying he doesn't want a homicide on his hands. Distant shouts, scuffling, and shooting causes Macboom to brandish his sword. With field glasses to his eyes, he and the patro exit.-^ The corpse (Creep) now gets up and stands behind Pan tagleize, who is startled by this as he looks around. In an effort to mask his anxiety, Pantagleize converses with Creep very matter of factly. As they talk, Creep is right on the heels of the pacing Pantagleize. Pantagleize quick ens his pace, and soon is running. Creep does the same. Pantagleize makes off for the right when a flash and a burst of firing stops him. He then rims to the left where there is another burst and a flash. He comes back to center stage where he bumps into Creep. With shooting now from all sides, Pantagleize tries to hide behind Creep. The police man takes the moment to give Pantagleize a blow on the back of the neck which staggers him. With this, Creep takes the case of jewels and drags along Pantagleize, who does not resist as though drunk. Scene Nine finds two soldiers marching in front of a table. Their paths cross from time to time as they march ' \ and sing a song. Each time they sing the chorus, they turn and face the audience. Outside, there is a bugle call and the two soldiers take up their posts at each end of the ___________________________________________ 236 tribunal. A light from above lights up the table as The Distinguished Counsel arrives like a ballet dancer. The Counsel asks the soldiers what that attractive song was ■ ' they were singing. The soldiers sing a few more lines with The Counsel joining in. There is a stroke of a gong and thejy stop. A -.back-cloth now opens behind the table revealing the six members of the Council of War who are seen from the waist up. They all wear identical masks. The Distinguished Counsel says they should congratulate themselves for seeing to it that right has triumphed over might. The six councilors nod approval, rise and, two by two, shake hands, then sit down. The Counsel shakes hands with the two soldiers. With this, there is again a stroke of the gong and all stop. There is silence as The General issimo in black and silver, with an outrageously plumed medieval helmet, rises to his spot at the table as though he were growing out of the ground. On his appearance, The Councilors sink back, and The Counsel lies flat on the ground. The Generalissimo raises his arm and all resume 39 their positions. There is a drum roll. 7 Blank, Bamboola, Banger, and Innocenti are each in turn brought before the court which shows no sympathy toward them. One by one, each is taken out, followed by a volley of gun fire from the firing squad. I should note however, that each of the four would-be revolutionaries behave differently in court. Blank is white with fear and 237 whimpers in a high pitched tone. Bamboola rolls onto the stage where he gets up and rushes toward the table as though to climb up on it. The Counsel holds him back by k] the trousers. Blank is wild, his shoulders hunched aggressively.^2 Only Innocenti remains calm, realizing in his bitterness the futility of the situation. J The court is already dispersing when Pantagleize enters led by Creep, who carries with him such evidence as Pan- tagleize's umbrella, the case of diamonds, and the street lamp from Scene Three. There is bustle and curiosity as The Generalissimo acknowledges the "famous" Creep. There are flattering bravos from the council as Creep bows. It is a straightforward case against Pantagleize which includes this theatricality! Creep waves as evidence the umbrella which Pantagleize lost during their scuffle on the proman- ade. Pantagleize thinks Creep is returning it to him, and he thanks the policeman profusely, admitting he didn't remem ber where he left it. He takes the umbrella and presses it k k to him as the tribunal looks on, puzzled. As the bewild ered Pantagleize is led out to the firing squad, Creep and The Distinguished Counsel tap their foreheads with their k £ forefingers and burst out laughing. J The Epilogue begins with the appearance of The Officer who is wrapped in a long cloak. Carrying a lantern, he moves about above the bodies of Blank, Bamboola, Banger, and Innocenti, momentarily lighting up each one.^ 238 Escorted by a soldier, Pantagleize thinks he is being shown the way out. He bumps into ijfche. bodies of his executed friends and, thinking them asleep, walks around among them. He then jumps up on the wall with the sound of the approaching firing squad. The Officer tells him he has forgotten his umbrella and Pantagleize jumps down again thanking him. As the Officer orders the squad to present arms, Pantagleize runs to him, thinking the soldiers are going to hurt his sleeping friends. He sinks down, crushed Jin with emotion as the soldiers fire. ' The firing squad is dismissed. They laugh as they exit. The Officer walks around Pantagleize who, not quite dead, begins to drag himself toward the bodies of his friends. The Officer fires a revolver shot into the back of Pantagleize's neck. Pantagleize falls and in a voice both gruesome and childish, he utters, "What-a-lovely- day!" The Officer sheathes his revolver and laughs A I T dully. AUDITORY EFFECTS Many of the theatrical sounds of this play are either music oriented, crowd sounds, or gun shots. We must not forget however, that the play begins with the sound of an I l q . . alarm clock. ' By Scene Three though, there are indica tions for "incessant din,"^° "...in the distance, music sounds,and, "...the music is heard mixed with distant cjo singing.""^ This of course is all related to the : _________________________________________ 239 eclipse, the procession, and the beginning of the revolu tion in Scene Three. Other indications from this occasion C.'i t^lf, are, "rumbling in the crowd,"the muttering grows, "the music strikes up again,"the music comes closer, c n and, "cries, laughs, threats, jeers.After the first shot is fired and the revolution actually begins, there are explosions in the distance as the crowd yells and a revolutionary song is sung. Along with this, there are also incessant shots and the sounds of fighting behind the promenade.^ During Scene Four in Rachel*s room, there are three CO occurrences of distant explosions, 7 and no less than twelve distant canon shots during Scene Five at the State o Bank. At the end of Scene Six .when Pantagleize escapes 7 Creep disguised as a palm tree, there are shots outside, 61 cries, and oaths. There is the sound of shooting from all directions during Pantagleize*s encounter with Creep dis- 6 2 guised as a corpse. During Scene Nine, a bugle call pre cedes the arrival of The Distinguished Counsel, and the sound of a gong announces first the Council of War, and then The Generalissimo. ^ Following the arrival of The Generalissimo and to signal the beginning of the proceed- 6*. ings, there is "a drum roll." During the same scene, there are five volleys from the firing squad, which incidentally is rather curious because only four persons lave been shot.^ Pantagleize, as it turns out, does not _________ 2A0 get M s until the Epilogue. In the Epilogue then, "a 66 distant bugle sounds the fall in," as Pantagleize arrives. After he has been executed, the play concludes 67 with "twelve strikes from a church." INTERPLAY BETWEEN TEXT AND THEATRICALITY Of the various comments made by Ghelderode regarding this play and the character Pantagleize, the following are probably the most enlightening. As for the character's origin, Ghelderode says, . . .My first meeting with the lunar individual whom I was to call Pantagleize was in 1919. in the Rhineland among the blood and fire of revolution, where in an occupied town the good Germans were fighting among themselves, under the quizzical gaze of soldiers - of whom I had the honor to be one. I was going back to my regiment and I came across this indescribable civilian, this Diogenes, who was reading a book as he non-chalantly crossed a public square which was swept by machine-gun fire. When he got to the center, he looked up at the sky and opened an umbrella that he had on his arm, then recommenced his poet's peregrination, reading - what? Heine, probably, or RilkeJ The whole army burst into laughter....Pantagleize was bom! 68 Of the Pantagleize in his play, Ghelderode adds, Indeed, there is a certain touching charm in this character. People like this simpleminded fellow who is, in brief, no more than the image of the 241 poet, always eccentric and blundering in all ages and regimes. He is some sort of relative of the great Chaplin's, as I readily admit. And finally, there is this: He is the man who has kept the treasure of his childhood in his heart, and who passes through 'catastrophes in- all artlessness. He is bound to Parsifal by purity, and to Don Quixote by courage and holy madness. And if he dies, it is because, particularly in our time, the Innocents must be slaughtered: that has been the law since the time of Jesus....70 With this description of the central character, the meaning of this "farce to make you sad," may be stated as the futility of involvement, intended or otherwise, with an unjust human society. How does the setting support the meaning of the play? That this is a farce is apparent by the cartoon quality of the various settings. For example, Pantagleize's bed is a sugar box with an umbrella for. a canopy. Similarly, there is a huge calendar on the wall which remains for the duration of the play. Indeed the entire visual appearance of this story gives the impression of a newspaper comic strip, or of a comic book. This carries over to the physical appearance of the characters as well. Not one is realistic. Each is a visual parody of himself, a good example being General Macboom. He is the classic braggart soldier "type" seen in comedy as far back as the satires of _____________ 242 Aristophanes. I would suggest that even the cruel soldiers who execute Pantagleize and the revolutionaries are not realistic. In an actual staging of the play, the soldiers may or may not he comic in appearance, hut they would not he literal. The physical acts live up to the absurdity of the situation. Pantagleize is a Charlie Chaplin movie complete with all the slap-stick and physical humor characteristic of farce. Like a Chaplin film, this play takes us from the hilarity of the sign language scene in the har, to the pathos of Pantagleize's imaginary love affair with Rachel. It is also pathos we feel in the final moments of the play when Pantagleize is executed. However, it is a pathos horn not so much out of tragedy as out of absurdity, which, like slipping on a banana peel, is both funny and sad at the same time. A great deal of the energy and tension in this play comes from the auditory effects. The playwright starts bringing them in with Act I, Sc. 3» which is the promenade scene prior to the eclipse. We hear distant music and singing, and general sounds of a mounting crowd. In short, the audience is being prepared for the outbreak of the revolution. With the onset of the revolution of course, all hell breaks loose and Ghelderode begins using the other prominent sound effect, gun fire. This symbol of the revolution, along with explosions and canon shots, is used Z k j , at times to such an extreme, it is comic. A good example of this is the State Bank scene where the "jumpy" General Macboom must endure no less than twelve canon shots. Some sort of shots continue then on through to the final scene where the playwright has saved his last shot for Pantagleize himself. Finally, to underscore the fact that despite all the comedy, the play makes a serious statement about the futility of involvement with society, we are encouraged to ponder the point at the final curtain where there are "twelve strikes from a church." 244 Piet Bouteille Cast of Characters: Piet Bouteille, an old peasant Beloke, his wife Mille, a bearded ruffian, their son Madeleine, Mille's daughter Jef, a rag seller Bonifacius, the rat-headed curate Smots Spinnekop Betteke SYNOPSIS The play takes place in the living area of a farm house. When the curtain rises, Mille, whom Ghelderode describes as a "bearded ruffian," is mending shoes with a hammer. His mother is knitting, while his blind daughter sits in. front-of\the^hearth.Periodically the little girl calls out the name "Piet." Presently, the old man Piet Bouteille, father of Mille, drags himself into the room. Mother and son help him to an armchair. The old fellow is about to die. No sooner is "the rat-headed curate" sent for than neighbors begin to appear. The curate arrives to take the old man's confession but the dying man remains silent. The three neighbors, Smots, Spinnekop, and Betteke, decide to confess for him, accusing him of a fiery-temper among other things. Matters get out of hand until Jef, the lice-infested rag dealer, says only he can speak for old Piet as they were good friends. At this point the old man raises his hand, then drops it and dies. The curate and the zealous neighbors cross them selves only to notice the little girl by the hearth getting up and walking toward them. The little blind girl can now see. The neighbors and the curate run off while Jef, the rag man, closes the dead man's eyes. PHYSICAL APPEARANCE OF THE SETTING Ghelderode’s setting for this play is the living area of a farm house in Brabant. Upstage there is a window which opens onto the countryside. There is a door on the same level, with a hearth to the right, and an armchair farther down right. There is gloomy light. PHYSICAL APPEARANCE OF THE CHARACTERS There are few character descriptions in this brief play. We know that Piet Bouteille is "an old peasant, 2 colored like the earth, who says nothing." His son, 3 Mille, is "a bearded ruffian." Jef, the rag-seller, is "up to his eyes with lice, like a shaggy dog."^ Finally, Bonifacius is "the rat-headed curate." PHYSICAL ACTS The first incident of theatricality occurs as Mille 2^6 is mending shoes. As he bangs the leather with a hammer, he begins to cough. His mother, Beloke, tells him to spit out whatever it is that's bothering him. Mille then squirts a jet of spittle for the rich, another jet for the priest, and a third jet "for the mangy dogs of the parish. Next, Mille's blind daughter, Madeleine, periodically moans and calls out the name of her grandfather, "Piet." This gets on Mille's nerves, causing him to throw a shoe 7 at her. This is followed by a theatrical moment of suspense. Mille is about to begin banging again, but his hammer remains in the air as footsteps are heard approach ing. Mother and son listen as the latch is heard moving, O and the door moans as it opens. With this, Madeleine again calls the name "Piet," the irritated Mille imitating her in a high pitched voice.^ The door is open now and old Piet appears, eyes fixed, hands groping. He takes a few steps, staggers, and drops his cane. Her head hidden in her arms, Madeleine sobs as the mother and son go to the old man. As he is losing 1 0 control of his legs, they sit Piet in the armchair. Some moments later, the dialogue suggests that the only reason Mille is permitted to live in this house is because Piet wished it. Beloke says that if old Piet dies, she no longer wants her son under their roof. Mille calls her a "spiteful cat," and makes as if to strike his mother. ______________________ 247 As Piet is fading away, other characters appear on the scene. They include Piet's friend - the rag seller Jef, and the rat-headed curate, and the three neighborhood gossips. Ghelderode depicts the curate and the three women neighbors as a hypocritical bunch, as we approach the end of the play. In the final scene, a sudden panic gathers all the bystanders around the armchair. Piet raises his hand and lets it fall again as he dies. The zealots cross them selves only to notice that the little blind girl has stood up and is coming forward. Everyone draws back. She can see again. As the play ends, Mille"' is slumped down in disbelief, the women and the curate take flight, and Jef closes the , , , 12 dead man's eyes. AUDITORY EFFECTS The one important example in this category occurs dur ing those few suspenseful moments preceding Piet's appearance. The mother and son listen as there is the sound of approaching footsteps. The latch is heard moving and 13 the door moans as it opens. ^ INTERPLAY BETWEEN TEXT AND THEATRICALITY This might well be termed a "miracle play" in a sense of the word. While there are no apparent saints in this story as in the religious miracle plays of the middle ages, it is nevertheless through a miracle that the little blind 248 girl regains her sight. As we have seen, this event along with the nature of the characters in the play serve to underscore the theme, which may "be stated as hypocrisy in the medieval Christian world. What does the theatricality tell us, and how does it support this interpretation of the play? The first indica- tionforthe setting is that it is in gloomy light. This somber atmosphere communicates the "tone" of life here, while also preparing us for the dying of the old man. The setting itself is a farm house in Brabant which, along with the peasant characters, brings to mind such locations and characters in paintings by Bruegel. Interestingly, Brabant is the region where the young "Peasant" Bruegel (as he was known for centuries) spent his youth. This is a stark world in which bitterness and frustra tion are a way of life. No doubt because his daughter is blind and he is poor and without a house of his own, Mille' bangs with special fervor his hammer on the shoe leather while spitting for the rich, for the priest, and for the "mangy dogs of the parish." Mille's state becomes further apparent as he throws a shoe at his blind daughter who has now begun to periodically call out the name of her grand father, "Piet." The little girl's calling however has already begun serving the dramatic purpose of creating a mysterious atmosphere suggestive of the supernatural. Furthering the tension by using suspense, Ghelderode 249 employs a special visual and aural effect for Piet's entrance. Mille is about to begin banging again but his hammer remains in the air as footsteps are heard approach ing. Mother and son listen suspensefully as the door latch clicks open, and the door moans as it moves. To add to this, little Madeleine again eerily calls out the name, "Piet." It is an interesting collection, or more correctly, selection of characters which Ghelderode now adds to the already theatrically interesting characters on stage. Piet himself is a dying old peasant whom Ghelderode has confront ed with three zealous town gossips and a rat-headed curate. As we have seen, the three neighborhood women and the priest are the hypocrites in this story, but what is the signifi cance of making the women out to be gossips, of having them accuse the old man of a fiery temper, and of making the priest so unpleasant in appearance? In his discussion of paintings by Bruegel, Stechow reminds us that gossiping was an issue in the middle ages, and the subject of some paintings. In addition to being considered worthless talk, gossiping was nevertheless taken seriously, as an old Netherlandish expression suggests when it speaks of "gossiping somebody on the gallows," i.e. causing a person 1 h to be hanged by gossiping about him. In the case of Piet, the three neighbors are in effect causing him to be damned by gossiping about him, all the while hypocritically suggesting they are doing Piet a favor by confessing for However, two points are of interest in this situation. First, what are they accusing him of? A fiery temper. To us today, this does not seem all that critical, but in the medieval Christian world, anger was one of the seven deadly sins. The second point of interest is that here we have a man who has been accused of a deadly sin, and he is unable to defend himself. Indeed, realizing he cannot speak, the gossips have descended upon the old man like birds of prey on a wounded animal. Then there is the matter of the physical appearance of the priest. Stated simply, he looks untrustworthy. He looks like the last person in the world anyone would want to confide in, let alone confess to. The metaphor of the priest’s physical appearance however, is a significant one. Not only is this lack of trust in the clergy consistent with the history of the late middle ages, but also with Ghelderode's personal feelings toward the established 1 5 Catholic Church. ^ I note the latter here because it relates well with how Ghelderode chooses to resolve the issues raised in this story. What does the ending of the play mean? We learn that Piet has in fact already confessed to his close friend Jef, whom Ghelderode has made a lice-infested rag seller. The lowest of the low, Jef is at the opposite end of the spectrum from the priesthood. What is important however, is that Jef is honest, i.e. not a thief or a murderer, and ______________________ 2 51 that he is a trusted friend of the old man. In fact it is Jef, not the curate, who symbolically closes Piet's eyes when he finally dies. The fact that Ghelderode has here taken the act of confession away from the Church and placed it on a very personal level, Piet having decided for himself to whom__he would confess, relates well with the occasion of the miracle. The little girl regains her sight not because of Piet, but in addition to Piet. It is significant that the miracle has nothing to do with the Church in this play. It is a supernatural, or perhaps more correctly, a mystical experience. Thus while this play may be considered a statement against the established Church, it is perhaps more importantly a reaffirmation by the playwright of a belief in a mystical, personal Catholicism. The theatrica lity in this play supports this point of view. Miss Jairus Cast of Characters: Blandine (Miss Jairus) Jairus Jairus' wife Jacquelin Doctor Cloribus Vicar Kaliphas The Stranger Old Mankabena Le Roux The Joiner The Neighbor Marieke Vos Marieke Pouf Marieke Crok First Man Second Man The Ballad Singer An Old Man A Cowl An Angel Masked Men A Dog 253 SYNOPSIS The young Miss Jairus, also called Blandine, is on her deathbed. It is not quite clear why she is dying but it is nevertheless of great concern to the parents, Jairus and his wife, and to the vicar Kaliphas, and to the doctor Cloribus. Even the old witch Mankabena is brought on the scene to offer an explanation and a cure. But Blandine dies in any case, prompting the appearance of the comically grotesque Three Mariekes, old women who for a fee will weep and pound in mourning. All are grief stricken except the young Jacquelin, a childhood friend of Blandine's and a fellow hoping to one day marry her. He exits in search of Le Roux, a sorcerer who reputedly can bring the dead back to life. In Act Two, it is a reluctant Le Roux who in fact awakens a puzzled Blandine from her journey into death. Le Roux quickly exits, leaving everyone else in a state of shock. However, by the end of Act Two and the beginning of Act Three we see a Blandine who is really neither dead nor alive, but a sort of mysterious sleepwalker, speaking cryptically of returning to death. Meanwhile, the Vicar and the doctor are both taking credit for having brought Blandine from death. An embittered Jacquelin however, has gone in search of Le Roux to claim vengence for this _________________________________________________________________________25k. nightmare he has created. Various peculiar incidents occur by the end of the act, not the least of which is the appearance of The Stranger. He is kind of half-man, half- tree, no doubt also a victim of Le Roux. This character, named Lazarus, is apparently a spiritual acquaintance/ lover of Blandine's from somewhere on the other side of death. In Act Four we learn that there is a spring festival in town to include a procession, celebration and, oh yes, the execution of Le Roux. Jairus has gone into town to get drunk while his wife, whom he did not want to see the procession, goes anyway. Blandine, who has been left alone, knows she is about to return to death. As she descends into the courtyard, the old witch Mankabena bursts in, being pursued by a grotesquely dressed and masked drunken mob who want to bum her at the stake. They break into the courtyard, only moments later, to be driven away by the staff-swinging Jacquelin. His return to Blandine is too late however, as with a crash of thunder and lighting, she has died (again). It is now Jacquelin*s turn to speak cryptically of Le Roux, as though the sorcerer was Christ, and of Blandine's soul, and so on. He exits, arms held out. The play ends with the dead Blandine being held like a baby by the old witch, and with an old man looking in to announce the death of Lazarus (which is supposed to be good news). Drunk and masked, Jairus and his wife then enter at different moments. There is much confusion as they stumble through their dark house, trying to find some light. PHYSICAL APPEARANCE OF THE SETTING Act One takes place in an inner courtyard. To the right is a thin clump of shrubs with a sundial at the base. Up stage is a wall which runs parallel to the street, an exit in the wall. Above the wall is the upper part of a building with an ogival window and a door with steps lead ing up to it. Farther to the left and down stage, is a stone bench. The coloring is red brick. The time of year is autumn. A yellow light breaks against the window panes as a distraught Jairus makes his appearance from the 1 house. Act Two is set in a room with dark leather-covered walls. The small canopied bed on which Miss Jairus lies is seen in profile. Up stage, there is a large window, and a door opening onto the courtyard. There is a wooden bench, and some other seats, and wax candles which burn in copper candlesticks. It is a hazy night as, to complete the tableau, The Three Mariekes are seen fullfaced, lined up on the bench. Jairus' wife is sleeping in an armchair which is set back. Incidentally, as this act ends, there is an indication for sun to strike the window panes, lighting up the room.-^ The Third Act takes place in this same room, without 256 the candles. A coffin, partly covered by a sheet, has been left by the bed. A peculiar kind of light prevails. It is quite bright because outside, snow has covered L l everything. Act Four is again in the inner courtyard. It is spring now, and the shrubs are bearing leaves. Sunlight strikes the fed roofs, and the sky is ultramarine. Above the wall, there are flags and oriflammes hanging from the gables in the street. On the left, the window in the main part of the house is open. Indoors and near the window, Blandine, propped up by cushions, lies and leans out the window a little. There is vivid, midday light.^ PHYSICAL APPEARANCE OF THE CHARACTERS There are only a few character descriptions for this play. Vicar Kaliphas is described as, "...glowing and 7 sweating grease." The Three Mariekes are "swarthy, old 7 women."' The Stranger is draped m gray and seems as if in a shroud. His teeth can be seen gleaming in his beard as he smiles. Little roots sprout from his hands, his feet, Q and his hair. The Ballad Singer carries a little organ on his belly and a monkey on his shoulder.^ when The Three Mariekes appear again in Act Four, they are wearing 10 cast-off clothes and beast*s masks. In her final scene of the same act, Blandine appears wearing a long yellow 11 rob'e. Finally, there is a clamorous mob which breaks 257 into the courtyard in the final scene. They are led by a torch-carrying man wearing a cowl. With him are "a ragged angel with horns, a tarred fool covered with cock's feathers, a monk wearing a cardboard serpent devouring a baby, and a red death with little bells stitched on him. 12 All are drunk and staggering." ' PHYSICAL ACTS The first instance of physical theatricality in this play occurs when Jairus is alone for a moment in the courtyard. For no apparent reason, he goes into a scratch- 11 m g frenzy. Indeed, "he scratches himself frantically." In another moment, Jairus' wife brings in a witch, Old Mankabena. Jairus crosses himself as the two approach. Old Mankabena falls back, gripped by fear at the sign of the cross. She tries to get out as Jairus' wife holds her back.^ Next, The Three Mariekes make their first appearance. The three swarthy old women enter, one behind the other, praying aloud as they walk around the courtyard. They stop and take up position in front of the house where they genuflect and recite in toneless, discordant voices. They explain that they are hired mourners who, upon being paid, weep so intensely that they have to be paid to stop. Having said this, they genuflect and snort.^ The three women have an opportunity to demonstrate, 258 as presently a certain roar is heard from within the house. The window opens abruptly and cries are heard. The house door is thrown wide open as Jairus' wife, distraught, appears on the steps. She makes incomprehensible gestures. The Three Mariekes shrilly begin to weep. Jairus* wife, as though terrified by these cries, quickly starts back into the house where she bumps into Jairus who is coming out. He too is distraught as he pushes her away. She goes into the house while Jairus turns around wildly in the courtyard. Rambling, he stops, looks at the trio, and asks what they are doing. They say they're weeping in mourning, but Jairus tells them to weep inside the house, not out in the courtyard. With this, The Mariekes rush into the house where immediately they are heard howling hideously. Suddenly, however, there is the crash of breaking crockery and the howls cease. Jairus is startled by this unexpected 1 f i silence, only to stagger and resume weeping himself. In another moment, Jairus resents his wife calling him "Papa," presumably because he is no longer a papa now that Blandine is dead. He strikes his wife in the face. She 17 lets out a cry, then sobs. 1 As Act One ends, Jairus is seen exiting as he howls irritably in imitation of .the 1 ft mournful neighborhood dog. Theatricality in Act Two begins again with The Three Mariekes. The scene is Blandine's room where they are seen full face, sitting on a bench. Very drunk, they rock back ___________________________253. and forth as they periodically drink from the neck of a flask which they grip between their knees. From time to 19 time, the dog outside faintly, though hesitantly, whines. 7 Before long however, The Mariekes have burst into hearty laughter. This awakens Jairus' wife who is momentarily caught up in the contagion of the laughter. Soon there is 20 a long high-pitched howl from the dog, then silence. Next, Jairus has returned and his wife has gone to bed. As day breaks, Jairus tells the three half-asleep women to stay awake and to pray. They begin their verbal praying interrupted by yawns. Suddenly they all three fall asleep, 21 collapsing on themselves "like limp marionettes." Soon Jairus too has fallen asleep in his chair. As dawn becomes more marked, a convent bell begins to ring. There are alternating puffs from the four sleepers creating a counter- 22 point of snores which issue almost like musical phrases. Jacquelin has now appeared. He is Blandine's childhood friend and would-be financee, whom we met briefly during the first act. He has been away in search of the sorcerer Le Roux who reputedly can return the dead to the living. At the moment however, Jacquelin is half-crazed. He begins by tipping over the bench on which the three old women are sleeping. He then begins a struggle with Jairus who tries to hold his wrists, throwing aside Jairus' wife who is clinging to his legs. He hustles the three old women who are now standing again, but who, in panic, are collid ing with the walls. He strikes blows at the shouting five, now trying to protect themselves. J Suddenly in the doorway stands a man of athletic huild, his arms folded. This is Le Roux. He is present for only a moment, during which he calls to Blandine to awaken from the dead. As she does, he exits swiftly. Blandine rises and sits in the Led, her eyes wide open. She asks why she was awakened. Her jaws still rigid, she speaks in a voice not her own and as though she were speaking in another room. Then there is a long silence with no one knowing what to say. Jacquelin, Jairus, his wife, and the three old women share a common terror."Blandine, indifferent, stands up and staggers, trying to find her balance. Standing on her bed, she stretches out her arms. Encumbered by her long 24 white robe, she manages to get down and come forward. Jacquelin would like to support her, but draws back. In shock, he, Jairus, and Jairus' wife each in turn speak Blandine's name. A jumble of words follows to which Blandine listens, an imperceptible smile lighting her impassive face. Suddenly, Blandine is shaken by several shudders. Then, seized by a jerky laugh before the spectacle of everyone's incoherent surprise, she begins to shrilly shout her name above the uproar of the others. There is1 an abrupt silence. She asks who is this Blandine, as Jacquelin tries to take her by the shoulders. Wearing an unpleasant expression, she pushes him away. Jacquelin draws back. 2 * 5 She wants to be alone, and slowly everyone exits. J Alone, Blandine sits on the edge of the bed and __ 261 shrugs her shoulders. She taps several times with her heel, then puts her right hand on her bosom, listening. Enter two men carrying a coffin. They want to know where to put it, and she indicates near the bed. Placing it there, the two men exit, puzzled. When the door has shut, Blandine draws the sheets up over herself and, completely covered, resumes her death position. There is a silence followed by an uncontroliable inward laugh which seems endless. Act Two ends then with sunshine striking the win- dow panes, lighting up the room. Theatricality in Act Three begins with Blandine*s snowball throwing. There is something vicious in this throwing as Jacquelin enters the house complaining of how hard and accurately Blandine has attacked him in their 27 playing. Vicar Kaliphas is next, as the dialogue indicates that he has just been hit in the mouth with a snowball. The door opens with a crash as the vicar enters, his robe splattered with snow. Furious, he shuts the door with a 2 8 kick. A short time later, as Jairus, his wife, and the vicar are discussing what to do about Blandine, the door opens again, - and in flies a snowball striking the back of the vicar's neck. The door closes as a harsh laugh bursts 29 Dut and dies away. The vicar gesticulates. Then, Vicar Kaliphas is about to exit when the door to the courtyard Dpens and Doctor Cloribus appears, bustling. A snowball 30 grazes him. Finally, Blandine enters up stage, where she 262 holds a snowball in each hand. She strikes Jairus and then 31 his wife, and they exit in despair. The next theatrical episode involves The Stranger. Jacquelin and Blandine are alone in the house when there is a cautious knocking on the door at the back. The door 'opens slowly and The Stranger stands on the threshold. It may be recalled that he is draped in a gray, shroud-like garment, and that his teeth can be seen gleaming through his beard as he smiles. He has small roots growing from his hands, feet, and hair. Blandine wants The Stranger to come in, as she pushes Jacquelin out to the courtyard and closes the door. She comes back to The Stranger who smiles ceaselessly. She smiles and walks around him. Mean while, Jacquelin*s drawn face can be seen glued to the 32 outside window. Blandine and The Stranger talk cryptically and seem to know each other. The Stranger wraps her in his shroud and they stand clasped in each other's arms. They then begin to turn slowly as though performing a solemn dance. Blandine laughs as The Stranger smiles and sighs. Their mouths are about to draw near when the door swings open. A knife in his hand, Jacquelin leaps into the room. He is outraged and spits into the air. He is driven to kill but to kill something living, not half dead like these two. He storms out the door to go in search of Le Roux. Mean while Blandine and The Stranger part, perhaps to meet again 33 they say, on the other side of death. ^ __________________________________________ 263 In the courtyard, setting of Act Four, the Ballad Singer wishes to sing to Blandine about the exploits of Le Roux and how he raised the dead girl. Jairus' wife will have nothing to do with this and rushes him away. He exits backward, bowing to Blandine, and sticking out his tongue at Jairus' wife. At this moment, the door to the street opens and The Three Mariekes enter wearing cast-off clothes. They hold each other's hands and hop about giving harsh cries. Their faces are covered with beasts' masks for the big procession taking place in town. Jairus' wife at first takes fright, then bursts out laughing. The three old women dance around and jostle her. The Ballad Singer who had been pushed to the side, plays the organ franti cally. At the window, Blandine has been frightened and sinks backwards, only her outstretched hands seen sticking out. Meanwhile those in the courtyard sing cacophonically. Jairus' wife has been caught up in the spirit of it all and chokes with laughter as the three women chase her about.J Jairus has gone out to the procession. His wife wanted to go but he denied her, despite Blandine's insistence that she needed no one to stay with her. Meanwhile, The Ballad Singer and The Mariekes have kept her in the spirit, and insist that she go with them to the festivities. Into the street then goes The Ballad Singer playing the organ, followed by the three dancing Mariekes. Jairus* wife hesitates, but is swept up by the old women who push her outside. For a few moments they are seen capering 3 3 in the street. ^ The uproar dies away and there is relative silence, though a few hells and distant music can still he heard. It has grown darker as Blandine's hands have slipped down from the window and she has completely disappeared. Nearby, the dog" begins to whine, and will continue through to the end of the act. In a long yellow rohe, Blandine now appears on the threshold, and makes her way into the courtyard. Unsteady, she keeps to the walls, then heads for the stone hench. She soliloquizes in a strange toneless discourse as though her faculties were already beginning + 36 to wane.^ An Old Man enters from the street. He holds a lantern and rings a hell, announcing that Lazarus will soon he dead. ("Lazarus" is The Stranger from the previous act.) Blandine is joyous as The Old Man exits. The light now becomes greenish. "Blandine stands out from the chiaroscuro 37 as though phosphorescent. Again the door to the street opens.' Enter) the old witch Mankabena who comes in hurriedly. She shuts the door and clings to it to prevent anyone from opening it. She wags her head from side to side in fear, saying that the crowd is after her, to bum her at the stake. In the street there is a harsh clamor with kazoos, rattles, and whistles. She comes unsteadily to Blandine who has begun to sag. Mankabena clasps her, rocking and singing to _______________________________ 265 her softly. Suddenly an uproar explodes in the street and there are flashes of lightning . Mankabena stands, letting Blandine slip. The door opens and a clamorous mob bursts in. At their head is a man carrying a torch and wearing a cowl. Following him are a ragged angel with horns, a tarred fool covered with cock's feathers, a monk wearing a cardboard serpent devouring a baby, and a red death with little bells stitched on him. All are drunk and staggering. Other masked characters wait outside the door where they bawl. The group surrounds the bench where they begin a wild dance around 39 Mankabena. The Masked Men are preparing to fake her away when there is sudden lightning and thunder. The courtyard be comes blazing, violently bluish. The Mask Men draw back and cry out, while on the bench, Blandine bridles up as though electrified. She tries to protect her face with her hands and to strike a return blow into space. She falls and remains inert, as flashes of lightning follow one another. The Masked Men rush to the door but are driven back by a man armed with a staff. He beats them back into the courtyard, flailing about like a blind man. The others shield themselves and manage to escape, one after the other. They are heard howling in the street as a storm 40 rolls over the town. Old Mankabena is now kneeling beside Blandine as the man 266 with the staff, recognizable now as Jacquelin, comes over. Haggard and bearded, he has thrown his staff away. Mankabena has Jacquelin kiss Blandine's eyelids. Jacquelin goes on to speak of Blandine's departed spirit. Jacquelin then exits, his arms held out reverently. In the distance a tocsin rings and brass instruments play a military march. Old Mankabena has taken off her mantle and wrapped Blandine in it. Then, sitting on the ground, she takes the body on her knees, as one would a newborn babe. The Old Man with the lantern comes by again, sticking his head in the door hi and singing softly of Lazarus' death. Jairus' wife now enters, not seeing Old Mankabena and Blandine. Her dress is tom and her face is covered with a mask. She calls for Jairus as she tipsily gropes along the walls and up the steps. The door to the street now opens again and Jairus enters wearing a mask. He is drunk, and wanders around the courtyard. Approaching the house, there is confusion as Jairus and his wife don't recognize each other behind their masks. In the house now, things are heard falling as the two stumble over each other trying to find some light. A brief silence and there is a flicker of light in the house which quickly goes out again. Mean while out in the courtyard, Mankabena continues to shelter and rock Blandine as inside the house,the panic for light continues. The curtain falls with the neighborhood dog Ipp moaning woefully. ________________ _________________________________ 267 AUDITORY EFFECTS The examples of theatricality in sound begin a few moments before the first appearance of The Three Mariekes. In this instance, "the parish bells being to ring. The A3 neighbor's dog begins his premonitory moaning...." ^ This is not the only time we will hear the dog howling. • \ At the end of Act One, Jairus imitates his "death-howl- mg." At the beginning of Act Two, it is noted that "from time to time the dog outside whines - but faintly and A 3 hesitantly." A short time later, in response to the laughing old women, there is "a long high-pitched howl A6 from the dog." Two other occasions include a moment dur ing which Jairus' wife looks at the dead Blandine. There is A7 an "icy silence. The dog howls." And finally, for the dog in Act Two, as Jairus speaks to The Three Mariekes, "nearby, Afi the dog barks furiously." In this same scene, as the three old women fall asleep at day break, "a cock crows A 9 in the distance," ' and as Jairus falls asleep, "a convent bell begins to ring."-^ Just prior to Blandine's soliloquy in Act Four, bells and music can be heard in the distance. Also, "nearby, the dog begins to whine and goes on whining until the end of 32 the act."-' "In the street a harsh clamor, kazoos, rattles, 33 whistles,"^-' accompany the arrival of Old Mankabena. Some moments later, the dialogue indicates that the town clock is striking, followed by thunderbolts.^ With this, there is the sound of a storm rolling over the town,^________ 268 and as the play ends, "the dog moans woefully. INTERPLAY BETWEEN TEXT AND THEATRICALITY This play represents a transposition of two biblical stories dealing with the raising of the deads the raising of Jairus* daughter (Mark 5* 22 "ff; Luke 8: M ff), and the raising of Lazarus (John 11: 43-^), "the latter being secondary to the former in this play. The meaning of Miss Jairus may be found in "The Ostend Interviews" where, referring to this play, Ghelderode states, "Death is some thing absolute, perfect, and sovereign. Once it is accomplished, why undo it? Why begin again?Expanding on this, I would suggest that this play is generally about human folly, and specifically about the folly of raising someone from the dead. (I doubt however that Ghelderode meant this to be a criticism of Christ for the raising of Jairus* daughter and of Lazarus!) "The Ostend Interviews" indicate that Miss Jairus had several sources, some of which may be considered as having perhaps greater signifi cance than the biblical ones. One of these other sources is not a person but a place, which leads us into a few notes about the relationship between the setting and the text. We know the setting is a house in a city in Flanders, but in which city is of great importance. Ghelderode explains: 269 ...It is Bruges: That town like a tomb, which as a work of art and a museum, makes you think of Death. It is ... a Flemish town that still survives, ghostly, although it seems very brisk and very much alive. But everything in it is old, earth, stones, blood, and this town is an old man continuing to live because of a marvel, or rather by a mistake, and one has the impression that this dream city may suddenly collapse, fall into dust, like those ancient corpses that are dug up....Miss Jairus is the only play I wrote to the order of the town, if I may put it that way.58 I would note a further aspect of the setting which is the fact that here we have essentially a biblical event having been relocated to medieval Flanders. Says Ghelderode, "Like the old Flemish painters, I transposed the Biblical 59 happening to a time of my choosing."-^ Indeed as evidence of this tendency to relocate, one need look no further than Bruegel. In his "The Census at Bethlehem," for example, we see the physical structure of the nativity set in a snow-covered medieval Flemish village. Again in "The Procession to Calvary," Christ is seen carrying his cross toward Calvary while off in the distance one sees an old Flemish town. By the same token, I may be over-emphasizing the point. As noted earlier, the play of Miss Jairus is not a literal account- of the Biblical story. It is much more than that, and appropriately is more Flemish in appearance and character. 270 One further note on this setting with the "ambiance of death:" While Ghelderode has been very precise in "The Ostend Interviews" as to where the play is to take place, at one point even indicating that it is meant to be in a house in the parish of Saint James in Bruges, the author has also indicated the seasons.^ The Scriptures give no indication as to which season or seasons Jairus' daughter was raised, leading one to suspect that the choice of autumn, winter, and spring was made by Ghelderode for theatrical purposes. In this context I would suggest how ever, that there is a medieval tradition in art which considers the life of man in relation to the cycle of the f i 1 year. Bruegel had his series, "Months," several paintings for which could have been in the back of the playwright's mind during the writing of Miss Jairus. This of course is only conjecture. I stress this only because none of the other plays considered in this dissertation, have this changing of the seasons. In this play about human folly, and the folly of raising the dead, there are few character descriptions, although the ones we have are significant. First there is the general description that, "the characters are colorful, just as you might meet at random in the miniatures of the Burgundian period. Some wear turbans or preserve elements of orientalism in their dress - such was usual in this port, the first of the Western World.Ghelderode then 271 becomes specific with a few characters. With his notorious attitude toward the clergy, it is not surprising that he makes the vicar "glowing and sweating grease." Perhaps the most bizarre looking character is The Stranger, later identified by the name "Lazarus," who is draped in gray and who has roots growing from his body. Where Ghelderode got the idea for this sort of half-man, half-tree, is difficult to say, although it is interesting to note that in Bruegel's "Netherlandish Proverbs," there is a tree-like character with branches growing out of his head. The two other, comments I would offer about characters have to do with The Three Mariekes and Le Roux. While Ghelderode describes The Three Mariekes simply as "swarthy old women,""The Ostend Interviews" provide additional information as to what these women are, and what purpose they serve in the plays ...The old trollops we are talking about make up the antique chorus. If you prefer it, they represent public opinion, the synthesis of the light-headed gossips and the malicious crowd. Even in the most dramatic circumstances you cannot ask them to be tactful or to hold their peac'e; That isn't possible. Such are the professional mourners. It'is on them you call for funeral vigils. That was what happened in Flanders in times past.... °3 Ghelderode then went on to explain that he was using The Three Mariekes as burlesque, comic elements, much in the same way as Shakespeare used certain clown interludes 2 72 to provide relief during his tragedies. The other character for whom we have virtually no physical description is Le Roux, the mysterious figure who is responsible for bringing Miss Jairus back to life. The playwright's description of who he is, is especially helpful: [He is. ]..., a miracle worker, a heresiarch, such as Flanders has many times provided. ...He is willing to perform the miracle asked of him, but he does not understand, he does not like this miracle, he does not see the necessity for it. ...This madman is utterly wise,, logical. Naturally, he well understands this family's grief, its confusion, and he has pity on these people; but they are very sorry folk, petty natured, as they say. He knows this, he who is made for a fate that is cruel and of great dimension, and who is getting ready to die soon, because he knows the inescapable result. But all the same he will perform the miracle, because he has the opportunity of creating a new scandal and because the sum total of the scandals is necessary for his own fulfillment. In short, he performs this miracle as he has performed the other miracles, in a sort of evil humor, with manifest ill will. Thus despite the theatrical appearance of The Stranger (Lazarus), and perhaps the costumed mob in the last act, the description of the characters is not as detailed in this play as perhaps in some of the others. This of course Is not to suggest that the characters are not otherwise Interesting. We know all the details of the physical acts of this 2?3 rather involved play. Are there now some general statements which can he made to sum up the relationship between the theatricality of the physical acts, and the meaning of the play? First, despite the logical sense of tragedy here, i.e. the death of the young Blandine, and the folly of her subsequent raising from the dead, the theatricality finds this play more in the category of farce than tragedy. The apparent reason for this humor lies in Ghelderode's statement that these are "very sorry folk, petty natured." In the spirit of human folly, he wants to show these characters for the fools they are. Except for the innocents, Blandine and presumably Lazarus, all the characters are fools, thus all their activities on stage, foolish...and often laughable. The second point emphasized by Ghelderode both in theatricality and text, is the folly of the raising from the dead. From the moment she is reawakened by le Roux, Blandine proves nothing less than a nightmare. She's neither dead nor alive, and completely "otherworldly," as ovidenced by her malicious conduct toward family and friends, and by her mysterious behavior toward her "rooty" acquaintance, Lazarus. Further, the theatricality does not suggest that the playwright feels sorry for Blandine, so much as anger over the pointlessness of this act by Le Roux as arranged by Jacquelin. Everyone suffers because of it, which is the point of the whole play. 274- Again, interspersed throughout this play are a number of Ghelderode*s favorite sounds. We hear a cock crow announcing daybreak, a convent bell, and various musical instruments. Typically, they are strategically place to, as the playwright has stated, underscore or enhance the theatrical quality of the moment. Two auditory effects are worth a moment's further comment. The most frequent sound in the play is the howling dog. Says Ghelderode, "...There is the dog that comes from a Van Eyck picture and that howls premonitorily, from habit because he has 6 * 5 always done so." J (Incidentally, the dog to which he was referring is probably from the "Turin Book of Hours: Requiem Mass," attributed to Jan Van Eyck.) In any event, in none of the other plays discussed in this dissertation will you find a dog with such virtuosity. His range of expression extends anywhere from a hesitant, pensive whine, to a heart-felt high-pitched howl. From the standpoint of theatricality, the dog sounds in this play serve as a symbol for death. Thus does the dog at certain timely moments in the play, premonitorily announce, as dogs are apt to do, the presence of death. Finally, like Chronicles of Hell, this play also includes a storm, is it the same storm however? Not quite. In Chronicles of Hell we referred to the medieval and Shakespearian concept of God speaking through nature. Thus we had a disapproving God speaking through the storm ________________________ 275 of Chronicles of Hell. In Miss Jairus, we're not at first certain just who or what it is speaking through the storm. This is "because God, per se, is not a factor in this play. But Nature is, albeit a supernatural nature. This is what is speaking through the storm in Miss Jairus, because ultimately, as the meaning of the play would have it, Nature was the one offended by the disruption of the natural act of dying. She is the one with the final say, as finally in Act Four, Blandine dies her overdue death. In this chapter we have seen two innocents who die, and two deaths which are innocent. While the locales and v time periods vary, perhaps the most noteworthy for setting and technique is Christopher Columbus. Up to this point, we haven't seen anything quite like it. It is played in the context of a dream, which is effected by the use of various techniques reminiscent of expressionism. In contrast to our discussion of this aspect in the previous two chapters, the characters in this group display neither the sixteenth century physical peculiarities, nor are they generally disguised. The themes being what they are, apparently did not require these. This is not to say they lack theatricality. One need go no further than the bizarre looking characters of Pantagleize. The physical acts in this chapter are also extensive and varied, and often violent. Again from Pantagleize, how can one ever forget the final execution scene? From the standpoint ___________________ 276 of sound effects, not since the trumpet calls of Lord Halewyn have we had the repeated use of one sound through out a play. Here, gunshots are heard throughout Pantag leize , and the dog howls continually in Miss Jairus. We saw a similar technique in Chronicles of Hell where "a threatening crowd snarls throughout." In the final group of plays, yet another dimension of this playwright*s art is revealed, a dimension which again we have not seen up to this point. 2 77 FOOTNOTES: CHAPTER V Christopher Columbus ■^Ghelderode, Seven Plays, Vol. II., p. 153. 2Ibid. p. 159- 3Ibid. p. l6l . A Ibid. p. 168. 5Ibid. p. 153. 6Ibid. p. 155. 7Ibid. p. 156 . ^Ibid. P- 157. 9Ibid. p. 166. 10Ibid , p. 167. 11Ibid , p. 1 6 9. 12Ibid , p. 172. 13Ibid . p. 173. 1^Ibid , p. 17^. 15Ibid , p.p. 153-15^. l6Ibid * P* 155. ^ibid , p. 1 5 6. 18Ibid , p.p. 157-159. 1 9Ibid. > p. 159. 278 21Ibid,, p. 1 6 3. 22Ibid., p.p. 163-164. 23Ibid., p. 164. oh. Ibid., p. 166-168. 23Ibid. f p. 169 . 26Ibid., p. 1 7 0. 27Ibid., p. 1 7 2. 28Ibid., p.p. 1 7 2-1 7 3. 29Ibid., p.p. 173-174. 3°Ibid.t p.p. 174-175. 3 1Ibid.. p. 1 5 6. 3 2Ibid., p.p. 1 5 7, 1 7 1. 3 3Ibid., p. 1 6 0. 3^Ibid., p. 1 6 2. 33Ibid.. p. I6 3. 3 6Ibid.. p. 1 6 6. 3 7Ibid., p. 1 6 8. 3 8Ibid., p. 1 7 4. 39Ibid., p.p. 174-175. 2Zi 4o George Hauger, "Dispatches from the Prince of Ostre- lande," Tulane Drama Review, No. 8, Vol. 1 (Pall, 19^3)> p. 2 6 . h. 1 Draper, "An Interview with Michel de Ghelderode," p. 46. Lo Ghelderode, Seven Plays, Vol. II, p. 152. 43 ^H. Augustine Smith, Lyric Religion (New Yorks The Century Co., 1931). p.p. 3-5. Pantagleize ■^Ghelderode, Seven Plays, Vol. I., p. 151* Ibid., P« 158. 3Ibid. , P* 1 6 9. 4 Ibid., P* 178. 3Ibid. , P* 184. 6Ibid., P* 190. ^Ibid., P. 199- 8Ibid., P* 202. ^Ibid., P* 2 0 7. 10Ibid. P . 219- 11Ibid. P.151. 12Ibid. P . 152. 13Ibid. P . 158. lZfIbid. P . 1 7 2. 13Ibid. P • 173- 280 l6Ibid. 1 7Ibid. 18Ibid. 1 9Ibid. 21 Ibid. 22Ibid. 23Ibid. 2^Ibid. 25Ibid. 26Ibid. 27Ibid. 28Ibid. 29Ibid. 3°Ibid. 3 1Ibid. 3 2Ibid. 3 3Ibid. 3^Ibid. 3 3Ibid. 38Ibid., p. 184. p. 208. p.p. 151-152. p.p. 156-158. p. 1 6 1. p. 1 6 1-1 6 2. p. 1 6 3. P- 165. p. 1 6 9. p.p. 172-17**. p.p. 175-176. p.p. 176-177. p. 181 . p. 183. p.p. 18* 1 - 1 8 5. p. 1 9 2. p.p. 196-199- p.p. 202-204. p. 204. p.p. 204-207. 281 37Ibid. p. 20?. 38Ibid. p.p. 20 7-2 0 8. 39Ibid. p. 208. ^°Ibid. p. 2 1 0. ^Ibid. p. 2 1 2. ^2Ibid. p. 2 1 3. . ^Ibid. p. 21^. ^Ibid. p.p. 2 1 5-2 1 6. ^Ibid. p. 218. ^Ibid. p. 219. ^7Ibid. p.p. 2 2 1-2 2 2. ^8Ibid. p. 2 2 2. ^9Ibid. P • 151 • - 5°Ibid. p. I6 9. ^Ibid. P. 173. - 52Ibid. p. 17^. ^Ibid. P. 175- ^Ibid. 55Ibid. •^Ibid. , p. 176. •^Ibid. 282 58Ibid. , p. 177. -^Ibid. , p.p. 178, 180. 6°Ibid. , p.p. 184, 185, 186, 188, 189, 190. 61Ibid. , p. 199* 62Ibid. , p. 206. 63Ibid. , p.p. 2 0 7, 208. 8^Ibid. , p. 208. 65Ibid. , p.p. 212, 213, 214, 217, 219. 66Ibid. , p. 220. 67Ibid. , p. 222. 68Ibid. , p. 147- 69 Hauger, "Dispatches from the Prince of Ostrelande," P • 25 • ^Ghelderode, Seven Plays, Vol. I., p. 148. Piet Bouteille 1Ghelderode, Seven Plays, Vol. II., p. 19 5. 2Ibid., p. 194. 3Ibid. 4 . Ibid. 3Ibid. 8 Ibid., P- 195* ^Ibid. 8Ibid. 283 ^Ibid., p. 196. 10Ibid. 11Ibid., p. 197- 12Ibid., p. 201. ■^Ibid., p.p. 195-196. 1 II Stechow, op. cit.f p. 144. ^Beyen, op. cit., p.p. 450-452. Miss Jairus "''Ghelderode, Seven Plays, Vol. II., p. 213. 2Ibid., p. 228. 3Ibid., p. 239* 4 . Ibid. 3Ibid., p. 2 59- 6Ibid., p. 2 1 5. ^Ibid., p. 223. 8Ibid., p. 251. ^Ibid., p. 2 6 2. 10Ibid., p. 2 6 3. 11Ibid., p. 2 6 5. 12Ibid., p. 2 6 8. 13Ibid., p. 217. 284 1 4 Ibid. , p. 219 • ^ Ibid., p.p. 223-224. l6Ibid., p.p. 224-225- 1?Ibid., p. 22?. l8Ibid., p. 2 2 8. 1 9Ibid. 20Ibid.. p. 2 3 0. 21Ibid., p. 234. 22Ibid., p. 2 3 5. 2^Ibid . , p. 236 . 2^Ibid., p.p. 2 3 6-2 3 7. 25Ibid., p.p. 2 3 7-2 3 8. 28Ibid., p.p. 238-239. 2^Ibid., p . 240 . 28Ibid., p. 242. 29Ibid.. p. 244. -^Ibid . , p. 245 • ^Ibid. , p. 2 5 0. 3 2Ibid., p.p. 2 5 1-2 5 2. 33Ibid., p.p. 252-254. ^^Ibid., p.p. 262-263. 285 33Ibid. , p. 2 6 5. 36Ibid. 37Ibid., p. 2 6 7. 38Ibid., p.p. 2 6 7-2 6 8. 39Ibid., p. 2 6 8. ^Ibid., p. 2 6 9. ^Ibid., p.p. 2 6 9-2 7 0. ^2Ibid., p.p. 270-271. ^3Ibid., p. 223* ^Ibid., p. 228. ^5Ibid. ^8Ibid., p. 2 3 0. ^Ibid., p. 231. ^8Ibid., p. 23^. ^9Ibid. 3^Ibid., P• 235• 31Ibid., p. 2 6 5. 32Ibid. 33Ibid., p. 267. 3^Ibid., p. 2 6 9. 33Ibid. 36Ibid., p. 271. 286 5 7Ibid., p. 2 0 7. 58Ibid., p.p. 204-205. -^Ibid. , p. 205* 6°Ibid., p. 2 1 0. Stechow, op. cit., p. 9 6. / I Q Ghelderode, Seven Plays, 8-^Ibid., p. 2 0 6. 8^Ibid. , p. 2 0 7. 8^Ibid., p. 205. 287 CHAPTER YI PLAY S~WITHIN-A“PLAY Three Actors and Their Drama (1926), Exit the Actor (1930), The Death of Doctor Faust (1925), Eseurial (1927), School for Buffoons (1937)* This final chapter of analysis presents a variety of plays-within-a-play. From the standpoint of theatricality, these works range in complexity from the mildly complicated Three Actors and Their Drama, to the more involved School for Buffoons. The former, which has often been likened to Pirandello's Six Characters in Search of an Author, manipu lates reality with the illusion of the stage, keeping us off balance and guessing which is which. In Exit the Actor, we become involved with a group of actors, one of whom dies from having lost his grip on reality. The Death of Doctor Faust is meant to play simultaneously between the sixteenth and twentieth centuries, with at one point, the character Faust attending a performance of a play about himself. Eseurial is a very colorful, if not brutal piece of theatre about a king and his fool who play ' at being each other. Saving one of the best for last, School for Buffoons is theatricality par excellence. It tells the story of a grotesque group of buffoons, several of whom perform a cruel play-within-the-play for their aging master. 288 Because I am using the term "play-within-a-play" in this chapter, I believe I should take a moment here to briefly outline the general concept of "play-within," and to place it in some historical perspective. In the secular theatre of the Middle Ages, this "double perspective" of play-within is anticipated in a number of dramaturgical structures, for example Medwall's Fulgens and Lucres (1497): but it is not clearly defined until the Renaissance.^ During the sixteenth and seventeenth centuries however, dramatists employed the device of play-within in various forms and for a variety of purposes. The device took the 2 form of dumb shows, masques, and plays-within-the-play. One function of the device of play-within was as a means of comment. Many times it was used to comment on the play itself by serving as a mirror to reinforce the theme of the play. Further, the device afforded the dramatist the opportunity of speaking directly to the audience in order to give essential information about certain characters or action. In this use it also served as a means of commenting on other plays, other dramatists, and on the nature of drama generally. By removing the main action of the play a step further from reality, the device actually seems to 3 stress an even deeper reality. The play-within could also serve as part of the action of the main play. The dumb show was early used in this manner as an economical means of presenting part of the 289 action itself, particularly to compress the time sequence. All forms of the device though, could serve as part of the action and perform various functions. Dramatists used the device as a means to effect the gulling of a character, to initiate an action and to provide complication!, and to end an action. One use which became particularly widespread was to provide the denouement. It should be remembered that the device could serve both purposes of comment and action at the same time. This is to say, a play-within could well function as part of the action of the play and also make comment about the play or drama generally, or audien- ces. Many time dramatists introduced a play-within apparent ly for the sole purpose of providing spectacle or comic entertainment, as the play-within has no effect on the action of the main play nor does it provide information or comment about the play. Sometimes of course, an inserted play might serve to function as a part of the action of the play or to offer information or comment,but its primary purpose might still be that of entertainment, as the other functions could have been achieved just as well by other means. Also in this category are the plays-within which help to establish or enhance the mood and setting of the main play. Again though, a play-within could very well perform this purpose while at the same time accomplishing other definite purposes.^ 290 Finally, the concept of the play itself as a play-with in represents a distinct and important application of the technique apart from the various forms and variety of purposes of the device previously considered. Historically, dramatists used several means to achieve the effect; the most obvious method was the use of a frame or induction, but the effect could also be achieved by having one of the characters in the play so manipulate the other characters that he actually becomes the producer or director of the action himself.^ The mere mention of the term "play-within-a-play," invariably evokes Shakespeare's Hamlet. This famous work has created the impression in the minds of many that the form is uniquely Shakespearean. The impression is deepened by the fact that the technique or approximations of it occur in a numbeh of his plays? The Taming of the Shrew, Love *s Labour'’ Lost, A Midsummer Night's Dream, The Merry Wives of Windsor, As You Like It, The Tempest. The fame of what is perhaps the most widely known non-Shakespearean example of the technique, Kyd's The Spanish Tragedy, heightens the tendency to think of the structure as unique ly English, if not Shakespearean. Yet it is not English, no more than it is Spanish or French or Italian. Nor is the device peculiar to one historical moment, although certain periods do show an understandable predilection for it. As a specialist in French literature, Robert J. Nelson __________ 291 provides an admittedly one sided list, but a valuable list nonetheless, of some of the varieties of plays-within from Shakespeare to Anouilh. In addition to Shakespeare whom we have already outlined, there is Rotrou's le Veritable Saint Genest, Corneille's L'Illusion comique, Moliere's 1'Impromp tu de Versailles,'Marivaux's Les Acteurs de bonne foi, Legouve's Adrienne Lecouvreur, Dumas' Kean, ou Desordreet genie, Sartre's Kean, Schnitzler's The Green Cockatoo, Pirandello's Six Characters in Search of an Author, and Anouilh's La Yalse des toreadors.*^ As we shall see, in a number of his plays, Ghelderode employs the play-within technique. I will discuss five of them in this chapter, although I would suggest there are others, for example Don Juan which, despite my having categorized it as a carnival play, could also be viewed as a variety of play-within. I would conclude this brief review of the concept however, by generally indicating that, as you will see, Ghelderode tends to use the technique (1) as part of the action of the main play and to further the action, as in School for Buffoons and Eseurial, (2) as a mirror to reinforce the theme of the main play, as in The Death of Doctor Faust, and (3) as the main play itself representing a play-within, as with Exit the Actor and Three Actors and Their Drama. 292 Three Actors and TheirDrama Cast of Characters! The Author The Ingenue The Juvenile Lead The Heavy Lead The Prompter SYNOPSIS Before the curtain goes up, The Heavy Lead, The Juvenile Lead, and The Ingenue, walk on stage with The Author. They are discussing the play they are about to perform. It has not been successful on the tour and the actors agree to perform it only one more time...a last time. There is a hint here that the actors have plans be yond what is indicated in the script. As the play begins, we see The Prompter in his box, the curtain rising, and The Duke (The Heavy Lead) beginning a monologue. Presently The Duchess (The Ingenue) enters, her conversation suggest ing a reality not of the characters but of the actors them selves. The Duke exits and The Knight (The Juvenile Lead) enters from the shadows where he has been hiding in a suit of armor. It is now that we become aware of the actors' love triangle, and as The Duke reappears, it becomes apparent that the actors intend to commit suicide on stage. Each in turn shoots himself, and as the curtain comes down, _______________________________________________________________________ we see The Prompter in a state of shock and rage. The Epilogue then has each actor coming forward to take a bow, and being surprised to see the other two alive. As they publically resolve their differences, another gun shot is heard. The Prompter sticks his head out through the curtain to inform everyone that The Author has shot himself. PHYSICAL APPEARANCE OF THE C SETTING The Prologue for this play-within-a-play finds the curtain down under weak light. The Author appears along the footlights, followed by three actors in everyday clothes. All four are pale and make pitiful silhouettes in the semi-darkness. When the curtain goes up on the play itself, shabby painted scenery with braced side pieces are seen. The back cloth depicts a Gothic crypt, the side pieces a drawing room of the Empire period. The furniture is in the Louis XYI style. An elaborately engraved suit of armor stands in a recess and everything is bathed in moonlight. PHYSICAL APPEARANCE OF THE CHARACTERS In the Prologue we know that the three actors are in their every day clothes and that they "...are pale and make pitiful silhouettes in the semi-darkness.”- ^ During the play itself, the character of The Duke is in a costume of _______________________________ 2 9^ the Yalois period, while The Duchess appears in a Burgun- k dian dress and wearing a hennin. PHYSICAL ACTS The first instance of theatricality occurs in the Pro logue. The three actors have followed The Author on stage, to the sound of shifting scenery hehind the closed curtain. There is a long pause as the noise behind the curtain has stopped. The three actors stand still and seem to be wait ing for one of their number to speak, but no one finds any thing to say. Suddenly The Ingenue starts to sob without restraint.^ Next, the play-within-the-play is about to begin as the knocking for curtain rise is heard. As the footlights come up, The Prompter appears in his box downstage. ('From the waist upward, he comes into view from time to time through out the play). When a melody playing offstage has finished g there are three more knocks, and the curtain goes up. Into the play now, there is a theatrical moment during some dialogue between The Duke and The Duchess. He has obviously lost his lines and is improvising. As he does so, his eyes search downstage for The Prompter.^ Some moments later, after The Duke has exited, The Duchess is heard yearning for the arms of her young lover. With this, the suit of armor wherein the lover Tristan has been hiding, g begins to walk forward, arms outstretched. 295 Another interesting moment of theatricality finds The Duke again on stage speaking with The Duchess. He is talk ing about committing suicide as he lights a cigarette. It is apparent that this is The Heavy Lead speaking, and not the character of The Duke.,'This ’is underscored by the o cigarette which is historically out of context. Moments later, he makes good his threat as he pushes away the tear ful Duchess and takes out a revolver. In a moment he has 10 turned away and shot himself, his body slumping down. The violence continues as the guilt-ridden Duchess has presently also taken out a revolver and turned away. There is a shot and she falls. In the same instance, Tristan (The Juvenile Lead) who has witnessed this, confesses that he cannot live without The Ingenue so he too takes out a revolver. He places the barrel in his mouth and fires, 11 uttering a cry of despair as he falls. Following this group suicide scene, The Prompter, who has been frustrated by all this improvisation, is seen angrily wringing his hands. Swearing profusely, he throws the sheets of the script at the corpses as the curtain 12 comes slowly down. The Epilogue then finds the three actors appearing one after the other to take a bow, each being shocked to see the other alive. Suddenly in the wings yet another shot is heard. The Prompter rushes forward to announce that The Author has in fact committed suicide. Scared and gesticulating, the three actors dash toward the ____________________________________________________________ 29 6 13 wings, yelling. ^ AUDITORY EFFECTS Theatricality in sound begins in the Prologue with the noise of shifting scenery backstage. As the play-within- the-play is about to begin, the knocking for curtain rise 1 * 5 is heard. Meanwhile in the wings, "...a phonograph begins to play the great melody from Tosca - to create atmosphere, no doubt. When the melody is finished, there are three 1 f i knocks, and the curtain goes up." Preceding The Duke's opening speech, "eleven o'clock 17 strikes in a distant clock tower." ' As The Duke proceeds 18 with his speech, "a trumpet rings out," and presently 19 bells are heard. Yet another isolated sound occurs as The Duke and The Duchess converse. Ominously noted by The 20 Duchess, there is "a cracking noise." Then following the three apparent suicides, "the strokes of midnight sound. In the wings, the phonograph takes up again the great 21 melody from Tosca." Finally, in the Epilogue, as The Author commits suicide, there is "a shot in the wings. Noises behind the curtain, running, calling. INTERPLAY BETWEEN TEXT AND THEATRICALITY Ghelderode calls this a "dramatic comedy," and in "The Ostend Interviews" describes from where the idea for this play came: ___________ 297 ...1 did no more than take up an old idea that I was familiar with from parodies. Actors begin to perform a play seriously, but they are a little merry, a little drunk, and they make their tragedy degenerate into farce. The public accepts it, and the evening sinks into buffoonery - to the detriment of the poor author, who talks about hanging himself.23 This is an apt description of Three Actors and Their Drama. It is a parody, which in the guise of being serious is really quite amusing. The theatricality plays an important part in conveying the comic aspect. First however, of what is this a parody? That the play begins and ends with a melody from Tosca would seem to be the key. Both Sardou's melodrama La Tosca (1887), and Puccini’s opera Tosca (1900) were popular items during the years prior to Ghelderode's writing Three Actors. But more than a parody of La Tosca itself, Ghelderode's play seems to be poking fun at melodrama generally, from subject matter, to staging and performance. The Prologue seems serious enough. Scenery being shifted backstage provides a touch of realism to the realistic conversation between The Author and the actors. A feeling of suspense rises in the audience as the dialogue becomes more ominous. At one point The Ingenue breaks down in tears. With the theatrical touch of the ringing stage bell, the actors leave the stage to assume their roles. Furthering the effect that Three Actors is a performance ______________________________________________________________ 23± of a performance, Ghelderode places a prompter between the play and us. This is not that unusual except that this prompter is relative to the play-within-the-play. In his capacity as a real prompter for The Author's play, yet one of the characters in Ghelderode's play, he is once removed from us. This theatrical device is of course all part of that appearance-reality motif so often associated with Pirandello. With the rising of the curtain, the first elements of humor appear. One immediately notes an inconsistency between a backcloth depicting a Gothic crypt, side pieces representing a drawing room of the Empire period, and furniture of the Louis XVI style. To this then The Duke appears wearing a costume of the Valois period, while The Duchess wears a Burgundian dress and a hennin. This conglomeration of periods seems especially amusing in light of the opera music we have just heard from Puccini's Tosca of 1900. As The Duke begins his opening monologue, Ghelderode has some fun with some cliche theatrical devices. Each represents a cue. First, eleven o'clock strikes ominously in a distant clock tower, which cues The Duke's first line, "Eleven o'clock!" What's amusing about this is the certainty of the audience counting out each strike of the clock, over what seems an eternity of time. Then The Duke tops it off by announcing eleven o'clock when _____________________________________________________________ 299 everyone knows that already. Moments later, a trumpet blows as a cue for the lines about the watchman in the tower. The Duke then gets up and walks about ceremoniously, losing his lines in the process. The remainder of his mono logue proceeds then with several assists by The Prompter. At one point, with The Duke's line, "Do these bells ring a prelude to my death?", he listens, until finally the bells ring late. Another obvious cue in Ghelderode's parody of melodrama, is the cracking noise preceding The Duchess' line, "There are mysterious sounds tonight...." With the continuing assistance of The Prompter then,The Duke scarcely makes’ it through to his first exit, while The Duchess struggles to proceed. Supposedly alone now on stage, The Duchess begins reading out loud, a note from her lover Tristan. Suddenly out from the shadows clanks the suit of amor we assumed was merely decoration. Arms outstretched, the amor approaches The Duchess. Raising the visor of his helmet, The Knight, who is really The Juvenile Lead, proclaims his love for The Duchess and gives her a kiss as awkward as it is interminable. Following some prompter assisted lines, The Knight returns to the shadows with the reappearance of The Duke. As The Duke and The Duchess continue their dialogue, Ghelderode uses another inconsistency by having The Duke light a cigarette. While comic, this action also effective ly separates the reality of The Heavy Lead from the role of The Duke. At this point, the play becomes out of control. The actors are improvising now, much to the dismay of The Prompter. The play concludes then with the very melodramatic multiple suicide of the actors. The strokes of midnight symbolically sound, and in the wings the melody from Tosca is again heard. Wringing his hands, The Prompter curses as he throws the sheets of his script at the corpses. The curtain comes down. The "real" play concludes then with each of the actors in turn coming forward for a curtain call, each being surprised to see the other alive. A final gunshot, marking the suicide of The Author, acts as a sort of exclamation point, ending the play with high energy. Thus in this parody of melodrama has Ghelderode effectively used theatricality, visually and aurally, to create what are often comic effects in what is ostensibly a serious story. 301 Exit the Actor Cast of Characters s Renatus, an actor Jean-Jacques, an author Fagot, a prompter, also called Fagoti Armande, an actress Gustave, an actor Rosa, an actress The Head Angel Four Angels Other Actors SYNOPSIS The author, Jean-Jacques, is rehearsing a group of actors. The prompter, Fagot, and then the actor, Renatus, arrive late. The rehearsal has ended and they are told to come hack tomorrow. As the group leaves, the dangerously melancholy Renatus stays behind and, sitting in a Gothic chair center stage, contemplates his state of mind. Pre sently he goes over to a pile of props from which he extracts a mannequin resembling himself. He puts this in 302 the chair, then lies down in the pile of props. Meanwhile, the prompter Fagot has reappeared, only this time he is dressed as the white-faced mime Fagoti. (It is his habit to nostalgically perform in the empty theatre.) He addresses the mannequin thinking it is Renatus. The later speaks back from the pile. Realizing the sad trick, Fagot insists that Renatus go with him away from the theatre and its illusions, which are causing Renatus so much mental dis tress. They exit, only to have Jean-Jacques enter, who in the dimly lit theatre, also mistakes the mannequin for Renatus. He goes to lift the false Renatus, whose head falls off and rolls across the floor. At first startled, Jean-Jacques then laughs, but with an obvious concern for his troubled young actor-friend. Act Two takes place in Renatus' room where the delirious actor is sleeping. Jean-Jacques has been watching over him. The actress Armande then arrives. Shortly, the author and the actress step on the other side of a screen which divides the room. Here they begin to make love. Meanwhile Renatus has awakened and while he is aware of what is going on behind the screen, he nevertheless begins to hallucinate the presence of a sort of Moliere-style doctor. He carries on a conversation with this phantom doctor who responds in mime. Eventually, however, Renatus has reached the breaking point and he collapses and dies. Jean-Jacques rushes from behind the screen but is too late, as indeed other actors ________________________________________________303 begin to appear with gifts for Renatus, also too late. Act Three is situated in a cemetery with adjoining inn. Jean-Jacques sits outside talking with Fagot, who is now working as a waiter at the inn. Meanwhile the other actors who have been conducting the funeral for Renatus, now come forward to the inn. They enter and proceed to get drunk. Meanwhile the ghost of Renatus appears on the cemetery wall, only to jump down and to confront Jean-Jacques who is over joyed to see him. This moment is interrupted however, by a patrol of angels which is looking for Renatus. Jean-Jacques has hidden him in the prompter*s box (!). A fight ensues between Jean-Jacques and The Chief Angel, the violence of which brings Renatus out of the box to'turn himself in. With a sad farewell then Renatus with the patrol of angels, climbs a ladder back into the sky. Deep in thought, Jean- Jacques slowly exits. PHYSICAL APPEARANCE OF THE SETTING At the beginning of Act One, the curtain is down, bathed in shadow and dimly lit from the footlights. Jean- Jacques, the author, is seen walking along the proscenium. Presently the curtain opens with a series of jerks, reveal ing a stage bathed in livid, dim light. In the shadowy background, stand various decor-flats. In a gloomy downstage light, stands a table full of clothing and suitcases, and a candelabre which creates a sort of mortuary lighting. ____________________________________________________________ 304 The actors huddle around Its flames. A large theatrical 2 moon, bluish-zine in color, hangs in the pale background. Act Two is set in Renatus* drab room. Upstage is a small bed above which are some photographs, palm branches and wreaths, and some yellow things tacked up. Next to the bed, a chair. To the left, a window whose shade remains lowered, allows a sparse light to filter through, a light which nevertheless is incapable of doing away with the shadows amassed within. It is a rainy October afternoon. There is a door to the right, next to which stands a folding screen. This screen conceals a table full of dishes and an old arm chair. As the curtain rises, the bed is occupied by Renatus of whom we see only a bit of hair on the white sheet and the outline of his skinny body. He hardly moves. In the front are standing Jean-Jacques and Fagot who have kept on their overcoats and hats. The October fogs have descended on the Act Three loca tion. Although the dusk has just begun, the street lights are already burning in this removed suburb which seems the end of the world. Upstage is a white wall, tarred at the bottom, and behind which are trees and crosses. Flanked to the left of this cemetery wall are a pillar and part of a grill. Toward the front stands an isolated lamp post, and to the right and forward, an ocherous facade of a little low house of which we can only see the entrance. It is an inn where can be read the words, "Inn of Well-Being." There ___________________________________________________________________________203 is a bench against the facade, a table, and a stand on which are hung some earthenware wreaths and some beads. The scene will remain fog covered until the end of the act when the fog will lift, revealing a violet sky studded with L brilliant stars. PHYSICAL APPEARANCE OF THE CHARACTERS Jean-Jacques appears at the beginning of Act One wearing his hat back of his head and the collar of his overcoat turned up.'’ Smoking a pipe, Gustave is dressed as a sort of fairy tale duke, while Rosa wears an overcoat over her 6 medieval noblewoman's costume. Fagot, the prompter, is a grotesque little man, his shoulders raised as though he were 7 afraid of being beaten. Renatus looks like an apparition. He is a young, thin actor, with a bony and pale face. He wears a fluttering hat, and an overcoat which is too long for him.® In Act Three, Jean-Jacques wears a top hat to which is tied black crepe, the ends of which fall to his back. He wears a long macfarlane which makes him resemble a character g in Dickens' time. He has a white tie and black gloves. When Renatus makes his post-burial appearance in this act, he looks skinnier and more ghostly than ever. He is dressed in a ridiculous costume comprised of a jacket that is too small for him, checkered pants, a hunter's hat, rubber boots, and gloves.^ 306 Pour slender athletic-looking angels wearing gray over coats make up the angel patrol of Act Three. With metal belts and silver helmets, they display bronzed wings with squad numbers. Only a bit of their faces can be seen, though they are traditionally good-looking and each i resembles the other. A green lamp shines on their foreheads and at the top of each wing, the Chief Angel wears a helmet decorated with purple plumes. He is bigger than the others. The angels following him are carrying portable spotlights, the last angel also supporting a narrow golden ladder, the 11 top of which disappears above the set. PHYSICAL ACTS The first significant moment of theatricality in Act One occurs with Renatus alone in the theatre. He has been sitting in a Gothic chair with a velour curtain wrapped around himself to keep warm. He stands up and, as he begins a monologue, goes over to a pile of props where he picks up an oblong leather sack. Out of this sack, he pulls a mannequin in old costume. Its size and face resembles that of Renatus. Holding up his replica and talking to it, he then sits in the armchair and covers it with the velour curtain he had wrapped around himself. In the dim lighting , it appears to be Renatus asleep. He then goes over to the pile of props, climbs into them, and covers himself with 12 sacks. _________________________ 307 Meanwhile, enter Fagot playing a guitar. He is dressed in white-face as Fagoti-the-mime. He has blown out two of the three candles of the candelabre when he notices what he thinks is Renatus in the chair. He speaks to the manne quin, prompting occasional remarks from Renatus lying among the props. The charade has not registered on Fagot as he has proceeded to lower the bluish-zinc colored disc which 13 gives off a deadened light. He then begins a sad mime. Fagot takes out a dagger and contemplates it. The comments from the hidden Renatus, however, disrupt the performance. Suddenly Renatus rises up spectrally from the pile of props, startling Fagot. Fagot is saddened by his friend's deteriorating mental state and, putting his coat around Rentaus' shoulders, he insists the two of them leave the theatre for warmer environs. Renatus blows out the last candle of the candelabre and they exit. Meanwhile Jean-Jacques has entered in the dim light of the suspended disc moon. Thinking it is Renatus, Jean-Jacques goes over to the mannequin and grabs it by the shoulders, only to have the head come off and roll across the floor. Startled by this, the author soon regains his composure and laughs. Presently however, he reflects and is saddened, leaving quickly with his hands groping in the darkness like a blind man.^ Act Two is set in Renatus' room. Theatricality begins as we see Jean-Jacques and the actress Armande, behind a 308 screen which separates them from Renatus. The supposedly sleeping Renatus however, hears their conversation and imagines they are rehearsing dialogue from a play. They cannot hear him as he goes on to address a doctor who supposedly is under his bed. As a manifestation of Renatus' feverish state, an apparition appears from under the bed. The character looks like a doctor from Moliere. Although his costume can only barely be seen by ordinary vision, he appears to be wearing a doctoral robe, a wig, bifocals, and a pointed hat. Presently however, it is discovered that beneath this costume is a clown. Further, if his face can be seen for an instant, it is the white face of the mime Fagoti. He speaks only with gestures and facial expressions In effect, the doctor renders his salutations to the sick man, returns the sick man's greetings, and begins a long address. Mouth open like a child watching a clown, Renatus listens, marvelled. Meanwhile, in the silence, the voices of Jean-Jacques and Armande seem to grow louder. Presently, Renatus says it is getting dark and he feels like the room is closing in around him. This prompts the phantom doctor to make certain cabalistic gestures which result in a yellow light coming into the room. This is in reality the street light which has just come on. With this, the doctor puts his head on the chest of Renatus and indicates for him to make a sound. Renatus utters a cry which causes the doctor to step back into the shadows and 309 Jean-Jacques to start. Jean-Jacques goes to check his friend and finds him apparently peacefully sleeping. He l6 then returns to Armande. Jean-Jacques and Armande have entwined and move slowly in a sort of silent combat. The phantom doctor has stepped back out of the shadows as Renatus resumes his "conversa tion." Shortly however, the doctor looks toward the screen, then begins to drift over toward it where he is absorbed into the shadows. Renatus sits up, then over on the edge of the bed. He is wearing a white night shirt. He sits motionless except for his hands, which move as if manipula ting spindles. Then, as Jean-Jacques and Armande continue their love scene, Renatus gets up, goes to the open window, collapses and dies. Startled by the noise, Jean-Jacques rushes back around to Renatus, but he is too late. Mean while Armande is trying to pull him away and back to her which prompts him to slap her, knocking her back into a chair.- Enter now Fagot, then Rosa and Gustave who have brought small gifts for Renatus, but who are nevertheless 17 too late. As Act Three begins, we see Jean-Jacques outside the "Inn of Well-Being," which is adjacent to the cemetery where Renatus is being buried. He addresses the lamp post, then sits on the bench. Dressed as a waiter, Fagot comes out of the inn, and observes Jean-Jacques at a distance. As Renatus is being buried, Jean-Jacques wipes away tears 210 from his eyes. Seeing this, Fagot comes over and, with his 1 ft waiter's towel, wipes away the author's remaining tears. This moment of theatricality is followed by the sound of Gustave addressing the funeral gathering over in the cemetery. Rosa and others sob, but as it is a brief service, soon everyone is leaving. There is the sound of blowing noses. Suddenly Jean-Jacques bursts out laughing, followed by Fagot who laughs by contagion. Looking like two clowns teasing each other, they slap each other on the back trying 19 to settle down. Fagot goes inside to turn over a record which had been playing funeral music. As he returns, he hangs up a lantern which throws a red flame as a beacon to the mourners. As a military march by Schubert begins to play on the phono graph, the funeral procession can be seen making its way. Rocking to the music "somewhat like cattle on a pontoon 20 bridge," they try not to appear to march with the music. As the procession arrives at the inn, there is the sound/ of a locomotive in the distance, coinciding with the sudden stopping of the march music. Startled, the gathering goes into the inn. Jean-Jacques however remains seated on his bench outside, where he contemplates. Suddenly he smells an odor, a musk, as off to the side, Armande has entered. She is heavily made up and wears a raincoat over her theatre costume. As Jean-Jacques observes, she is seen to raise her skirts very high up to adjust her stockings. 311 (They will have a brief discussion and Armande will enter the inn.) There is theatricality again as Jean-Jacques is about to leave. Unexpectedly, a hooded head appears above the cemetery wall. It calls to Jean-Jacques who thinks it is coming from the inn. With this, the apparition rises and sits on the wall where it throws back a glass which moments later Gustave had tossed into the cemetery following a toast to Renatus. Jean-Jacques gives a start as he looks up and sees the ghost, which after a moment jumps down and 22 approaches the author. The ghost now removes his hood, revealing himself to be Renatus. It seems he is not quite ready for Heaven. Shocked, Jean-Jacques gives him a long hug. There is noise from inside as the mourners now begin to file out. Renatus hides. All are drunk, including Armande, who has come over to say goodnight to Jean-Jacques. He removes his hat, bends and kisses her hand. She exits like a grand dame leaving the stage of a theatre.^ After the others have gone, Renatus rejoins Jean- Jacques. Suddenly a beam of light flashes onto the scene. The author tells his friend to hide in the prompter's box (!). (Renatus is surprised to see a prompter's box in the middle of the street to which the author responds by 2 / j , noteing the magical power of the theatre.) With Renatus hidden, Jean-Jacques is about to go into the inn when there is a violent burst of red light which _______________________ 312 temporarily blinds him. The light then quickly goes out as a patrol of angels enters from the left. They are four slender, athletic-looking angels lead by a Chief Angel. A The patrol stops upon command. Jean-Jacques has .regained7 his vision and looks over the scene, in no way disturbed. The Chief Angel dispatches two angels to search the area, while a third angel, holding a very high golden ladder, remains. The Chief Angel then approaches Jean-Jacques who backs up in disgust. The author proceeds to sit on the prompter's box which hides Renatus.^ In a moment, Jean-Jacques and The Chief Angel begin accusing each other, the latter threatening with a club in his hand. The author meanwhile, has picked up an empty bottle. The Chief Angel then comes forward and swings his club, Jean-Jacques avoiding the blow and smashing the bottle on the angel's helmet. The angel staggers, but regains control and grabs the author. The combat continues in silence. Meanwhile, the angel with the ladder has turned on his lamp and shines it on the combatants who are roll ing on the ground. He whistles three times, to which other whistles answer nearby. The combat becomes foul, the author seeming to have the advantage. Suddenly from the prompter's box, two arms come forth, and the head of Renatus appears. He proceeds to climb out of the box and turn himself over to the patrol. Renatus and Jean-Jacques now bid a sad farewell. Renatus ___________________________ 313 is then shoved along to the ladder which he begins to climb. The patrol follows. Renatus and Jean-Jacques call to each other as the former is nearly out of sight. Soon they are all out of sight and the ladder is raised with a final distant call to Jean-Jacques by Renatus. It is over. The play concludes on a philosophical note as Jean-Jacques and Pagot gaze into the now clear night sky and comment on the mystery of life. The author then exits slowly, 27 contemplating. 1 AUDITORY EFFECTS The prime examples of theatricality in sound are in Act Three of this play. First, horse hooves and a cart are P ft heard coming to a stop outside the cemetery. Next, as Renatus is being buried,the "Air" from the Suite in D by Bach is heard.^ Following the funeral, Fagot puts on a 30 recording of a military march by Schubert. Presently, a train locomotive is heard in the distance which coincides 31 with the sudden stopping of the Schubert recording. Finally, just prior to the Act Three appearance of Armande, there is the discrete sound of waltz music and laughter 32 from inside the inn. INTERPLAY BETWEEN TEXT AND THEATRICALITY As with Three Actors and Their Drama, this play also carries the theatre-as-life, life-as-theatre motif so often __________3JA associated with Pirandello. (Ghelderode has denied any influence.) In his "Notes on the Plays of Michel de Ghelderode," George Hauger informs us that, ...The immediate inspiration of Sortie de L'Acteur, which is inscribed 'In Memoriam Renati Verheyen Actor Flandrensis,' was the death of a young actor who had created the principal roles in the plays that Ghelderode had written for the Flemish Popular Theatre; and a part of this play which certainly could not owe anything to Pirandello is the character Jean-Jacques, the playwright, whom Ghelderode admits to being himself in 1930.33 Beyond the aspect of tribute to a deceased actor, this play deals with the issue of illusion vs. reality. This theme is presented through the central event of the drama, the death of Renatus, the reason for his death being a schizophrenic breakdown involving the-actor-Renatus, and the-person-Renatus. The setting for the opening scene which establishes the context of the play, is very appropriate. This one scene, more than any of the others, presents the play-with- in-a-play concept which invariably raises the issue of appearance or illusion vs. reality. This is to say the play-within-a-play arrangement of the opening scene is symbolic of the schizophenic state of Renatus while also symbolizing the philosophical issue of appearance vs. reality. Thus with Jean-Jacques appearing on stage before 211 the curtain goes up, it is emphasized that we are in a theatre and as the curtain rises, the people on stage are actors. From this point forward however, as we move into the following scenes, the actors become characters representing themselves in what has suddenly become a play. The physical appearance of the characters is more literal than symbolic. The actors look like actors, if I may say,; although Renatus looks -uncharacteristically ghostly. He is afterall, ill. The surprise physical appearances when they do occur, are primarily for Ghelderode's theatrical purposes. Thus does he have Renatus' hallucinated doctor costumed like a doctor from Moliere. Similarly, at one point Renatus appears wearing a jacket that is too small for him, checkered pants, a hunter's cap', rubber boots and gloves. Then there is the patrol of angels! . How do the physical acts support the theme of appearance vs. reality? The first symbolic act is Renatus' changing places with the mannequin in Act One. This symbolizes not only Renatus' problem,but the problem central to the whole play: illusion vs. reality. Which is more "real," Renatus or the mannequin (i.e. the actor)? Interestingly, the subsequent scene with Fagot performing a mime may be considered a play-within-a-play-within-a-play, which again feeds the illusion-reality concept. Act Two finds two other realities occurring simultane ously. While Jean-Jacques and Armande make love on one , side of the stage, physically divided by a screen, Renatus is seen experiencing the reality of a dream. Compounding our own sense of illusion is our sudden recognition of Fagoti-the-mime in the role of Renatus' Molierian doctor. Act Three is also a simultaneous setting although this time it represents only one reality...until of course two things happen. In what can only happen in the illusion of theatre, Renatus returns from his journey to heaven being pursued by a patrol of angels. This illusion is quickly followed by yet another illusion which takes the form of a realization that after all we really are in a theatre, Jean-Jacques hiding Renatus in the prompter's box. Finally, there are comparatively few sounds in this play, the few that do occur in Act Three being primarily for theatrical effect rather than for symbolic purposes. The same is true for the Bach Suite in D, which Ghelderode appears to have selected for its mood. The precise selection from the suite is no doubt the second movement identified as the "Air." "It is the most familiar and beautiful feature of the suite and is often played by solo violin with piano accompaniment, as 'Air for the G String.' It is a continuous flow of sweet melody, its two strains being several times repeated." As for the playwright's call for a military march by Schubert, this could be any one of Schubert's three "Marches Militaires" (Opus 51) composed before 1826.-^ ^ . The Death of Doctor Faust Cast of Characters: Faust The Actor Who Plays Faust Diamotoruscant, the Devil The Actor Who Plays The Devil Marguerite, a little servant girl The Actress Who Plays Marguerite Cretinus, student of Faust The Cinema Barker The Prostitute Death A Negro The Poet A Woman The Loud-Speaker Three Maskers The Newsboy The Prophet The Policeman 31 £ SYNOPSIS This play is subtitled, "A Tragedy for the Music Hall in a Prologue and Three Episodes." The Prologue takes place in Faust's study where it is the sixteenth century. Outside a fair is going on in the twentieth century. Faust we learn is weary of his efforts, and as the brief Prologue concludes, Faust is seen cynically confusing his disciple, named Cretinus. Faust then announces that he is in need of diversion and goes out to the fair, locking the frightened, pitiful Cretinus in the room. The First Episode takes place in The Tavern of the Four Seasons, where it is learned the tragedy of Faust is play ing. Before the play, however, the customers are treated to a little competition between a self-professed real devil named Diamotoruscant, and The Actor Devil from the play. No sooner have they begun, than The Prophet enters, pro claiming that the Devil is present and that the world is about to end. Diamotoruscant plays a trick on him, resulting in the police hauling away The Prophet. With this, the Devil freezes all action on stage, and the curtain comes down. Presently, pursued by Faust, Marguerite enters along the footlights. In turn they exit, where upon the curtain rises again on the tavern. On a small stage toward the back then, the story of Faust now begins with Faust, Marguerite and the devil watching actors and actresses portraying them. The Second Episode is placed outside a cinema in a shady district. It is intimated that the story of Faust or a Faust-like story is taking place in the cinema. In any event, it is at this point in a dialogue between Diamotoruscant and The Barker, that we learn of the great pessimism and despair of the devil. It is during this scene also that the fact of Faust's seduction of Marguerite becomes apparent as they appear first in a hotel window, and then on the street in front of the hotel. The Third Episode consists of two scenes playing simultaneously! on the left, the street outside Faust's house and, on the right, inside Faust's room. Appearing in dumb show outside are various members of the community from whom, via a film screen overhead, it is learned that because Faust refused to marry Marguerite, she has committed suicide. Inside there is a confrontation between the real Faust and the Actor Faust with a schizophenic confusion of identities. The Actress Marguerite also finds herself in a similar state of dissociation, all to the sad delight of the onlook- ing devil. The play ends with The Actor Faust submitting himself to the street crowd which kills him, and with the real Faust being tricked by the devil into shooting himself. As the curtain falls we see Faust's pathetic disciple, Cretinus, donning his master's robe and approaching the mentally disabled Actress Marguerite. PHYSICAL APPEARANCE OF THE SETTING This play which Ghelderode has taking place simultane ously between the sixteenth and the twentieth centuries, 320 begins in Doctor Faust's gloomy chamber. In the casement window upstage, like signals during the entire act, there are magnesium flashes, and from time to time the blazing spoke of a merry-go-round. Half-light submerges the shapes of ridiculous objects from a bygone scientific age. Heavy rain against the windows drowns the din from the fair which includes hooters, bells, syncopated music, and cracking from shooting 'galleries . ■ Faust is seen in his classic ± costume to complete the tableau. Following the Prologue, the setting is the interior of the Tavern of the Four Seasons, at the back of which is a small stage. A window cuts obliquely to the left, above whose curtains can be read electric signs in the street. There is a buffet bar, tables, an abandoned double bass, gold chandeliers, and a loud-speaker on the bar. All around are dummy-like customers in traditional attitudes and wear- 2 ing painted faces. The Second Episode is set in a shady district in the neighborhood of a railway station. Black and ochre are the colors of the scene. At the back are houses broken up by the light of arc lamps. The fair is close by. To the one side is the brightly lit entrances to a cinema, with gaudy placards and a bell ringing ceaselessly. On the other side is the main entrance to the bar of a hotel above which is a small window whose curtains are carefully drawn. During the course of the act, maskers, peaceful or boisterous, will cross this scene. There will be passersby with various _____________________________________________________________321 gaits, a phantom cab, all the everyday supers, seamen, black-coated workers, lonely men, prostitutes, etc.. As the scene begins, we see Diamotoruscant standing in the middle of the stage, busy being bored. He wields a toothpick. The Barker, a fat and consumptive man, stands on the threshold of the cinema shouting himself hoarse.-^ For the Third Episode, the stage is divided into two scenes. The one on the left represents the public highway along which Doctor Faust's house is situated. Upstage is a synthesis of the fair shut up for the night. In the sky above the fair is a cinema screen which is not seen except when in use. On the right is Doctor Faust's room appearing the same as in the Prologue except reduced in size. In the room is a small lamp and a door in the wall which separates the room from the highway. As noted, the action takes place L l in both places. PHYSICAL APPEARANCE OF THE CHARACTERS Ghelderode has Faust wearing a classical costume typical of the character. His voice is forced and he declaims and exaggerates all his gestures. He is to appear as a clown in a tragedian's role.^ Faust's disciple Cretinus is des cribed as a heavily-built youth with red hair. He is ugly, yet expressive like a clown. Patched and gaudy in color, he wears a costume of the period. As noted, the customers of the tavern have painted faces and like dummies, assume traditional attitudes. They wear caricatural costumes ~pp 7 and "act like English eccentrics." Clad in an old red costyme, Diamotoruscant, the devil, wears a sword, cuffs, and a bowler hat. He is smooth and phlegmatic but occasion- 8 ally one can guess the condition of his nervous system. Beyond this, we know that there is a waiter in black and 9 10 white, and that The Actor Devil wears a lounge suit. The Prophet is;described as a shaggy character dressed 1 1 in a coarse gown and carrying a torch. The Actress Mar guerite wears a sixteenth century, costume in very bad 12 taste, while, as noted earlier, The Barker is fat and 13 consumptive. J In the Third Episode, a patrol of gendarmes 1 * 4 - wears huge bearskins, mustaches, and wooden sabers. In, addition, Ghelderode gives us this theatrical group: Enter in balletic movements: A fireman in a plumed helmet, with a drum major's sticks some soldiers with toy rifles (like painted wooden soldiers). Three judges with convicts' faces. An executioner with a huge ax. The medical expert in a top hat, with a syringe under his arm. The Prostitute of the Second Episode, in tears. Journalists with cameras. Strong men and quacks from the fair, profligates, men and women with expressive and variously colored countenances.15 Finally, there are Three Maskers, "...one in a yellow peplum and with black plumes on his head, the second clad in a silver shroud and wearing a crown of sham jewels, and the last all pink, smug, and bloated." PHYSICAL ACTS The first moment of theatricality in this category finds Faust going around in circles in pursuit of his ____________________________________________________________323 17 shadow. ' .Rambling despairingly, he then takes hold of a celestial globe, gazes at it, and begins spinning it. He spins it to its maximum speed, holds it out, raises it, passes it under his leg, and balances it on his head. His face expresses joy.^ Cretinus, Faust's imbecilic disciple, now enters the room. Faust calls on him to regard the spinning globe. Cretinus dances, then enthusiastically takes the globe from Faust and yells with pleasure. Faust laughs heartily but nervously as he drops back into an armchair. Suddenly he stops laughing, looking perplexed. Cretinus stands holding the globe out and looking at his master. There is a long silence during which Faust seems to be listening to the music from the fair. Cretinus puts the globe on the ground, scrutinizes Faust, then goes on tiptoe/ toward the door to his room. Suddenly he turns around and dissolves into tears. Faust gets up and in a mocking fashion, makes the globe spin again. At first Faust orders the disciple to go to his room to reflect, then changes his mind, telling the frightened 19 Cretinus to stay. Faust says he is in need of distraction. As he goes out, there is the noise of keys as Faust locks his disciple in the room-. Cretinus stands dumbfounded, looking around him uneasily. He makes some nervous movements, runs to the door, rattles it, then registers his disappointment. A flash of violet, lights up the room, as the figure of Faust is seen pressed to the window-pane looking in. Beside himself, Cretinus shouts for Faust to let him go, but he has gone. As the lights go out, the frightened disciple lies on the ground, hiding his head in his arms. He gives slow moans as music is heard outside and the curtain to the Prologue falls.20 Early in the First Episode, Diamotoruscant, the devil, is speaking about himself, while at the bar, The Loud- Speaker (a machine-character) is going on about something else. Suddenly the devil stands, furious. He rushes toward the bar and begins wringing The Loud-Speaker's neck. It gives out sinister howls as several customers intervene. A woman throws herself violently on Diamotoruscant, who slaps her. Finding all this entertaining, the other custo- 21 mers applaud. Despite this behavior, there are those in the bar who are not convinced that Diamotoruscant is really a devil. The Poet is one such disbeliever until Diamotoruscant puts him into an epileptic state, causing him to involuntary 22 perform various acrobatic feats. To further convince the customers at the bar that he is who he says he is, Diamotoruscant calls for silence. Then with the stroke of a gong, the customers become motionless and the chandeliers go out. A blazing red comet passes through the darkness, circling three times above the stage. To the rhythm of a drum there materialize and evaporate the following images: a survivor, swathed in bandages and playing a lyre; the emperor of the Indies, swallowing his -------------------— _. ________________i : _____________ 325 _ diamonds which are electric lightbulbs; the most beautiful girl in the world, stark naked and making gestures of despair; the prophet Misakran, beheaded and throwing his head in the air; and the Pope, furnished with wings and floating above the ground with the boom of an airplane. The comet goes past once more, then fades out. The customers 23 rub their eyes as the chandeliers light up again. This does not go without a challenge by The Actor Devil who asks for and receives Diamotoruscant's hat. Rolling up his sleeves, The Actor Devil jumps to the foot of the stage and walks hurriedly among the public where he pulls five- 24 franc pieces from their heads, noses, and pockets. The next occurrence of physical theatricality centers around the appearance of The Prophet. He is a shaggy char acter dressed in a coarse gown and carrying a torch. Howl ing, he runs between the tables creating an uproar and caus ing the customers to get up in panic. He throws himself at Diamotoruscant who manages to elude him by slipping between his legs and turning him over. Losing his gown in the scuffle, The Prophet gets to his feet again where he is seen to be wearing“a woman's corsets and knickers. There is laughing and jeering. Then, a huge policeman enters, rushing at The Prophet with whom he boxes. Knocking him out, The 25 Policeman loads his victim on his shoulders and rims out. With this, the customers suddenly take sides with The Prophet and begin shouting for the end of the world. A brawl breaks out which prompts the devil to leap onto a _____________________________________________________________326 table, and with a gesture, to create sudden darkness. There are various searchlights, the red comet, wind, hail, whistling, things melting into each other, fireballs, a storm, lightning, fire, salvos, fireworks, then silence and darkness again. An electric sign comes on, advertising the universe for sale or lease. As the sign goes out, and the lights gradually come on again, we see the rigid, petrified customers in a variety of postures. They will remain in this state until the end of the act.^ Meanwhile, standing on the table, Diamotoruscant rolls a cigarette as he gazes upon this scene. As the curtain comes down, it becomes apparent that the act is not over, but simply interrupted. In four part harmony, the orchestra plays an old tune in a minor key which it repeats while the following dumb show occurs: In front of the lowered cur tain, Marguerite glides along the footlights. Filled with anxiety, she turns around as though being followed. She stops, takes out a powder compact, rouge and mascara, and makes herself up. Still in front of the curtain, but in the opposite direction, come Three Maskers - one in a yellow peplum and with black plumes on his head, the second clad in a silver shroud and wearing a crown of sham jewels, and 27 the last appearing all pink, smug, and bloated. Marguerite shields herself as The Maskers surround her, only to continue on their way, gesticulating. Before going off, they stand close to the curtain and let Faust go by. Dressed as he was in The Prologue, Faust is made fun .... 22Z of by The Maskers who then disappear. As Marguerite exits, Faust pauses perplexed. Suddenly he makes up his mind and continues in pursuit. With this, the orchestra breaks off P R and the curtain goes up again on the tavern. The customers remain in their rigid postures as Diamotoruscant is seen calmly writing. There is a distant music from the fair. After a moment, the door opens and Marguerite enters, red and out of breath. She seems at once confused and delighted. She then catches sight of Diamotoruscant, asking him if this is where they play the 29 tragedy of Faust. It is. Looking around her, Marguerite is frightened and says to the devil that the other customers appear as though they were dead. To reassure her that they are not, Diamotorus cant takes a customer by the neck, stands him up, makes him revolve, lets him fall, sets him on his head, and commands him to wake up. Waking with his legs in the air, the customer falls and yells in confusion. The customer goes stiff again as the devil orders him to sleep. Then with a kick to the behind, Diamotoruscant sends him onto a wall sofa.^0 With this, the door opens and Faust stands in the threshold. Marguerite gives a little cry and shrinks into , her comer. Diamotoruscant stares at Faust who assumes first an air of indifference, then an air of amazement as he notes the motionless customers. After some introductory 328 dialogue between the devil and Faust, the latter joins Marguerite. There are then several knocks on the small stage and the chandeliers slowly go out. This brings the lights up on the little stage at the back of the tavern and with another three knocks, the curtain on the small 31 stage goes up. In the play-within-the-play which follows then, two scenes occur simultaneously. In the one instance we have Marguerite, Faust, and the devil in the tavern making comments about the play, while on the small stage we have actors identically costumed to the three in the audience, delivering dialogue reflective of the actual situation in the tavern. Presently, however, Diamotoruscant disrupts the performance which permits Faust to lead Marguerite away to the fair outside. Meanwhile Diamotoruscant has called The Actor Devil a third-rate actor which has brought about 32 a confrontation. The other actors having left the stage, Diamotoruscant has come forward to prod The Actor Devil into demonstrating his talent for the role. By the time he has finished with him, the devil has The Actor Devil raving like a madman. Laughing heartily, Diamotoruscant takes the opportunity to wake the customers from their trance. The chandeliers light up, and the customers all stand, staggering and making disjointed gestures. Suddenly there is an uproar as all begin shouting at the tops of their voices. As the 2 2 2 tumult reaches its height, a woman's high pitched voice dominates the others shouting, "Listen!" All at once there is silence, The Actor Devil having collapsed, exhausted and stammering. The woman says that The Loud Speaker which the devil had strangled earlier, was not quite dead yet. The customers gather around it to hear the dying message that Christ will not return. It dies and all kneel, only to have a negro remain standing and, with out stretched arms, proclaim that we should meditate on our smallness. He then asks for a moment of silence while all 33 lower their heads in dismay, and the curtain comes down. ^ The theatricality continues in the next episode where we find The Barker and the devil conversing outside the cinema. Across the way, Faust and Marguerite are in a room of a hotel. It is a melancholy Diamotoruscant now who decides to go into the cinema and see the film about two young lovers. There follows various noises of fun from within until finally there is a huge outburst and shouts of "Enough! ... throw him out!" The Barker draws back as 34 Diamotoruscant reappears weeping bitterly. Presently, the film has ended and a stream of ugly- faced people come out of the cinema. Some are weeping, others giving vent to their opinions. Meanwhile there is a disturbance across the way as in the street now, Faust and Marguerite are arguing. Marguerite accuses Faust of vio lating her, which brings the cinema crowd over. Soon _____________________________________________________________ 330 other people come from out of the cinema or rush up from the far ends of the area. In a panic, Faust calls to the devil to save him. Shortly Diamotoruscant, who had been keeping out of the way, forces his way through the crowd. Silence falls, and the devil gazes a long time at the people. He then proceeds to convince everyone that this has been a promotional stunt and that the tragical story of Doctor Faust will continue tomorrow night at the Tavern of the Four Seasons. The devil bows and the people cheer the actors. As the cinema lights go out and the crowd disperses, we see that Marguerite has collapsed from all this. In the meantime, the disconcerted Faust has disappeared. The Prostitute who had appeared earlier in the scene, has reentered and gone to Marguerite. She raises her and takes her off. Diamotoruscant steps again to the middle of the street as The Barker is seen taking in the cinema placards. As he is about to go, The Barker asks Diamotoruscant if he is really the devil. Through his teeth, the devil says that he is cold, prompting The Barker to make some gestures of resignation and to go off. There is a great shout in the distance, then other shouts as all in the same direction, people run across the back of the stage. Diamotoruscant shivers, and the curtain falls very quickly. As with the play-within-the-play of the First Episode, the Third Episode also consists of two separate scenes which ______________________________________________________________231. play simultaneously. One scene is inside Faust's house, the other outside in the street. Beyond this, the first instance of physical theatricality is the appearance of a patrol of gendarmes. Their movement is unusual as they take three steps forward and two back. They then halt, mark time, turn about inspecting the street, and go off. ' In another moment, The Barker is seen going by. He is reading a newspaper, a question mark bigger than himself OO fixed on his head. He seems amazed and full of pity. This is followed by a very theatrical confrontation scene between the two Fausts. Silently, Faust, followed by Diamotoruscant, enters his house. He stands stock still upon seeing The Actor Faust, the latter doing the same. Cretinus gives a jump backward, feels his forehead, and comes forward again. Stretching out his neck, he looks from one Faust to the other, then quietly collapses on the floor, remaining in a kind of half sleep. The two Fausts walk toward each other, halt face to face, withdraw, and return 39 shaking their heads. Meanwhile, outside there is a muffled uproar in the distance as presently a gendarme is seen following a trail. He loses it, gesticulates like an agitated scarecrow, then exits again.- Inside again, Diamotoruscant laughs discretely from the back of the room at the clownish scene of the two Fausts. Keeping pace with each other, the two Fausts note a growing uproar outside and go to the door to make certain it is shut. They indicate their _________________________________________________ 332 approval to each other, then seem to remember a prior fact. The Actor Faust runs to the end of the room and begins a dumb show of a man haranguing. He then goes toward Diamotoruscant who pushes him away. In his turn Doctor Faust begins the same harangue. Same business. Diamotoruscant pushes him away and goes to listen at the , 40 door. The two Fausts go toward each other and stare into each other's eyes, while on the floor, Cretinus makes signs that the ground is going around. Meanwhile outside, there have entered balletically, a fireman in a plumed helmet, with a drum major's stick, some soldiers with toy rifles (like painted wooden soldiers), and three judges with convict's faces. There is an executioner with a huge ax, a medical expert in a top hat and with a syringe under his arm, The Prostitute from the Second Episode, in tears, and journalists with cameras. There is also a crowd consisting of strong men and quacks from the fair, proligates, and various other expressive, colorful 4l men and women. The din lessens as all these people arrange themselves in order. The soldiers stand at ease as the judges begin to make signs, calling heaven to witness. The Prostitute has a fit of hysterics and is held down as the people shake their heads in pity. Miming, the judges impose an imaginary silence, and the journalists take notes. _________________________________________________________________________ Meanwhile the strong men are getting angry and the fireman threatens the crowd to control itself. As the most thick set of the judges speaks mimically to the crowd, the screen above the fair lights up.^2 While inside, the Fausts are arguing about which one is the actor, the screen outside begins reporting the crimes "A drama beyond words has just amazed public opinion." The people raise their arms and the judge loses his temper. "Justice is promptly asserting itself." The crowd applauds. "During the evening, an unknown person dressed in a way that arouses suspicion (the crowd is attentive) of his being an actor, lured a seventeen year old girl (the crowd expresses horror) into a hotel where he shamelessly violated her." The crowd roars as a soldier tries to quiet them. The judge continues his mimed account. While inside, Faust refers to Marguerite's suicide, outside the screen continues its report. "Abandoned by the satyr, as soon as the crime was accomplished, the wretched girl (the crowd is attentive) in the depth of despair, threw herself under a street-car from which (the crowd weeps) she was pulled out in twenty three pieces... deadj" Inside meanwhile, The Actor Faust has pulled out a revolver with the idea of eliminating one of the Fausts. He drops the gun however, with the appearance of The Actress Marguerite. Confusion continues as again there is _______________________________________________________________________33^ a question of which Faust is which. Outside, the screen has switched off .The crowd remains excited, while the medical expert brandishes his syringe, and The Prostitute has it out with the judges. Presently, the crowd moves aside, allowing an ambulance man to drag in a stretcher. There is attention as the medical expert undoes the stretcher and the crowd leans forward. The judges take out the twenty-three pieces of Marguerite's body, including head, heart, arms, hands, etc. Then the' thighs are taken out, the admiring men try to touch them. The judges prevent them as all is put back on the stretcher h, c and taken away. The screen lights up again. Still miming, the judges talk to the crowd with the screen relaying the information. "The supposed murderer is in flight. He seems to have accomplices (the executioner shakes his ax, to the approval of the judges) who have not been found. The most prudent detectives (satisfaction of the crowd) are on the job. Will they find the culprit?" The screen switches off. Z j ,6 There are misgivings in the crowd. Inside.,The Actor Faust is having an identity crisis. He tells The Actress Marguerite to go to the original Faust, saying the original is actually the actor. Outside, the judges register perplexity as they scratch their heads. There are signs of despondency with the crowd laying blame on the judges. Suddenly however, The Actor Faust dashes ____________________________________________________________________ 335 into the street proclaiming himself to be the real Faust, and therefore the guilty one. The executioner waves his ax, followed by a brawl and shots. The Actor Faust falls h,r 7 and is borne away. The stage empties and the d m fades. ' Again inside, it is a confused, mad-eyed Actress Marguerite who has shrunk to the back of the room where she clings to the wall. Downstage, the original Faust is also confused, and has taken up a revolver. Unaware that the actor has gone out, Faust searches the room for him. In the process, he bumps into Cretinus whom he kicks. He then spies The Actress Marguerite only to pass her off as non-existent. Faust then encounters Diamotoruscant who convinces him that the other Faust, whom he seeks to destroy, has merged with him like a phantom. As Death with a huge scythe skips around outside, Faust takes his 48 revolver and fires a shot into his own chest. The theatricality continues into the final scene of the play wherein Cretinus has declared himself successor to Faust. To this, Diamotoruscant laughs bitterly and exits. Outside he stops and in a low voice utters, "Imbecile!" He takes a few steps, then says again, "Imbecile!" He repeats this over and over as he goes off. Meanwhile inside, Dretinus dances around the corpse of Faust. Believing he Ls alone, he tears off the doctor's gown, puts it on, and struts about. Suddenly, he spots The Actress Marguerite in the comer. He draws close to her, flatters her, _________________________________________________________ 336 strikes attitudes, musters courage and embraces her. Inert, the actress offers no resistance and gazes into emptiness. Inflamed, Cretinus handles her and clasps her to him, his coarse face laughing uncontrollably. Outside, the red comet blazes across the bottom of the sky, while the orchestra plays a funeral march in a frenzied rhythm ix o reminiscent of Offenbach. AUDITORY EFFECTS A combination of sounds occurs at the beginning of the Prologuej "Heavy rain against the windows drowns the din from the fair - hooters, bells, syncopated music, cracking from shooting galleries. Twice during Faust's opening monologue, we hear "carbine shots outside."-^ In the First Episode, Diamotoruscant's demonstration of his devilness is introduced by the stroke of a gong, and <2 a drum rhythm. Following the closed curtain appearance of Marguerite and the pursuing Faust, the curtain rises again to the "distant music from the fair." Next, as the play-within-the-play is about to begin, the voices of the actors can be heard from behind the curtain of the small stage, and there is the noise of things falling and being nailed up.-^ There are then several knocks on the small stage, then three knocks for the curtain to rise.-^ Theatrical sounds in the Second Episode include a "bell ringing ceaselessly," outside the cinema.^ Several 337 times inside the cinema, the people are heard having fun.^ At the end of this episode, we hear "a great shout in the distance. Other shouts."-'’® Then in the Third Episode, when the two Fausts meet face to face, there is a "muffled uproar in the distance. This is the sound of the approaching crowd and as it nears Faust's house, "the 6 0 uproar grows. Trumpet calls." Finally, during the First Episode dumb show with the curtain down, and again at the 61 end of the entire play, an orchestra is heard. INTERPLAY BETWEEN TEXT AND THEATRICALITY The literary treatment of the Faust theme is every bit as vast as that of the Don Juan tradition. J. W. Smeed in his Faust in Literature lists no less than one hundred and sixty six such literary treatments between the years 6 2 1592 and 1 9 6 6. This does not include the many pantomimes, ballets, puppet plays, and ballads based on the Faust theme. In a bibliographical note, Smeed refers to Ghelde- rode's play as, "a facetious version from the fringes of Surrealism. It employs the device of allowing Faust and Mephisto to be aware that they are figures within a liter- ^ O ary tradition." ^ Ghelderode describes his play this ways Certainly, I had altered the German tale a bit. It was no longer a question of regretting a wasted life and aspiring toward a renewal, a transformation. Rather was it a question of the drama of identity. My Faust was turned in toward 338 himself. He wanted, to know what he really was, and in order to find this identity, hecause until then, up to the threshold of old age, he had only been a hollow and conventional character, he decided to live like the common herdi, like everyone, through his senses and with his feet on the ground, and not only in the air! So Faust begins a human adventure. He seeks himself. In the end he will find sj, himself, but on the threshold of death.... Thus in Ghelderode's, The Death of Doctor Faust, do we have a play whose theme may be stated as a quest for identity. From the standpoint of theatricality, how does the physical appearance of the setting support the theme? Throughout this play there is duality as, in essence, the man Faust attempts to confront, as Smeed suggests, the Faust of the literary tradition. Thus does the play take place both in the sixteenth and the twentieth centuries. The setting both for the Prologue and for the Third Episode bring this out. For example, through the window of Faust's sixteenth century chamber we see the revolving spoke of a twentieth century merry-go-round. In the Third Episode, the stage is actually divided into two halves representing the two different centuries. The settings for' the First and Second Episodes also represent relevant dualities. In The Tavern of the Four Seasons, the bar itself repre sents reality, the stage in the bar, illusion. In the Second Episode, the street and hotel on one side represent 339 reality, while the cinema on the other side again repre sents illusion. This appearance or illusion and reality theme, which we have often seen in Ghelderode, again is visually represented during the interlude of the First Episode. Marguerite, then Faust, then Three Maskers cross in front of the closed curtain. Perhaps more than any of the other plays, The Death of Doctor Faust employs a staging technique at times reminiscent of expressionism. Immediately coming to mind is the use of a cinema screen, especially in the Third Episode, and having a character come on stage with a large question mark over his head. Beyond this, the play has a music-hall quality with lots of gaudy colors, visual illusions, and trickery. This is particularly true of The Tavern of the Four Seasons episode. The music hall aspect is again reflected in the physical appearance of the characters. Faust is described as appearing like a clown in a tragedian's role. Cretinus is ugly, and expressive "like a clown." The customers of the tavern have painted faces, "looking like dummies," while wearing caricatural costumes. The list continues. Apart from their theatrical effectiveness, all the extra ordinary physical appearances emphasize the music-hall quality which again is a symbol for illusion. It may be remembered that the overall theme of the play is Faust's quest for identity, the music-hall implication being 3^0 part,of the process; establishing "true" identity requires the sorting through of "true" illusions. Because of who he is, Faust*s problem is especially complex. As with the aspect of duality in the setting, duality is also a factor for the characters. This is to say, Faust, Marguerite, and Diamotoruscant, each has his actor counterpart. However, there is an important distinction to be made here. Generally speaking, the counterparts are not meant to be "Doubles" in the sense of the literary tradition. Only in the final episode are Faust and The Actor Faust presented in a mistaken identity situation which is at the heart of the "Doubles" tradition.^ In that scene Cretinus is dumb-founded by the appearance of seemingly identical Fausts, both of whom claim to be Faust. At one point, the two Fausts even walk around each other, marveling at their similarities. However, this is the only instance where the playwright makes an issue of this, and he does so primarily because this is that moment "on the threshold of death" where Faust finally confronts himself in his quest for identity. Thus on stage, we have the confrontation taking place both literally and symbolically. The theatricality of the physical acts also supports the theme of Faust's quest for identity. For example in The Prologue, during his opening monologue, Faust refers to an illusive shadow, i.e. his true identity, which he has been pursuing since childhood. He accompanies this _________________________________________________________________________2M statement by physically walking around in a circle pur suing a shadow. This circular idea is followed by his subsequent spinning of the globe. Apart from the theatricality and spectacle of the tavern scene, The First Episode is primarily to present the illusion vs. reality motif. It asks the questions, who is who, and what is what? There is a contest of wizardry between Diamotoruscant and The Actor Devil. The Prophet is disrobed (unmasked?) to reveal a man wearing a woman's corsets and knickers. There are Faust, Marguerite, and The Three Maskers amidst the theatrical illusion of the First Episode interlude, actually an interruption of the episode by Diamotoruscant. Especially, there is the illusion of the play-within-the-play where we the audience suddenly find ourselves watching two plays with the same characters being performed simultaneously. Faust and Marguerite on the other hand, find themselves watching a mirror. While advancing the story of Faust and Marguerite, the Second Episode is more for the purpose of interjecting some irony regarding Diamotoruscant. His behavior throughout the scene illustrates that he is more than just a trickster. In his awareness of human folly and his role as tempter, the devil in this scene is painted as a pitiable character. In the extraordinary theatricality of the Third Episode, again we have the duality. The twentieth century street is on the one side, while Faust's sixteenth century house is 3k2 on the other. While the expressionistic characters and situation in the street tell the story of Marguerite's suicide through film and mime, what is happening in Faust's house is even more significant. The twentieth and sixteenth centuries have converged in Faust's medieval chamber. At last, Faust has come face to face with...with whom? Not himself. An impostor. An actor who insists he is the real Faust. The real Faust on the other hand, knows that he is the original. What happens of course is that The Actor Faust runs out into the mob of the twentieth century street and is killed. In the meantime the devil convinces the real Faust that the impostor has somehow merged with him and must be destroyed, prompting Faust to shoot himself. What may be concluded from this conclusion? Quite simply, nothing has been gained by Faust in his quest for identity, but his own destruction and the destruction of all those around him. For this resolution to make sense, one must bear in mind the concept of human folly inherent in the literary tradition of Faust. The moral to Ghelde- rode's story, if there is one, may lie in The Barker's proclamation outside the cinema of the Second Episode: "This film will teach you that life is a constant recommen cement, that lessons profit nothing, and that nothing 66 happens but what must happen." Having the "imbecile," Cretinus, take on the role of Doctor Faust in the final _______________________________________________________________________ 3^3 moments of the play, and having him accost The Actress Marguerite, would support this ultimate statement being made by Ghelderode regarding human folly. Of the auditory effects, I would especially note one instance where sound was used to support the duality aspect of the theme. That there is a twentieth century fair going on outside Faust's sixteenth cemtury chamber, is not only communicated visually by the merry-go-round out side the window, but aurally by among other things, syncopated music (which incidentally Ghelderode hated) and by carbine not arquebus shots. Generally however, the sounds of this play were employed primarily for their theatrical effect. Escurial Cast of Characters: The King Folial The Monk The Man in Scarlet SYNOPSIS The play centers around a grotesque king, described by Ghelderode as a persecuted madman who takes delight in his dismal solitude. The scene of the play is a tattered, dim ly lit throne room in a Spanish palace. As the curtain rises we see The King collapsed on his throne, holding his hands over his ears and groaning. Outside his mournful ______________________________________ V hounds are howling their hearts out. Presently the dogs are quieted, and The Monk enters. He is clearly afraid of The King, yet has come to ask if His Majesty would raise the interdiction he placed on the ringing of the church bells. Because the bells irritate him, at first the answer is ’no.' However, in time he agrees to some soft bell ring ing and it is now that we learn that The Queen is on her deathbed. The Monk exits, and from behind the throne Folial the clown appears. What follows is a series of grotesque comic exhibitions designed to put The King in better spirits. The last of these, intended to be an improvised farce, turns out to be especially revealing. Exchanging roles, it is discovered that the real king observed Folial making love to the encouraging Queen. It is then learned that The King had in fact poisoned The Queen. At this point there is a struggle over who should by rights be the king, with Folial insisting, "It is I who am king, since I had the love of a queen!" The Monk then enters to announce that The Queen is dead. Folial is overcome by sadness, resulting in the real king's reassuming his position on the throne. The King then orders the clown’s execution, which is carried out on the spot by the strangling fingers of "The Man in Scarlet." The play ends with the laughing mad King going with The Monk to The Queen's funeral rites, while the executioner drags away the dead Folial. 3^5 PHYSICAL APPEARANCE OF THE SETTING The one-act play takes place in a throne room of a Spanish palace. There is dim, sepulchral lighting in the room. Showing traces of worn out crests, various upstage hangings perpetually blow back and forth. Center stage are some carpet covered steps rather the worse for wear. These steps lead to a bizarre throne looking as though it had i just been set there. PHYSICAL APPEARANCE OF THE CHARACTERS Wearing his crown awry and his robes fouled, The King is described as sick and wan. Around his neck and on his fingers are imitation stones. A feverish king with rotting teeth, he is in love with black magic and liturgy. Being the last of an unhealthy and magnificent race, The King is a persecuted madman who takes delight in his dismal 2 solitude. Wearing showy colors, Folial, the clown, is a rather spiderish athlete with twisted legs. His head is a big expressive ball lit by eyes like lenses. The Monk is described as "dark and tubular," while The Man in Scarlet has "huge hairy fingers. The latter is later described as, "...massive and supple, his head covered with a cowl."^ PHYSICAL ACTS Theatricality in this category begins the moment _____________________________________________________________3_46 the curtain rises. Collapsed on his throne, The King is seen holding his hands over his ears and groaning disagree ably. Outside his mournful hounds are howling their hearts £ out. Presently The Monk enters, expressionless with fear as The King descends upon him. The Monk falls to his knees, stammering, only to have The King kneel down in front of 7 The Monk, imitating him. Following a brief exchange, "The g Monk exits backwards, as if on wheels." Shuffling his feet along the carpet, The King slowly mounts to his throne. Referring to his dying queen, he hides his eyes and appears to sob. Suddenly however, he begins laughing, his laughter prolonged mechanically. As he seats himself on one of the steps, he calls for his clown. Rising up behind the throne then, is Folial. Following a few exchanges, the clown sits down next to The King, who recoils. In a moment however, The King is asking the clown 9 to make him laugh. Folial draws a mirror from his mantle, regards himself in it, and forces himself to grimace. He then lowers the mirror, remaining immobile with the splendid grimace on his face. A frantic laugh bursts from The King, his face ruddy with joy. With this, Folial covers his face with his arm and begins to laugh spasmodically. Stamping his feet with approval, The King tells him to stop. Folial however, laughs more forcefully, until The King draws down the clown's arm, exposing a weeping Folial, his face inexpress- 10 ibly contorted. : ______________ To the bewilderment of The King, the clown's regaining of his composure results in Folial's laughing harshly. The laughter becomes frightful, approaching a roar. With a shout from The King, the clown stops. Coming down the steps, The King proceeds to walk up and down, Folial at his heels. When asked why he is following so closely, the clown says he is getting revenge by trampling The King's shadow. After a moment however, The King jumps aside and 11 slaps Folial, accusing him of disfiguring his shadow. The King then commands the clown to get down on all fours and to imitate a dog scratching fleas. This he does. He is ordered to sleep, which he does momentarily, only to come over to The King and begin sniffing him. Then as the bells outside begin to toll, Folial stretches his neck and howls like a hound. Outside, the dogs reply. Maddened, The King leaps up the steps followed by the clown still on all fours, howling ceaselessly. The King then turns and kicks Folial, which brings him up to his feet. The two stand on the highest step facing each other, as outside, various 12 oaths are heard and the howling peters out. In the next sequence, The King threatens the weary Folial with execution if he doesn't provide him with some further entertainment. The clown agrees to create a farce, but one which the two of them shall play together. With this, Folial salutes an imaginary public and begins a pantomime, presenting first The King, then himself. He ____________________________________________________________________- 3^8 then pirouettes, and skips on the steps. After a moment, Folial leaps toward The King and knocks off his crown, which rolls down the steps. He does the same with the scepter. He follows this by taking off his fool's cap, and the bauble from his belt. He laughs bitterly, saying they 13 are now simply two men. y Ghelderode describes what happens next: Folial's hands open, his fingers fanning out. The King clacks his teeth. Folial seems to have lost consciousness and only his hands act, all powerful, advancing in the emptiness toward The King's throat. The King has bent back, and has let himself fall across his throne, his mouth open. He wants to cry, but the cry does not come. The clown's hands encircle his throat. The King chokes, but a strident laugh bursts from his gaping mouth. The laugh whips the clown, who relaxes his grip and lets his hands hang. The King gets free of the throne and keeps Folial at a distance.1^ Spitting into the air, The King proceeds to praise the clown for a good farce, then comes forward, taking Folial by the shoulders. The clown stammers. Striking him in the chest, The King says the farce was not taken far enough. With this he takes his crown, scepter, and mantle and puts them on Folial, who remains timid and defensive. The King 1 then violently directs the clown to the throne. Apparently overwhelmed by the weight of the crown and scepter, Folial heavily scales the steps. Arriving at the throne, he lets himself sink back on it, only to observe The King now donning the fool's cap and bauble. Having done so, The King as fool, bows comically, then begins to ------- ; -----------------------------------------------------3^-9- dance about. As he dances, he proceeds to reveal facts surrounding the dying queen (whom he poisoned), and the facts of Folial's affair with her. At one point The King is right up against Folial, following which an argument ensues as to which one is the rightful possessor of the crown. Folial contends that he is, because he had the love of The Queen. The King snatches hold of the crown, and they 1 f t grapple, mutely struggling on the steps of the throne. With the arrival of The Monk, the two combatants separate, panting. Bringing news of The Queen's condition, The Monk nevertheless is frightened by what he sees and wants to leave. Folial bounds toward him for the news, which is that The Queen is dead. As if nailed to the spot, the clown does not move, prompting The King to take back his crown, scepter, and mantle. Folial falls to his knees, hiding his face as he sobs. With his scepter, The King signals toward a secret compartment. Designating the clown and spitting toward him, The King watches as The Man in Scarlet enters, takes Folial by the throat, and silently 17 strangles him. ' The executioner remains, standing stiffly for a moment, rubbing his hands, while The King and The Monk prepare to leave for The Queen's funeral. Saying how grieved he is, and winking vilely at The Monk, The King bursts into laughter as they exit. As the executioner drags away the body of Folial, we hear the hysterical laughter of The King 18 fading away down the corridor. AUDITORY EFFECTS Theatricality in sound, for this play begins with the howling of the hounds outside, coupled with "oaths and 19 whiplashes." The dogs are heard again in reply to 20 Folial*s dog imitation, and again in response to the 21 hysterical laughter of The King at the end of the play. Following the clown's making faces for The King's amuse ment, Folial laughs harshly, and, "...church bells sound in 22 the distance." The bells are also heard ringing just be fore Folial's dog imitation,^ and again as part of the oh cacophony at the play's end. Finally, to top off the uproar of sound at the finish, Ghelderode has also included 2 * 5 a thundering canon. INTERPLAY BETWEEN TEXT AND THEATRICALITY Escurial is a revenge play in which a king has become aware of an affair between his fool and the queen. His revenge consists of poisoning the queen, and having the fool executed, the latter taking place following a brief, though vengeful "play-within-the-play." How does the theatricality in Escurial enhance our understanding of the characters and their situation within the context of the play's meaning? First, the physical appearance of the setting is symbolic of the mental condi tion of The King. The threadbare state of his nerves is characterized by the wall hangings with their traces of worn out crests. These perpetually blow back and forth against the upstage wall. Similarly, the carpet covered steps are described as being the worse for wear, while The King’s throne looks as if it were just tossed into place. Further suggesting The King's mental state is his personal appearance. His crown is awry and his robes fouled. His teeth are rotting, and he otherwise appears sick and wan. Perhaps the key concept to describe the psychology of this character, is persecution. This aspect of The King is brought out in the opening moments of theatricality when he is seen holding his hands over his ears as outside his hounds howl. With the howling hounds as a symbol for the persecution of The King, an interesting connection is then made between the dogs and the clown, Folial. At one point The King beseeches the clown to silence the dogs, calling Folial the "master of the packs." Note also that Folial imitates a dog in a subsequent sequence. Thus by associa tion, Folial is introduced as among The King's persecutors, at least in the eyes of The King. In his "Notes on the Plays of Michel de Ghelderode," George Hauger adds, "this play is a study of the persecutor, who is also the persecuted; for, Ghelderode maintains, there never was a persecutor who was not, or who did not believe himself to be, persecuted." Further, our understanding of the characters' situation is enhanced by the theatricality of the ringing church bells which in this case also provide atmosphere. Just as 152 with the sound of the hounds howling outside, the tolling of the bells is also associated with persecution, though it is primarily a symbol for death. It is a conscious association. The bells are ringing because The Queen is dying, because The King poisoned her, because Folial had an affair with her and is also about to die. Thus the bells not only create atmosphere, they also serve to restate an aspect of the theme. How do the physical acts support the theme? First, The King's taunting behavior toward the terrified monk tells us that here we are dealing with a cruel man, clearly capable of anything. The King's apparent grief-related sobbing which suddenly breaks into mechanical laughter indicates the insincerity of his grief over the dying queen, while also suggesting some possible involvement in bringing about the death. The series of clashes, of "tricks of scorn," as Folial calls them, illustrate the level of tension under the surface between The King and the clown. The games soon become more and more violent, with Folial knocking the crown off The King's head, and attempting to strangle him. This then leads to the very theatrical exchanging of roles for the "farce." From The King's point of view, this little drama is to serve much the same purpose as a similar "play-within-the-play" served in Hamlet. It is a trap. Further, like a chess game, the purpose of the farce is to manuever The King into a checkmate situation _________________ 253_ with Folial, such that the only move remaining is death. This of course is precisely what happens. The exchanging of roles and the "play-within-the-play" have enabled all the facts about the love affair and the subsequent poisoning of the queen, to come out. Thus, following a symbolic, last minute physical struggle over the crown, then the announce ment of the queen's death, the inevitable arrives; Folial's visit with The Man in Scarlet. Momentarily regretting the loss of.his fool, admitting good ones are hard to find, The King nevertheless exits to the renewed howling of the hounds, ringing of the bells, and a canon shot like an exclamation point, all signifying that the persecuted death-ridden existence of The King goes on. To conclude, Helen Heilman provides some interesting background information and comments by Ghelderode regarding the El Greco and Velasquez paintings which inspired the characters of The King and Folial. (While neither Ghelde rode nor Heilman provide painting titles, my review of the works of El Greco and of Velasquez would indicate that the paintings in question are El Greco’s "St. Louis, King of France" [c.1586], and Velasquez' "Portrait of the Court Jester Juan de Calabazas" [ c.1635 ]•) Heilman further relates this play to Edgar Allan Poe's tale, Hop Frog, and to 27 Baudelaire's prose poem, Un Mort Heroique. And finally, for those wondering where Ghelderode, who typically writes about Flanders, got his interest in Spain, there is this; The early Spanish kings, including Phillip II who inhabited the Escorial palace near Madrid, inherited from the Burgundian line of the Valois, rule of medieval Flanders. School for Buffoons Cast of Characters: Sir Folial, knight and master buffoon Galgut, buffoons' verger Buffoons: Astorick Beelzobe Baffry Boofrenk Carloy Dregmund Frinkle Liltinor Horralt Macaroll Riskas Faradee Somip SYNOPSIS The play begins with a procession of thirteen buffoons led by a sort of sergeant-at-arms of buffoons, named Galgut. This is to be the final night of lessons conducted by the aging master of clowns, Folial, the night during which he is to reveal the secret of his art. Meanwhile Galgut, who hates his master Folial, has planned a little surprise for this final evening. Taking two of the buffoons to the sidei he gives them the outline of a play he wants them to perform in Folial's presence. Shortly the festivi ties begin. The parade of. buffoons enters with half of them taking up medieval instruments and playing a little tune, which obviously pleases old Folial as he is up and dancing. Soon after, the play-within-the-play begins. As it turns out, the story being enacted is of the murder of Folial's daughter by a clown-pupil of his while in the court of King Philip of Spain. Just before the murder is to happen in the play, an enraged Folial storms on the stage, throws the two actor-buffoons out, demolishes the set and himself collap ses. Galgut thinking his play has done in the old man, rallies the buffoons. Not so fast. Up from the back pops Folial, whip in hand, which he uses to regain control of the pack. He drives the two actor-buffoons into a catafal que which then becomes mobile with the two sets of legs running around the set. Presently Folial has driven them all from the stage, at which time he announces that the secret of his art, indeed of all art which purports to endure, is cruelty. PHYSICAL APPEARANCE OF THE SETTING As with many of Ghelderode's plays, this one is also set in medieval Flanders. The scene is a former convent, now secularized. There is an ogive-shaped room, lit from ____________________________________ 356 behind by a very high stained-glass rose window, through which filters a dying light. Upstage, right and left, are two exits which, as suggested by the lighting, lead to the open air of the outside. The atmosphere of an underground vault-prevails, due to the bare stone surfaces. Vesperal shadows amass -under the naves. By climbing several upstage steps, one reaches a platform on which an altar or pulpit may have been erected in .earlier times. At the moment, a traveling theatre's backdrop is centered there. The facade to this is garish red, its curtains made from undertaker's streamers, black with silver teardrops. On each side of this mountebank's stage, there is an exit. A stately throne, apparently detached from some ancient choir stall, sits on the left side of the platform. Present also are four evenly spaced, enormous copper candelabra holding candles thick as a man's arm. Positioned low upstage are two conflicting objects. Against the wall to the left is a fully rigged ship mounted on a pedestal, bearing on its prow the name "Fool's Cutter." To the right stands a catafalque with purple draperies. At the base of the platform lie musical instruments: flutes, viols, bandores, recorders, handbells, and others. All over the walls, hung at different heights, are emblazoned obituary notices and gloomy religious paintings. Some of the latter are perforated, and depict saints under torture. The tableau is completed by the appearance of fourteen grotes- 2 que buffoons marching to the beat of a tambourine. ___________________________________________________15Z. Further indications for the setting include this lighting effect at the beginning of Scene Five: "As dusk falls imperceptibly, the flame from four tapers casts tranquil light on the stage platform, while the rest of the scene remains bathed in shadows."^ Ghelderode also provides a description of an interior set, that is, a set- within -the-set, for the play-within-the-play. We know it is a brightly lit scene, the background representing an alcove with small curtains carefully closed. Surrounded by flowers, a pedestal to the left bears a statue of The Virgin. She is crowned and jeweled, and wears a triangular dress of orfray. Beneath the statue is a prie-dieu. Fruits and flacons are on a credence table to the right, along side of which are crystal goblets. Also to the right is a doorway hidden by a drape. PHYSICAL APPEARANCE OF THE CHARACTERS Theatricality in this category begins with the buffoons. We are told that contrary to what we might expect, some of these characters are neither misshapen nor deformed. On; the other hand, not one of them is without an obvious defect. They have limps, gibbosities, various hydrocephali, not to mention facial ugliness which is accentuated by makeup. Clothed similarly, they wear short frocks of coarse, russet homespun and vair mantlets. 258 Further, they wear colorful stockings and wooden sandals v which make their footsteps resound. However, their headgear varies. These include a steel helmet, a little wreath of roses, a crown of peacock feathers, a felt hood, a hennin, a cap made from vine branches, a miter, copper spokes, borrowed from a saint's head, a Beguine's cornet, an up side-down nest, a ram's horns, a small beehive, and a turban. Meanwhile, Galgut, the buffoons' verger, encloses his obesity in a green singlet. He wears nothing on his head except a wig of bristling, reddish horsehair. Agile and alert despite his tendency to totter, Folial is a short, bald, old man. Wearing an imaculate shirt with lace at the collar and cuffs, he otherwise wears voluminous breeches of black velvet, and high quality riding boots. On his fingers, he wears rings of precious stones. While one might call him an overgrown dwarf, Folial is not deformed. He is well proportioned, even graceful, though his bearing suggests a corset. His demeanor would indicate weakness and ‘ trickery were it not for his steel-like eyes. Further, he has the extraordinary hands of a mime which forever seem to be molding shapes, or directing musicians. To add to his mysterious appearance, he seems to move 6 about like a sleepwalker. In Scene Six, Folial appears wearing ceremonial dress. A long cloak accentuates his odd height, while on his head he wears a velvet toque. A gold necklace glitters at his __________________________________________________________________________________________________________________________________________________________: ____________________________252. chest, and a carved silver sword swings at his flank. This essentially black and white attire coupled with his stem bearing, suggests some kind of churchman. He never theless carries a long whip in his right hand, and a small 7 canvas bag in his left. For the play-within-the-play, the buffoon Baffry portrays a so-called "Folial II." He wears a full length mask with flexible chin. Enlivened by a handlebar mustache, it is a sardonic but subtle mask of pink enamel. The actor's glistening eyelids emerge from it. His costume is of pearl gray velvet, with a silver lame cloak. He carries a dagger.® The buffoon Horralt who plays the character"Veneranda" in the play-within-the-play, appears as though sculpted and painted. Madonna-like, impassive, the character sits clutching a heavy rosary to her breast. Her opaque, coppery hair is enhanced by a diamond diadem, while in her left hand, she holds a bouquet of lilies. Dressed in blue moire specked with pearls, she looks like a morbidly styled mannequin. A cloak of black lace covers her from shoulder to foot. Like her counterpart, she also wears a mask which in this case is wax colored.^ PHYSICAL ACTS As the play begins, we see the buffoons entering in single file, followed by their verger, Galgut, who beats 2^0- on a tambourine to set the pace for this procession. As they enter, the buffoons sing in muffled tones, their 10 sauntering'gait emphasized by jerky, ridiculous gestures. When the file has completely entered, extending from one side of the stage to the other, the verger stops beating his tambourine. The buffoons remain in place, thumping time with their feet, and rocking to and fro like bears. "The afflictive spectacle of this ballet danced by the deformed, pleases Galgut, who exhibits a ghastly, batrach- 11 ian smile." On command from Galgut, the buffoons turn and face the audience, their peculiar dance and hum fading The theatricality of this group is seen again at the end of Scene One. Galgut recommences his tambourine beat, the buffoons again beginning to sway back and forth in place. In single file and chanting, they exit to the right. Once outside however, there is the sound of yelling, bay ing, and caterwauling, apparently marking the beginning of a recreation period.^ The next important example finds Galgut and the buffoons Baffry and Horralt, plotting the play-within-the-play which content-wise, is meant to be unpleasant for Folial. The Master is heard entering unexpectedly which prompts Galgut to push the two buffoons under the catafalque, and to himself quickly exit. On stage now, Folial is monologuing when he becomes aware of the catafalque drapes moving, and 261 whispers coming from within. Folial is attentive for a moment, only to jump forward and shake the catafalque. The two buffoons squeal as The Master grabs them by the 14- napes of their necks, and drags them out. After a while, all the buffoons appear again, this time in parade formation with Galgut beating a bass drum. Each parader carries a lighted candle, except for Baffry and Horralt who, with a quick signal from Galgut, separate from the others. They dash up the steps and vanish from the far end of the platform through the exit right. Once the buffoons are all on stage, the drum stops. With a command from Galgut, all turn to face the audience. The verger then resumes his drum beat, this time rapidly, resulting in a gestureless leaping in- place by the buff oons. "It is a ballet of automats, reminiscent of an Inca 1 dance, with only feet and shoulders moving." J For a moment,the drum beat ceases and the dance continues i ' silently, only to have the drum resume. As the rhythm increases to a frantic crescendo, the dance goes wild. When the din reaches maximum intensity, Galgut blows a whistle and everything stops.^ In unison the dancers fall to their haunches, placing their candles in a semi-circle to form a luminous band in front of the stage. On command, they then veer around on their haunches to face the platform. With this, Galgut puts down his drum and climbs the steps. Sitting at the 17 top, he yawns. 1 , The verger then begins a lengthy address to his fellow buffoons, only to have them yawn visibly, followed by Galgut himself yawning. He straightens up, and continues his speech, quickly realizing however, that his fellows are no longer particularly attentive. At this point, Galgut deems it appropriate to begin taking off his pants. The buffoons rise and hiss him, so Galgut does not continue the act. The hissing then ceases abruptly and the buffoons sit down again, but not without pointing to the back of the room where Folial is seen entering. Quickly the verger 1 R leaps up the steps, and hoists himself into the ship. The next example of theatricality finds the buffoons arranged as an orchestra. Each holds his favorite instru ments a recorder, a quinton, a bandore, tubular bells, a viola da gamba, not to forget a shrill oboe which is to play the cantus firmus. The five non-instrumentalizing buffoons rock to and fro in cadence and act as an accompany ing chorus, close-mouthed and wordless. As the improvised orchestra leader, the verger gives a signal and the symphony begins. It is a sad, solemn pavane whose outmoded, morbid melodies blare out, punctuated by mistakes and quick recoveries. Without a pause in his conducting, Galgut retreats toward the right edge of the platform, going backwards to free the angle of vision and to judge the 19 music’s effectiveness. Hearing the first chords, Folial pays heed. His face ________________________________________________________ 3 63 relaxes as he listens intently. The harmony appears to stir his senses, to kindle memories of "bygone artistic triumphs. Almost imperceptibly, as though captured in hallucination, he rises, and without being fully aware of it, goes through the motions of a dance. Mounting the platform, he performs a pavane. Transfigured, he smiles in ecstasy as though dancing with an invisible partner. Indeed the actor he used to be prevails anew and improvises weird figures like those of a marionette. Casting numerous shadows in this slow companionless ballet, he whirls, macabre and noble. Galgut and the buffoons watch in amazed admiration. At last the music ends, leaving the dancer motionless as though suspended on wires. Galgut hurries to support the old man who is worn out from his exertions. The buffoons applaud. Galgut takes him to an armchair, where the aged dancer allows the others to help him sit 20 down. After a time, the buffoons once again take up their instruments, and with a gesture from the verger, strike up a pompous march. Galgut then pulls a string at the edge of the stage, opening the curtain to reveal the brightly lit interior scene. As the march ends, Galgut steps back into a hiding place in a dark comer, and the play-within 21 the-play-begins. Entering backwards, Baffry as Folial II, appears carrying a dagger. Gesturing, he beats away imaginary ; companions who are trying to accompany him. He then turns toward the audience, makes salutations, fills a goblet with wine and empties it in a single gulp . < He proceeds to drink several more goblets of wine as he entreats his new bride Veneranda, played by Horralt, to come out from her curtained alcove. It is their wedding night, a night 22 for celebration and love-making. As the scene continues we are reminded of what this little play-within-a-play is all about. It is meant to be a cruel joke on Sir Folial, as apparently his own daughter, coincidentally named Veneranda, was murdered by one of Folial's pupils in the Spanish court of King Philip. It is true, Veneranda married the fool-pupil, but it apparently was done for spite. It seems Prince Don Carlos with whom Veneranda was having an affair, would not marry her, so for spite she married a fool. Back on stage, we see a determined Baffry march toward the alcove and throw open the curtains. He recoils, stupefied, as he sees a Madonna-like Veneranda sitting erect and clutching a heavy rosary to her breast. Seeing this apparition, Baffry as Folial II, emits a raucous laugh. From the platform however, Sir Folial has wrenched loose from his armchair and taken several steps toward the small stage as if to intervene. Galgut rushes toward 23 him though, and makes him sit down again. Baffry meanwhile has approached Veneranda, ripping _____________________ 26i off her rosary and throwing it away. He then grabs a bouquet of lilies she is holding, and throws them on the floor where he stamps on them. She remains unresponsive. He then fills a goblet of wine and holds it out to her, asking her to drink as a symbol of their union. Taking the goblet, Veneranda spills the wine, then drops the whole thing on the floor. Folial II is enraged. He approaches her again, only to have her repulse him with both hands. Distraught, he falls to his knees. Baffry then begs to at least see what is concealed under her bridle dress, prompting Veneranda to open wide her dress, revealing a hairy chest. On his knees he now crawls toward his !'wife" and hands her a whip that she might flog him. 2U At least that would be something. She throws it aside. Veneranda then takes out a dagger from her inner clothing, saying she would sooner kill herself than be touched by anyone but Prince Don Carlos. With this, Baffry as Folial II, grabs the dagger and raises it over her as though to do the job himself. Having endured enough, Sir Folial violently tosses his armchair aside and runs toward the stage. Galgut tries to restrain him but is thrown back. All the buffoons shudder and let out shrill screams. On the stage now, Folial seizes Baffry's arm and pushes him off the stage. Grasping Horralt as Veneranda, he embraces him, only to realize his mistake and hurl him too from the stage.^ ________ 366 In a wild fury now, Folial demolishes the alcove, upsets the furniture and the Madonna, and leaps off the stage. Taking a few steps, he then collapses, sobbing.. The buffoons begin to hiss, only to turn around and grotesquely applaud the two actors. Galgut attempts to settle things down. There is relative quiet as suddenly Sir Folial is seen to roll over several times on the floor. Galgut leans over Folial, probes the body, then announces that the old fellow is done for. The buffoons proceed to cry, parodying grief.^ Meanwhile, in front of the platform, Baffry and Horralt stand up, remove their masks and bow. There is frantic acclamation from the buffoons. Several of the buffoons have seized their musical instruments and have begun a tune for the occasion. While others spring high in the air, still others'of the buffoons hold out bouquets and laurels to the two actors. Brambles, trusses of hay and thorns, pile at their feet, and the two actors embrace. Coming forward, Galgut pats them affectionately. All of a sudden however, a whistle shrieks. It seems that during the previous minute, Sir Folial has slipped surreptitiously across to his over-turned airchair, found his whip in it, and stood up unnoticed. Face flushed with anger and eyes flashing, his appearance is menacing. There is a unanimous cry of terror. Galgut jumps from the platform, but Baffry and Horralt are unable to flee. Caught in the whiplash, 27 they cower belly downward on the floor. ^ From his small leather hag, Folial now produces two death masks apparently sent to him by his former master, King Philip of Spain. In an accompanying letter which Folial reads aloud, we learn that the masks are of Folial*s murdered daughter, Veneranda, and of her -assailant Folial*s fool-pupil. According to the letter, the king ■ had an artist mold Veneranda's mask to capture her look of innocence and her smile, though grievous. On the other hand, the assailant's terrible grimace was captured in plaster only moments after his slow strangulation death 28 by the executioner. With this, Folial comes up to Horralt, makes him stand, then sticks on his face Veneranda's mortuary mask with its rigid smile. He then turns to Baffry, takes the second mask, an unbearably tortured countenance, and forces it on the actor's face. Baffry tries in vain to turn his head aside, as the other buffoons whimper, their moans increas- 29 ing gradually to shrieks of terror. Sir Folial then cracks his whip and orders the cata falque to be brought to the center of the room. So placed, Folial commands Horralt and Baffry to enter it, and for the others to conduct a funeral service. Each taking a candle, the eleven buffoons form a file and, with heads bent, slowly begin to parade around the catafalque. In a powerful bass voice, Galgut starts to chant, the buffoons joining in chorus. After a moment however, Folial shouts 368 for them to speed things up. With his whip, he lashes the circling buffoons, who go faster and faster. His voice now cracking, Galgut struggles to continue. The buffoons scream and whirl in merry-go-round fashion as Sir Folial. 30 laughs, lashing them harder. Singing in bits and pieces as though drunk, .the Master has taken up the refrain. Galgut meanwhile has stopped chanting, his hands joined and held out toward his mentor. Going wild, Folial lashes like a madman from atop the platform. The buffoons howl, bump against the catafalque, and walls, jostle each other, fall and get up again. Finally, in clusters, they rush back and forth between the two exits, whose doors finally give way permitting the bunch to tumble out. Galgut scurries blindly a few seconds 31 and too is able to escape. Only Baffry and Horralt remain, trying from time to time to escape from the catafalque, only to be forced back inside by the whip. Both scream. Next the catafalque moves, pitches wildly, and begins to travel around the room, lashed all the while by Folial who laughs cease lessly. At last the walking catafalque finds a door and 32 disappears. Folial is exhausted, seeing nothing and no one, yet somehow excited by the silence. After a moment, in a low but distinct tone, we hear him exclaim, "The secret of our art, great art, art, all art that purports to endure? 33 ...The secret is cru-el-ty!" ^ Ghelderode then gives 369 us this description to end the play: Folial stands pensive for a moment, tears filling his dilated' eyes. Then he recommences slashing at empty air, at first weakly and afterwards with more and more power, stiffening. His tear-streaked face turns radiant from inner joy. In a sweeping sower's arc, he flagellates open space. Then, his swing even larger, he whips himself without pity, not feeling anything... like an automaton, tragically. The curtain falls in slow motion, while from nearby, dawn tints the stage and the hour strikes, ineluctable. A cock crows.3^ AUDITORY EFFECTS Theatricality in sound begins with the early indication that "throughout the whole act, a low gong will sound the hours, half hours, and quarter hours at measured inter- 3 3 vals. Then, immediately prior to the first appearance of the buffoons, "the obstinate beat of a tambourine is heard.A bell clangs, marking the end of the buffoons' 37 recreation period. To signal the regrouping of the buffoons following their recreation, there is a shrill whistle followed by the rhythmic beating of a deep-toned bass drum.-^ Then there is the buffoon orchestra playing 39 their peculiar instruments on several occasions. x Finally, as the play ends, the hour strikes, and a cock 4-0 crows. 370 INTERPLAY BETWEEN TEXT AND THEATRICALITY School for Buffoons is among the most theatrical of Ghelderode's plays, and consequently a fitting piece with which to conclude this discussion. The play written in 1937 marked the conclusion of an intense ten year period of creativity which began with Escurial, and' ended twenty- four plays later with School for Buffoons. That the clown Folial appears in both the first and last play of this period is significant in the sense that the purpose of School for Buffoons is for the now "maitre buffon" to demonstrate the essence of his experience in his art. While ostensibly about Folial*s lesson to his pupil-buffoons, the play may also be viewed as an exhibition by Ghelderode himself of his dramatic art. How does the physical appearance of the setting support the meaning of this play which we have indicated as, a lesson in dramatic art? As I believe this dissertatior has demonstrated, central to Ghelderode's dramatic art is his sense for the theatrical. It's as if with each play he asks himself, "What can I put on stage to capture and then to hold the attention of my audience?" He begins with the setting which is often, although not always with Ghelderode, what one first sees when the lights come up. A review of the details of this set leaves little doubt of its theatrical effectiveness. Two aspects however, ________________________ 371 should be noted. First, the play is set in a former convent. This lends a certain religious-ritualistic quality which is meant to provide, as it did in Chronicles of Hell, a contrast to the grotesque appearance of the characters. The religious-ritualistic aspect of the setting also tells us something about the master-pupil relationship at this school. Finally, as with Chronicles of Hell, this environ ment is also very centered. In the former, the mortuary chamber doors were center stage as an indication of where the central action of the play was to take place. In School for Buffoons, the focus is again center stage because (1) this is Folial's principal area of operation in his capacity as central character and "master buffoon," and (2) this is the location for the play-within-the-play, the event which forces the issue of the main play. Finally, in passing, I must mention the presence on stage of the "Fool's Cutter." Is Bosch's "Ship of Fools" (1^75) "the prototype for this vessel? Unquestionably, the physical appearance of the characters constitutes the second lesson, the setting being the first lesson, in Ghelderode's dramatic art. A review of the playwright's character descriptions once again confirms his extraordinary sense for the theatrical. As evidence that this aspect is an important one for the play wright, the central character Folial wears two separate costumes during the play, both sets of clothing being _________________________________ 1Z2 "designed" by Ghelderode with affection and good taste. His appearance is in marked contrast to the visual grotesqueness of his pupil-buffoons. There is no question which character in the crowd is Folial. The extraordinary theatricality of the physical acts is the next lesson in this play of lessons. The opening parade and dance of the buffoons speaks for itself. In this regard I would draw your attention to an illustration 1 4. i in Clowns, by John H. Towsen. Identified as "Festivities at the Wedding of Henry IV and Marie de Medici in 1600," it is a fascinating picture depicting a circle of dancing grotesque types which, if not a source for School for Buffoons, it should have been. The next series of physical acts, each theatrical in its own right, leads to the central event which is the play-within-the-play. Ostensibly this inner play is meant to be a gift in the form of entertainment to Folial, on this the graduation eve for the buffoons. In actual fact it is a cruel joke played in the spirit of revolt against the aged master. The joke backfires however, the result being an enraged though inspired Folial who subsequently proclaims that the secret to all art is cruelty. This proclamation however, deserves some clarification. Two associations are immediately made when we hear Folial use the term "cruelty." First' we think of the cruel joke which was played on Folial via the play-within-the-play, _________________________________________________________123 and of the subsequent cruelty demonstrated by Folial's producing the death masks, then scattering the buffoons with his whip. The second association with the word "cruelty" is its use by Artaud in his so-called "Theatre of Cruelty." Neither of these associations in my judgement, is the appropriate one. The answer comes from Ghelderode himself in "The Ostend Interviews:" Cruelty means reality, exact painting, free of lies. Examples Rembrandt is cruel when he paints flesh. Another: Goya is cruel when he paints his royal portraits. Goya did not lie; he was cruel. Finally, Bruegel, when he shows us unreal landscapes, placing in them peasants who are merely real yet too ^ much so - this dissonance is also cruel! In light of this then, what we the audience and indeed the pupil-buffoons see as a cruel joke in the form of a play-within-a-play, was perceived and appreciated on an entirely different level by the master. Folial saw the inner play as a piece of art which did not lie. The revealing of this truth then, that the secret to all art is cruelty, constitutes for Folial, and for Ghelderode, the ultimate lesson of this play. For us the audience however, and in the context of this dissertation, School for Buffoons holds one last lesson, which is the theatricality of this play's sounds. Once again Ghelderode has demonstrated the dramatic effective ness of bells, whistles, and beating drums. In that they _____________________________________ are external to the plot, i.e. non-symbolic, two auditory effects are worth reiteration. Weaving its way through the entire story, and thus providing a subtle sense of unity, is the sound of a low gong marking the hours, half hours, and quarter hours at measured intervals. In none of the other plays discussed in this dissertation, has this device been used. The second auditory effect worth another mention is having the buffoons form an orchestra on stage and play such esoteric, hence theatrical musical instruments as medieval flutes, viols, bandores, recorders, and handbells. Unlike the plays previously discussed in this disserta tion, this chapter has presented plays which exhibit, in addition to their extraordinary theatricality, the aspect of play-within-a-play, As noted earlier, Ghelderode has used the technique (1 ) as part of the action of the main play and to further the action, (2) as a mirror to rein force the theme of the main play, and (3 ) as the main play itself representing the play-within. From the standpoint of theatricality, we note two special items: In Three Actors and Their Drama and Exit the Actor, the sets are now "framed." This is to say in both plays, a playwright character appears in front of the closed curtain, drawing attention to the fact that we are about to watch a play. Secondly, in The Death of Doctor Faust as with Christopher Columbus of the previous chapter, Ghelderode has employed ________________________________ JZ1 staging techniques reminiscent of expressionism. Regarding characters, Master Folial from School.for Buffoons is undoubtedly the most theatrical. His costumes, moods, and physical characteristics generally, make him the most dimensional character in this category. As for theatrica lity in physical acts, while School for Buffoons is near the top, one cannot deny the superiority of Escurial for sheer intensity. For originality, the theatricality of an "orchestra" of buffoons playing medieval instruments remains the most memorable. In the next chapter, the chapter of conclusion, I will attempt to provide an over view of all the material covered in this dissertation, placing into perspective the importance of the aspect of theatricality in the study of this playwright. 376 FOOTNOTES: CHAPTER VI Three Actors and Their Drama ■^Ghelderode, Seven Plays, Vol. I., Ibid., P- 133- 8Ibid., P- 129. I I Ibid., P- 133, 13**. 5Ibid., P- 131 • 8 Ibid., P- 133. 7Ibid., p. 135. 8 Ibid., P- 136. 9 Ibid., P- 137- 10Ibid. » P i —* 00 1:LIbid. > P . 1 3 9. 12Ibid. 13Ibid. » P .p. 1 3 9-1^1 ■^Ibid. . P . 1 2 9. 1- 5Ibid. > P . 1 3 3. l6Ibid. ^Ibid. 18Ibid. 19Ibid. » P. 13^* 20Ibid. » P. . 135. p. 129. 221 21Ibid., p. 1 3 9. 22Ibid., p. 1^0 . 23Ibid., p. 1 2 7. Exit the Actor ■^Ghelderode, Theatre, Vol. III., p. 223. Ibid. p. 225* 3Ibid. p. 2^5. ^Ibid. p . 26l . •^Ibid. p. 223. 8 Ibid. p. 225. ^Ibid. p. 227. 8Ibid. p. 229. ^Ibid. p.p. 2 6 1-2 6 2. 1°Ibid , p. 275. 11Ibid , p. 280. 12Ibid , p.p. 238-2^0. ■^Ibid , p.p. 240-2^1. ■ L^Ibid , p.p. 2^2-2*f4. 1- 5Ibid , p.p. 2^9-252. l6Ibid , P- 2 17Ibid , p.p. 2 5 6-2 6 0. l8Ibid., p.p. 2 6 2, 2 6 5. 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Ibid., p.p. 266-267. *Ibid., p.p. 2 6 7-2 6 8. Ibid., P.p. 2 6 8-2 7 0. Ibid., p.p. 272-273. Ibid., P.p. 274-278. Ibid., p.p. 279-280. Ibid., P.p. 280-281. Ibid., P.p. 282-283. Ibid., p.p. 283-284. Ibid., p.p. 264-265. Ibid., p. 2 6 5. Ibid., P.p. 26 7-2 6 8. Ibid., p. 2 6 8. Ibid., p. 2 6 9* Hauger, "Notes on the p. 27. George P. Upton and Felix Borowski, The Standard Opera and Concert Guide (New York: Halcyon House, 193°), p. 13• 33 P* 34 an 3 3 -^Robert Sabin, ed., The International Cyclopedia of Music and Musicians, Ninth Edition (New York: Dodd, Mead, and Co., 1964), p. 1955- The Death of Doctor Faust i Ghelderode, Seven Plays. Vol. II., p. 99* 'Ibid., p. 104. 379 3Ibid., p. 1 2 2. Slbid., p. 1 3 1. 5Ibid., p. 9 9- 6Ibid., p.p. 102-103. ^Ibid., p. 104. 8Ibid., p.p. 104-105. ^Ibid., p. 105. 1 0Ibid., p. 1 0 7. 11 Ibid., 'p. 108. 1 2Ibid., p. 1 0 9. 1 3Ibid., p. 1 2 2. 14 Ibid., p. 1 3 7. 1 5Ibid., p. 140. l6Ibid., p. 1 0 9. 1 7Ibid., p. 1 0 0. l8Ibid., p. 1 0 2. "^Ibid., p.p. 103-104. PC) ^ Ibid., p. 104. 21Ibid., p. 1 0 5. p p Ibid., p. 106. 23Ibid., p. 1 0 6-1 0 7. 24 Ibid., p. 107. 380 Ibid., p. 108. 2 6 • " • » * ! * i Ibid., p. 109- 2?Ibid. 28Ibid., p.p. 1 0 9-1 1 0. 29Ibid., p. 1 1 0. 3°Ibid., p. 111. 31Ibid., p.p. 114-116. 32Ibid., p.p. Ilk-116. 33Ibid., p.p. 117-121. 3^Ibid., p.p. 1 2 2-1 2 6, 33Ibid., p.p. 129-130. 36Ibid., p.p. 130-131. 3^Ibid., p. 137. 38Ibid., p. 138. 39Ibid., P- 139. ^°Ibid., p. 140 . ^Ibid. ^2Ibid., p.p. 140-142. ^3Ibid., p.p. 142-143. ^Ibid. , p.p. 143-144. ^3Ibid., p. 144. ^8Ibid., p.p. 144-145. 381 p. 146. ^8Ibid. p.p. 146-148. 49Ibid. p.p. 149-150. 3°Ibid. p. 99- -^Ibid. p. 100, 102. 52Ibid. p. 106 . 33Ibid. p. 110. . 5Slbid. p. 111. 33Ibid. p. 114. 38Ibid. p. 122. •^Ibid. p.p. 1 2 5-1 2 6. 38Ibid. P- 131. 39Ibid. p. 139. 6°Ibid. p. l4o. 61Ibid. p. 1 0 9, 150. 62J. W. Smeed, Faust in 63Ibid., p. 270 64 Ghelderode, Seven Plays, Vol. II., p. 96. . p. Keppler, The Literature of the Second Self (University of Arizona Press, 1972). 66 Ghelderode, Seven Plays, Vol. II., p. 124. 382 Escurial •t Eric Bentley, ed., The Modern Theatre. Vol. 5»(Garden City, N. Y. : Doubleday andCo., 1957). p. 153. 2Ibid., p.p. 1 6 2, 1 6 3. -^Ibid. , p. 1 6 2. U r Ibid. • ' ’ ibid. , p. 177. 8 Ibid., p. I6 3. 7Ibid., p. 16U-. 8Ibid., p. 1 6 5. 9Ibid., p.p. 1 6 6-1 6 7. ' * ' 0Ibid. , p.p. 1 6 7-1 6 8. 11Ibid. p.p. 1 6 8-1 6 9. 12Ibid. p.p. 1 6 9-1 7 0. 13Ibid. p.p. 171-172. -^Ibid. p. 172. 15Ibid. p.p. 172-173. l6Ibid. p.p. 173-177. 17Ibid. p. 177. 18Ibid. p. 1 7 8. 19Ibid. P. 163. 20Ibid., p. 1 6 9. 21Ibid. , p. 178. 22Ibid. , p. 1 6 8. 23Ibid. , p. 1 6 9. 2^Ibid,, p. 178. 23Ibid. 2^Hauger, "Notes on the Plays P • 21 . of Michel de Ghelderode," 2* ' 7Heilman, op. cit., p.p. 22, 26. 2®Timothy Foote, The World of Bruegel (New York: Time-Life Books, 1968), p.p. 20-21. School for Buffoons " ' ‘Michel de Ghelderode, School for Buffoons, trans.by Kenneth P- 3- S. White (San Francisco: Chandler Publishing Co.), 2Ibid. 3Ibid., p. 14. 4 Ibid., P • 21 . 3Ibid., p.p. 3-4. 6Ibid., p.p. 7-8. ^Ibid., p. 16 . ^Ibid., p . 21 . ^Ibid., p.p. 23-24. 10Ibid. > P* 3 • ............. ... 3.84 1:1 Ibid., p. 4. 12 Ibid. ■^Ibid. , p. 7 • ■^Ibid., p.p. 12-13. ^Ibid. , p . 14 . l6Ibid. 17Ibid. 18Ibid., p. 1 5. ^■^Ibid . , p. 19 . 20Ibid. 21Ibid., p. 21. Ibid., p.p. 21-23. 2^Ibid., p.p. 23-24'. 24 Ibid., p.p. 24-27. 2-’ibid . , p . 28 . 26Ibid., p. 28. 2^Ibid., p.p. 28-29. 28Ibid., p. 29. 2^Ibid.f p.p. 29-30. 3°Ibid., p.p. 30-31. -^Ibid., p. 31 . CO (T 32Ibid. 33Ibid. ^ M d . 33rbid., p. 3 • 36Ibid, 3^Ibid., p . Ik. 38Ibid. 39Ibid., p.p. 19, 21, 28. Un Ibid., p. 31• 41 John H. Towsen, Clowns (New Yorks Hawthorn Books, Inc., 1976), p. 2k. k2 Ghelderode, Les Entretiens d1Ostende, p. 183* 386 CHAPTER YII CONCLUSION Writing between the two world wars, Michel de Ghelderode is not generally associated with the dramatic "movements" in Europe at the time. As a Belgian writing in French, his plays remain distinctly Flemish. Frequently set in medieval Flanders, many of his dramas reflect the influence of paintings by the playwright's countrymen Hieronymous Bosch, Pieter Bruegel, and later, James Ensor. Throughout the more than thirty major plays, a common theme is the vision of man as a creature whose flesh overpowers his spirit. As such, corruption, death, and cruelty are always in the forefront. This study is the most extensive dramatic analysis of Ghelderode in English to date. It discusses from five points of view, i.e. setting, character, action, sound, and relation between textual meaning and theatricality, what may be considered the most significant of Ghelderode's plays. Included in the selected list of eighteen, are four plays which were translated specifically for this dissertation and which have not been published in English. Thus while other studies have considered as few as five or six of the plays, and often in a fragmented manner, this volume of analysis discusses in their entirety and from ___________________ ; ____________ 38? five angles, the eighteen most significant of Ghelderode’s works. The focus of this dissertation has been the playwright in the context of theatricality, the reason being that on occasion Ghelderode is known to have taken a defensive posture about his work. At such times he insisted he wrote his plays only for himself, and with no intention of stag ing them. Implied is that the plays are non-theatrical. Thus the primary purpose of this study is to demonstrate that the reverse is true, that is, that the plays are totally theatrical. The second focus, and the one which may ultimately prove of greatest interest, is the relation between the elements of theatricality and textual meaning. A great deal has been learned about the playwright as a result of this area of inquiry, and I will present my conclusions in this regard in a moment. It has been the primary purpose of this dissertation to investigate the aspect of theatricality in these plays. Theatricality as a concept has been variously defined, but for this dissertation, the term refers to those sights and sounds which the playwright wrote into his plays for intended dramatic effect on his audience. To investigate this conception of theatricality, the following constituent questions were considered! 1. What is the physical appearance of the setting? 2. What is the physical appearance of the characters? 3* What physical acts take place on stage? What auditory effects have been indicated? The significance of this study lies in the fact that, while such visual and aural aspects as spectacle, and the grotesque, have been considered in Ghelderode, there have been no definitive studies of Ghelderode on stage. In other words, how has the playwright indicated the plays should look and sound on stage. Indeed a review of the literature reveals that prior studies of Ghelderode have either been psychological or literary. The psychological investigations are principly non-textual and biographical, many of which were conducted and written by friends of the dramatist at various stages of his life. Conversely, the literary and necessarily textual studies, tend to treat the plays as just that, literature. The significance of this dissertation therefore lies in its perspective that these plays were written for the stage and hence must be viewed as pieces of theatre. With this in mind, I necessarily limited the scope of the study to the four constituent questions stated in the research problem. I dealt only with the playwright's indications regarding the physical appearance of the sett ing, the physical appearance of the characters, the physi cal acts, and the auditory effects. The dialogue as such, was not emphasized, except where it reflected some appearance, action, or sound relevant to the concept of theatricality. Nor was a given production scrutinized as part of this analysis. ^89 The analytic strategy was three-fold. First I read the major plays for content. Having done so, I then select ed those plays which I felt best exemplified the concept of theatricality as defined in the research problem. The second phase was the analytic reading. The task was to isolate specific instances of theatricality as found in the playwright's stage directions, and occasionally, as suggested in the dialogue. The third phase then, was- to organize all the elements according to whether they pertained to the setting, to the characters, to the action, or to the sound of the play. For convenience, the plays were organized thematically into four chapters, as follows: Demoniac Plays j Chronicles of Hell, The Devil Who Preached Wonders, Hop, Signori, Red Magic, Lord Halewyn. Masque and Carnival Plays: A Night of Pity, Ostend Masks, Don Juan, Barabbas. Plays About Innocence and Death: Christopher Columbus, Pantagleize, Piet Bouteille, Miss Jairus. Plays-Within-a-Play: Three Actors and Their Drama, Exit the Actor, The Death of Doctor Faust, Escurial, School for Buffoons. ________________________________________________ 390 The analysis for each play included, a list of characters, a synopsis, the physical appearance of the setting, the physical appearance of the characters, the physical acts, the auditory effects, and a discussion of the interplay between text and theatricality. Sources for the plays included George Hauger's transla tions in the two volume collection published by Hill and Wang, Kenneth S. White's translation of School for Buffoons, the Lionel Abel ' translation of Escurial as it appeared in yolume Five of Eric Bentley's The Modern Theatre. From the five volume Gallimard collection published in French, BJr. Stephen Infantino provided unpublished translations for 'Don Juan, Exit the Actor, Ostend Masks, and The Devil.Who Preached Wonders. With this introduction then, let me proceed with some general observations of a concluding nature, pertaining to the four major categories of this study. Regarding the physical appearance of the settings, the majority of the plays selected for this dissertation, are set either in medieval or twentieth century Flanders. The exceptions are Barabbas in its biblical/quasi-Flemish setting, and Escurial which is situated in Spain. Ghelderode shows no preference to interior or exterior settings, frequently designating combinations of the two. For example, Pantagleize switches back and forth between interiors and exteriors, the two occurring simultaneously, on the other hand, in the last act of The Death of Doctor Faust. ________________________________ 3 - 9 - 1 . Furthermore, some of the settings are half in and half out as with the courtyards of Hop, Signor!, and Miss Jairus. Finally, the interiors range in complexity from the rela tively simple Piet Bouteille, to the more detailed Chronicles of Hell and School for Buffoons. The same is true for the exteriors which may he as uncomplicated as a half drape as at the beginning of Don Juan, or a multiple arrangement as in the cemetery scene of Exit the Actor. Concerning the physical appearance of the characters, it is my observation that frequently what a character is, will determine what he looks like. Examples of this would be the beggars, misers, thieves, butchers, fools, showmen, and executioners. Also giving a clue to the physical appearance would be any physical abnormalities a character might have, such as poor eyesight, impaired hearing, intestinal problems, and so on. This is not to say however, that there are not excellent examples of detailed character descriptions provided by Ghelderode. Good examples include the devil in The Devil Who Preached Wonders, Jureal, the dwarfs, and the executioner in Hop, Signor!, and the buffoons in School for Buffoons. There are a few comments I would now like to make about the physical acts. First, I would note that while many historical and contemporary plays are dialogue oriented, Ghelderode's plays tend to be action oriented. This is to say, in place of great poetic and/or descriptive ____________________________________________________________ 392 passages, this playwright often prefers to physically demonstrate his ideas and emotions. Coupled with this is the observation that Ghelderode has in his repertoire an extraordinary variety of actions for his characters to perform. These range anywhere from sexual situations to physical violence, to such seemingly mundane activities as yawning and scratching. As for his placement of these actions in the story, I have discovered (A) that he never lets the audience go for long without some startling act, and (B) Ghelderode likes to combine a sequence of actions in the latter part of some plays, which then builds to a practically over-powering climax. Chronicles of Hell, and School for Buffoons, are good examples of this. ' Having noted that these plays tend to be action oriented, I must remind the reader of a point about this dissertation which cannot be over-emphasized. The physical acts category for each of these plays recounts the story only from the standpoint of the physical acts. It is not the whole story. The written play is a multi-faceted product comprised of many different elements. This study isolates some of these elements which, while coming from the whole, are not to be mistaken for the whole itself. Finally, regarding the auditory effects, I would suggest that while the types and numbers of sounds are important, again the precise placement of these elements in the story is interesting. A consideration of this ___________________________________________________ 251 placement has led me to conclude that Ghelderode uses sound (A) to establish and/or maintain mood, (B) as an introduc tion or prelude to a major event, (C) to underscore a significant statement or moment, and (D) generally to main tain the theatrical momentum or level of dramatic tension. I would now proceed with some points concerning the most frequent and characteristic elements of Ghelderode's theatricality. To begin, one cannot help but be astonished by the frequency of the physical violence in these plays. Much of this violence, I might add, is not casual, but brutal and savage. This coincides with the fact that we often find weapons on stage, usually swords, or daggers, or guns. There is no classical Greek "behind the scenes" here though. If a character is to be killed, Ghelderode does not pass-up the opportunity to be theatrical about it. It must take place onstage. Admittedly there are instances as in Pantagleize, where some discretion is used as when the would-be revolutionaries are taken offstage: for their execution by the firing squad. This discretion however, is clearly negated by the subsequent onstage execution of Pantagleize himself. In fact, the character is essentially executed twice, Ghelderode seemingly savoring every theatrical moment. I was surprised to find the playwright's close attentior to lighting effects. He frequently describes how the sky or a room should appear, one of his favorite interior .................................................... ...3 . 9A- effects being candle light. Examples of this range from the hundreds of candles in the bishop's mortuary chamber in Chronicles of Hell, to the single candle lighting up the miser's face from below, in Red Magic. Also of considerable interest was the frequency with which musical instruments were included on stage. This coincides with the frequent playing, singing, or whistling of music, although not all of it came from onstage instru ments. Some came from distant bands or roving minstrels. Also of interest is his regular use of bells. It may be noted that many of these effects relate to Ghelderode's early music training and, in general, to the sounds of his native Flanders. Finally, in this review of the most frequent and characteristic items of theatricality in Ghelderode, there are the crowds. Indeed, many of the plays selected for this study, have a crowd somewhere. Interestingly, the crowds are usually invisible to the audience, and are somehow threatening. A highly original device, the sounds from these invisible threatening crowds are a recurring auditory effect in the plays. More on them in a moment. With’this, what can now be said regarding the interplay between the text and the theatricality? This is to say, how has the playwright used the theatricality to communicate the meaning or theme of each play? From the standpoint of setting, many of these, but not all, are symbolic. All of _________________________________ 395 them do, however, communicate meaningful information to enhance our understanding and appreciation of each play. The various purposes for, and ways in which Ghelderode uses his settings may he seen through a few representative examples: In Chronicles of Hell, Escurial, and School for Buffoons for example, there is a heavy emphasis on atmosphere which, while establishing mood, also communi cates demoniac, persecutive, or ritualistic qualities. In this category one is apt to discover strange collections of objects, tattered tapestries, and eerie lighting. Tension is felt as we focus in on these objects and effects,many-of which seem out of place, or inconsistent with the rest of the set. Some of the settings are clearly symbolic. In Christopher Columbus, they are symbolic of Columbus' dream state, while in The Death of Doctor Faust, the simultaneous staging of the sixteenth and twentieth centuries represent Faust's conflictive quest for identity. Because they are "framed", that is, have a playwright character appearing in front of the closed curtain, such plays as Three Actors and Their Drama and Exit the Actor are symbolic in a slightly different way within their contexts of illusion vs. reality. Some of the plays, for example The Death of Doctor Faust and Don Juan, have a music hall aspect at times or throughout, which deepens the sense of illusion in each play. Others, namely Christopher Columbus and _______________________________________________________________________ again The Death of Doctor Faust, incorporate expressionis- tic elements, which enhance the playing of dream, and facilitate the simultaneous staging. The physical appearance of the characters also supports the meaning of many of the plays, although admittedly some of the characters appear as they do, for show. This would include all the various dwarfs, beggars, thieves, rag pickers, executioners, and so on. Where the look of the characters was particularly supportive of the play's theme, were those pieces based on sin and human folly. Here, Ghelderode.borrowed from the medieval notion that one's physical appearance was a mirror of his soul. Thus are there many grotesque types in such plays as Chronicles of Hell, The Devil Who Preached Wonders, and Red Magic. Masks and disguises were important in several of the plays. As I have indicated, the masks of A Night of Pity and Ostend Masks appear to have been inspired by specific James Ensor paintings. Those of the former play may be considered more Ensorian however, as in keeping with the play, the expressions of these maskers are more of rigid flesh. In Ostend Masks, on the other hand, the characters are simply celebrating carnivalers in a pantomime. A related piece, Don Juan, is based on the concept of disguise per se. In this case, the physical appearance of the characters is reflective of the aspect of deception, especially in the person of Don Juan. __________________________________ 397 Some of the characters appear as they do for comic effect. This is especially true where the play is essentially farcial in nature as with Pantagleize. In all their theatricality, some of the characters, by the play wright’s admission, constitute a sort of antique chorus as with the two dwarfs in Hop, Signori, and The Three Mariekes in Miss Jairus. Three of the plays, The Death of Doctor Faust, Ostend Masks, and Christopher Columbus have a character representing Death, in the medieval tradition. In The Death of Doctor Faust especially, a character representing Death appears, complete with scythe. Finally, of note are two symbolistic characters reminiscent of expressionism. In Christopher Columbus we have a Crowd Man who runs around making like a group, and again in The Death of Doctor Faust, there is a character in the form of an animated loud speaker. All these characters then, in what they are, in their various physical appearances, and in their overall theatricality, may be viewed as supportive aspects of the various themes. What conclusions can be drawn in the very large category of physical acts? The most noteworthy aspect, is that, here is a playwright capable of great physical violence on the one hand, and tremendous comedy on the other. For example, some of the moments in Chronicles of Hell, Escurial, and School for Buffoons are about as violent as you’ll find anywhere. In fact, the actual ________________ ■ 398 staging of these plays would obviously require discretion on the part of the director, lest the theatrical illusion be shattered. Theatre is meant to be theatre, not a threat to the audience. Conversely, in other plays like Hop, Signor!, Ostend Masks, and Don Juan, there are moments of great hilarity. Further, because his comedy tends to be physical, in the spirit of farce, Ghelderode does not hesitate to combine his comedy and violence as evidenced by Pantagleize. Particularly interesting to me is what triggers these two emotions in this playwright? A careful consideration of the details of theatricality in these plays reveals first of all that the violence tends to be in the form of punishment, indeed as though the playwright himself were punishing certain of his characters. For example, in Chronicles of Hell, the bishop Jan Eremo pounds away at the sinister Simon Laquedeem. In Red Magic, Romulus and The Monk are stabbed, and the miser Hieronymous is taken off to the gallows. Again in Don Juan, Francois Rene in the guise of Don Juan is beaten up by The Little Green Man (the original Don Juan). In these, and other examples, one aspect stands out. All these characters are guilty of committing one or more of the Seven Deadly Sins, or more generally, of simply being fools. These then, in my judgement, are the qualities which trigger the violence in Ghelderode. ____________ . ____ 399 In light of this, it is not difficult to conceive of Ghelderode*s making fun of some of his characters, which is in my estimation, the spirit in which much of the comedy is manifest in such plays as for example Pantag leize . We see it also in The Devil Who Preached Wonders, again with Hieronymous in Red Magic, and in Don Juan■ Again the characters of whom the playwright makes fun are those guilty of some sinfulness, or some folly. Obviously not all the moments of violence and humor fit this formula. There are times, for example in Barabbas, where a murder was simply expedient. The playwright was not punishing Barabbas for anything. After all, it was not his idea to be released from prison in place of Jesus. On the other hand, within the context and purpose of the play, the criminal couldn't be permitted to go his merry way. The same is true of the humor. Some of it is just for show, as with the dwarfs in Hop, Signori. Beyond this, I would add that a consideration of the diversity of the physical acts is evidence for what has been stated by others, but not demonstrated. Given a choice, Ghelderode will usually opt for illustrating via some physical act, the ideas or emotions of the moment. Thus we find for example, in The Devil Who Preached Wonders, Fergerite expressing her displeasure with Lamprido not with a blaze of words, but with a kick to the behind. In Red Magic, Hieronymous* miserliness even toward himself, ^00 is illustrated by his eating and drinking from empty vessels. But as we discovered, Ghelderode employs yet another technique beyond the visual,, that of sound effects. A review of these reveals that for the most part, the effects are incorporated primarily for theatrical as opposed to symbolic purposes. As noted earlier, the various trumpet blasts, gunshots,- etc. are employed in different ways. They may establish or maintain mood as with the horns in Lord Halewyn. Some sounds are used to introduce major events as with the "formidable clap of thunder" which immediately precedes the announcement of Christ's death ^ - n Barabbas. An auditory effect may be used to underscore a statement or moment which was the case with the "twelve strikes from a church" at the conclusion of Pantagleize. Finally, there are situations where the auditory effects were used more generally to maintain momentum or tension. This was certainly true of the thunder and lightning in Chronicles of Hell. This is not to say however, that some of the sounds are not symbolic. A good example is the play just cited, Chronicles of Hell. The thunder is not just any thunder. Like the lightning and the storm generally, this is a case of God speaking through nature in the Shakespearean and medieval tradition. Perhaps the best example of the ^01 symbolic use of sound is Escurial, where we find howling dogs being associated with the persecution of The King, and tolling church bells symbolizing death. Ghelderode's early music training was apparent in several of the plays. For example in Exit the Actor we have Bach and Schubert represented, whereas the unlikely yet knowledgeable combination of Luther and Sousa appear in Christopher Columbus. Beyond this, it is fair to say that Ghelderode has a penchant for esoteric instruments, be they the medieval bagpipes of Fergerite in The Devil Who Preached Wonders, the kazoos, rattles, and whistles of Miss Jairus, or the medieval recorders, handbells, etc. of School for Buffoons. Here again is a case where the music may simply be for theatrical purposes, as in School for Buffoons, or be making a statement by way of juxtaposition as with the "Ein' Feste Burg" chorale by Luther in Christopher Columbus. Finally, in this discussion of the auditory effects in relation to the text, there is Ghelderode's aural trademark, the crowd sounds. The plays in which offstage crowds, which we only hear, are a significant element in the story are, Chronicles of Hell, The Devil Who Preached Wonders, Hop, Signor!, Red Magic, A Night of Pity, Ostend Masks, Don Juan, Barabbas, Pantagleize, Miss Jairus, and The Death of Doctor Faust. In some plays, for example 402 Escurial, there is not a crowd per se, but we are aware that there is somebody out there, which theatrically is the whole point of the technique. It is to create what might be termed a "forced perspective through sound." Suddenly the play is not limited to what we can see, but to what we can hear, and that "vanishing point," if you will, is as deep in the distant as the imagination will permit. Once again one is drawn to the paintings of Bosch and Bruegel, where the action central to a given picture may be in the foreground, but in the background there is a vast outer world extending to the limits of the canvas, if not at times seemingly beyond. Ghelderode's external sounds, his background sounds as it were, often have the same effect. As for the playwright’s use of the crowd, via the crowd sounds, there are three types*. As just noted, a crowd may be off in the distance, their voices simply being background, as with the distant sound of festivities in the last act of Miss Jairus. The crowd may directly Inter act as part of the main action of the play as we had in Barabbas. Finally, the crowd may represent an activity which is occurring external to the central action, as in Hop, Signor!, where the activity of the crowd was not dependent upon what was happening on stage. In all these instances, and what makes this such an effective theatrical technique, the size and appearance of the crowd is left ______________________ 40 3 to our imaginations. In this way, it is like radio, where in the details of character and action are left up to us, the listening audience, and effectively so. Thus have we seen the various ways in which this play wright has used the elements of theatricality to support and communicate the meaning of each play. To conclude then, what are the implications of all this? Why is it important to consider this aspect of Ghelderode, and what contributior has this study made to the literature? These points may he summed up this ways This dissertation is meant to he an answer to those who, having conducted biographical and literary studies of the playwright, have supported Ghelderode's defensive contention that he wrote his plays only for himself, often with no intention of having them staged. The implication of this is that most of the plays are unstageable, hence non-theatrical. I believe that my study has demonstrated that this playwright had a practical knowledge of the theatre, that he instinctively knew what was theatrical, that is, what would work on stage, and that he wrote always with an audience in mind. That a representative selection of the playwright's major works has here been analyzed within a theatrical context, may be viewed as the principal contribution this dissertation has made to the literature on this playwright. Joining the biographical and literary studies as categories is this entirely new category in the scholarly investiga tion of Ghelderode. Hopefully, further analysis may be ____________________________________________________________^04 inspired as a result of the opening up of this new area of inquiry. For the theatre historian, a prospective topic might be an investigation into the sudden success, from a theatrical standpoint, of Ghelderode in post-World War II Europe. What was the psychological state of the audience, and what other theatre was going on successfully or unsuccessfully at the time? For the scholar who is also a practitioner of theatre,- there are these questions which draw on his experience as a director, designer, and technicians How do you actually achieve the lighting and aural effects called for in Ghelderode? How do you stage the violence in these plays? What colors and ornamentation do you select for the set, costumes, and lighting, to communicate such themes as greed in Red Magic, and death in Miss Jairus? What are the physical staging problems in Lord Halewyn? A final suggested area for further investigation might center upon theatricality in modem drama generally. For example, what playwrights in this century in addition to Ghelderode may be viewed as masters of theatricality? How did the so-called "movements" of the early part of the century influence our modern conception of theatrica lity? Finally, can we speak in terms of certain dramatists possessing "theatrical mentalities," that is, views or perspectives of the world as theatre, which then results in their expressing themselves in theatrical terms? __________________________________ , _____________________________________ M i SELECTED BIBLIOGRAPHY ioi I. BOOKS Bataille, George. Death and Sensuality; A Study of Eroticism and the Taboo. New York: Walker and Co., 1962. Bentley, Eric, ed. The Modem Theatre. Vol. 5* Garden City, N. Y.: Doubleday and Co., Inc., 1957- Beyen, Roland. Michel de Ghelderode, ou la hantise du masque. Bruxelles: Palais de Academies, 1971* Brockett, Oscar G-, and Findlay, Robert R.. Century of Innovation. New Jersey: Prentice-Hall, Inc., 1973* Clark, James M. The Dance of Death in the Middle Ages and the Renaissance. Glasgow: Glasgow University Press, 1950. Corrigan, R. W. The Theatre in Search of a Fix. New York: Delacorte Press, 1973- Coster, Charles de. The Legend of Ulenspiegel and Lamme Goedzak. Trans, by F. M. Atkinson. New York: Doubleday, Page, and Co., 1922. Coulton, G. G. Life in the Middle Ages. New York: The Macmillan Co., 1931• Daniel, Howard, ed. Callot's Etchings. New York: Dover Publications, Inc., 197^■ DeberdVMalaquais, Elizabeth. La Quete de l'identite dan le ■theatre de Michel de Ghelderode. Paris: Editions Universitaires, 1967• Decock, Jean. Le Theatre de Michel de Ghelderode: une dramaturgie de 1*anti-theatre et de la cruaute~^ Paris: Nizet, 1 9 6 9. Denis, Valentin, ed. All the Paintings of Jan Van Eyck. New York: Hawthorn Books, Inc., n. d.. Erasmus, Desiderius. In Praise of Folly. Trans, by Leonard F. Dean. New York: University Classics, 19^9* Farmer, John David. Ensor. New York: George Braziller, 1976. Foote, Timothy. The World of Bruegel. New York: Time-Life Books, 1968. Francis, Jean. L'Etemel Au.jourd'hui de Michel de Ghelderode. Bruxelles: Louis Musin, 1 9 6 8. Gerhardus, Maly, and Gerhardus, Dietfried. Expressionism. Oxford: Phaidon Press Ltd., 1979- Ghelderode, Michel de. Les Entretiens d*Ostende. Recorded "by Roger Iglesis and Alain Trutat. Paris: L'Arche, 1956. __________ . School for Buffoons. Translated by Kenneth S. White. San Francisco: Chandler Publishing Co., n. d.. __________ . Seven Plays. Vol. I., II., trans. by George Hauger. New York: Hill and Wang, i9 6 0. __________ . Theatre. Vol. III., IV., Paris: Gallimard, 1953. Grossvogel, David I. Twentieth Century French Drama. New York: Columbia University Press, 1961. Guichamaud, Jacques, and Guiehamaud, June. Modern French Theatre. New Haven, Conn.: Yale, 19573 Huizinga, Johan. The Waning of the Middle Ages. New York: Doubleday Anchor Booksi 195^* Janssens, Jacques. James Ensor. New York: Crown Publishers, Inc., 1978. Kayser, Wolfgang. The Grotesque in Art and Literature. Trans, by Ulrich Weisstein. New York: McGraw-Hill, 1966. Keppler, C. F. The Literature of the Second Self. University of Arizona Press, 1972. Lepage, Albert. Michel de Ghelderode. Paris: eds. Dutilleul, n. d.. Lewis, Matthew F. The Monk. New York: Grove Press, 1952. Linfert, Carl. Bosch. New York: Harry N. Abrams, Inc., n.d.. Locher, Frances Carol, ed. Contemporary Authors. Vols. 8 5-8 8. Detroit, Mich.: Gale Research Co., 1980. 408 Mallinson, Vernon. Modem Belgian Theatre (I8 3O-I9 6O). New Yorks Barnes and Noble, Inc., 1966. Mandel, Oscar. The Theatre of Don Juan. Lincolns University of Nebraska Press, 19^3• Michelet, Jules. Satanism and Witchcrafts A Study in Medieval Superstition. Trans, by A. R. Allenson. New Yorks Citadel Press, 1939* Nelson, Robert J. Play Within a Plays The Dramatist's Conception of his Art from Shakespeare to Anouilh. New Havens Yale University Press, 1958. Poe, Edgar Allen. Poems. Vol. X. New Yorks Charles Scribiner's Sons, 191^* ___________. Romances of Death, Old World Romances. Vol. I. New Yorks Charles Scribiner's Sons, 191^- • Pronko, Leonard C. Avant-Garde s The Experimental Theatre in France. Berkeley and Los Angeles: University of California Press, 1 9 6 6. Rogers, Robert. Psychoanalytic Study of the Double in Literature. Wayne State University Press, 1970. Sabin, Robert, ed. The International Cyclopedia of Music and Musicians, Ninth Edition. New Yorks Dodd, Mead, and Co., 196^• Schickel, Richard. The World of Goya (17^6-1828). New Yorks Time-Life Books, 19&8. Smeed, J. M. Faust in Literature. London: Oxford University Press, 1975* Smith, H. Augustine. Lyric Religion. New York: The Century Co., 1931. Spurgeon, Caroline F. E. Shakespeare's Imagery and What It Tells Us. New York: Macmillan, 1935* Stechow, Wolfgang. Bruegel. New York: Harry N. Adams, Inc., n . d. . Steele, Robert. Medieval Lore from Bartholomew Anglicus. New York: Cooper Square Publishers, lHcT7~~T956l Swain, Barbara. Fools and Folly During the Middle Ages and the Renaissance. New York: Columbia University Press, 1923. ________________________________________________________________________^09 The New English Bible. Oxford University Press; Cambridge University Press, 1970. Tietze-Conrat, E. Dwarfs and Jesters in Art. London: The Phaidon Press, 1957* Towsen, John H. Clowns. New York: Hawthorn Books, Inc., 1976. Tuve, Rosemond. Allegorical Imagery. Princeton University Press, 1 9 6 6. Upton, George P., and Borowski, Felix. The Standard Opera and Concert Guide. New York: Halcyon House, 193°. Vandromme, Pol. Michel de Ghelderode. Paris: Eds. Universitaires, 1963 * Wall, J. Charles. Devils. London: Methuen and Co., 1904. Wellwarth, George. The Theatre of Protest and Paradox. New York: New York University Press, 1967• Welsford, Enid. The Fool: His Social and Literary History. New York: Farrar and Rinehart, Inc., 1935* Witt, Robert W. Mirror Within a Mirror: Ben Jonson and the Play-Within. Salzburg, Austria: Institute for English Language and Literature, 1975 • II. ARTICLES A. Theatricality Candido, Joseph. "Theatricality and Satire in ’The Country Wife'." Essays in Literature, 4:27-36. Esslin, Martin. "Max Reinhardt: High Priest of Theatrica lity." The Drama Review, 21, ii (1977)s 3-24. Fraser, Howard M. "Theatricality in 'The Fanlights' and 'Payment as Pledged'." The American Hispanist, 3 xix: 6-8. Fried, Michael. "Absorption and Theatricality: Painting and the Beholder in the Age of Diderot." Festschrift, 1976: 753-777. Standish, Peter. "Theatricality and Humour; Galdos' Technique in 'Dona Perfecta'." Bulletin of Hispanic Studies,. 54: 223-231. 410 Yamaguchi, Masao. "Kingship, Theatricality, and Marginal Reality in Japan." Festschrift, 1977 • 151-179* B. Ghelderode Abel, Lionel. "Our Man in the Sixteenth Century: Michel de Ghelderode." Tulane Drama Review, Vol. 8, No. 1. (Fall, 1963), 62-71* Castro, Nadine B. "Red Magic on the Alchemy of the Flesh." Centerpoint: A Journal of Interdisciplinary Studies, Cohn, Ruby. "Dialogues of Cruelty." Southern Review, 3 (Spring, 1967), 322-3^0. Cole, Douglas. "Faust and Anti-Faust in Modem Drama." Drama Survey. 5 (1966). Donahue, Francis. "Michel de Ghelderode y su Praxis Dramatica." Horizontes: Revista de la Universidad Catolica de Puerto - Rico , 38 (1976) : 77-80. Draper, Samuel. "An Interview with Michel de Ghelderode." Tulane Drama Review, Vol; 8, No. 1. (Fall, 1963)> 39-50. __________ , and Alworth, Lois. "Bibliography on Michel de Ghelderode." Modem Drama, 8, No. 3 (1965)> 332-33^* __________. "Michel de Ghelderode." The Commonwealth, 72, No. 7 (May 11, 1962), 166-168. __________ . "Michel de Ghelderode: A Personal Statement." Tulane Drama Review, Vol. 8, No. 1. (Fall, 1963). 33-38. __________ . "Michel de Ghelderode: More Life than Death." Drama Critique, VIII (Winter, 1965)> 17-21. __________ . "Neglected Playwright: The Discovery of Ghelderode." The Commonwealth, 73> No. 5 (Oct. 28, I960) . __________. "Review of Hauger's Translation of Seven Plays by Ghelderode." Modem Drama, M No. 2 (1961), 217-218. ________. "The Infernal Theatre." The Commonwealth, 71» No. 4 (1959), 279-282. Ml Farish, Gillan. "Michel de Ghelderode: The Theatre of the Swerving Dream." University of Windsor Review, 13» ii: 5-2 3. Fraidstern, Iska. "Ghelderode's Red Magic." Modern Drama, 11, No. 4 (1969), 376-381. Ghelderode, Michel de. "A Strange Rider," (one act). Trans, by Lucie T. Homer and Dale G. Cleaver. Chicago Review, 9 (Winter, 1956), 96-IO8 . « Giorgi, Mario. "Ghelderode e la Masehera." Saggi e Ricerche di Letteratura Francese, 15 (197°): 477-51°. Hauger, Goerge. "Dispatches from the Prince of Ostrelande." Tulane Drama Review, Vol. 8, No. 1. (Fall, 1963)* 24-32.- __________' . "Notes on the Plays of Michel de Ghelderode." Tulane Drama Review, Vol. 4, No. 1. (Sept., 1959)* 19-30. Heilman, Helen. "Hallucination and Cruelty in Artaud and Ghelderode." French Review, 41, No. 1. (Oct., 1967)* 1-10. ___________. "The Fool-Hero of Michel de Ghelderode." Drama Survey, 4 (Winter, 1965), 264-271. Henning, Sylvie Debevec. "La Lutte Entre Camaval et Careme: 'Tripes D'Or de Fernand Crommelynck et 'Magie Rouge* de Michel de Ghelderode." Revue des Langues Yivantes, 43 (1977): 172-183* Herz, Micheline. "Tragedy, Poetry and Burlesque in Ghelderode's Theatre." Yale French Studies, 29 (Spring, Summer, 1962), 92-101. Knapp, Bettina L. "Michel de Ghelderode's 'Escurial': The Alchemist's Nigredo." Standford French Review, 2: 405-417. Levitt, Paul M. "Ghelderode and Puppet Theatre." French Review, LXVIII (May 1975), 973-980. Lilar, Suzanne. "The Sacred and the Profane in the Work of Belgian Dramatists." World Theatre, I (i9 6 0), 4-22. Micha, Rene. "French Writers of Belgium: What Gives Them Their Identity?" Atlantic Monthly, April, 195^* P*P* 164-167. ___________________________________________________________412 Richardson, Jack. "Ghelderode's Pantagleize." Theatre Arts Magazine, (Aug., 1962). Yihert, Trevor. "Michel de Ghelderode." New Theatre Magazine , Vol. 5* No. 3 (July-Sept. , 196^), $T. Weiss, Aurelieu. "The Theatrical World of Michel de Ghelderode." Tulane Drama Review, Vol. 8, No. 1. (Fall, 1963)* 51-61. Wellwarth, George E. "Ghelderode's Theatre of the Grotesque'. Tulane Drama Review, Vol. 8, No. 1. (Fall, 1 9 6 3)* 11-23. Worsley, T. C. "Mademoiselle Jaire: A Modem Miracle." The New Statesman, 5^> No. 1392 (Nov. 1 6, 1957)* 64-8. III. DISSERTATIONS A. Theatricality Benston, Alice Naomi. "Theatricality in Contemporary Drama." Unpublished Ph.D. dissertation, Emory University, 1 9 6 2. Butler, Sister Mary Marguerite. "Hrotsvithas The Theatricality of her Plays." Unpublished Ph.D. dissertation, University of Michigan, 1959 • Herr, Judith Lauren. "A Philosophy of Theatricality; A Phenomenological Description of the Aesthetic Structures in the Arts of Performance." Unpublished Ph.D. dissertation, Florida State University, 1971* Heymann, Jerry. "The Comedy of Theatricality; A Study of Moliere's Aesthetics." Unpublished Ph.D. dissertation, Carnegie-Mellon University, 1972. Juergens, Robert Oscar. "Theatricality in the Avant-Garde; An Objective Analysis of Selected Plays of Pinter, Beckett, and Ionesco." Unpublished Ph.D. dissertation, Yale University, 1 9 6 8. McGraw, William Ralph. "The Theatricality of James M. Barrie; An Analysis of his Plays to Determine the Source of their Effectiveness in the Theatre." Unpublished Ph.D. dissertation, University of Minnesota, 1958. Nilan, Mary Margaret. "The Stage History of 'The Tempest'; A Question of Theatricality." Unpublished Ph.D. dissertation, Northwestern University, 1967* _________________________________________________________________________ k n Passler, Susan Miller. "Theatricality, the Eighteenth Century, and. Fielding's 'Tom Jones'." Unpublished Ph.D. dissertation, University of North Carolina at Chapel Hill, 1971. Schlosberg, Jed. "Action and Theatricality." Unpublished Ph.D. dissertation, University of Texas at Austin, 197^. Schumacher, Dorin. "Imagery of Theatricality in the Theatre of Jean Giraudoux." Unpublished Ph.D. Dissertation, University of Pittsburgh, 1971• Stillman, Linda Klieger. "Modes of Theatricality in the Works of Alfred Jarry." Unpublished Ph.D. dissertation, Georgetown University, 1977* B. Ghelderode Althofer, Beth Adelsberg. "Aspects of the Archetypal Feminine in the Plays of Michel de Ghelderode." Unpublished Ph.D. dissertation, University of California at Berkeley, 197&. Anderson, Irmgard Mathilde Zeyss. "Some Aspects of Biblical Influence Upon the Absurdist Theatre of Beckett, Ghelderode, and Arrabal." Unpublished Ph.D. dissertation, University of Alabama, 1972. Castro, Nadine Berthe. "Contemporary Middle Ages: The Theatre of Michel de Ghelderode." Unpublished Ph.D. dissertation, City University of New York, 1976. Collins, Marie Margaret. "The 'Danse Macabre' in the One- Act Flemish Plays of Michel de Ghelderode." Unpublished Ph.D. dissertation, New York University, 1969. Fersch, Peter Paul. "A Study of the Grotesque in the Plays of Michel de Ghelderode." Unpublished Ph.D. disserta tion, Ohio University, 1 9 6 8. Fete, Margaret Rachel. "The Evolution of Characterization and Internal Structure in Ghelderode's Early Plays." Unpublished Ph.D. dissertation, Ohio State University, 1977. Grossvogel, David I. "Fernand Crommelynck and Michel de Ghelderode: Two Farce Authors and an Attempt to Situate an Aspect of the Contemporary Theatre." Unpublished Ph.D. dissertation, Columbia University, Heilman, Helen. "The Heroic Pool of Michel de Ghelderode." Unpublished Ph.D. dissertation, University of Pennsylvania, 1967• Hogarth, Claudine D. "La Poesie de theatre dans les dernieres oeuvres dramatiques de Michel de Ghelderode'.' Unpublished Ph.D. dissertation, Boston University, 1975. Jost, Marguerite. "La Vision du monde medieval dans le theatre de Michel de Ghelderode." Unpublished Ph.D. dissertation, University of Utah, 1973* Koenig, Ingelise. "Creation as Sacrilege: A Symbolic Study of Michel de Ghelderode*s Theatre." Unpublished Ph.D. dissertation, University of Wisconsin at Madison, 1 9 7 8. Op De Beeck, Ludo Auguste. "Non-Standard French Elements in the Language of Michel de Ghelderode." Unpublished Ph.D. dissertation, University of Pittsburgh, 1973* Rylander, Ann. "The Hero Archetype in the Theatre of Michel de Ghelderode." Unpublished Ph.D. dissertation, University of Oregon, 1975* Sicroff, Anita Edith. "Popular and Traditional Spectacles in the Works of Ghelderode: A Study of the Relations Between Setting, Technique, and Theme." Unpublished Ph.D. dissertation, Vanderbilt University, 1977* 415

Linked assets