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The Grand Guignol (French pronunciation: [ɡʁɑ̃ ɡiɲɔl]) was a theatre (Le Théâtre du Grand-Guignol, literally The Theater of the Big Puppet) in the Pigalle area of Paris (at 20 bis, rue Chaptal), which, from its opening in 1897 until its closing in 1962, specialized in naturalistic horror shows. The name is often used as a general term for graphic, amoral horror entertainment.

Le Théâtre du Grand-Guignol was founded in 1894 by Oscar Méténier, who planned it as a space for naturalist performance. With 293 seats, the venue was the smallest in Paris.[1] A former chapel, the theater's previous life was evident in the boxes — which looked like confessionals — and in the angels over the orchestra.
The theater owed its name to Guignol, a traditional Lyonnaise puppet character, joining political commentary with the style of Punch and Judy.[2]
The theater's peak was between World War I and World War II when it was frequented by royalty and celebrities in evening dress.[3]
Important people
Oscar Méténier was the Grand Guignol's founder and original director. Under his direction, the theater produced plays about a class of people who were not considered appropriate subjects in other venues: prostitutes, criminals, street urchins and others at the lower end of Paris' social echelon.
Max Maurey served as director from 1898 to 1914. Maurey shifted the theater's emphasis to the horror plays it would become famous for and judged the success of a performance by the number of patrons who passed out from shock; the average was two faintings each evening. Maurey discovered André de Lorde, who was to be the most important playwright for the theatre.
André de Lorde was the theater's principal playwright from 1901 to 1926. He wrote at least 100 plays for the Grand Guignol and collaborated with experimental psychologist Alfred Binet to create plays about insanity, one of the theater's frequently recurring themes.
Camille Choisy served as director from 1914 to 1930. He contributed his expertise in special effects and scenery to the theater's distinctive style.
Paula Maxa was one of the Grand Guignol's best-known performers. From 1917 to the 1930s, she performed most frequently as a victim and was known as "the most assassinated woman in the world." During her career at the Grand Guignol, Maxa's characters were murdered more than 10,000 times in at least 60 different ways and raped at least 3,000 times.[3]
Jack Jouvin served as director from 1930 to 1937. He shifted the theater's subject matter, focusing performances not on gory horror but psychological drama. Under his leadership the theater's popularity waned; and after World War II, it was not well-attended.[2]
Charles Nonon was the theater's last director.[4]
Plays
At the Grand Guignol, patrons would see five or six plays, all in a style which attempted to be brutally true to the theatre's naturalistic ideals. The plays were in a variety of styles, but the most popular and best-known were the horror plays, featuring a distinctly bleak worldview as well as particularly gory special effects in their notoriously bloody climaxes. These plays often explored the altered states, like insanity, hypnosis, panic, under which uncontrolled horror could happen. Some of the horror came from the nature of the crimes shown, which often had very little reason behind them and in which the evildoers were rarely punished or defeated. To heighten the effect, the horror plays were often alternated with comedies.[5][6]
Le Laboratoire des Hallucinations, by André de Lorde: When a doctor finds his wife's lover in his operating room, he performs a graphic brain surgery rendering the adulterer a hallucinating semi-zombie. Now insane, the lover/patient hammers a chisel into the doctor's brain.[6]
Un Crime dans une Maison de Fous, by André de Lorde: Two hags in an insane asylum use scissors to blind a young, pretty fellow inmate out of jealousy.[6]
L'Horrible Passion, by André de Lorde: A nanny strangles the children in her care.[6]
Theatre closing
Audiences waned in the years following World War II, and the Grand Guignol closed its doors in 1962. Management attributed the closure in part to the fact that the theater's faux horrors had been eclipsed by the actual events of the Holocaust two decades earlier. "We could never equal Buchenwald," said its final director, Charles Nonon. "Before the war, everyone felt that what was happening onstage was impossible. Now we know that these things, and worse, are possible in reality."[4]
Legacy
Grand Guignol flourished briefly in London in the early 1920s under the direction of Jose Levy, and a series of short English "Grand Guignol" films (using original screenplays, not play adaptations) was made at the same time, directed by Fred Paul. Several of the films exist at the BFI National Archive.
In recent years English director writer, Richard Mazda, has re-introduced New York audiences to The Grand Guignol. His acting troupe, The Queens Players have produced 6 mainstage productions of Grand Guignol plays and Mazda is writing new plays in the classic Guignol style. The sixth production, Theatre of Fear, included De Lorde's famous adaptation of Poe's The System as well as two original plays, Double Crossed and The Good Death alongside The Tell Tale Heart.
The 1963 mondo film Ecco includes a scene which may have been filmed at the Grand Guignol theatre during its final years.[7]
American avant-garde composer John Zorn, released an album called Grand Guignol by Naked City in 1992, in a reference to "the darker side of our existence which has always been with us and always will be"[8].
Washington, D.C.-based Molotov Theatre Group, established in 2007, is dedicated to preserving and exploring the aesthetic of the Grand Guignol. They have entered two plays into the Capital Fringe Festival in Washington, D.C.. Their 2007 show, For Boston, won "Best Comedy," and their second show, The Sticking Place, won "Best Overall" in 2008.
The Japanese music group ALI Project created the song "Gesshoku Grand Guignol" as the opening for the Bee-Train anime "Avenger", while British rock band Duels also named an instrumental track after the theater.

A Teoria de Oparin é uma de várias teorias (por exemplo, a Teoria Cosmogónica) tentando responder à pergunta Se um ser é gerado de um ser precedente, como surgiu o primeiro ser?, depois da teoria de geração espontânea ter sido derrubada por Louis Pasteur em 1864. É a mais aceita pelos astrônomos. Diz que a vida na Terra surgiu há cerca de 3,5 bilhões de anos, surgindo o primeiro ser vivo a partir da combinação de elementos químicos presentes na Terra primitiva.

Por volta de 1930, um cientista russo chamado Aleksandr Oparin formulou uma nova hipótese para explicar a origem da vida. Isso culminou com seu livro A Origem da Vida.

Oparin possuía conhecimentos em astronomia, geologia, biologia e bioquímica e os empregou para a solução deste problema.

Por seus estudos de astronomia, Oparin sabia que na atmosfera do Sol, de Júpiter e de outros corpos celestes, existem gases como o metano, o hidrogênio e a amônia. Esses gases são ingredientes que oferecem carbono, hidrogênio e nitrogênio. Para completar estava faltando o oxigênio, então pensou na água.

Para Oparin explicar como poderia haver água no ambiente ardente da Terra primitiva, ele usou seus conhecimentos de geologia. Os 30 km de espessura média da crosta terrestre constituídos de rocha magmática deixam sem sombra de dúvidas a intensa atividade vulcânica que houve na Terra. É sabido que atualmente são expelidos cerca de 10% de vapor de água junto com o magma, e provavelmente também ocorria desta forma antigamente.

A persistência da atividade vulcânica por milhões de anos teria provocado a saturação de umidade da atmosfera. Nesse caso a água não mais se mantinha como vapor.

Oparin imaginou que a alta temperatura do planeta, a atuação dos raios ultra-violeta e a ocorrência de descargas elétricas na atmosfera (relâmpagos) pudessem ter provocado reações químicas entre os elementos anteriormente citados, essas reações daria origem a aminoácidos.

Começavam então a cair as primeiras chuvas sobre o solo, e estas arrastavam moléculas de aminoácidos que ficavam sobre o solo. Com a alta temperatura do ambiente, a água logo evaporava e retornava à atmosfera onde novamente era precipitada e novamente evaporava e assim por diante.

Oparin concluiu que aminoácidos que eram depositados pelas chuvas não retornavam à atmosfera com o vapor de água e assim permaneciam sobre as rochas quentes. Presumiu também que as moléculas de aminoácidos, sob o estímulo do calor, pudessem combinar-se por ligações peptídicas. Assim surgiriam moléculas maiores de substâncias albuminóides. Seriam então as primeiras proteínas a existir.

A insistência das chuvas por milhares ou milhões de anos acabou levando ao aparecimento dos primeiros mares da Terra. E para estes mares foram arrastadas, com as chuvas, as proteínas e aminoácidos que permaneciam sobre as rochas. Durante um tempo incalculável, as proteínas acumularam-se nos mares de águas mornas do planeta. As moléculas se combinavam e partiam-se e novamente voltavam a combinar-se em nova disposição. E dessa maneira, as proteínas multiplicavam-se quantitativa e qualitativamente.

Dissolvidas em água, as proteínas formaram colóides. A interpenetração dos colóides levou ao aparecimento dos coacervados.

É possível que nessa época já existissem proteínas complexas com capacidade catalisadora, como enzimas ou fermentos, que facilitam certas reações químicas, e isso acelerava bastante o processo de síntese de novas substâncias.

Quando já havia moléculas de nucleoproteínas, cuja atividade na manifestação de caracteres hereditários é bastante conhecida, os coacervados passaram a envolvê-las. Apareciam microscópicas gotas de coacervados envolvendo nucleoproteínas. Naquele momento faltava apenas que as moléculas de proteínas e de lipídios se organizassem na periferia de cada gotícula, formando uma membrana lipoprotéica.

Estavam formadas então as formas de vida mais rudimentares.