Impressions D'Afrique and the theatre of the Mechanized Grotesque
"It is true that I am indepted to Raymond Roussel for having enabled me, from 1912, to think of something else instead of retinal painting."
-Marcel Ducamp
Supporting Information: The Rube Goldberg Machine
Some of the machines/attractions created in Raymond Roussel's novel (and the theatrical adaptation) have been likened to the Rube Goldberg Machine.
More indepth information on the Rube Goldberg Machine can be located on the official website.
n. a comically involved, complicated invention, laboriously contrived to perform a simple operation.Raymond Roussel's story culminates around a series of machines/attractions that could easily be defined by the same definition. They differ, however, in Roussel's use of the machines; they are much more grotesque in nature - one machine in particular being an instrument for death.
- Webster's New World Dictionary
More indepth information on the Rube Goldberg Machine can be located on the official website.
Supporting Information: Punch and Judy - Pulcinella, Commedia dell'Arte
Another note: Roussel is said to have been particularly fascinated with the Punch and Judy stage (the architect in the story builds a similar stage as a space for the attractions in the contest). The stage shown above is a particularly minimalist version; traditionally, the Punch and Judy stage is red and white striped.
Punch and Judy are standardized characters, easily recognizable to all audiences. Punch is a character that is derived from the commedia dell'arte character Pulcinella. The characters in commedia dell'arte were also standardized, allowing Italian audiences to understand their nuances, and to allow for the actors to legally parody the politics of the time.
Raymond Roussel: a brief overview
Raymond Roussel's life was unique. The following notes are taken from Theatre of the Mechanized Grotesque, sourced below.
Raymond Roussel was born into a wealthy French family: his sister became the princess of Moscow, and he was particularly proud with his familial ties to royalty. After fighting in WWI, he took a keen interest in travel; he built what could be defined as the first mobile home - a lavish cart with comfortable living quarters.
His companion, a Mme Dufrene (who had been hired by Roussel's family as a cover for his homosexuality), traveled with him.
Roussel's confidence in his own work was shattered when there was little positive response to his first major oeuvre, "La Doublure." He sank into a deep depression, and began to see Dr. Janet, a neurologist. The doctor later went on to write a book, detailing Roussel's case: he refers to the patient as Martial Canterel, the main character from Roussel's book, Locus Solus.
The doctor diagnoses Roussel with a series of phobias, including fears of dirt, pain, cheapening (i.e. the display of breasts in music halls), disparagement, and rule-omania.
Roussel is known for his intense description of details. He became interested in theatre as a means to reach a greater audience. He spent a great deal of his personal wealth to stage his plays.
Raymond Roussel was born into a wealthy French family: his sister became the princess of Moscow, and he was particularly proud with his familial ties to royalty. After fighting in WWI, he took a keen interest in travel; he built what could be defined as the first mobile home - a lavish cart with comfortable living quarters.
His companion, a Mme Dufrene (who had been hired by Roussel's family as a cover for his homosexuality), traveled with him.
Roussel's confidence in his own work was shattered when there was little positive response to his first major oeuvre, "La Doublure." He sank into a deep depression, and began to see Dr. Janet, a neurologist. The doctor later went on to write a book, detailing Roussel's case: he refers to the patient as Martial Canterel, the main character from Roussel's book, Locus Solus.
The doctor diagnoses Roussel with a series of phobias, including fears of dirt, pain, cheapening (i.e. the display of breasts in music halls), disparagement, and rule-omania.
Roussel is known for his intense description of details. He became interested in theatre as a means to reach a greater audience. He spent a great deal of his personal wealth to stage his plays.
The Play vs. The Novel
There are several differences between the original novel, and the theatrical adaptation:
Circus-like posters were created to advertise the play, showing some of the attractions in the play. These posters shifted the attention from the original story line, and changed the public's perception of the play. The attractions became the focus of the production; spectators often came to the play just to see the advertised machines present in the third and fourth acts.
- the order of events in the play are reversed: in the novel, executions are carried out at the beginning of the story.
- some plot/characters/machines that were richly described in the novel are completely absent from the theatrical text.
- completely new characters are added to the play, and they are important players in the production.
Circus-like posters were created to advertise the play, showing some of the attractions in the play. These posters shifted the attention from the original story line, and changed the public's perception of the play. The attractions became the focus of the production; spectators often came to the play just to see the advertised machines present in the third and fourth acts.
Characters + Plot Overview (Based on the Theatrical Version)
A brief summary of Impressions of Africa is not easy; a quick overview of the events in the story are outlined here, and detailed descriptions of the attractions will follow. It is equally important to describe the characters in the play, as they are completely integral to the absurdism of the piece. Note that the descriptions of the characters, while taken from the text of Theatre of Mechanized Grotesque, are likely to be true to Roussel's original descriptions.
Characters:
Baia (an African fool)
Talou VII (Emperor of the African tribe)
Sirdah (The blind daughter of Talou)
Rul (Empress of the tribe)
Yaour (witchdoctor - head of the opposing tribe)
Djizme (young woman)
Nair (Djizme's lover)
Mossem (a minister, Djizme's husband, Rul's lover)
Juillard (a historian, and the leader of the Europeans)
Carmichael (a male soprano who performs carabet songs in drag)
Dodor (a European fool)
Soureau (Actor)
Jenn (Circus Ringmaster)
Bedu (an Inventor)
Chenevillot (Architect)
Bex (Chemist, Inventor of strange machines)
Adinolfa (Actress)
Skarioffeszky (Musician with a "special" zither)
Olga Chernonenkova (Fat Latvian ballet dancer with a mustache who previously rode an elk)
Prologue:
On a stormy night, a ship of Europeans is marooned on an African island. The ship carries with it a strange mix of individuals, including performers, musicians, inventors, scientists, and freaks.
Act 1 ("A Site in Equatorial Africa")
The Europeans survey their surroundings. Talou takes the Europeans hostage, and then tells the story of civil unrest on the island. His daughter, Sirdah, is introduced.
Juillard suggests that the Europeans hold a contest to keep themselves occupied on the otherwise uneventful island. They name themselves the "Incomparibles Club." Each contestant is to create an event/machine/attraction, that will be judged by the others. The winner will receive a medal that Juillard designs.
Act 2 Scene 1
The story of Djizme and Nair: because of their affair, Djizme is condemned to an adultress' death.
Act 2 Scene 2
The story of Rul: jealous of her daughter, Rul and her lover Mossem attempts to make her blind (this is unclear - wasn't she blind to begin with?)
Talou catches Rul - she is condemned to death. He then takes his daughter to Yaour, the witchdoctor, to cure her blindness. He refuses, unless Talou allows him to marry his daughter. Talou refuses, and leaves.
Chenevilliot, the architect, builds a Punch and Judy stage to stage the activities of the "Incomparibles Club."
Act 2 Scenes 3-5
Juillard greets Sirdah, but she wishes to be alone. Yaour sends a convoy to invade and kill Talou - the plot is abandoned. The Europeans, sensing conflict and approaching fight, choose to group together as a team.
Act 2 Scene 6
Sirdah tells Juillard that she has forseen a day of public executions, and wishes to remain blind rather than witness these events.
Talou enters the scene in drag. Yaour enters the scene, and demands his own set of woman's clothing. He is given the costume for the character "Marguerite" in Faust. They argue dressed as women, and then derobe, and battle. Talou defeats Yaour.
Act 3 ("The Behuliphruem, a special area in the Jungle")
The acts of the "Incomparables Club" are held. Medals of Delta and Beta will be awarded. 8 of the 12 attractions from the circus poster occur during this act.
The Giant Beta is awarded to the boy with the cats.
Act 4 ("Backdrop shows the square of the trophies")
4 of the 12 attractions occur here:
#1 of Act 4: Norbert + Louise Montalescot's attraction
Seil-Kor's hypnotism occurs: Mad due to the loss of his love, the European doctor hypnotizes him with vine-arbor garnished with a certain hypno-genetic plant. He shows him (in his mind?) images (in the theatrical production, projection/slides) of his love, and he is at peace.
Carmichael sings an epic hymnn written by Talou called "Jeroukka"
Public torture + punishments commence.
Attractions #2, 3, 4 of Act 4 are carried out.
Sirdah dances, Talou gives the Europeans their freedom.
CURTAIN.
Characters:
Baia (an African fool)
Talou VII (Emperor of the African tribe)
Sirdah (The blind daughter of Talou)
Rul (Empress of the tribe)
Yaour (witchdoctor - head of the opposing tribe)
Djizme (young woman)
Nair (Djizme's lover)
Mossem (a minister, Djizme's husband, Rul's lover)
Juillard (a historian, and the leader of the Europeans)
Carmichael (a male soprano who performs carabet songs in drag)
Dodor (a European fool)
Soureau (Actor)
Jenn (Circus Ringmaster)
Bedu (an Inventor)
Chenevillot (Architect)
Bex (Chemist, Inventor of strange machines)
Adinolfa (Actress)
Skarioffeszky (Musician with a "special" zither)
Olga Chernonenkova (Fat Latvian ballet dancer with a mustache who previously rode an elk)
Prologue:
On a stormy night, a ship of Europeans is marooned on an African island. The ship carries with it a strange mix of individuals, including performers, musicians, inventors, scientists, and freaks.
Act 1 ("A Site in Equatorial Africa")
The Europeans survey their surroundings. Talou takes the Europeans hostage, and then tells the story of civil unrest on the island. His daughter, Sirdah, is introduced.
Juillard suggests that the Europeans hold a contest to keep themselves occupied on the otherwise uneventful island. They name themselves the "Incomparibles Club." Each contestant is to create an event/machine/attraction, that will be judged by the others. The winner will receive a medal that Juillard designs.
Act 2 Scene 1
The story of Djizme and Nair: because of their affair, Djizme is condemned to an adultress' death.
Act 2 Scene 2
The story of Rul: jealous of her daughter, Rul and her lover Mossem attempts to make her blind (this is unclear - wasn't she blind to begin with?)
Talou catches Rul - she is condemned to death. He then takes his daughter to Yaour, the witchdoctor, to cure her blindness. He refuses, unless Talou allows him to marry his daughter. Talou refuses, and leaves.
Chenevilliot, the architect, builds a Punch and Judy stage to stage the activities of the "Incomparibles Club."
Act 2 Scenes 3-5
Juillard greets Sirdah, but she wishes to be alone. Yaour sends a convoy to invade and kill Talou - the plot is abandoned. The Europeans, sensing conflict and approaching fight, choose to group together as a team.
Act 2 Scene 6
Sirdah tells Juillard that she has forseen a day of public executions, and wishes to remain blind rather than witness these events.
Talou enters the scene in drag. Yaour enters the scene, and demands his own set of woman's clothing. He is given the costume for the character "Marguerite" in Faust. They argue dressed as women, and then derobe, and battle. Talou defeats Yaour.
Act 3 ("The Behuliphruem, a special area in the Jungle")
The acts of the "Incomparables Club" are held. Medals of Delta and Beta will be awarded. 8 of the 12 attractions from the circus poster occur during this act.
The Giant Beta is awarded to the boy with the cats.
Act 4 ("Backdrop shows the square of the trophies")
4 of the 12 attractions occur here:
#1 of Act 4: Norbert + Louise Montalescot's attraction
Seil-Kor's hypnotism occurs: Mad due to the loss of his love, the European doctor hypnotizes him with vine-arbor garnished with a certain hypno-genetic plant. He shows him (in his mind?) images (in the theatrical production, projection/slides) of his love, and he is at peace.
Carmichael sings an epic hymnn written by Talou called "Jeroukka"
Public torture + punishments commence.
Attractions #2, 3, 4 of Act 4 are carried out.
Sirdah dances, Talou gives the Europeans their freedom.
CURTAIN.
The Attractions
(note: attractions 1-8 occur in Act 3, and attractions 9-12 occur in Act 4)
- The Earthworm Zither Player: a giant earthworm crawls across the top of the inside of a glass case, releasing drops of heavy, mercury-like water that strike the cords of the instrument. Conducted by Skarioffszky, who built the machine and trained the worm to play. Costume: red, tight-fitting Tzigane Outfit
- The Dwarf Filipino whose normally developed head equals in height the rest of his body: the head of the Filipino is on a platter, the body below. This is handed to the audience by Jenn, the ringmaster. The body is presumably hidden by a second disk.
- The one-legged lelgoualch playing the flute made of his own tibia: Lelgovalch's leg was previously broken and amputated. He plays a flute made of his tibia. Costume: traditional folk
- The wall of dominos evoking priests: Whirligig (a clown) uses dominos, coins, cards to construct three images portraying "a group of revered gentlemen leaving the tower of an old cloister to visit the parish priest in his rectory." This was made by piecing together dominos, and creates an unsupported wall.
- The thermo-mechanic orchestra made of bexium: Bex's invention is a "new metal, chemically endowed...with prodigious thermal sensitivity. It is a new music machine that works through the application of heat and cold.
- The wind clock of Never-Never land: A clock face is cut in thirds, and is run by constant and predictable daily wind currents: "At each horizontal end of the dial are the words 'noon,' in the centre bottom rim 'midnight.' Accordingly, the breeze would blow the solitary hand across the dial, indicateing the time, the east wind changing the west each noon and midnight."
- Cats playing the game of "Prisoners:" Cats are trained by Marius Bucharessas (10 years old). His collection of cats are maked with green or red ribbons on their necks, and they play a game of Prisoner's base in the boundaries established by the boy's foot. Costume: Standard Vaudeville. (note: prisoner's base is a game where two teams capture opposing players by tagging them, and taking them to their own base.)
- Echoing chests of the Alcott brothers: Stephen, the father, yells his own name in 4 syllables: Ste/phen/Al/Cott. This is repeated 6 times at 6 points along a zigzag without any of the participants moving their lips. The voice echoes through the zigzag. This was reportedly made possible due to extreme emaciation, carefully maintained by a rigorous diet: bone-hard surfaces reverberate sound.
- The statue of whale bones from a corset, on rails made from a calf's lung: Norbert and Louise Montalescot are siblings that were previously captured by Talou - to gain their freedom, they must build a body that can run on a rail made by a calf's lung, without breaking it. They construct the body of whale bones from found corsets, as they are light enough to glide over the tracks. The dummy is actuated by Louise's pet crow. Costume: Louise is dressed in military outfit - an officer's pelisse with gold shoulder knots. Hollow surgical needles penetrate her right lung and give rise to a peculiar kind of automatic music upon each effort she makes to breathe.
- Djizme Voluntarily Electrocuted by Lightning: Invented by Bex, the "humane scientist," the machine is an electric bed-table, or a bed lightning-conductor. He was "counting on the rarety of storms in [the region], thereby preventing an execution, Bex places a lighting rod at the head of a copper cradle." As Djizme stretches out, she places her head in the iron cap and feet in metal shoes. Unfortunately, as she does this, a storm approaches.
- Punishment of Pins: Rul is tortured to death for her affair, and her attack on Sirdah. Golden hairpins from her hair are pressed through the eyelets of a red knotted and frayed corset that she wears.
- The Body of the Black King Yaour IX at the foot of a decaying tree, costumed classically as Marguerite in Faust: This is a great celebration of Talou's victory: "supreme humiliation causes Talou's women to frantically undulate." They perform a victory dance while belching (they just ate).
Paris, and The Public Reaction
Roussel's play was heavily criticized; critiques claimed that the play was mainly a bag of tricks, with no substance. Spectators came to see a play that was put on by an alleged "madman," and did not see the play as a worthwhile for other reasons. For this reason, it fared well in Paris, but terribly abroad - one show had only one spectator in the audience.
Letters of protest were common, and audience members pelted the actors with coins. Mini riots were common. Strangely, this was not uncommon to Parisian theatrical culture - Salvidor Dali's film, Chien Andalou, was another instance where people were incapable of dealing with the subject matter.
Roussel did have a group of followers among the surrealists and dadaists.
Letters of protest were common, and audience members pelted the actors with coins. Mini riots were common. Strangely, this was not uncommon to Parisian theatrical culture - Salvidor Dali's film, Chien Andalou, was another instance where people were incapable of dealing with the subject matter.
Roussel did have a group of followers among the surrealists and dadaists.
Crit Notes - taking this further
Michel Fuqueau (Sp?) Death and the Labyrinth
Ballet Mechanique: according the Patrick, this was a staged event - this is also a short experimental film (return to old class notes, and check this out)
Surrealism and the crises of symbolism and meaning - symbolism had become so embedded into architectural and art history, that the surrealists sought something more meaningful - symbolism that was absurd, but that could be found through nonsensical activities.
(explore this more)
this influenced the rise of Carl Jung (collective unconsciousness) and Sigmund Freud (the egos)
Antoine Arteau - read "le theatre et son double" - theatre of cruelty
Alfred Hitchcock's Spellbound: dream sequence set design by Salvidor Dali
Other Names:
Dali
LeGrite
DuChamp
Sources:
Roussel, Raymond. Impressions D'Afrique. France: Jean-Jacques Pauvert Editeur. 1963.
Cherniack-Tzuriel, Abba. "Theatre of the Mechanized Grotesque: Roussel's Impressions of Africa" The Drama Review Vol 20, no.2 (June 1976): 108-123.
Amiot, A.-M. Un Mythe Moderne: Impressions D'Afrique de Raymond Roussel: etudes de critique et d'histoire litteraire. France: Archives des Lettres Modernes. 1977.
www.theatrehistory.com
Ballet Mechanique: according the Patrick, this was a staged event - this is also a short experimental film (return to old class notes, and check this out)
Surrealism and the crises of symbolism and meaning - symbolism had become so embedded into architectural and art history, that the surrealists sought something more meaningful - symbolism that was absurd, but that could be found through nonsensical activities.
(explore this more)
this influenced the rise of Carl Jung (collective unconsciousness) and Sigmund Freud (the egos)
Antoine Arteau - read "le theatre et son double" - theatre of cruelty
Alfred Hitchcock's Spellbound: dream sequence set design by Salvidor Dali
Other Names:
Dali
LeGrite
DuChamp
Sources:
Roussel, Raymond. Impressions D'Afrique. France: Jean-Jacques Pauvert Editeur. 1963.
Cherniack-Tzuriel, Abba. "Theatre of the Mechanized Grotesque: Roussel's Impressions of Africa" The Drama Review Vol 20, no.2 (June 1976): 108-123.
Amiot, A.-M. Un Mythe Moderne: Impressions D'Afrique de Raymond Roussel: etudes de critique et d'histoire litteraire. France: Archives des Lettres Modernes. 1977.
www.theatrehistory.com
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