Gignol ( fr. Guignol ) is a glove- type fair theater doll (not a “ puppet ” in the Russian sense, but a “ parsley ”), which appeared in Lyon at the end of the 18th – beginning of the 19th century. The same term denotes the corresponding genre of theatrical art. Gignol was a symbol of Lyon traditions, which was reflected in the language of the performances, using local expressions.
In the wider sense, a gignol is a play, a performance, or separate stage techniques, which are based on the depiction of various crimes, crimes, beatings, torture, etc. [1]
Content
History
The creator of the doll is Laurent Murgé ( 1769 - 1844 ), who came from a family of workers in the Lyon silk manufactories.
To feed his ten children, for which he earned a simple weaver, he becomes a wandering merchant, and then - a beater. In order to cheer up customers who are afraid of going to the homegrown doctor, he begins to entertain the crowd with puppets. At first, Murgé uses the repertoire of the Italian commedia dell'arte , his favorite character is Polichinel . The performances are just improvisations, created from local news to the mood of the puppeteer, something like a satirical newspaper. In 1804, Murgé returned to Lyon and began giving performances in a cafe on Noir Street (now Jacques Stella) in the Presquil quarter, and is fully committed to the puppet theater. The plots of representations become more difficult - in 1805 an image of Nyafron was created, sharp on the tongue and shoemaker who loves to drink, and then, by 1808, Guinol [2] .
After the death of the founder of the theater in 1844, children of Laurent Murgé continue the family business, performing at first, like the father, at a cafe, and then at the specially created Guinol theater (1852–1873). The doll becomes known far beyond the city limits, but censorship bans are brought down on the character's sharp tongue, as in the case of Napoleon III in Paris , the activity of 13 or 14 Guinol theaters is prohibited. Since Murgé could neither write nor read, we know about the content of his performances only from the notes of the audience. Thus, one of the regulars of the performances, Jean-Baptiste Onofrio, published in 1865 a collection of 20 plays entitled “The Lyon Theater of Guinolles”. However, Onofrio "softened" the original rudeness of Guinolles, made him more "respectable", which attracted to the doll the attention of not only the proletarians, but also the refined Lyon bourgeois. In 1872–1875, Lyon’s theater was run by puppeteer Pierre Rousset, who created several new plays, drafts of which were bought out in 2006 by the government of Lyon and placed in the city doll museum located in the Gadan House in the Old Lyon quarter [2] .
In 1908, Pierre Nayhthauser, married to Eleonora Zhosseran - great-granddaughter of Laurent Murgé, decides to celebrate the centenary of the doll. Together with his brother Ernest, they create a theater on the embankment of Saint-Antoine, which brings real national (and after the Second World War - international) fame to Gignol. In 1911, the people of Lyon decided to erect a monument in honor of Laurent Murg, opened on May 12, 1912 [2] .
Main characters
- Guignol (Guignol), a silk manufactory;
- Nyafron (Gnafron), a friend of Guignol, a great lover of Beaujolais;
- Madlona (Madelon), wife of Guignol;
- Tuanona (Toinon), wife of Nyafron;
- Flageole (Flageolet), gendarme;
- Cassandra, Mistress;
- Monsieur le Bailly (le Bailli), judge.
Interesting Facts
- Gignol served as the prototype for creating the program Les Guignols de l'info on French television, the counterpart of which was the program "Dolls" in Russia.
See also
- Actor doll
- Parsley
- Petrushka (theater)
- Punch
- Gran Guignol
- Kasperl
Notes
- ↑ Great Soviet Encyclopedia . M .: Soviet Encyclopedia . 1969-1978.
- ↑ 1 2 3 Guignol (Fr.) . Singularités de Lyon . Patrimoine Lyon. The appeal date is October 14, 2015.
Literature
- Gignol // Hermaphrodite - Grigoriev. - M .: The Great Russian Encyclopedia, 2007. - P. 149–150. - (The Great Russian Encyclopedia : [in 35 t.] / Ch. Ed. Yu. S. Osipov ; 2004–2017, Vol. 7). - ISBN 978-5-85270-337-8 .