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    Hysterical Clowns Ridiculous Martyrs TH PDF

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    ruimiguelsj

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    Sophie Basch Hysterical Clowns, Ridiculous Martyrs The Writer's View Like ape or clown, in monstrous gar we went round and round. ‘The modernity in which Baudelaire perceived the meeting ofthe {eternal ane the transitory remains obscure! The famous admonition “Ibis necessary to be absolutely modern” always misconstrued by those who quote it, heightens the paradox: Rimbaud gibes atthe cult of the modern as Baudelaire does atthe religion of progress. The iron lover of ‘maudlin pictures, the painted panels over doors, stage sets, the back-drops of mountebanks, old inn signs, popular prints"? ‘encounters the haughty melancholy of the "Vieux Saltimbanaue" from Le Spleen de Pans: ‘The impossiblity of assigning » historical sense to time came with the post-Revolutionary intrest in manifestations ofthe unusual. In Iterature asin painting and music, attention was focused on the ‘outcasts the fringe, the fools, propa centre stage by the aesthetic lof the grotesque, the new principle governing “the genius of mela choly and meditation, the demon af analysis and controversy"™ proper to modern times, Theoretiian of Romanticism and the only truly epie poet ofthe nineteenth century, Hugo did not neglect to create the monstrous Figures of Quasimodo and Gwynplaine, "The "Man Whe Laughs. the clown asfigured since childhood. Shakespeare upplants Racine, From Musset's Fantasio and Zemiinksy's Dwart to Verdi's Rigoletto, Leoncavallos Pagliaccio, and Schoenberg's Pierrat, rimacing, deformed, and fentastc sihouettes parade before the footights. ‘The Circus asthe New Templo . ‘The triumph of the bizerre populated the Romantic universe with, strange, macabre, and trivial creatures. Charles Nodier invented the “frenetic school” and Baudelaire the “satanic schoo” in the years ‘when the circus, harbouring freaks and wonders, took hold as the new temle, By 183, in Barnave, Jules Janin was asserting that the ‘ious, with Rs “eal blood” and “r tra, In 1859 the circus is where the Goncourt brothers found "the only talents in the world that are incontestable, absolute lke math: lematics, or rather lke 9 double somersault" The circus spectacle renewed a connection withthe sacred birth of tragedy and revived the medieval mystery play. Under the big top, modern man sought tears was superior tothe the- ‘anew the transcendence that had disappeared from secularized ‘aves and domes, Joris-Katl Huysmans saw the circus as “the mas- terpiece of the new architecture * where “ata prodigious height worthy of cathedral, castiton columns soar with matchless daring. 87 ‘The upward thrust of the slender stone pias so admired in certain ‘ld baslicas seems timia and cumbersome beside these lightweight poles rising toward the gigantic arcs of the turning ceiling, inked ogather by extraordinary weds of iron, stating from all sides, n= Ing, crassng, entangling their formidable beams.S Octave Mirbeau, compared the decoration of the Cirque at, with ts “champleve enamels st with gemstones, mosaic reiquaries,siver- and go work, thick lam fable” to ‘ll the lavish inery of a defunct abbey6 y an effect of contagion, the consecration aso influenced the his torcizing architecture ofthe department stores ling ther with labolical apparitions inspired by Willette and Chéret ‘Cest un bazar, avec des murs @gants Et des balcons et des zous-zols béants Et des tympans montés sur des cornices Et des drapeaux et des afiches 4 deux clowns noirsplument un ange? ‘New Priests, New Madmen New temples needed new celebrents. The clown, as the type was sot in Pars around 1860, was a hybrid ofthe French Pierrot, the English jester, and the commedto detfarte Ariecchino. It gained so ‘reat 8 following in the Anglo-Saxon world that Max Beerbohmm noted, “if ouF Enalish mimes want to improve themselves et them be born again of French parents By describing the "English Perot In hie 1858 essay "De Fessonce dire." with his wan complexion and red spots of phthisis, Baudelaire defined the French model of clown that had taken hold among his fellow citizens and with the rest ofthe world. Shortly after, granting this gure a metaphorical value, he imagined Poe as a juggler whose work reveals “hysteria ‘usurping the thrane ofthe wil, confit reigning nerves and mind, and man £0 out of tune with himself as to express orf with laugh- tor"? The clown's shadow lengthened to loom over literature. SRoule post neglect to take up the subject of clowns, the clowns he might have invented were conjured up in his behalf: "Charles Cros may ot have created any Perrot but fhe had, Mi Perrot would have ‘draun the greater part oft yteism and whimsy from the marvels of the macabre and the wonders of science." Jules Laforgue Mallarmé praised the “Dorst brothers, Imagined a clownish Hami ‘There have always been butfoons, but never did they acquire the autonomy ofthe clown who blescomed along with incustralization lice 8 burlesque double ofthe dandy, defying the world of the pro= ‘gressive unper mide class, When he had his picture taken in Foottt's cap, afew years before the attack of delirium tremens that made him execute the circus dramings that convinced Or. Semelaigne of his lucidity, Toulouse-Lautrec was this clown; Nijnski too, the mys tie acrobat Cocteau deseribad asa “ttle monkey with sparse hair, ‘wearing a skirted overcoat and # hat Balanced on the top of his, hood" the jester ofthe comic tradition found refuge amona the ‘deranged. In these modern temples that are the circus, the clown, possessed like a primitive actor, portrays a derisdry, sarcastic inter rmeciary. Like a tragecian of antiquity, the clown wears a grotesque, ‘mask that cings to his skin. He knows instinctively that persona designates a theatrical mask and that personage oviainaly to.an ecclesiastical sgnitary. Like an archaic priest, he relies on ‘make-up and ointments when he officates. The clown’s make-up, from the plaster white ofthe Hanlon-Lees to the motley of Albert Fratellin,jlts plausibility: the clown opts forthe absolutely ilu 017, ust a5 Villers de Lisle-Adam, in Eve future, proters the ‘automaton to the actress, Because the ilison i total and actual lzas absence more radicaly2® Likewise, with Olympia, Hoffmann created the most deceptive of dolls, and Colle, with his marionette Pinocchio Guham the storys fst ilustrators, Enrico Mazzanti and Carlo Chiost, dressed asa clown), the most ambiguous of the attificia children, whose strangeness is no less disturbing than the dolls igs. 2 and 3). From {rom the automaton, wth ts expected repertoire of crystallized entrées, he took his stereotyped gestures, mechanical attitudes, ‘and malice: he claimed the inet victory ofthe predictable. Like his ‘make-up, his acting is based on excess: exasperating, useless, super ‘ous, the clown exceeds in every sense ofthe term. For fear of ‘emptiness, tis senseless being becomes clutter incarnate, Heralding Beckett's characters win babble on indefatigably, he gestculates| in order not to thin, priest, the clown inherited ritual ‘The portrait of the artist asa clown appears tobe the strange reso- lution ofthe old confct between idolatry and Iconoclasm, How could the deoraded, ridiculed, offensive representation of the human fig ture supplant the holy image? The clownesque icon, a figurative blasphemy, could not be transformed into an idol at ence all too human and dehumanizea, it founders into disfigurement. The circus world of artifice admits neither faces nor genders: the bagay cos: tume that oracilly replaced the suit worn by clown acrobats offaces the singularity of the man. Alfted Jarry expoited this abstraction by inflating the potbelly of Pre Ubu, universal spineless character. \fclownery astigure, it also denatures. nd it csturbs tis str ing to see those writers who are the most devoted to the circus ~ but from a miiou more familar with legitimate theatre than with the popular stage - succumb to the temptation to make the clown ‘2 more respectable character. This zany ofthe sacred, who seems to jonore the paradox ofthe actor and ne longer distinguishes being and seeming, makes us profoundly uneasy. So then, we are ansious to ‘effect the spit. Many texts evoke the clown in mf, unrecognizable on the street, wall-knovin short story by Jules Clartio Cwritten soon after his novel en hysteria, Les Amours d'un interne) exploits this reassuring dichotomy. A dying child asks forthe llustrious Medrano tobe brought to his bedside. His father, 9 humble workman, hastens to the clowns residence, where he is received by an intimi= dating gentleman, The child does not recognize this Monsieur as his idol. The clown dashes off and returns in his make-up and loud, costume, The child laughs and miraculously recovers. When the father anxiously asks how much he owes, the clown requests “per ‘mission to put on his ealing card: Boum-Baum, acrobat doctor, gen- ‘eral practitioner title Frangois Alongside the hysterical clown, lauohter, the best medicine, stands vii inthe thaumaturgical clown. Portrat ofthe Clown as christ Iv the frenetic clown Is a product of not Romanticism, the Chistke clowns hertage derives from anather branch of the movement an revives the mage of the Romantic Christ. A grotesque Christology comes into lay when Jesus, the Word made flesh, takes on the Clowns absurd character and dons his tast-off sult, flanked by mor~ tifying accessories the instruments of the Passion held upto ridicule. ‘The infiltration ofthe sacred into the circus finalized the separation of Ideal Beauty and divine transcendence: the Almiahty Saviour labendons the creature, commiting him, in a parodke sacrifice, Ns irredeomable downfall, Dimly aware of the impossibility ofits redemption, the audience degenerates along with him and erucifies the idiot (the Innocent par excellence) with its stupid laughter. “Forgive them: Paillase seams to say, “for they know not what they do." Onstage meanwhile, word-juggler and comico-heroic mar- tyr Cyrano de Bergerac takes quodlibets on his nose the way others toke hicks on the behind, substituting a trade for the cartwhee!s his circus-ring brothers answer ther attackers with For this sacri al figure bounds over the ring ence to invade the world of leters [Attending an execution, Jules Valles describes the condemned ‘an ‘pale asf he ware already dead - the white face ofa clown." Bavbey d'Aurevily compares the journalist Rochefort’ face tothe frozen and fixed" chalk face of an English clown Léon Cladel doserbes the mystical hysteria gripping actors and audience at @ fairground shows And the lanky circus performer convulsed in the cart, wriggling about as he gasped: while his ravaged sul polshed lke old ivory, bobbed his variegated cap - the clowns ormnicolour cap = in every direction is fantastical bugle sent shail, triumphal fan ‘The trusty companion, distraught, ised arms and legs. and throwing hie waice, barked merriy, dancing ike an epileptic loughing lke a maniac ‘as equally dozzle, attracted, magnetized. fascinated, haunted. conquered by this rude charmer... They surrounded him, they felt his huge biceps. latened to his broad chest, rumpled the sik of his pursle- and gold-striped sharts, kissed hie, hugged hi, entered nim .°% The circle shrank Everyone Images of Christe clowns parade by ast and thick: inthe same first appeared, Lou's Mlle tells the curious tale ofthe Reverend Father Trimmel, who,

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