Teatro Grottesco (22 page)
But what was meant by ‘Teatro stuff’? This was a phrase I heard spoken by a number of persons, not all of them artists of a pretentious or self-dramatizing type. Certainly there is no shortage of anecdotes that have been passed around which purport to illuminate the nature and workings of this ‘cruel troupe,’ an epithet used by those who are too superstitious to invoke the Teatro Grottesco by name. But sorting out these accounts into a coherent
profile
, never mind their truth value, is another thing altogether.
profile
, never mind their truth value, is another thing altogether.
For instance, the purple woman I mentioned earlier held us all spellbound one evening with a story about her cousin’s roommate, a self-styled ‘visceral artist’ who worked the night shift as a stock clerk for a supermarket chain in the suburbs. On a December morning, about an hour before sun-up, the artist was released from work and began his walk home through a narrow alley that ran behind several blocks of various stores and businesses along the suburb’s main avenue. A light snow had fallen during the night, settling evenly upon the pavement of the alley and glowing in the light of a full moon which seemed to hover just at the alley’s end. The artist saw a figure in the distance, and something about this figure, this winter-morning vision, made him pause for a moment and stare. Although he had a trained eye for sizing and perspective, the artist found this silhouette of a person in the distance of the alley intensely problematic. He could not tell if it was short or tall, or even if it was moving – either toward him or away from him – or was standing still. Then, in a moment of hallucinated wonder, the figure stood before him in the middle of the alley.
The moonlight illuminated a little man who was entirely unclothed and who held out both of his hands as if he were grasping at a desired object just out of his reach. But the artist saw that something was wrong with these hands. While the little man’s body was pale, his hands were dark and were too large for the tiny arms on which they hung. At first the artist believed the little man to be wearing oversized mittens. His hands seemed to be covered by some kind of fuzz, just as the alley in which he stood was layered with the fuzziness of the snow that had fallen during the night. His hands looked soft and fuzzy like the snow, except that the snow was white and his hands were black.
In the moonlight the artist came to see that the mittens worn by this little man were more like the paws of an animal. It almost made sense to the artist to have thought that the little man’s hands were actually paws which had only appeared to be two black mittens. Then each of the paws separated into long thin fingers that wriggled wildly in the moonlight. But they could not have been the fingers of a hand, because there were too many of them. So what appeared to be fingers could not have been fingers, just as the hands were not in fact hands nor the paws really paws – no more than they were mittens. And all of this time the little man was becoming smaller and smaller in the moonlight of that alley, as if he were moving into the distance far away from the artist who was hypnotized by this vision. Finally a little voice spoke which the artist could barely hear, and it said to him: ‘I cannot keep them away from me anymore, I am becoming so small and weak.’ These words suddenly made this whole winter-morning scenario into something that was too much even for the self-styled ‘visceral artist.’
In the pocket of his coat the artist had a tool which he used for cutting open boxes at the supermarket. He had cut into flesh in the past, and, with the moonlight glaring upon the snow of that alley, the artist made a few strokes which turned that white world red. Under the circumstances what he had done seemed perfectly justified to the artist, even an act of mercy. The man was becoming so small.
Afterward the artist ran through the alley without stopping until he reached the rented house where he lived with his roommate. It was she who telephoned the police, saying there was a body lying in the snow at such and such a place and then hanging up without giving her name. For days, weeks, the artist and his roommate searched the local newspapers for some word of the extraordinary thing the police must have found in that alley. But nothing ever appeared.
‘You see how these incidents are hushed up,’ the purple woman whispered to us. ‘The police know what is going on. There are even
special police
for dealing with such matters. But nothing is made public, no one is questioned. And yet, after that morning in the alley, my cousin and her roommate came under surveillance and were followed everywhere by unmarked cars. Because these special policemen know that it is artists, or highly artistic persons, who are
approached
by the Teatro. And they know whom to watch after something has happened. It is said that these police may be party to the deeds of that “company of nightmares.”’
special police
for dealing with such matters. But nothing is made public, no one is questioned. And yet, after that morning in the alley, my cousin and her roommate came under surveillance and were followed everywhere by unmarked cars. Because these special policemen know that it is artists, or highly artistic persons, who are
approached
by the Teatro. And they know whom to watch after something has happened. It is said that these police may be party to the deeds of that “company of nightmares.”’
But none of us believed a word of this Teatro anecdote told by the purple woman, just as none of us believed the purple woman’s friend, the filmmaker, when he denied all innuendos that connected him to the Teatro. On the one hand, our imaginations had sided with this woman when she asserted that her friend, the creator of the short movie
Private Hell
, was somehow in league with the Teatro; on the other hand, we were mockingly dubious of the story about her cousin’s roommate, the self-styled visceral artist, and his encounter in the snow-covered alley.
Private Hell
, was somehow in league with the Teatro; on the other hand, we were mockingly dubious of the story about her cousin’s roommate, the self-styled visceral artist, and his encounter in the snow-covered alley.
This divided reaction was not as natural as it seemed. Never mind that the case of the filmmaker was more credible than that of the visceral artist, if only because the first story was lacking the extravagant details which burdened the second. Until then we had uncritically relished all we had heard about the Teatro, no matter how bizarre these accounts may have been and no matter how much they opposed a verifiable truth or even a coherent portrayal of this phenomenon. As artists we suspected that it was in our interest to have our heads filled with all kinds of Teatro craziness. Even I, a writer of nihilistic prose works, savored the inconsistency and the flamboyant absurdity of what was told to me across a table in a quiet library or a noisy club. In a word, I delighted in the
unreality
of the Teatro stories. The truth they carried, if any, was immaterial. And we never questioned any of them until the purple woman related the episode of the visceral artist and the small man in the alley.
unreality
of the Teatro stories. The truth they carried, if any, was immaterial. And we never questioned any of them until the purple woman related the episode of the visceral artist and the small man in the alley.
However, this new disbelief was not in the least inspired by our sense of reason or reality. It was in fact based solely on fear; it was driven by the will to negate what one fears. No one gives up on something until it turns on them, whether or not that thing is real or unreal. In some way all of this Teatro business had finally worn upon our nerves; the balance had been tipped between a madness that intoxicated us and one that began to menace our minds. As for the woman who always dressed herself in shades of purple . . . we avoided her. It would have been typical of the Teatro, someone said, to use a person like that for their purposes.
Perhaps our judgment of the purple woman was unfair. No doubt her theories concerning the ‘approach of the Teatro’ made us all uneasy. But was this reason enough to cast her out from that artistic underworld which was the only society available to her? Like many societies, of course, ours was founded on fearful superstition, and this is always reason enough for any kind of behavior. She had been permanently stigmatized by too closely associating herself with something unclean in its essence. Because even after her theories were discredited by a newly circulated Teatro tale, her status did not improve.
I am now referring to a story that was going around in which an artist was not
approached
by the Teatro but rather took the first step
toward
the Teatro, as if acting under the impulse of a sovereign will.
approached
by the Teatro but rather took the first step
toward
the Teatro, as if acting under the impulse of a sovereign will.
The artist in this case was a photographer of the I-am-a-camera type. He was a studiedly bloodless specimen who quite often, and for no apparent reason, would begin to stare at someone and to continue staring until that person reacted in some manner, usually by fleeing the scene but on occasion by assaulting the photographer, who invariably pressed charges. It was therefore not entirely surprising to learn that he tried to engage the services of the Teatro in the way he did, for it was his belief that this cruel troupe could be hired to, in the photographer’s words, ‘utterly destroy someone.’ And the person he wished to destroy was his landlord, a small balding man with a mustache who, after the photographer had moved out of his apartment, refused to remit his security deposit, perhaps with good reason but perhaps not.
In any case, the photographer, whose name incidentally was Spence, made inquiries about the Teatro over a period of some months. Following up every scrap of information, no matter how obscure or suspect, the tenacious Spence ultimately arrived in the shopping district of an old suburb where there was a two-story building that rented space to various persons and businesses, including a small video store, a dentist, and, as it was spelled out on the building’s directory, the Theatre Grottesco. At the back of the first floor, directly below a studio for dancing instruction, was a small suite of offices whose glass door displayed some stencilled lettering that read: tg ventures. Seated at a desk in the reception area behind the glass door was a young woman with long black hair and black-rimmed eyeglasses. She was thoroughly engrossed in writing something on a small blank card, several more of which were spread across her desk. The way Spence told it, he was undeterred by all appearances that seemed to suggest the Teatro, or Theatre, was not what he assumed it was. He entered the reception area of the office, stood before the desk of the young woman, and introduced himself by name and occupation, believing it important to communicate as soon as possible his identity as an artist, or at least imply as best he could that he was a highly artistic photographer, which undoubtedly he was. When the young woman adjusted her eyeglasses and asked, ‘How can I help you?’ the photographer Spence leaned toward her and whispered, ‘I would like to enlist the services of the Teatro, or Theatre if you like.’ When the receptionist asked what he was planning, the photographer answered, ‘To utterly destroy someone.’ The young woman was absolutely unflustered, according to Spence, by this declaration. She began calmly gathering the small blank cards that were spread across her desk and, while doing this, explained that TG Ventures was, in her words, an ‘entertainment service.’ After placing the small blank cards to one side, she removed from her desk a folded brochure outlining the nature of the business, which provided clowns, magicians, and novelty performances for a variety of occasions, their specialty being children’s parties.
As Spence studied the brochure, the receptionist placidly sat with her hands folded and gazed at him from within the black frames of her eyeglasses. The light in that suburban office suite was bright but not harsh; the pale walls were incredibly clean and the carpeting, in Spence’s description, was conspicuously new and displayed the exact shade of purple found in turnips. The photographer said that he felt as if he were standing in a mirage. ‘This is all a front,’ Spence finally said, throwing the brochure on the receptionist’s desk. But the young woman only picked up the brochure and placed it back in the same drawer from which it had come. ‘What’s behind that door?’ Spence demanded, pointing across the room. And just as he pointed at that door there was a sound on the other side of it, a brief rumbling as if something heavy had just fallen to the floor. ‘The dancing classes,’ said the receptionist, her right index finger pointing up at the floor above. ‘Perhaps,’ Spence allowed, but he claimed that this sound that he heard, which he described as having an ‘abysmal resonance,’ caused a sudden rise of panic within him. He tried not to move from where he was standing, but his body was overwhelmed by the impulse to leave that suite of offices. The photographer turned away from the receptionist and saw his reflection in the glass door. She was watching him from behind the lenses of black-framed eyeglasses, and the stencilled lettering on the glass door read backward, as if in a mirror. A few seconds later Spence was outside the building in the old suburb. All the way home, he asserted, his heart was pounding.
The following day Spence paid a visit to his landlord’s place of business, which was a tiny office in a seedy downtown building. Having given up on the Teatro, he would have to deal in his own way with this man who would not return his security deposit. Spence’s strategy was to plant himself in his landlord’s office and stare him into submission with a photographer’s unnerving gaze. After he arrived at his landlord’s rented office on the sixth floor of what was a thoroughly depressing downtown building, Spence seated himself in a chair looking across a filthy desk at a small balding man with a mustache. But the man merely looked back at the photographer. To make things worse, the landlord (whose name was Herman Zick) would lean toward Spence every so often and in a quiet voice say, ‘It’s all perfectly legal, you know.’ Then Spence would continue his staring, which he was frustrated to find ineffective against this man Zick, who of course was not an artist, nor even a highly artistic person, as were the usual victims of the photographer. Thus the battle kept up for almost an hour, the landlord saying, ‘It’s all perfectly legal,’ and Spence trying to hold a fixed gaze upon the man he wished to utterly destroy.
Ultimately Spence was the first to lose control. He jumped out of the chair in which he was sitting and began to shout incoherently at the landlord. Once Spence was on his feet, Zick swiftly maneuvered around the desk and physically evicted the photographer from the tiny office, locking him out in the hallway. Spence said that he was in the hallway for only a second or two when the doors opened to the elevator that was directly across from Zick’s sixth-floor office. Out of the elevator compartment stepped a middle-aged man in a dark suit and black-framed eyeglasses. He wore a full, well-groomed beard which, Spence observed, was slightly streaked with gray. In his left hand the gentleman was clutching a crumpled brown bag, holding it a few inches in front of him. He walked up to the door of the landlord’s office and with his right hand grasped the round black doorknob, jiggling it back and forth several times. There was a loud click that echoed down the hallway of that old downtown building. The gentleman turned his head and looked at Spence for the first time, smiling briefly before admitting himself to the office of Herman Zick.
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