The Theatre of the Ridiculous is a theatrical genre that began as an American movement in New York in 1965 with the beginnings of "The Play-House of the Ridiculous" and the spin-off group formed in 1967 "The Ridiculous Theatrical Company".

"The Theatre of the Ridiculous" made a break with the dominant trends in theatre of naturalistic acting and realistic settings. It employed a very broad acting style, often with surrealistic stage settings and props, frequently making a conscious effort at being shocking or disturbing. "Ridiculous" theatre brought some elements of queer/camp

Camp (style)

Camp is an aesthetic sensibility that regards something as appealing because of its taste and ironic value. The concept is closely related to kitsch, and things with camp appeal may also be described as being "cheesy"...

 performance to avant-garde theater. Cross-gender casting was common, with players often recruited from non-professional sources, such as drag queens or other "street stars". The scenarios used in "Ridiculous" plays were often parodies or re-workings of pop-culture fiction, used as vehicles for social commentary or humor. Improvisation played a large role in the often chaotic Ridiculous productions, where the script was treated as just a starting point.

The phrase "The Theatre of the Ridiculous" was created by the author Ronald Tavel

Ronald Tavel

Ronald Tavel was an American screenwriter, director and actor, best known for his work with Andy Warhol and The Factory.-Early life and career:...

 to describe some of his works, which were later recognized as the beginning of the genre. In a reference to Artaud's concept of a Theatre of the Absurd

Theatre of the Absurd

The Theatre of the Absurd is a designation for particular plays of absurdist fiction, written by a number of primarily European playwrights in the late 1940s, 1950s, and 1960s, as well as to the style of theatre which has evolved from their work...

, in 1965 Tavel promoted the first "Ridiculous" performances with the one-line manifesto: "We have passed beyond the absurd: our position is absolutely preposterous."

Some more prominent productions from this movement are:

The Life of Lady Godiva,
Conquest of the Universe,
When Queens Collide,
Camille and
Irma Vep

Irma Vep

Irma Vep is a 1996 film directed by the French director Olivier Assayas, starring Hong Kong actress Maggie Cheung in a story about the disasters that ensue as a middle-aged French film director attempts to remake Louis Feuillade's classic silent film serial Les vampires...

Since then, this genre has broken out into more mainstream theatrical productions, such as Bat Boy

Bat Boy: The Musical

Bat Boy: The Musical is a musical with a book by Keythe Farley and Brian Flemming and music and lyrics by Laurence O'Keefe, based on a June 23, 1992 Weekly World News story about a half-boy, half-bat, dubbed "Bat Boy", found living in a cave....

, Urinetown

Urinetown

Urinetown: The Musical is a satirical comedy musical, with music by Mark Hollmann, lyrics by Hollmann and Greg Kotis, and book by Kotis. It satirizes the legal system, capitalism, social irresponsibility, populism, bureaucracy, corporate mismanagement, and municipal politics...

, and Reefer Madness

Reefer Madness

Reefer Madness is a well-known 1936 American propaganda exploitation film revolving around the melodramatic events that ensue when high school students are lured by pushers to try "marijuana" — from a hit and run accident, to manslaughter, suicide, attempted rape, and descent into madness...

.

The Theatre of the Ridiculous became a strong influence on 70s culture. Elements of it can been seen in glam rock

Glam rock

Glam rock is a style of rock and pop music that developed in the UK in the early 1970s, which was performed by singers and musicians who wore outrageous clothes, makeup and hairstyles, particularly platform-soled boots and glitter...

, disco

Disco

Disco is a genre of dance music. Disco acts charted high during the mid-1970s, and the genre's popularity peaked during the late 1970s. It had its roots in clubs that catered to African American, gay, psychedelic, and other communities in New York City and Philadelphia during the late 1960s and...

, and most directly in the Rocky Horror

The Rocky Horror Picture Show

The Rocky Horror Picture Show is the 1975 film adaptation of the British rock musical stageplay, The Rocky Horror Show, written by Richard O'Brien. The film is a parody of B-movie, science fiction and horror films of the late 1940s through early 1970s. Director Jim Sharman collaborated on the...

 sub-culture.

Play-House of the Ridiculous and the Ridiculous Theatrical Company

The Play-House of the Ridiculous was an underground theater group founded in New York in the mid-1960s, with John Vaccaro as director, originally producing some works written by Ronald Tavel. They began with Shower

Shower

A shower is an area in which one bathes underneath a spray of water.- History :...

 and The Life of Juanita Castro, which were originally film scenarios intended for Warhol's Factory

The Factory

The Factory was Andy Warhol's original New York City studio from 1962 to 1968, although his later studios were known as The Factory as well. The Factory was located on the fifth floor at 231 East 47th Street, in Midtown Manhattan. The rent was "only about one hundred dollars a year"...

. When these were rejected by The Factory, Tavel resolved to have them performed as plays, putting them together on a double-bill, under the heading of "Theater of the Ridiculous".

The next production directed by Vaccaro (and the first official production of the Play-House) was in 1967: The Life of Lady Godiva also written by Ronald Tavel. Charles Ludlam

Charles Ludlam

Charles Braun Ludlam was an American actor, director, and playwright.-Early life:Ludlam was born in Floral Park, New York, the son of Marjorie and Joseph William Ludlam. He was raised in Greenlawn, New York, on Long Island, and attended Harborfields High School. The fact that he was gay was not a...

 – who became a major figure in the "Ridiculous" movement—acted in the play as a last minute replacement.

Vaccaro then produced a play with Ludlam that Ludlam had written earlier: Big Hotel, opening in an East Village loft in February 1967. David Kaufman, discussing the Big Hotel, has said: "Various features of Ludlam's 28 subsequent works figure prominently in his first play. His predilection for collage - folding in cultural references, both popular and obscure - is especially pronounced. Characters include Mata Hari, Trilby, Svengali and Santa Claus, and Ludlam acknowledged no fewer than 40 sources for Big Hotel - everything from ads and Hollywood films to literary classics, textbooks and essays."

Ludlam wrote a second play for the Play-House, Conquest of the Universe, but during production he had a falling-out with Vaccaro. Ludlam left to form his own company The Ridiculous Theatrical Group, taking many of the other actors with him Vaccaro held the rights to Conquest of the Universe, and was able to perform it first, legally delaying the production of Ludlam's competing version (When Queens Collide) for several months.

Vaccaro's Conquest of the Universe was performed at the Bouwerie Lane Theater with many members of Andy Warhol's Factory: Mary Woronov

Mary Woronov

Mary Woronov is an American actress and writer. She is primarily known for her roles in independent and cult films. Woronov has appeared in over 80 movies, as well as numerous appearances in mainstream television series, such as Charlie's Angels and Knight Rider.-Early life:Woronov was born in the...

, Taylor Mead

Taylor Mead

Taylor Mead is an American writer, actor, and performer. Mead appeared in several of Andy Warhol's underground films including Tarzan and Jane Regained.....

, Ondine and Ultra Violet.

Homosexual Themes

In some respects, the productions of the "Play-House" and the "Ridiculous Theatre" had very similar approaches to homosexual themes, in that both employed cross-gender casting, often recruiting drag-queens as actors.

But one view of the Vaccaro's "Play-House" is that they were reluctant to address queer themes directly. The "Ridiculous" productions under Ludlam were more daring in this respect, according to Charles Ludlam: "I felt John [Vaccaro] was too conservative. He didn't want homosexuality or nudity onstage because he was afraid of being arrested. I wanted to commit an outrage. For me, nothing was too far out."

A contrary assessment is that Ludlam's version of The Ridiculous was too close to conventional comedy, and that Vacarro's work was more challenging, with more emphasis on social commentary. Leee Black Childers was quoted to this effect in Please Kill Me:

In my opinion, John Vaccaro was more important than Charles Ludlam, because Ludlam followed theatrical traditions and used a lot of drag. People felt very comfortable with Charles Ludlam. Everyone's attitude going to see Charles's plays was that they were going to see a really funny, irreverent, slapstick drag show. They never felt embarrassed.

But John Vaccaro was way past that. Way, way past that. John Vaccaro was dangerous. John Vaccaro could be very embarrassing on many levels. He used thalidomide babies and Siamese triplets joined together at the asshole. One actor had this huge papier-mache prop of a big cock coming out of his shorts, down to his knees. He also couldn't control his bowel movements, so shit was dripping down his legs the whole time and everyone loved it. People loved this kind of visually confrontational theater."

Vaccaro and Ludlam did have different attitudes toward homosexuality and the theater. Ludlam talked about how the theatre had always been a refuge for queers, and makes it clear that homosexual themes are important in his work. For Vaccaro, homosexuality was just another element among others that he would use -- he distinguished between "theater people" and homosexual people using the theater for camp/drag performances.

However, Ludlam did have objections to being identified solely as a queer, female impersonator who produced works that were merely "camp". Morris Meyer comments on Ludlam's ambivalence, discussing an interview he conducted with Charles Ludlam: "during a subsequent run of Camille in 1974, he argued emphatically two seemingly contradictory positions for his production. He maintained that his rendering of Camille is not an expression of homosexuality and, at the same time, that it represents a form of coming out."

Still, there's no question that cross-gender performance was central to Ludlam's work. Charles Ludlam discussed his role as the Emerald Empress in Bill Vehr's Whores of Babylon:

Bill wrote this line in Whores of Babylon in which his character said to mine, "How well I understand that struggle in you between the warrior artist and the woman" – this was a wonderful self-revelation – and my line, he wrote, was "The woman? Don't you know there are a thousand women in me and I'm tormented by each one in turn?"

Influences On Theater

The Theatre of the Ridiculous was the beginning of a new style in theatrical production, a deviation from the then dominant "naturalistic" style. Scott Miller cites the "Play-House" as a key source of "a performance style that only recently is becoming mainstream, a style described by Bat Boy's original director and co-author Keythe Farley as 'the height of expression, the depth of sincerity,' a kind of outrageous but utterly truthful acting."

Influence on 70s Culture

The Theatre of the Ridiculous was a main point of contact between the underground campy, queer sub-culture and the style that dominated much of the 70s (glam rock, disco, the Rocky Horror cult).

Concerning 70s fashion, Leee Childers has said (quoted in Please Kill Me):

... John Vaccaro used tons of glitter, that was his trademark. Everyone wore glitter. The whole cast was always covered in glitter.

People had been wearing glitter for a long time and the drag queens were wearing it on the street, but I think "glitter' really took off when John Vaccaro went shopping for costume material and he came across this little place in Chinatown that was having a big clearance sale on their glitter. He bought it all – giant shopping-bag-size bags of glitter in all colors.

John brought it back to the theater and encouraged everyone to use as much of it as they possibly could, anywhere they could possibly put it. Of course their faces were covered with glitter, their hair was full of glitter, the actors who played the Moon Reindeer had their entire bodies covered in green glitter. Baby Betty, who was playing a thalidomide baby, had glitter coming out of her pussy – so it was because of John Vaccaro that glitter became synonymous with outrageousness.

Vaccaro's Play-House productions are a connection between Warhol's Factory and the punk culture that developed in New York in the mid-1970s: Patti Smith

Patti Smith

Patricia Lee "Patti" Smith is an American singer-songwriter, poet and visual artist, who became a highly influential component of the New York City punk rock movement with her 1975 debut album Horses....

 performed in a play written by Jackie Curtis

Jackie Curtis

John Curtis Holder, Jr. , better known as Jackie Curtis, was an actor, writer, singer and Warhol Superstar.-Early life and career:...

 called Femme Fatale; according to Jayne County

Jayne County

Jayne County , formerly known as Wayne County, is an American male-to-female transsexual performer, musician and actress whose career has spanned several decades. County would go on to be known as rock's first transsexual singer...

 (aka Wayne County): "... Actually, it was simulation of shooting up speed while shrieking, 'Brian Jones is dead!' That was Patti Smith's big moment on the New York underground stage."

Many people have attributed the origins of the Rocky Horror phenomenon to the Theatre of the Ridiculous, notably Lou Reed

Lou Reed

Lewis Allan "Lou" Reed is an American rock musician, songwriter, and photographer. He is best known as guitarist, vocalist, and principal songwriter of The Velvet Underground, and for his successful solo career, which has spanned several decades...

The character of John Vaccaro

John Vaccaro was by all accounts a brilliantly creative person. Charles Ludlam has written: "John [Vaccaro] has great instinct and is a brilliant actor. He gave me freedom. He allowed me to flip out all I wanted onstage. He never felt that I was too pasty, corny, mannered, campy. He let me do anything I wanted."

But Vaccaro was also a very difficult person to work with: In addition to the famous occasion where he kicked Charles Ludlam out of the production of a play that Ludlam had written, there was another occasion where he literally kicked Jackie Curtis out of a production of a play that Curtis had written (Heaven Grand In Amber Orbit).

Charles Ludlam goes on to write: "He is very primitive and very difficult for most actors to work with, because he's sort of savage. He gets you into doing things by rote. He criticizes ideas without giving any suggestions for , and then makes you do it over and over again. It's psychological torture."

Similarly, Leee Childers has commented: "John Vaccaro was a very difficult man to work with because
he used anger to draw a performance out of a person."

External links

• Ronald Tavel (official site)
• Ronald Tavel on the beginning of the Theatre of the Ridiculous
• Conquest of the Ridiculous: Ronald Tavel, John Vaccaro and Charles Ludlam
• Ridiculous Theatrical Company
• Mary Woronov's theatrical scrapbook Note: includes a poster for "Conquest of the Universe".