Autor: As Idéias de Jericho | Publicado: 2011-10-30T19:40:00-07:00

<!--[if gte mso 9]>     Normal   0         21         false   false   false      PT-BR   X-NONE   X-NONE                                                     MicrosoftInternetExplorer4                                                   <![endif]--><!--[if gte mso 9]>                                                                                                                                                                                                                                                                                                                                                                                                                                <![endif]--><!--[if gte mso 10]>   /* Style Definitions */  table.MsoNormalTable  {mso-style-name:"Tabela normal";  mso-tstyle-rowband-size:0;  mso-tstyle-colband-size:0;  mso-style-noshow:yes;  mso-style-priority:99;  mso-style-qformat:yes;  mso-style-parent:"";  mso-padding-alt:0cm 5.4pt 0cm 5.4pt;  mso-para-margin-top:0cm;  mso-para-margin-right:0cm;  mso-para-margin-bottom:10.0pt;  mso-para-margin-left:0cm;  line-height:115%;  mso-pagination:widow-orphan;  font-size:11.0pt;  font-family:"Calibri","sans-serif";  mso-ascii-font-family:Calibri;  mso-ascii-theme-font:minor-latin;  mso-fareast-font-family:"Times New Roman";  mso-fareast-theme-font:minor-fareast;  mso-hansi-font-family:Calibri;  mso-hansi-theme-font:minor-latin;}  <![endif]-->  Sample chapter from The RE/Search Guide to Bodily Fluids by Paul Spinrad Available at better bookstores nationwide   One summer's day in the mid-1860's, a young French boy named Joseph Pujol   had a frightening experience at the seashore. Swimming out alone, he held   his breath and dove underwater. Suddenly an icy cold feeling penetrated his   gut. Frightened, he ran ashore, but then received a second shock when he   noticed seawater streaming from his anus. The experience so disturbed the   lad that his mother took him to a doctor to allay his fears. The doctor   complied.      The boy didn't know it at the time, but this unsettling rectal experience   at the beach not only indicated no illness, but it also foretold of a gift   that would later make him the toast of Paris and one of the most popular   and successful performers of his generation.      Joseph Pujol was born in Marseilles on June 1, 1857 to Francois Pujol and   Rose Demaury, a respected stonemason/sculptor and his wife, both of whom   had emigrated from Catalan. Young Joseph went to school until the age of   13, whereupon he apprenticed himself to a baker. Several years later, he   served in the French army.      While in the army, he mentioned his childhood sea-bathing experience to his   buddies. They immediately wanted to know if he could do it again, so on a   day's leave soon afterward he went out to the shore to swim and experiment.   He successfully reenacted the hydraulics of his childhood experience there   and even discovered that by contracting his abdomen muscles, he could   intentionally take up as much water as he liked and eject it in a powerful   stream. Demonstrating this ability back at the barracks later provided the   soldiers with no end of amusement, and soon Pujol started to practice with   air instead of water, giving him the ability to produce a variety of   sounds. This new development provided even more enjoyment for his buddies.   It was then and there, in the army, that Pujol invented a nickname for   himself that would later become a stage name synonymous throughout Europe   with helpless, hysterical laughter: "Le Petomane" (translation: "The   Fartiste").      After his stint in the army, Pujol returned to Marseille and to a bakeshop   his father set him up in, on a street that, today, proudly bears the name   "rue Pujol." At the age of 26 he married Elizabeth Henriette Oliver, the   20-year-old daughter of a local butcher. Pujol enjoyed performing, so in   the evenings he entertained at local music halls by singing, doing comedy   routines, and even playing his trombone backstage between numbers. He   continued amusing his friends privately with his "other" wind instrument,   but only at their suggestion and urging did he decide to turn this parlor   trick into a full-fledged act for public audiences.      Pujol worked up a Le Petomane routine, and with some friends he rented a   space in Marseille to perform it in. They promoted the show heavily   themselves through posters and handouts, but word-of-mouth soon took over   and they packed the house every night. Fin de siecle European audiences,   deeply repressed but newly prosperous and trying to be modern"-- the same   people Freud observed (Freud was one year older than Pujol)-- must have   found a man on stage building an entire act out of mock farting and other   forms of anal play considerably more shockingly funny than we would today.   Pujol's was a good act by any era's standards, but back then his scatology   hit a raw nerve, and hit it hard, at an especially vulnerable time. Like   Alfred Jarry, whose epoch-makingly scatological Ubu Roi actually post-dates   Pujol's Paris debut by several years, Pujol was a French Revolutionary of   the modern theater. Jarry gets the credit today because he was a "serious   playwright" and not a lowbrow cabaret performer, but Pujol clearly laid   some of the groundwork.      Word-of-mouth spread reports of the quality and uniqueness of Pujol's new   show, and soon people from all over Marseille were coming to see it.      After the hometown success, Pujol's friends urged him to take the act to   Paris. Pujol hoped to, but cautiously decided to play several other   provincial cities first to refine the act and test the breadth of its   appeal before taking it to the capital. He performed in Toulon, Bordeaux,   and Clermont-Ferrand with great success, and in 1892 was finally ready to   try his act at Paris's Moulin Rouge. It was then that Pujol reputedly   uttered a line oft-repeated in cabaret lore; looking up at the windmill   sails of the landmark Moulin Rouge ("Red Mill") building, he exclaimed,   "The sails of the Moulin Rouge-- what a marvelous fan for my act!"      In getting booked at the Moulin Rouge, Pujol wasted no time. He walked in   and demanded to see the director with such confidence that the secretary   showed him in immediately. He then told the director, a man named either   Zidler or Oller depending on whose account you follow (I'll use "Oller"),   "I am Le Petomane, and I want an engagement in your establishment." He said   that he was a phenomenon and that his gift would be the talk of Paris. When   Oller asked for an explanation, he calmly replied, "You see, sir, my anus   is of such elasticity that I can open and shut it at will. . . . I can   absorb any quantity of liquid I may be given. . .[and] I can expel an   almost infinite quantity of odorless gas." After this, he gave Oller a   quick demonstration.      Oller put Pujol on stage that very night.      Pujol dressed formally for his act, wearing a coat, red breeches, white   stockings, gloves, and patent leather shoes-- a stuffy, old-fashioned   outfit that, coupled with his unrelentingly deadpan delivery, must have set   up an abrasive comedic dissonance against the actual content of his   performance. To begin his act he introduced himself and explained that he   was about to demonstrate the art of "petomanie." He further explained that   he could break wind at will, but assured his audience not to worry because   his parents had "ruined themselves" in scenting his rectum.      Then Le Petomane performed some imitations, using the simple, honest format   of announcing and then demonstrating. He displayed his wide sonic range   with tenor, baritone, and bass fart sounds. He imitated the farts of a   little girl, a mother-in-law, a bride on her wedding night (tiny), the same   bride the day after (loud), and a mason (dry-- "no cement"). He imitated   thunder, cannons ("Gunners stand by your guns! Ready-- fire!!"), and even   the sound of a dressmaker tearing two yards of calico (a full 10-second   rip). After the imitations, Le Petomane popped backstage to put one end of   a yard-long rubber tube into his anus. He returned and smoked a cigarette   from this tube, after which he used it to play a couple of tunes on a song   flute. For his finale he removed the rubber tube, blew out some of the   gas-jet footlights from a safe distance away, and then led the audience in   a rousing sing- along.      This first night, a few tightly-corseted women in the audience literally   fainted from laughing so hard. Oller immediately gave Pujol a contract to   perform at the Moulin Rouge, elsewhere in France, and abroad. Turning   audience-fainting into a great gimmick, Oller later conspicuously stationed   white-uniformed nurses in the hall at each Le Petomane show and instructed   them to carry out any audience members rendered particularly helpless by   the hilarity. Meanwhile, to quash any rumors that his performance was   faked, Pujol occasionally gave private men-only performances clad in a   bathing suit with a large hole in the seat rather than his concealing   regular costume.      It was after one of these private performances that a distinguished-   looking man put a 20 franc gold coin in the collection plate. When Pujol   questioned him, he turned out to be the King of Belgium, who had come   incognito just to see his act.      After signing up with the Moulin Rouge in 1892, Pujol moved his growing   family (starting in 1885, Pujol and his wife had a child every two years   for eighteen years) into a chalet staffed by servants who soon became   family friends. As he predicted, he became the talk of Paris, and admirers   saluted him affectionately as he rode by in his carriage. Paris doctors   examined him and published an article in La Semaine Medicale that described   his health but offered no new explanation for his ability. It did however   record that he could rectally project a jet of water 4 to 5 yards. Box   office receipts alone attest to Le Petomane's popularity. One Sunday the   Moulin Rouge took in 20,000 francs for a Le Petomane performance, an amount   which dwarfs the 8000 francs typically grossed by Sarah Bernhardt at the   peak of her career there.      But another thing happened in 1892 that provoked a series of battles   between Pujol and Moulin Rouge management, the litigious nature of which   makes it sound more like 1992. Pujol visited a friend of his who sold   gingerbread, and to attract customers to his friend's stall, he did some   Petomane tricks right there in the marketplace. Word of this "unauthorized   performance" got back to Oller, who took it up with Pujol and threatened to   sue. Over the next couple of years, Pujol, who dreamed of opening up his   own travelling theater, had more rows with Oller. In 1894, Oller brought   suit against Pujol over the gingerbread stall incident and won. Pujol was   fined 3000 Francs. The next year, Pujol left the Moulin Rouge to start his   own venture, the Theatre Pompadour. Soon after Pujol left, the Moulin Rouge   put up a new act, billed as a "Woman Petomane" (they concealed a bellows   under her skirt). Pujol then brought a lawsuit against the Moulin Rouge for   plagiarizing his idea. At about the same time, however, a newspaper panned   the "Woman Petomane" act, and the actress, Angele Thiebeau, sued the paper   for libel. The judgement against Thiebeau was so harshly worded and   humilating that Pujol, satisfied at the harm done to the Moulin Rouge's   reputation, withdrew his own lawsuit against them.      Pujol's new Theatre Pompadour included mime and magic and other acts   performed by Pujol's family and performer friends. He changed his own act   into a woodland tale told in doggerel punctuated at the end of each couplet   by Le Petomane sound effects and imitations of the animal and bird   characters in the story. Paris audiences liked the winning charm of this   home-grown variety show and still yucked it up at Pujol's fart noises, so   the Theater Pompadour prospered for many years.      Le Petomane continued to be an enormous draw in his new venue until around   1900, when the interest of the show-going public began to wane. The   Pompadour continued to do pretty well, however, until World War I, when   four of Pujol's sons went off to fight and the theater had to close down.   One son was taken prisoner and two of the others became invalids, and Pujol   was so shattered that after the war he had no interest in returning to his   performing career. The family moved back to Marseille and Pujol ran   bakeries with his sons and unmarried daughters. In 1922, he and his family   moved to Toulon and he set up a biscuit factory which he gave to his   children to manage. He lived the rest of his life there, surrounded by his   many dearly loved children and grandchildren. His wife died in 1930 and he   died in 1945. One medical school offered the family 25,000 francs to be   allowed to examine his body, but out of respect, reverence and love for   this warm, funny, and caring man, not one of his children agreed to let   them.      Copyright © 1994 by RE/Search Publications. Reprinted by permission.      Ask your local bookseller for this and other fine RE/Search titles,   or send SASE for catalog:       RE/Search Publications                                   180 Varick Street, 10th Floor                                   New York, NY 10014                                   (212) 807-7300