More than Mere Muses

The power of theatre to reinvent the past is often underestimated - what is the Oresteia but a re-imagination of mythology to justify patriarchy, and Shakespeare managed to rewrite the War of the Roses as a legitimisation of Tudor rule - but the Fringe 2012 has a strand of artists willing to examine the past. Denise Paulette is determined to reveal the talent of Zelda Scott Fitzgerald to Edinburgh audiences, while Gaël Le Cornec brings her latest one-woman show Camille Claudel.

For both performers, the shows are inspired by an enthusiasm for their subject. "Zelda is considered one of the first feminists (she lived 1900-1948) because she had such an independent spirit, spoke her mind and made her own way regardless of what was considered acceptable," explains Paulette. "And she was a wonderful talent overshadowed by her husband.  I'm bringing her to the Fringe because a lot of people don't know about her: they know her famous husband, F. Scott and, for me, the Fringe stands for what I am looking for:  the freedom for artists to present their work without the constraints of unions or juries.  Zelda would have loved this!"

Le Comec has a similar approach. "You never really know before the Fringe how audiences will react but I hope people will feel the labour of love that's going into this piece," she says. "It's about the love of Camille for her art and for Rodin - and although the later is a twisted, fucked up sort of love, it is passionate and honest. It's also about my love for Camille's story and for all the people involved in this production. It sounds a bit corny, i know, but I believe love can save the world."


For both Zelda and Claudel, the traditional reading of history has been exclusive, putting them in the category of Muse rather than artist. Claudel - despite the rather melodramatic film of her life - is often seen as a character in the story of the master sculptor Rodin while Zelda, although a writer and dancer, is frequently treated as Mrs Scott Fitzgerald.


Paulette's emphasis on Zelda's abilities - and unfortunate mental illness - brings the wife out of the husband's shadow. "Her dancing helped her escape from the heavy drinking and partying of her husband," she continues. "But her unhealthy devotion to it lead to her first breakdown.  She was also a writer and a painter." Scott Fitzgerald's descent into alcoholism might be a dreary and predictable descent - American authors have a knack for equating heavy drinking with their verbal dexterity - but in the wake of Pavlova's Dogs by the SDT, the representation of violence of dance on the dancer's body and mind is timely.


Equally, Zelda's mental illness is more than just a character trait: "Her schizophrenia is the tool the playwright uses to get Zelda from memory to memory; sometimes she's a young girl or in the present or marrying Scott so the play is a constant roller-coaster of humor and sadness encompassing all of Zelda's life." 

Zelda shares with Camille Claudel an interest in the theatre as a medium for storytelling, and telling the story that might have been occluded by the established versions. "Theatre for me is always about telling some sort of story," adds Le Cornec.  "Regardless of the form the theatre-maker decides to use."


The Fringe offers a platform for works like these - they act as an effective response to the heavy presence of comedy, almost imitating stand-up's scale and simplicity. As Le Cornec concludes, "It rocks! It's been a pleasure to take part in such a big international festival in the past, and now I'm addicted."

Ms. Paulette is performing Aug 20-25th at Greenside Theatre Space.  Performances are at 20.30 each night.

Gaël Le Cornec/The Footprint Project present CAMILLE CLAUDEL

Venue  Pleasance Courtyard (Beside) | 60 Pleasance, Edinburgh EH8 9TJ

Dates & times  1-27 Aug (no show Tuesdays) | 1.30pm (1hr)