Succès de scandale

The Belle Époque ('beautiful era') in Paris, roughly from 1871–1914, was notable for many succès de scandale. This was also where and when the term originated. In the examples below, artists started their careers with some sort of scandal, with some connection to turn-of-the-century Paris. In other cities, provoking a scandal appeared more risky, as Oscar Wilde found out shortly after his relatively "successful" Parisian scandal (Salomé in 1894, portraying the main character as a necrophile).

• Le déjeuner sur l'herbe ("Luncheon on the Grass") by Édouard Manet,[2] presented at the Salon des refusés, 1863: Even the Emperor was scandalised — but Manet had a nice start to his career.
• Alfred Jarry shocked Paris in 1896 with the first of his absurdistic Ubu plays: Ubu Roi. The performance of this play was forbidden after the first night, though Jarry got around the prohibition by moving the production to a puppet theatre.
• A new group of artists, labeled disrespectfully "Les Fauves" ("The Wild Beasts") by an art critic, had their successful debut in 1905 Paris (and kept the name).
• Richard Strauss had little success with his first two operas, which today are no longer performed. He then tried something different: he set music to Wilde's Salomé in 1905. It created a scandal, including in the New York Met, where the production had to be closed after one night. But Strauss wanted more, and his next opera, (Elektra, 1909) was so "noisy" that cartoons appeared with Strauss directing an orchestra of animals. However, the opera's libretto, written by Hugo von Hofmannsthal, was quite tame.
• The 1912 ballet Afternoon of a Faun, choreographed and headed by Vaslav Nijinsky, provoked strong reactions. The newspaper Le Figaro wrote in a front-page review that the "movements are filthy and bestial in their eroticism".[3] Despite, or because of, this criticism, the ballet was sold-out in Paris.
• The Rite of Spring (1913)[4]
• The original 1917 production of the ballet Parade.
• George Antheil's 1923 performance of futurist piano music at the Champs-Élysées theater.[5]
• Paul Chabas had won a most prestigious prize with his September Morn in Paris in 1912. Nudity as portrayed in this painting was, however, far from shocking to Parisians half a century after Déjeuner. The market value of the painting remained low. Then, Chabas put it on display in a New York shop window in 1913. There, for the first time in history, it appears a succès de scandale scheme was set up by a publicity agent (Harry Reichenbach), who "accidentally" tipped off a morality crusader to the picture. The scandal that evolved brought financial success and secured Chabas's place in art history books. Although later deemed kitsch, the painting ended up in one of the most prestigious museums of New York.

This was not the last time that Comstockery fanned the success it wanted to prohibit: "I expect it will be the making of me" said Mae West to the press in 1927, under arrest after the Society for the Suppression of Vice had maneuvered to get her play titled "Sex" re-censored by the Police Department Play Jury. A few years later, when she was over 40 years old, her sex-symbol status paid off when her 1935 film contract made her the highest-paid woman to date.

Films qualified as succès de scandale include Louis Malle's 1958 The Lovers,[6] and Bernardo Bertolucci's 1972 Last Tango in Paris.[7] Scandal also boosted the success of writers of modest talent.[8] Even famous writers like Flaubert and Joyce have been described as deploying succès de scandale recipes to their advantage.[9]

• Advertisement
• Cause célèbre
• Controversy
• Épater la bourgeoisie
• Herostratus
• Publicity
• Publicity stunt
• Streisand effect