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Cocteau, Jean

COCTEAU, Jean



Nationality: French. Born: Maisons-Lafitte, near Paris, 5 July 1889. Education: Lycée Condorcet and Fenelon, Paris. Career: Actor, playwright, poet, librettist, novelist, painter, and graphic artist in 1920s and throughout career. Directed first film, Le Sang d'un poète, 1930; became manager of boxer Al Brown, 1937; remained in Paris during the Occupation, 1940. Awards: Chevalier de la Légion d'honneur, 1949; member, Academie Royale de Belgique, 1955; member, Academie Française, 1955; honorary doctorate, Oxford University, 1956. Died: In Milly-la-Foret, France, 11 October 1963.

Films as Director:

1925

Jean Cocteau fait du cinéma (+ sc) (neg lost?)

1930

Le Sang d'un poète (originally La Vie d'un poète) (+ ed, sc, voice-over)

1946

La Belle et la bête (+ sc)

1947

L'Aigle à deux têtes (+ sc)

1948

Les Parent terribles (+ sc, voice-over)

1950

Orphée (+ sc); Coriolan (+ sc, role); a 1914 "dramatic scene" by Cocteau included in Ce siècle a cinquante ans (Tual) (+ sc)

1952

La Villa Santo-Sospir (+ sc)

1960

Le Testament d'Orphée (Ne me demandez pas pourquoi) (+ sc, role as le poète)



Other Films:

1940

La Comedie du bonheur (L'Herbier) (co-sc)

1942

Le Baron fantôme (de Poligny) (sc, role as Le Baron)

1943

L'Eternel Retour (Delannoy) (sc); La Malibran (Guitry) (narration + role as Alfred de Musset)

1945

Les Dames du Bois de Boulogne (Bresson) (co-sc)

1946

L'Amitie noire (Villiers and Krull) (role and narration)

1947

Ruy Blas (Billon) (sc)

1948

La Voix humaine (Rossellini, from Cocteau's play); Les Noces de sable (Zvoboda) (sc, voice-over); La Légende de Sainte Ursule (Emmer) (role and narration)

1949

Tennis (Martin) (role + narration)

1950

Les Enfants terribles (Melville) (sc); Colette (Bellon) (role + narration); Venise et ses amants (Emmer and Gras) (role + narration)

1951

Desordre (Baratier) (role + narration)

1952

La Couronne noire (Saslavski) (co-sc); 8 x 8 (Richter) (role + narration)

1953

Le Rouge est mis (Barrère and Knapp) (role + narration)

1956

A l'aube d'un monde (Lucot) (role + narration); Pantomimes (Lucot) (role + narration)

1957

Le Bel indifferent (Demy, from Cocteau's play)

1958

Django Reinhardt (Paviot) (role + narration); Le Musée Grevin (Demy and Masson) (role + narration)

1959

Charlotte et son Jules (Godard, from same play as Demy 1957 film)

1961

La Princesse de Cleves (Delannoy) (co-sc)

1963

Anna la bonne (Jutra, from song by Cocteau)

1965

Thomas l'imposteur (Franju) (co-sc)

1970

La Voix humaine (Delouche, from Poulenc and Cocteau opera)



Publications


By COCTEAU: books—

L'Aigle à deux têtes, Paris, 1946.

Diary of a Film [La Belle et la bête], New York, 1950.

Cocteau on the Film, New York, 1954.

Jean Cocteau par lui-même, edited by André Fraigneau, Paris, 1957.

Le Sang d'un poète, with drawings, Monaco, 1957.

Le Testament d'Orphée (filmscript), Paris, 1961.

The Eagle with Two Heads, London, 1962.

The Journals of Jean Cocteau, edited by Wallace Fowlie, Bloomington, Indiana, 1964.

The Difficulty of Being, London, 1966.

Two Screenplays [The Blood of a Poet and The Testament ofOrpheus], New York, 1968.

Beauty and the Beast, edited by Robert Hammond, New York, 1970.

Professional Secrets: An Autobiography of Jean Cocteau, edited by Robert Phelps, New York, 1970.

Cocteau on the Film, New York, 1972.

Jean Cocteau: Three Screenplays [The Eternal Return, Beauty andthe Beast, and Orpheus], New York, 1972.

Le Testament d'Orphée; Le Sang d'un poète, Monaco, 1983.

Past Tense, Volume 1: Diaries, London, 1987.

Souvenir portraits: Paris in the Belle Epoque, translated by Jesse Browner, London, 1990.

Erotica: Drawings, London, 1991.

Correspondance: Jacques-Emile Blanche, Jean Cocteau, Paris, 1993.

Les parents terribles, translated by Simon Callow, London, 1994.

By COCTEAU: articles—

Interview with Francis Koval, in Sight and Sound (London), August 1950.

"Conversation," in Sight and Sound (London), July/September 1952.

"Cocteau," in Film (London), March 1955.

Interview in Film Makers on Filmmaking, edited by Harry Geduld, Bloomington, Indiana, 1967.

"Four Letters by Jean Cocteau to Leni Riefenstahl," in Film Culture (New York), Spring 1973.

"Aphorismes cinématographiques," and "Cocteau face a La Belle etla bête," in Avant-Scène du Cinéma (Paris), July/September 1973.

"Encuento con Chaplin," in Cine Cubano (Havana), no. 126, 1989.


On COCTEAU: books—

Crosland, Margaret, Jean Cocteau, London, 1955.

Dauven, Jean, Jean Cocteau chez les Sirènes, Paris, 1956.

Pillaudin, Roger, Jean Cocteau tourne son dernier film, Paris, 1960.

Fraigneau, André, Cocteau, New York, 1961.

Fowlie, Wallace, Jean Cocteau: The History of a Poet's Age, Bloomington, Indiana, 1968.

Lannes, Roger, Jean Cocteau, Paris, 1968.

Sprigge, Elizabeth, and Jean-Jacques Kihm, Jean Cocteau: The Manand the Mirror, New York, 1968.

Gilson, René, Cocteau, New York, 1969.

Armes, Roy, French Cinema since 1946: Vol. 1—The Great Tradition, New York, 1970.

Steegmuller, Francis, Cocteau, Boston, 1970.

Evans, Arthur, Jean Cocteau and His Films of Orphic Identity, Philadelphia, 1977.

Anderson, Alexandra, and Carol Saltus, editors, Jean Cocteau and theFrench Scene, New York, 1984.

de Miomandre, Philippe, Moi, Jean Cocteau, Paris, 1985.

Keller, Marjorie, The Untutored Eye: Childhood in the Films ofCocteau, Cornell and Brakhage, Cranbury, New Jersey, 1986.

Peters, Arthur King, Jean Cocteau and His World: An IllustratedBiography, London, 1987.

Knapp, Bettina L., Jean Cocteau, Boston, 1989.

Mourgue, Gérard, Cocteau, Paris, 1990.

Marais, Jean, L'inconcevable Jean Cocteau, Monaco, 1993.

Soleil, Christian, Jean Cocteau: Le Bonheur Fabriqué, Le Chambon-Fuegerolles, France, 1993.

Tsakiridou, Cornelia A., editor, Reviewing Orpheus: Essays on theCinema and Art of Jean Cocteau, Lewisburg, Pennsylvania, 1997.


On COCTEAU: articles—

Lambert, Gavin, "Cocteau and Orpheus," in Sequence (London), Autumn 1950.

Oxenhandler, Neal, "On Cocteau," in Film Quarterly (Berkeley), Fall 1964.

Durgnat, Raymond, "Images of the Mind—Part 13: Time and Timelessness," in Films and Filming (London), July 1969.

Amberg, G., "The Testament of Jean Cocteau," in Film Comment (New York), Winter 1971/72.

"Cocteau Issue" of Image et Son (Paris), June/July 1972.

"Cocteau Issue" of Avant-Scène du Cinéma (Paris), July/September 1973.

Renaud, T., "Retrospective: Jean Cocteau. Un cineaste? Peut-etre. Un auteur? Certainement.," in Cinéma (Paris), December 1973.

Gow, Gordon, "Astonishments: Magic Film from Jean Cocteau," and "The Mirrors of Life," in Films and Filming (London), January and February 1978.

"Cocteau Issue" of Avant-Scène du Cinéma (Paris), 1 May 1983.

"Cocteau Supplement," in Cinéma (Paris), May 1983.

Milani, R., "Cocteau dell'immaginario," in Filmcritica (Florence), June 1984.

Combs, Richard, "Dream work," in Listener (London), 29 May 1986.

Spiess, E., "Ein schillernder Paradiesvogel verirrt sich in eine Ruinenlandschaft. Eine Betrachtung zu Jean Cocteau," in Filmfaust (Frankfurt/Main), vol. 13, July-September 1989.

Prudenzi, A., "Cocteau poeta dell'illusione," in Immagine (Rome), no. 13, Winter 1989–1990.

Gauteur, C., "Cocteau contre Cocteau," in Revue de la Cinémathèque (Montreal), no. 464, October 1990.

"France's anti-Cartesian," in The Economist (London), 9 May 1992.

Perry, Joseph, "L'enfant Terrible: The 'Cinematographic' Poetry of Jean Cocteau," Filmfax (Evanston, Illinois), no. 36, December-January, 1992–93.

Beylot, P., "Premières images," in Focales, 1993.

Vajdovich, G., "Uralom az idö felett," in Filmkultura (Budapest), vol. 30, December 1994.


* * *

Jean Cocteau's contribution to cinema is as eclectic as one would expect from a man who fulfilled on occasion the roles of poet and novelist, dramatist and graphic artist, and dabbled in such diverse media as ballet and sculpture. In addition to his directorial efforts, Cocteau also wrote scripts and dialogue, made acting appearances, and realized amateur films. His work in other media has inspired adaptations by a number of filmmakers ranging from Rossellini to Franju and Demy, and he himself published several collections of eclectic and stimulating thoughts on the film medium.

Though Cocteau took his first real steps as a filmmaker at the very beginning of the sound era, his period of greatest involvement was in the 1940s, when he contributed to the scripts of a half-dozen films, at times dominating his director (as in L'Eternel Retour), at other times submitting to the discipline of contributing to another's vision (as in his dialogue for Bresson's Les Dames du Bois de Boulogne). In addition, he directed his own adaptations of such diverse works as the fairy tale La Belle et la bête, his own period melodrama L'Aigle à deux têtes, and his intense domestic drama, Les Parents terribles. But Cocteau's essential work in cinema is contained in just three wholly original films in which he explores his personal myth of the poet as Orpheus: Le Sang d'un poète, Orphée, and Le Testament d'Orphée. Though made over a period of thirty years, these three works have a remarkable unity of inspiration. They are works of fascination in a double sense. They convey Cocteau's fascination with poetry and his own creative processes, and at the same time display his openness to all the ways of fascinating an audience, utilizing stars and trickery, found material and sheer fantasy. The tone is characterized by a unique mixture of reality and dream, and his definition of Le Sang d'un pòete as "a realistic documentary of unreal events" is a suitable description of all his finest work.

Crucial to the lasting quality of Cocteau's work, which at times seems so light and fragile, is the combination of artistic seriousness and persistent, but unemphatic, self-mockery. For this reason his enclosed universe, with its curiously idyllic preoccupation with death, is never oppressive or constricting; instead, it allows the spectator a freedom rare in mainstream cinema of the 1930s and 1940s. In technical terms Cocteau displays a similar ability to cope with the contributions of totally professional collaborators, while still retaining a disarming air of ingenuousness, which has sometimes been wrongly characterized as amateurism.

Reviled by the Surrealists as a literary poseur in the 1920s and 1930s and distrusted as an amateur in the 1940s, Cocteau nonetheless produced films of lasting quality. In retrospect he is to be admired for the freedom with which he expressed a wholly personal vision and for his indifference to the given rules of a certain period of French "quality" filmmaking. He was one of the few French filmmakers of the past to whom the directors of the New Wave could turn for inspiration, and it is totally fitting that Cocteau's farewell to cinema, Le Testament d'Orphée, should have been produced by one of the most talented of these newcomers, François Truffaut.

—Roy Armes

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Jean Cocteau

Jean Cocteau

The French writer Jean Cocteau (1889-1963) explored nostalgia for childhood and adolescence, frustration in love, and fear of solitude and death.

Jean Cocteau was born in a suburb of Paris and brought up in a well-to-do home frequented by the artistic notables of the day. As a schoolboy at the Lycée Condorcet, he was anything but a model pupil, but he charmed his teachers by his verve and brilliance. His official debut was at the age of 18, when the renowned actor édouard de Max gave a lecture on Cocteau's poetry. Cocteau soon visited Edmond de Rostand, Anna de Noailles, and Marcel Proust; everybody and everything fashionable attracted him.

When the Russian ballet performed in Paris, Jean Cocteau was there. Soon he proposed to its director, Sergei Diaghilev, a ballet of his own. The resulting Blue God, which was not presented until 1912, was not a success. Not daunted, Cocteau started the ballet David, for which he hoped Igor Stravinsky would do the music. Although the ballet did not materialize, Potomak, a curious prose work of fantasy dedicated to Stravinsky, did get written, and texts composed for both works were finally incorporated in a ballet called Parade. Erik Satie and Pablo Picasso collaborated with Cocteau on this production, for which Guillaume Apollinaire, in a program note, coined the word surrealistic.

After World War I, when Dada and surrealism replaced cubism and the "new spirit," Cocteau played about with the new ideas and techniques without adhering strictly to any group. The mime dramas of The Newlyweds of the Eiffel Tower and The Ox on the Roof as well as the poems of The Cape of Good Hope all demonstrate the manner of the day without, however, following any prescribed formula. Subsequently, in verse Cocteau reverted to more conventional prosody, and in fiction, to an uncomplicated narrative style. The Big Split and Thomas the Impostor present in forthright prose the themes of the author's life and times.

Antigone opened Cocteau's series of neoclassic plays, which enjoyed great success from the late 1920s on with their sophisticated props such as oracular horses, symbolic masks and mirrors, angels, and mannequins. The same trappings would be maintained for his plays of romantic or medieval inspiration and would constitute, as well, recognizable features of Cocteau's films.

In the universe that Cocteau's work evokes, the boundaries between what is real and what is unreal disappear, and none of the conventional oppositions such as life and death or good and bad remains fixed. Enveloping the work is a hallucinatory atmosphere that is characteristic. Cocteau was elected to the French Academy in 1955.

Further Reading

Francis Steegmuller's sympathetic Cocteau (1970) is the most comprehensive biography. Margaret Crosland deliberately avoids gossip in her Jean Cocteau (1955). Neal Oxenhandler in Scandal and Parade: The Theater of Jean Cocteau (1957) expressed indignation at what he considers unfair treatment of Cocteau. Wallace Fowlie is frankly admiring in Jean Cocteau: The History of a Poet's Age (1966). Elizabeth Spigge, collaborating with a French biographer (Jean Jacques Kihm) on Jean Cocteau: The Man and the Mirror (1968), handles her subject with bland discretion. Not so, however, Frederick Brown, whose hostile treatment of Cocteau has given An Impersonation of Angels: A Biography of Jean Cocteau (1968) particular notoriety. Brutal though it is, this is a witty and well-written book.

Additional Sources

Album Masques, Jean Coctea, Paris: Masques, 1983.

Cocteau, Jean, The difficulty of being, New York: Da Capo Press, 1995.

Cocteau, Jean, Souvenir portraits: Paris in the Belle Epoque, New York: Paragon House, 1990.

Peters, Arthur King, Jean Cocteau and the French scen, New York: Abbeville Press, 1984.

Steegmuller, Francis, Cocteau, a biography, Boston: D.R. Godine, 1986, 1970.

Touzot, Jean, Jean Cocteau, Lyon: Manufacture, 1989. □

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Cocteau, Jean

Jean Cocteau (zhäN kôktō´), 1889–1963, French writer, visual artist, and filmmaker. He experimented audaciously in almost every artistic medium, becoming a leader of the French avant-garde in the 1920s. His first great success was the novel Les Enfants Terribles (1929), which he made into a film in 1950. Surrealistic fantasy suffuses his films and many of his novels and plays. Among his best dramatic works are Orphée (1926) and La Machine infernale (1934, tr. 1936), in which the Orpheus and Oedipus myths are surrealistically adapted to modern circumstances. His films include The Blood of a Poet (1933), Beauty and the Beast (1946), and Orphée (1949). Among other works are ballets, sketches, monologues, whimsical drawings, and the text (written with Stravinsky) for the opera-oratorio Oedipus Rex (1927).

See his autobiography; comp. from his writings by R. Phelps (tr. 1970); biographies by F. Brown (1968), E. Sprigge and J.-J. Kihm (1968), and F. Steegmuller (1970); M. Crosland, ed., Cocteau's World (tr. 1972).

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Cocteau, Jean

Cocteau, Jean (1889–1963) French writer and film-maker, an experimental leader of the French avant-garde. He was associated with many leading artistic figures of the 1920s, such as Apollinaire, Picasso, Diaghilev, and Stravinsky. His many successful works of surrealist fantasy include the novel Les enfants terribles (1929; filmed 1950); the plays Orphée (1926; filmed 1950) and La Machine Infernale (1934); and the films Le sang d'un poète (1930) and La belle et la bête (1946).

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Cocteau, Jean

Cocteau, Jean (b Maisons-Laffitte, 1889; d Milly-la-forêt, 1963). Fr. poet, novelist, and playwright, often assoc. with mus. as librettist or propagandist. Wrote scenario for Satie's Parade (1917) and libs. for Honegger's Antigone, Stravinsky's Oedipus Rex, Milhaud's Le Pauvre Matelot, and Poulenc's La Voix humaine, among others.

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Cocteau, Jean

Jean Cocteau

BORN: 1889 Maisons-Laffitte, Paris

DIED: 1963 Milly-la-Foret, France

NATIONALITY: French

GENRE: Fiction, plays, poetry, screenplays

MAJOR WORKS:
Les Enfants Terribles (1929)
The Infernal Machine (1934)
Beauty and the Beast (1946)
Orpheus (1950)

Overview

Novels, poetry, lyrics, painting, movies, plays, and acting were all part of Jean Cocteau's artistry. A conversation-alist, dandy, and outspoken public personality, he considered these elements of his life to be necessary to personal expression. Cocteau believed his art and his public life were inextricably bound. Like Oscar Wilde, he championed style in matters of great importance.

Works in Biographical and Historical Context

A Wealthy Family Jean Cocteau was born on July 5, 1889, at Maisons-Lafitte, a suburb of Paris, to Georges and Eugénie Cocteau. He was brought up in a well-to-do

home frequented by notable artists of the day. He would be supported by family wealth through his youth and into his early forties.

The France of Cocteau's youth and most of his adulthood was known as the Third Republic, a democracy run by a parliament instead of a king or an emperor as had usually occurred in France's past. Though the Third Republic was relatively successful in terms of longevity—it lasted from 1870 until the German occupation of France in 1940—it was rarely considered ideal, which resulted in many different political groups vying for the support of the people and control of the government. This mix of political and philosophical ideas may have created the fertile environment in which Cocteau and his contemporaries flourished.

As a schoolboy at the Lycée Condorcet, Cocteau was anything but a model pupil, but he charmed his teachers with his verve and brilliance. His official debut as a writer was at the age of eighteen, when the renowned actor Édouard de Max gave a lecture on Cocteau's poetry. Cocteau soon visited Edmond Rostand, Anna de Noailles, and Marcel Proust; everybody and everything fashionable attracted him.

Surrealism and Scandal When the Russian ballet performed in Paris, Cocteau attended. Soon thereafter he proposed to director Sergei Diaghilev a ballet of his own.

The resulting Blue God, run in 1912, was not a success. Undaunted, Cocteau started the ballet David, for which he hoped Igor Stravinsky would do the music. Although that work did not materialize, Potomak, dedicated to Stravinsky, did get written, and texts composed for both works were finally incorporated in a ballet called Parade. Composer Erik Satie and artist Pablo Picasso collaborated with Cocteau on this production, for which Guillaume Apollinaire, in a program note, coined the word “surrealistic” (though Cocteau would defy any such categorization).

Parade debuted at the Théâtre du Châtelet on May 18, 1917. Some witnesses reported that the opening-night audience was scandalized; others claimed the public was unimpressed and indifferent. Whatever the case may have been, the production clearly proved unpopular, shutting down a week after opening. Although Diaghilev and others recognized Parade as original and exciting, it was not until the first revival in 1920 that it gained a wide appreciation. It was consistently performed in those ensuing years by the Ballets Russes in Paris, London, and across Europe.

Tragedy and Spectacle The period after World War I was a most productive time for Cocteau. In addition to theater work and poetry, he wrote his first novels, working them in tandem with two of Raymond Radiguet's. During this period he and Radiguet lived and worked together personally and professionally until, on a vacation to Toulon, Radiguet ate bad oysters, contracted typhoid, and died shortly after in Paris in 1923. Cocteau was so grief-stricken he was unable to attend the funeral.

During his time with Radiguet, Cocteau produced two spectacles for the Paris stage, one of which he conceived from a musical sketch provided by Darius Milhaud. It included the scenery of Fauvist painter Raoul Dufy titled Le Boeuf sur le toit, or The Nothing Doing Bar (1920)—comprised of “moving scenery” (actors with giant cardboard heads), a beheading, and a ballerina who, as she moves, smokes, drinks, and shakes the severed head “like a cocktail.” The piece was a success, running for one hundred performances, a significant number for a ballet. More importantly for Cocteau's career, the spectacle established him as a serious collaborator for contemporary composers.

Mourning and Addiction After these early dance collaborations, Cocteau turned to ancient Greece for inspiration, producing a one-act version of Antigone (1922). However, still despondent over Radiguet's death, in January of 1924 he left Paris for Monte Carlo. There he met musicologist Louis Laloy, a meeting that marked a turning point in Cocteau's life: Laloy suggested opium might ease Cocteau's depression, and, while there is evidence Cocteau had tried opium before, during this period he became an addict. The rest of his life was punctuated by “cures” and relapses.

The Harshest Years In 1934 Cocteau wrote his last major play based on Greek mythology. The Infernal Machine (La Machine infernale, 1934), an adaptation of the Oedipus myth, is generally considered to be one of Cocteau's finest dramas.

The period between the composition of The Infernal Machine and the end of World War II is considered to be a low point in Cocteau's career as an artist. During this time his opium addiction grew more severe, and he began to have financial trouble. These events coincided with a move toward plays with greater commercial appeal. While critics found Cocteau's plays less original and less appealing, his fame continued to grow. Three more plays brought more attention, and a relationship with actor Jean Marais was Cocteau's saving grace.

The Restful Years The Knights of the Round Table (Les Chevaliers de la Table Ronde, 1937) took Cocteau three years to get produced. In the interim, he earned money through journalism, and began a new project: a journalistic re-creation of Jules Verne's Le Tour du monde en quatre-vingts jours (1872; Around the World in Eighty Days, 1873). Cocteau and friend Marcel Khill retraced the path of Phileas Fogg and Passepartout and in the process—on a Pacific steamer—ran into British actor and director Charlie Chaplin. Cocteau's writings about the trip were published in the newspaper Paris Soir (Paris Evening), then collected in the volume Round the World Again in Eighty Days (Mon premier voyage: Tour du monde en 80 jours, 1936).

LITERARY AND HISTORICAL CONTEMPORARIES

Cocteau's famous contemporaries include:

Jean Anouilh (1910–1987): Surrealist playwright who, like Cocteau, explored the division between reality and ideality and is credited along with others for experimental theater.

Mohandas Gandhi (1869–1948): Leader of the Indian independence movement and a spiritual founder of the Satyagraha philosophy.

Rear Admiral Grace Hopper (1906–1992): U.S. computer scientist who is considered a technological pioneer as one of the first Harvard Mark calculator programmers.

Edith Piaf (1915–1963): Popular French singer who sometimes collaborated with Cocteau.

Jean-Paul Sartre (1905–1980): French philosopher, writer, and critic associated with modern existentialism.

Despite repeated “cures,” Cocteau's opium addiction was at its worst. Marais attempted to rescue him from it. Marais abhorred opium and pressured Cocteau to give it

up, though Cocteau never did so entirely. During their time together Marais also inspired Cocteau to create plays and movies for him to star in. These included visually inventive versions of classic tales such as Beauty and the Beast (1946) and Orpheus (1950), both widely considered by film critics to be cinematic masterpieces.

Cocteau spent the last thirteen years of his life in semiretirement on the French Riviera, after charming wealthy patroness Francine Weissweiller, who invited Cocteau and his last companion, Edouard Dermithe, to live with her at her villa in Saint Jean Cap Ferrat. Cocteau decorated the house, engaged in several municipal projects, wrote less, and produced only one more work, the movie Le Testament d'Orphée (1959), which was partially financed by French filmmaker François Truffaut. It received mostly negative reviews.

Yet Cocteau was also celebrated in his final years. He was elected to the Académie française (The French Academy), and received an honorary doctorate at Oxford. He was knighted, becoming a Chevalier de la Légion d'honneur (Knight of the Legion of Honor) in 1949, and was made a member of the Belgian AcadémieRoyaledeLangue et de Littérature francaises (Belgian Royal Academy of French Literature and Language). When he died October 11, 1963, he was widely mourned.

Works in Literary Context

Influences Although Cocteau refused to classify himself as belonging to any literary movement, his early career was greatly influenced by surrealism and Dadaism. However, surrealists such as André Breton disdained Cocteau's dandyism and refused to take him seriously. In fact, Breton became one of Cocteau's harshest critics throughout the 1920s, instigating Cocteau's constant need to justify himself to his peers, critics, and public.

Style Cocteau's attention to style served him well in all areas of artistic production, but most notably in the theater. In a career as a dramatist that spanned forty years, Cocteau wrote plays set in such disparate locales as ancient Greece, King Arthur's court, and contemporary Paris. Throughout these plays, there is an emphasis on the status of the play as an event rather than as a text. Further, Cocteau was a contemporary of Antonin Artaud, who played the role of Tiresias in the first production of Cocteau's Antigone and who shared what appears to be a mutual influence of dramatic practice and thought. In the 1920s and 1930s, he was experimenting in the ways that Artaud later proposed in his essay Theater and Its Double (“Le Théâtre et son double”) (1938).

In the theater, as in most of his artistic endeavors, Cocteau was part of the avant-garde. Yet, after an initial period of dramatic rule-breaking, Cocteau began writing plays that conformed more closely to the standards established by traditional French dramaturgy. This change of approach may have made his later plays more palatable to the audiences of his day, but most are no longer performed.

Impact Cocteau insisted he be called “poet” above all, believing poets existed in a realm removed from politics, a theory that was beneficial to his art but that led to criticism for some of his actions during World War II. He called his dramaturgy “poésie de théâtre” (Theater Poetry) and his novels “poésie de roman” (Novel Poetry), but remained wary of labels that would limit his capacity as an artist. This concern is one of the reasons he never allied himself with any of the major artistic movements of his day. Yet, as an important innovator of what Guillaume Apollinaire termed “surrealism,” he had significant influence on other artists, including the group of composer friends in Montparnasse known as Les Six. Again, however, Cocteau denied being part of any such movement.

COMMON HUMAN EXPERIENCE

One of Cocteau's most famous works was the 1950 film Orpheus, a modern version of the Greek myth of Orpheus, a young musician who travels to the underworld to rescue his beloved Eurydice, but fails. Many artists, musicians, and writers have been fascinated by the myth of Orpheus and the general idea of reclaiming a dead loved one. Other works that treat this theme include:

Orpheus in the Underworld (1858), a comic opera by Jacques Offenbach. This popular opera stands apart from other interpretations of the Orpheus myth by virtue of its riotous humor. The opera features the well-known “Can-Can” tune.

Black Orpheus (1959), a film directed by Marcel Camus. This winner of the Cannes Film Festival Palme D'Or and an Academy Award for best foreign film is a modern retelling of the Orpheus myth set in the African-American community in Rio di Janeiro, Brazil.

“Orpheus and Eurydice” (2002), a poem by Czeslaw Milosz. In his last published poem, Milosz contemplates the death of his wife and the pain of loss.

The Amber Spyglass (2000), a novel by Philip Pullman. In this last book of the His Dark Materials fantasy trilogy, the young heroine Lyra (seemingly named after the lyre, the musical instrument Orpheus played) travels to an underworld drawn from Greek myth and leads its inhabitants out.

Works in Critical Context

Cocteau was a true visionary, producing innovative works in more genres than any other single artist of the twentieth century. But his career as a dramatist was uneven.

Some of the characters of Cocteau's later works reveal interesting aspects of human psychology, but they generally inhabited untidy plots that prevented critical success. One reason for the sloppiness of Cocteau's drama was that he had shifted his attention to cinema, winning such prizes as those at the 1950 Venice Film Festival and the 1951 Cannes Film Festival. Thus, while his later theatrical pieces are widely dismissed, he added universally acclaimed motion pictures to his list of artistic achievements, left an enduring legacy built upon his revolutionary contributions to ballet, spectacle, and drama, and had an important and lasting effect on the dramatic arts in France and around the world.

While several of his works have earned greater recognition with time, some are considered his finest, among them The Infernal Machine.

The Infernal Machine Based on Greek mythology, this adaptation of the Oedipus myth directed by the famous Louis Jouvet and set-designed by Christian Bérard was widely praised by critics. Francis Fergusson, in a 1949 lecture at Princeton (published in book form in 1950), calls the play “at one and the same time chic and timeless—rather like the paintings of Picasso's classic period, or his illustrations for [Roman poet] Ovid.” Neal Oxenhandler, writing in 1984, offers a more modern view of the play's enduring quality: “In the age of nuclear threat, mass murder, and terrorism, Cocteau's Infernal Machine remains wholly contemporary. It is a play for all time.” Although it is not the most oft-performed Cocteau theatrical work—that honor probably goes to The Human Voice—The Infernal Machine remains his most highly praised play.

Responses to Literature

  1. Cocteau often insisted on defying categorization. Yet he is known as one of the eminent surrealist writers of his time. Visit the Web site of a major metropolitan museum. Look at surrealist art such as that of Salvador Dalí, Giorgi De Chirico, or Max Ernst. Discuss with others what you find to be surrealist about their work (or a particular work). Then, find as many incidences of surrealism as you can in Cocteau's work. For example, what is dreamlike in his writing? Discuss with others, so that you might each point out something the others in the group did not see and so you can collectively come up with your own understanding of surrealism.
  2. Why does Cocteau's Oedipus seem to have so many more faults or flaws than Sophocles's Oedipus? Why do you think Cocteau made Oedipus so prone to error?
  3. Considering Cocteau's opium addiction, research opium production and use (or abuse) in the early twentieth century. Was Cocteau alone in his addiction? Did others use opium for depression, as a medicine, or for other purposes? If so, how did they use opium for physical and psychological purposes?
  4. Using your library and the Internet, find out more about the culture of post–World War I Paris. Select a prominent artistic figure of this period, and write a short biographical article on that person.

BIBLIOGRAPHY

Books

Borsaro, Brigitte. Cocteau, le cirque et le music-hall. Cahiers Jean Cocteau, Nouvelle série, no. 2. Paris: Passage du Marais, 2003.

Brosse, Jacques. Cocteau. Paris: Gallimard, 1970.

Crowson, Lydia. The Esthetic of Jean Cocteau. Hanover, N.H.: University Press of New England, 1978.

Fowlie, Wallace. Jean Cocteau: The History of a Poet's Age. Bloomington: Indiana University Press, 1966.

“Jean (Maurice Eugene Clement) Cocteau (1889–1963).” Contemporary Literary Criticism. Eds. Daniel G. Marowski, Roger Matuz, and Robyn V. Young. vol. 43. Detroit: Gale Research, 1987, pp. 98–112.

Periodicals

French Review (March 1999): vol. 72: 687–695

Magazine Littéraire (September 2003): vol. 423: 37–38.

Paris Review (Summer–Fall 1964): vol. 32: 13–37.

Theatre Journal (October 1993): vol. 45: 363–72.

Web sites

108 Lenin Imports. Jean Cocteau: The Blood of a Poet. Retrieved January 31, 2008, from http://www.netcomuk.co.uk/. Last updated on May 17, 2007.

Books and Writers. Jean Cocteau (1889–1963). Retrieved January 31, 2008, from http://www.kirjasto.sci.fi/cocteau.htmJean. Last updated on May 17, 2007.

Robinson, Harriet Hanson. Dostoevsky and Existentialism. Retrieved January 31, 2008, from http://fyodordostoevsky.com. Last updated on May 17, 2007.

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