Orpheus in the Underworld , a comic opera by Jacques Offenbach. This popular opera stands apart from other interpretations of the Orpheus myth by virtue of its riotous humor. Black Orpheus , a film directed by Marcel Camus.
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In his last published poem, Milosz contemplates the death of his wife and the pain of loss. The Amber Spyglass , 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. 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 Venice Film Festival and the 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.
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While several of his works have earned greater recognition with time, some are considered his finest, among them The Infernal Machine. It is a play for all time.
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Borsaro, Brigitte. Cocteau, le cirque et le music-hall. Paris: Passage du Marais, Crowson, Lydia. The Esthetic of Jean Cocteau. Hanover, N. Fowlie, Wallace. Bloomington: Indiana University Press, Daniel G. Marowski, Roger Matuz, and Robyn V. Detroit: Gale Research, , pp. Jean Cocteau: The Blood of a Poet. Last updated on May 17, Books and Writers.
Jean Cocteau — Robinson, Harriet Hanson. Dostoevsky and Existentialism.
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Nationality: French. Born: Maisons-Lafitte, near Paris, 5 July Career: Actor, playwright, poet, librettist, novelist, painter, and graphic artist in s and throughout career. Cocteau on the Film , New York , Tsakiridou, Cornelia A. Renaud, T. Un cineaste?
Jean Cocteau | tranharlibyra.ml
Un auteur? Spiess, E. Prudenzi, A. Gauteur, C. 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 s, 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.
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. 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 s and s. 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 s and s and distrusted as an amateur in the s, 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.
Mario Latre "Comme la plume au vent"
Armes, Roy " Cocteau, Jean. Armes, Roy "Cocteau, Jean. The French writer Jean Cocteau 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. 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 , 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.
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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 s 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.