Notes

INTRODUCTION

1. Unless otherwise noted, all translations are my own. For La Machine Infernale, the English title will be used instead of the French. 2. William A. Senior, “Where Have All the Monsters Gone?” Journal of the Fantastic in the Arts 14, no. 2 (Summer 2003): 215. 3. Included in this category is most of science fiction drama, discussed by Ralph Willingham in his Science Fiction and the Theatre (Westport, CT: Greenwood Press, 1994). 4. Patrick D. Murphy, ed. Staging the Impossible: The Fantastic Mode in Modern Drama (Westport, CT: Greenwood Press, 1992).

1 THE INFERNAL MACHINE

1. “Il est d’usage d’appeler MONSTRE l’accord inaccoutumé d’éléments dissonants: le Centaure, la Chimère se définissent ainsi pour qui ne comprend. J’appelle monstre toute originale inépuisable beauté.” Alfred Jarry, “Les Monstres,” L’Ymagier, January 1895, 2. 2. From the many studies in teratology, see David D. Gilmore, Monsters, Evil Beings, Mythical Beasts, and All Manners of Imaginary Terrors (Philadelphia: University of Pennsylvania Press, 2003); etymologically, the term may be derived from the Latin monere (to warn, to remind) or monstrare (to point out). 3. Michel Décaudin dates Cocteau’s first attempt to adapt Sophocles’ Oedipus Tyrannos in 1921. See Michel Décaudin, “Chronologie,” in Jean Cocteau, Oeuvres poétiques complètes (Paris: Gallimard, 1999), xxxvii. However, critics are at variance about the date. See Derek F. Connon, “Folded Eternity: Time and the Mythic Dimension in Cocteau’s La Machine Infernale,” Forum for Modern Language Studies 29, no. 1 (January 1993): 31; Paul Bauschatz, “Oedipus: Stravinsky and Cocteau Recompose Sophocles,” Comparative Literature 43, no. 2 (Spring 1991): 150–170. 4. Jean Daniélou translated the libretto into Latin (only the Narrator’s text would be translated in vernacular as needed). The oratorio was first performed in Paris on May 30, 1927, at the Theatre Sarah Bernhardt, and was conducted 154 Notes

by Stravinsky. It is interesting to note that whenever Cocteau used the adjective atroce (atrocious) in the text, Daniélou replaced it in the Latin text with “monstrum,” in all but one single instance. 5. The play was published in 1928 together with Cocteau’s adaptation of Romeo and Juliet and was first performed in 1937. On Cocteau’s adaptations of Sophocles, see Carol A. Cujec, “Modernizing Antiquity: Jean Cocteau’s Early Greek Adaptations,” Classical and Modern Literature 17, no. 1 (Fall 1996): 45–56. 6. An auctioneer put this version of the play on sale at the Hotel Drouot in Paris on April 17, 2002. According to the information provided, this manuscript was offered by Cocteau to his dentist, Dr. Marcel Brille (1892–1944), and contains the playwright’s corrections. See http://www.tajan.com/pdf/2002/ autographes17042002.pdf July 4, 2008. 7. Contemporary press reports show that the dress rehearsal, in the presence of the press, took place at the Comédie des Champs Elysées on April 10, 1934, a day ahead of the first night (Bibliothèque Nationale, Collection théâtrale, Collection Louis Jouvet, Rt. 3767). Oedipus was played by Jean- Pierre Aumont, Jocasta by Marthe Régnier, the Sphinx by Lucienne Bogaert, Tirésias by Pierre Renoir, the Shepherd by Louis Jouvet, the Corinthian messenger by Marcel Khill, and the Voice by Jean Cocteau. Jouvet was the producer and director, while Christian Bérard designed the sets and the cos- tumes. Although the play was a big success at the box office and the great majority of the press reviews were excellent, it had to close after two and a half months and sixty-four performances because the lease for the theatre building came to an end and could not be renewed. See also Henry Gidel, Jean Cocteau (Paris: Flammarion, 1997), 173–180. 8. The poem was first published in Les Feuilles libres (in its issue of November– December 1926), then in his collection of poems Opera, in 1927. See Opera, suivi de Plain-Chant (Paris: Stock, 1959), 106. 9. Opera, suivi de Plain Chant, 107. 10. For a discussion of similar framing techniques, see Bruce Wilshire, Role Playing and Identity: The Limits of Theatre as Metaphor (Bloomington: Indiana University Press, 1982), 117. 11. For a detailed comparison between Sophocles’ play and The Infernal Machine, see Dwight H. Page, “The Resurrection of the Sophoclean Phoenix: Jean Cocteau’s La Machine Infernale.” Classical and Modern Literature 18, no. 4 (Summer 1998): 329–343. 12. Years later, in an entry from October 31, 1952 in his memoirs, Cocteau acknowledged that his Jocasta bore some of Isadora’s traits. See Cocteau, Passé défini I (1951–1952) (Paris: Gallimard, 1983), 367. 13. Henri Peyre, “What Greece Means to Modern France,” Yale French Studies 6 (1950): 61–62. 14. Bernard Valette, “Modernité du mythe chez Jean Cocteau,” Revue de l’Université de Bruxelles, no. 1–2 (1989): 19. Notes 155

15. Eric Gould, Mythical Intentions in Modern Literature (Princeton, NJ: Princeton University Press, 1981), 188–189. 16. For an anthropological approach, see Lowell Edmunds, The Sphinx in the Oedipus Legend (Königstein: Hain, 1981) and Oedipus: The Ancient Legend and Its Later Analogues (Baltimore: Johns Hopkins University Press, 1985); Eva Figes, Tragedy and Social Evolution (New York: Persea Books, 1990). For a study of Sophocles’ Oedipus Tyrannos within its historical and cultural con- text, see Frederick Ahl, Sophocles’ Oedipus: Evidence and Self-conviction (Ithaca and London: Cornell University Press, 1991). 17. See for example, Bernard Combeaud, La Machine Infernale de Cocteau: Etude de l’oeuvre (Paris, Hachette, 1998); Charles Delattre, La Machine Infernale: Connaissance d’une oeuvre (Paris, Bréal, 1998); Philippe Grandjean, La Machine Infernale: Jean Cocteau. (Paris: Hatier, 2000); Dominique Morineau, Cocteau. La Machine Infernale: 40 questions, 40 réponses, 4 études (Paris: Ellipses, 1998); Dominique Odier, Etude sur La Machine Infernale (Paris: Ellipses, 1997); Thanh-Vân Ton-That, La Machine Infernale: Dossier pédagogique (Paris: Petits Classiques Larousse, 1998). 18. Among the many productions since 1990, there is the recent one at the Teatro Manini in Terni, in Italy (2007); at St. Catherine College in Oxford (2007); at the Cabourg Festival and Théâtre Saint-Léon (Paris, 2004); in Concord, MA, by the Town Cow Theatre Company and directed by Thomas Caron (2003); at the Fourteenth Festival Théâtre Côté Cour, produced by the Noëlle Casta Company (Marseilles) and directed by Noëlle Casta (2003); at the Athénée Théâtre Louis Jouvet in Paris, directed by Gloria Paris who took it on tour in various French province cities (2002–2003); at the National Festival of Dramatic Arts in Pesaro, directed by Piergiorgio Piccoli (2002); at the Lycée d’Artois in Noeux-les-Mines (France), directed by Michèle Machiavello, Sylvain Petit and Véronique Tiers (2001); in Vicenza, by La Trappola Company and directed by Piergiorgio Piccoli (2001); in Rome, at the Teatro Studio Eleonora Duse, by the Accademia Nazionale d’Arte Drammatica “Silvio D’Amico” (2002); by the Eclipse Theatre Company in Chicago (1998); at the Théâtre Guichet-Montparnasse in Paris, directed by Elisabeth R. Oum (1997); at the Millsaps College in Jackson, MS, directed by Lance Goss (1992); and at the Jean Cocteau Repertory Company in New York City, directed by Robert Hupp (1990). The play was also adapted for dance under the title The Sphinx and performed in 2002 by the Dance Theatre of Harlem, choreographed by Glen Tetley. 19. Huguette Laurenti goes as far as affirming that the Voice is the real central character and the invisible personification of fate. See her article “Espace de jeu, espace du mythe: La ‘poésie de théâtre’ selon Cocteau,” in Jean Cocteau Aujourd’hui, ed. Pierre Caizergues (Paris: Meridiens Klincksieck, 1992), 133–143. 20. Cocteau, Antigone, in Théâtre (Paris: Gallimard, 1948), vol. 1, 11. 156 Notes

21. On the dialectics between the word and the objects or settings in the play, see André Helbo, “La ‘théâtralité’ chez Jean Cocteau,” Revue de l’Université de Bruxelles, no. 1–2 (1989): 79–84. 22. Kathryn Hume, Fantasy and Mimesis: Responses to Reality in Western Literature (London: Methuen, 1984), 21. See also Tzvetan Todorov, Introduction à la littérature fantastique (Paris: Seuil, 1970); Nicholas Royle, The Uncanny (New York: Routledge, 2003); Sigmund Freud, “The ‘Uncanny’ ” (1919), in his On Creativity and the Unconscious. Papers on the Psychology of Art, Literature, Love, Religion, ed. Benjamin Nelson, trans. Alix Strachey (New York: Harper & Brothers, 1958), 122–161. 23. For the manifestation of Shelley’s monster on the stage, see Steven Earl Forry, “The Hideous Progenies of Richard Brinsley Peake: Frankenstein on the Stage, 1823–1826,” Theatre Research International 11, no. 1 (Spring 1986): 13–31. 24. In Hofmannsthal’s play, Oedipus assumes that the Sphinx is a demon with “hideous limbs . . . polyp arms.” The Sphinx throws itself into the abyss and authenticates Oedipus’ claim to victory. To the Thebans, Oedipus describes it as a female “creature,” a “woman.” See Hofmannsthal’s Oedipus and the Sphinx, trans. Gertrude Schoenbohm, in Oedipus: Myth and Drama, ed. Martin Kallich, Andrew MacLeish, and Gertrude Schoenbohm (New York: Odyssey Press, 1968), 233, 237, 248. 25. Le Potomak (Paris: Stock, 1924), 68. 26. Ibid. 27. Cocteau’s full baptismal name was Clément Eugène Jean Maurice. 28. Le Potomak, 116–117. 29. Ibid., 263. 30. Milorad [pseud.], “Les ‘Potomak,’ ” Cahiers Jean Cocteau, no. 8 (1979): 9–26. 31. Serge Linares. “Préface à une préface,” in Le Potomak (Paris: Passage du Marais, 2000), 14. 32. Alfredo Bonadeo, Mark of the Beast: Death and Degradation in the Literature of the Great War (Lexington: University Press of Kentucky, 1989). 33. Orphée (Paris: Stock, 1927), 1.1.28. 34. Milorad, “Le Mythe orphique dans l’oeuvre de Cocteau,” La Revue des Lettres Modernes, no. 298–303 (1972/3): 111–113. 35. Le Potomak, 263. 36. Patrick Pollard contends that Gide’s Minotaur is “a monster with whom Theseus has to grapple before he can live a satisfactory life. He is beauti- ful and few men can resist his charms . . . . Symbolically, the labyrinth the monster inhabits is in everyone, taking on different shapes and pandering to the desires of the individual.” See his André Gide: Homosexual Moralist (New Haven and London: Yale University Press, 1991), 397–398. 37. See her Jean Cocteau, l’Empreinte de l’ange (Paris: L’Hatmattan, 2005), 229. 38. Monic Robillard, “L’Ange et le nom divin de Cocteau,” Romanic Review 81, no. 2 (March 1990): 224–235. Notes 157

39. Danielle Chaperon, Jean Cocteau. La Chute des Angles (Presses Universitaires de Lille, 1990), 120–121. 40. Marielle Wyns, Jean Cocteau, l’Empreinte de l’ange (Paris: L’Harmattan, 2005), 56, 58, 229. 41. Pierre Macris, “L’Ange et Cocteau,” La Revue des Lettres Modernes, no. 298–303 (1972/3): 71–90; Serge Dieudonné, “Cocteau entre soi-même et Radiguet,” Cahiers Jean Cocteau 8 (1979): 193–206. 42. Journal d’un inconnu (Paris: Grasset, 1953), 48. 43. Michel Foucault, Abnormal: Lectures at the Collège de France, 1974–1975, ed. Valerio Marchetti and Antonella Salomoni, trans. Graham Burchell (New York: Picador, 2003), 65. 44. Two Screenplays: The Blood of a Poet, The Testament of Orpheus, trans. Carol Martin-Sperry (London and New York: Marion Boyars, 1989), 50. 45. Ibid., 62–63. 46. Robert M. Hammond, ed. Beauty and the Beast. Scenario and Dialogs by Jean Cocteau (New York: New York University Press, 1970), 108, 132, 149, 193, 251, 253, 255, 275, 283, 347, 355, 373. 47. La Machine Infernale (The Infernal Machine) (Paris: Editions Bernard Grasset, 1934), 14. These are also the terms used by Cocteau in a communiqué to the newspaper Paris Soir on April 8, 1934. 48. Ibid, II, 124. 49. Ibid, 101. 50. Ibid, 131. 51. Ibid., 132. 52. Ibid., III, 164. 53. Ibid., IV, 202. 54. Ibid., 202–203. 55. Ibid., 211. 56. Ibid. 57. Chris Baldick, In Frankenstein’s Shadow: Myth, Monstrosity, and Nineteenth- Century Writing (Oxford: Clarendon Press, 1987), 45. 58. Olivier Biaggini, “Montrer par les monstres: polymorphisme d’un exemplum médiéval.” Des Monstres. Actes du Colloque de Mai 1993 à Fontenay-aux-Roses (Fontenay-St. Cloud: ENS, 1994), 48.

2 THE SPHINX

1. Oscar Wilde, “The Sphinx,”in Complete Works (London: Collins, 1973), 833–835. 2. Ahl, 11–12, 63. 3. “Taking the Mystery out of Sphinx: A Computer Determines Its Past and Future Looks.” International Herald Tribune, September 26, 1991. 158 Notes

4. Ahmed Youssef, Cocteau l’Egyptien: La tentation orientale de Jean Cocteau. (Monaco, Editions du Rocher, 2001). 5. The play was published as a “tragedy in 3 acts.” See Joséphin Péladan, Oedipe et le Sphinx (Paris: Mercure de France, 1903). 6. The Infernal Machine, 14. 7. Ba ldick, 45. 8. James B. Twitchell, Dreadful Pleasures: An Anatomy of Modern Horror (New York and Oxford: Oxford University Press, 1985), 34. 9. The Infernal Machine, I, 24. 10. Ibid. 11. Ibid., 25. 12. Ibid. 13. Nina Auerbach, Our Vampire, Ourselves (Chicago: University of Chicago Press, 1995), 73. 14. Jacques Scherer quotes a legend according to which the Sphinx was not only Laius’ illegitimate daughter but also Chimera’s sister, who had the body of a goat and a lion. Of all Chimera’s many attributes, the most often cited was her illusory nature. See Jacques Scherer, Dramaturgies d’Oedipe (Paris: Presses Universitaires de France, 1987), 49. Scherer also quotes a still different ver- sion of the myth, mentioned by Léopold Constans in his La Légende d’Oedipe (Paris: Maisonneuve, 1880), where the Sphinx, a robber, was first seduced and then killed by Oedipus. See Scherer, 50. 15. Among the many paintings showing a chimera or a sphinx, Gustave Moreau’s Oedipus and the Sphinx (1864, 1888); Max Klinger, Invocation (1879); Jean Delville, The Idol of Perversity (1891); Aléxandre Séon, Le Désespoir de la Chimère (The Chimera’s Despair) (1892); Jan Toorop, The Sphinx (1892–1897); Charles Ricketts, Oedipus and the Sphinx (1891) and In the Thebaid (1894); Franz von Stuck, The Kiss of the Sphinx (ca. 1895); Gustav Klimt, Music (1895); Fernand Khnopff, The Supreme Vice (1885) and L’Art des Caresses (The Arts of Caress) (1896); Armand Point, La Chimère (The Chimera) (1897); Frantisek Kupka, The Conqueror Worm (1900); and, closer to the writing of The Infernal Machine, Nicholas Kalmakoff’s Chimera (1926). 16. In 1932, the painter and stage designer Christian Bérard, one of Cocteau’s close friends, painted on a wall of his apartment at 9, rue Vignon a scene showing Oedipus and the Sphinx. Bérard’s Sphinx has an androgynous head, a pair of wings, an animal rump, and a snakelike tail. It has no female body and no breasts. See Pierre Chanel, Album Cocteau (Paris: Henri Veyrier-Tchou, 1975), 97. 17. Elizabeth Sprigge and Jean-Jacques Kihm. Jean Cocteau: the Man and the Mirror (London: Victor Gollancz, 1968), 126. 18. Cocteau, “Le théâtre et la mode,” Cahiers Jean Cocteau, Nouvelle Série, no. 3 (2004): 96. Notes 159

19. Gilmore, 12. 20. Roger C. Schlobin, “The Locus Amoenus and the Fantasy Quest,” Kansas Quarterly 16, no. 3 (1984): 29. 21. The Infernal Machine, II, 86. 22. Ibid., 107. 23. Ahl, 170. 24. The Infernal Machine, II, 93. 25. Karelisa V. Hartigan, “Oedipus in France: Cocteau’s Mythic Strategy in La Machine Infernale.” Classical and Modern Literature 6, no. 2 (Winter 1986): 93. 26. Romana N. Lowe, The Fictional Female: Sacrificial Rituals and Spectacles of Writing in Baudelaire, Zola, and Cocteau (New York: Peter Lang, 1997). 27. The Infernal Machine, II, 133. 28. In Greek mythology, Hera killed Lamia’s children because the beautiful Lamia was Zeus’ lover. Lamia, envious of other mothers, or out of revenge, began killing infants by sucking their blood. Another version depicts her as a temptress who lures away young men, seduces them, and then kills them by sucking their blood. The most famous literary treatment of the myth is John Keats’ poem “Lamia” (1819). 29. Bram Dijkstra, Idols of Perversity: Fantasies of feminine Evil in Fin-de-Siècle Culture (Oxford: Oxford University Press, 1986), 351. 30. Jeffrey Burton Russell. Lucifer: The Devil in the Middle Ages (Ithaca: Cornell University Press, 1984), 79. See also Paul Barber, Vampires, Burial and Death: Folklore and Reality (New Haven: Yale University Press, 1988), 93–94; James William Jordan, “Wereanimals in Europe and Africa: Some Practical Observations on an Esoteric Role,” Ethnos 42 (1977): 53–68. For a postmodernist approach to the vampire metaphor, see Veronica Hollinger, “Fantasies of Absence: The Postmodern Vampire,” in Blood Read: The Vampire as Metaphor in Contemporary Culture, ed. Joan Gordon and Veronica Hollinger (Philadelphia: University of Pennsylvania Press, 1997), 199–212. 31. The Infernal Machine, II, 133–134. 32. Ibid, 135. 33. The Infernal Machine, II, 162. 34. Ibid., III, 163. 35. Ibid., 84. 36. For the theatrical representation of the man-made and pieced-together monster, see Steven Earl Forry, op. cit. and also his Hideous Progenies: Dramatizations of Frankenstein from the Nineteenth Century to the Present (Philadelphia: University of Pennsylvania Press, 1990). 37. Twitchell, 7. 38. In “Fantomâs,” a short piece published in “Le Figaro Littéraire” on July 22, 1961, Cocteau expresses the admiration he shared with Apollinaire and Max 160 Notes

Jacob for the film. In 1912, soon after it was founded, Cocteau became a member of the Société des amis de Fantomâs au Nouveau Monde (Society of Fantomas’ Friends in the New World). See also Robin Walz, “Serial Killings: Fantomâs, Feuillade, and the Mass-Culture Genealogy of Surrealism.” The Velvet Light Trap 37 (Spring 1996): 51–57. 39. The recurrence of the hermaphrodite in Cocteau’s works was examined by Milorad. See his “Des hermaphrodites à Vérone,” Cahiers Jean Cocteau, Nouvelle Série, 3 (2004): 49–59. 40. Shoshana Felman, “Le Scandale de la Vérité,” in Discours et Pouvoir. Michigan Romance Studies, ed. Ross Chambers, 2 (1982), 24. 41. Jean Cocteau, The Infernal Machine, in The Infernal Machine and Other Plays by Jean Cocteau, trans. Albert Bremel (New York: New Directions Books, 1967), 3. 42. See Elaine Showalter, Sexual Anarchy: Gender and Culture at the Fin de Siècle (London: Bloomsbury, 1991), 179–184; Dijkstra, 90–91; Auerbach, 83–85. 43. The Infernal Machine, II, 84. 44. Ibid, 99. 45. Judith Butler brings out the correlation between the process of assuming a sex and the question of identification. See Judith Butler, Bodies That Matter: On the Discursive Limits of “Sex” (New York and London: Routledge, 1993), 3. 46. Butler, 2. 47. For a discussion of the woman as monster, see Sandra M. Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth- Century Literary Imagination (New Haven: Yale University Press, 1984), 29–79, 241–242; Patrice Petro, “The Woman, The Monster, and ‘The Cabinet of Dr. Caligari’ ” in The Cabinet of Dr. Caligari: Texts, Contexts, Histories, ed. Mike Budd (New Brunswick: Rutgers University Press, 1990), 210–215; David Williams, “Wilgefortis, Patron Saint of Monsters, and the Sacred Language of the Grotesque,” in The Scope of the Fantastic: Culture, Biography, Themes, Children’s Literature, ed. Robert A. Collins and Howard D. Pearce (Westport, CT: Greenwood Press, 1985), 171–177; Dijkstra, 333–351. 48. Craig Owens. Beyond Recognition: Representation, Power and Culture, ed. Scott Bryson, Barbara Kruger, Lynne Tillman, and Jane Weinstock (Berkeley: University of California Press, 1992), 111. 49. Jean Cocteau, Tour du monde en 80 jours (mon premier voyage) [Around the World in Eighty Days (My First Voyage)] (Paris: Gallimard, 1936), 49.

3 LAIUS, TIRESIAS, AND JOCASTA

1. Guillaume Apollinaire, Les Mamelles de Tirésias (The Breasts of Tiresias), in Oeuvres Poétiques (Paris: Gallimard, 1965), 895, 897. 2. Paul M. C. Forbes Irving, Metamorphosis in Greek Myth (Oxford: Clarendon Press, 1990), 72. Notes 161

3. On the hermaphrodite, see David Williams, “Wilgefortis,” 175. 4. Arlette Lafont, “Autour des Mamelles de Tirésias,” La Revue des Lettres Modernes, no. 123–126 (1965): 8. See also Annabelle Melzer, Dada and Surrealist Performance (Baltimore: John Hopkins University Press, 1994), 122–135; Claude Schumacher, Alfred Jarry and Guillaume Apollinaire (New York: Grove Press, 1985), 141–156. 5. The poem is included in Correspondance Guillaume Apollinaire Jean Cocteau, ed. Pierre Caizergues and Michel Décaudin (Cahors: Jean-Michel Place, 1991), 47. 6. The Infernal Machine, III, 164. 7. Forbes Irving, 167. 8. See also Bauschatz, 156. 9. Jacques Brosse, Cocteau (Paris: Gallimard, 1970), 84. 10. Ibid., I, 40. This is the reason why Cocteau initially intended to cast Elvire Popesco, a well-known actress of Rumanian origin, in this role. 11. Gabriel Boissy, “La Machine Infernale, pièce en 3 tableaux de M. Jean Cocteau,” Comoedia, April 12, 1934. 12. Judith G. Miller, “Jean Cocteau and Hélène Cixous: Oedipus,” in Drama, Sex, and Politics, ed. James Redmond (Cambridge University Press, 1985), 206. 13. Marie Jejcic claims that Jocasta’s attraction to young males is inspired only by maternal instinct. See her Le Savoir du poète. Oedipe selon Jean Cocteau (Paris: Agalma, diffusion Seuil, 1996), 55. 14. The Infernal Machine, I, 45. 15. Ibid., III, 181–183. 16. Ibid., IV, 207–209. 17. My emphasis. Jean Schlumberger “La Machine Infernale de Jean Cocteau, à la Comédie des Champs Elysées,” Nouvelle Revue Française, May 1, 1934, 873–75. 18. The Infernal Machine, I, 65. 19. Gilbert and Gubar, 34. 20. Petro, 210. 21. Figes, 110. 22. Jean Touzot, Jean Cocteau, Le Poète et ses doubles (Paris: Bartillat, 2000), 124–127. 23. Mitsutaka Odagiri, Écritures Palimpsestes, ou Les théâtralisations françaises du mythe d’Oedipe (Paris: L’Harmattan, 2001), 167, 171. 24. Seneca, Oedipus, trans. Frank Justus Miller, in Oedipus: Myth and Dramatic Form, ed. James L. Sanderson and Everett Zimmerman (Boston: Houghton Mifflin, 1968), III, lines 752–755, 764–766. 25. Segal, Charles. “Oedipus through the Ages,” Review Article, International Journal of the Classical Tradition 7, no. 2 (Fall 2000): 221. 26. Felman, 22. 162 Notes

4 OEDIPUS

1. Cocteau, Maalesh. Journal d’une tournée théâtrale (Paris: Gallimard, 1949), 179. 2. The Infernal Machine, 13, 14. 3. Ibid., II, 124–125. 4. Ibid., 133–135. 5. Ibid, II, 98. 6. Ibid., IV, 211. 7. Ibid., IV, 214. 8. Ibid., 14. 9. Ralph Yarrow, “Ambiguity and the Supernatural in Cocteau’s La Machine Infernale,” in Staging the Impossible, 113. Judith Miller finds that Oedipus “experiences no moral dilemma in proclaiming himself [the Sphinx’s] conqueror.” Judith Miller, 207. 10. The Infernal Machine, II, 107. 11. Ibid., 103. 12. Lewis W. Leadbeater, “In Defense of Cocteau: Another View of La Machine Infernale,” Classical and Modern Literature 10, no. 2 (Winter 1990): 124. 13. The Infernal Machine, II, 102. 14. Ibid., 14. 15. Ibid., III, 186. 16. David Williams, Deformed Discourse: The Function of the Monster in Medieval Thought and Literature (Exeter: University of Exeter Press, 1996), 251. 17. The Infernal Machine, II, 108. 18. Mireille Brémond, “Mais où sont passés les monstres? Réflexion sur le Sphinx de J. Cocteau et le Minotaure de M. Yourcenar.” Bulletin de la Société Internationale d’Etudes Yourcenariennes, no. 19 (December 1998): 63. 19. Judith Miller, 206. 20. See, for instance, Marina Warner, Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self (Oxford University Press, 2002), 165. 21. The Infernal Machine, III, 154. 22. Hofmannsthal, Oedipus and the Sphinx, 250. 23. Odagiri suggests that Cocteau borrowed ideas from Hofmannsthal’s play. Odagiri, 141. 24. Louis Jouvet, Le Comédien désincarné (Paris: Flammarion, 1954), 51. 25. The Infernal Machine, IV, 193. 26. Ibid, 202. 27. Ibid, 193. 28. Ibid., 195, 202. 29. Ibid., II, 92. 30. Susan Sontag, AIDS and Its Metaphors (New York: Farrar, Straus and Giroux, 1989), 45. 31. Barbara Fass Leavy, To Blight with Plague: Studies in a Literary Theme (New York: New York University Press, 1992), 4. See also Ahl, 275–276, Note 1. Notes 163

32. See, for example, René Girard, Oedipus Unbound: Selected Writings on Rivalry and Desire (Stanford: Stanford University Press, 2004), 43–44. 33. Colin Jones, “Plague and Its Metaphors in Early Modern France.” Representations 53 (Winter 1996): 112. 34. René Girard, “To Double Business Bound”: Essays on Literature, Mimesis, and Anthropology (Baltimore: Johns Hopkins University Press, 1978), 139. 35. Ahl, 53. 36. The Infernal Machine, 14. 37. Sander L. Gilman, Disease and Representation: Images of Illness from Madness to AIDS (Ithaca: Cornell University Press, 1988), 155. 38. The Infernal Machine, III, 188. 39. Ibid., IV, 149, 150, 155. 40. For a discussion of the monster as a recurrent motif in the Oedipus myth, see René Girard, Violence and the Sacred, trans. Patrick Gregory (Baltimore: Johns Hopkins University Press, 1989), 251–252. 41. Susan Rubin Suleiman. Subversive Intent: Gender, Politics, and the Avant- Garde (Cambridge, MA: Harvard University Press, 1990), 149–174. 42. The Infernal Machine, III, 158–159. 43. Ibid., II, 109. 44. See Sprigge and Kihm, 14. 45. La Machine Infernale, II, 103. 46. Leadbeater, 124. 47. La Machine Infernale, IV, 212. 48. Julia Kristeva construes Oedipus’ self-blinding as equivalent to castration. See her Powers of Horror: An Essay on Abjection (New York: Columbia University Press, 1982), 84–86. 49. Les Mariés de la Tour Eiffel, in Théâtre (Paris: Gallimard, 1948), vol. 1, 41. Rolf de Maré’s Ballets Suédois first performed the play on June 18, 1921, at the Théâtre des Champs Elysées in Paris. 50. Lydia Crowson, “Myth in Jean Cocteau’s Theater: Art as Revenge,” Research Studies 42, no. 3 (September 1974): 140. See also Leadbeater, 117; Serge Linares, Jean Cocteau: le grave et l’aigu (Seyssel: Champ Vallon, 1999), 139. 51. For Oedipus’ partial recognition of his failings, see La Machine Infernale, III, 160.

5 DRAMATIC STRATEGIES AND STRATAGEMS

1. L’Impromptu du Palais Royal (1962), in Théâtre complet, ed. Michel Décaudin et al. (Paris: Gallimard, 2003), 1279. 2. Brian Richardson, “Voice and Narration in Postmodern Drama,” New Literary History 32, no. 3 (2001): 683. 164 Notes

3. See Charles Segal’s seminal study of Oedipus in literature, Oedipus Tyrannus: Tragic Heroism and the Limits of Knowledge (New York: Twayne Publishers, 1993). On Cocteau and his Infernal Machine, see ibid., 154–156. 4. The Infernal Machine, II, 123–124. 5. Preface to Les Mariés de la Tour Eiffel, 43. 6. Le Secret Professionnel (1922), in Poésie Critique (Paris: Gallimard, 1959), vol. 1, 49–50. 7. See, for example, Cocteau, Le Journal d’un Inconnu, 129. 8. Kenneth E. Silver defines this technique as “an act both of restoration and of transubstantiation.” See his “Jean Cocteau and the Image d’Epinal,” in Jean Cocteau and the French Scene, ed. Arthur King Peters (New York: Abeville Press, 1984), 96. 9. Ruth Amossy and Elisheva Rosen, Les Discours du Cliché (Paris: SEDES, 1982), 22. 10. Francis Steegmuller, Cocteau. A Biography (Boston: Little, Brown & Co., 1970), 240, 387. 11. See also Amossy and Rosen, 18. 12. The Infernal Machine, I, 34–39. 13. At the play’s first production, the actress playing Jocasta spoke with a Russian accent. 14. The Infernal Machine, I, 40–41. 15. Susan Sontag, “Notes on ‘Camp,’ ” in Against Interpretation (New York: Farrar, Straus, Giroux, 1964), 279. 16. Ibid., 287. 17. Ibid., 278. 18. See, for example, Matthew Tinkcom, Working like a Homosexual: Camp, Capital Cinema (Durham: Duke University Press, 2002). 19. See also Fabio Cleto, “Introduction: Queering the Camp,” in Camp: Queer Aesthetics and the Performing Subject. A Reader, ed. Fabio Cleto (Ann Arbor: University of Michigan Press, 1999), 9. 20. Ian Lucas, Impertinent Decorum: Gay Theatrical Manoeuvres (New York: Cassell, 1994), 118. 21. The Infernal Machine, I, 57–58. 22. Ibid., 142. 23. John M. Clum, Acting Gay: Male Homosexuality in Modern Drama (New York: Columbia University Press, 1992), 151, 154. 24. The Infernal Machine, 15. 25. Ibid., IV, 217. 26. See Margaret Rose’s study Parody: Ancient, Modern and Post-modern (Cambridge: Cambridge University Press, 1993). 27. See Fredric Jameson, “Postmodernism and Consumer Society,” The Anti- Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (Washington, DC: Bay Press, 1983), 113. Notes 165

28. Linda Hutcheon, “The Politics of Postmodern Parody,” in Intertextuality, ed. Heinrich F. Plett (Berlin and New York: Walter de Gruyter, 1991), 225. 29. Marjorie Perloff, 21st Century Modernism: The “New” Poetics (Malden, MA: Blackwell, 2002), 1–2. 30. The Infernal Machine, III, 141. At the play’s first production, the scenery for the bedroom was elevated and placed at center stage; it was draped in red. See Sprigge and Kihm, 126. 31. The Infernal Machine, III, 141. 32. Ibid., 166. 33. Schlumberger, 874. In a comprehensive survey of the literary events in Paris in 1934, destined for the American readers of The Modern Language Journal, Albert Schinz mentions Cocteau’s play as a modern remake of Oedipus and Jocasta’s story “more like O’Neill’s Electra.” It is unclear whether he saw the production or only read about it. See his “L’Année littéraire mil neuf cent trente-quatre,” The Modern Language Journal 19, no. 8 (May 1935): 563. 34. See Schlumberger, 873–875; Neal Oxenhandler, Scandal and Parade: The Theater of J. Cocteau (New Brunswick, NJ: Rutgers University Press, 1957), 129–158; Angela Belli, Ancient Greek Myths and Modern Drama: A Study in Continuity (New York: New York University Press, 1969), 5–35; Brosse, 85; Claude Martin, “Gide, Cocteau, Oedipe: le mythe ou le complexe,” Revue des Lettres Modernes, no. 298–303 (1972/3): 155–162; Milorad, “Romans jumeaux ou de l’imitation,” Cahiers Jean Cocteau, 8 (1979): 101; Clément Borgal, Jean Cocteau, ou De la claudication considérée comme l’un des beaux- arts (Paris: Presses Universitaires de France, 1989), 77–104; Leadbeater, 124; Lowe, 158–216; Anne Clancier, “Jean Cocteau et les Mythes,” in Mythes et Psychanalyse, ed. Anne Clancier and Cléopâtre Athanassiou-Popesco (Paris: Arnaud Dupin et Serge Perrot, 1997), 155–163; Bernard Combeaud, La Machine Infernale de Cocteau: Etude de l’oeuvre (Paris: Hachette, 1998), 28; Delattre, 74–77; Jean Touzot, Jean Cocteau, Le Poète et ses doubles, 124–126; Philippe Grandjean, La Machine Infernale: Jean Cocteau” (Paris: Hatier, 2002), 89–124; Bertrand de Chambon, Le Roman de Jean Cocteau (Paris, L’Harmattan, 2001). For a Lacanian approach, see Jejcic. 35. See Franco Tonelli, “Edipo, la rapprezentatione e la macchina infernale,” Il Lettore di Provincia 15, no. 61 (June–September 1985): 5–13; Dominique Paini, “L’Homme invisible,” in Cocteau, Catalog of the exhibition “Jean Cocteau, sur le fil du siècle” (Paris: Centre Pompidou, 2003), 279.

6 COCTEAU AND HIS MONSTER

1. Cocteau, La Difficulté d’être (Monaco: Editions du Rocher, 1957), 282. 2. Entry of January 22, 1954. Le Passé défini, III, 1954 (Gallimard, 1989), 20. 166 Notes

3. In 1928, the book did not bear the author’s name or that of the publisher and the first run had only thirty-one copies. In 1930, the book was again published, this time by the Editions du Signe in Paris, in a larger edition, and with Cocteau’s explicit color illustrations. See Claude Arnaud, Jean Cocteau (Paris: Gallimard, 2003), 413–414. 4. Vernon A. II Rosario, “Pointy Penises, Fashion Crimes, and Hysterical Mollies: The Pederast’s Inversions,” in Homosexuality in Modern France, ed. Jeffrey Merrick and Bryant T. Ragan (Oxford: Oxford University Press, 1996), 157. See also Jeffrey Merrick and Bryant T. Ragan, Jr., eds. Homosexuality in Modern France (Oxford: Oxford University Press, 1996). 5. See Laurence Senelick, “General Introduction,” in his anthology Lovesick: Modernist Plays of Same-Sex Love, 1894–1925 (New York: Routledge, 1999), 10. 6. Antony Copley, Sexual Moralities in France, 1780–1980 (London and New York: Routledge, 1989), 169. 7. See Carolyn J. Dean, The Frail Social Body: Pornography, Homosexuality, and Other Fantasies in Interwar France (Berkeley: University of California Press, 2000), 148. 8. Dean, 147–149. 9. Ibid., 56. 10. Marcel Réja, “La Révolte des hannetons,” Mercure de France 13 (March 1, 1928): 334; quoted by Dean, 153. 11. Ibid., 55–56. 12. Corydon was first published in 1911 in a private edition, then in a commercial one in 1924, that is, four years before Cocteau’s The White Paper. 13. Edmund White, “The Burning Book: Genet and Cocteau,” Yale Review 81, no. 4 (October 1992): 37. 14. See, for example, Pierre-Marie Héron, “Demain je retrouve Jean Genet,” in Le siècle de Jean Cocteau, ed. Pierre Caizergues and Pierre-Marie Héron (Montpellier: Université Paul-Valery, 2000), 184–211. 15. See also Christopher Robinson, Scandal in the Ink: Male and Female Homosexuality in Twentieth-Century French Literature, (New York: Cassell, 1995), 49. 16. Ibid., 95. 17. On his quest for love, see also Chambon, 311. 18. For a different reading, see Steegmuller, 347. He claims that Cocteau’s self-doubts were fundamental, “welling up from the deep sources of his sex- ual guilt.” See also Robinson, 49; Bertrand de Chambon, Le Roman de Jean Cocteau (Paris: L’Harmattan, 2001), 265. 19. In 1950, Les Enfants Terribles was turned into a film directed by Jean-Pierre Melville, with a scenario by Cocteau and based on his novel. The Catholic Church banned the film because of its insinuations of incest between the two siblings. Notes 167

20. Cocteau, La Difficulté d’être, 225, 237–238. 21. Gilmore, 19. 22. See, for example, Gilman, 59; Jonathan Dollimore, Sexual Dissidence: Augustine to Wilde, Freud to Foucault (Oxford: Clarendon Press, 1991), 47. 23. For a discussion of the homosexual aspects of the story, see Eve Kosofsky Sedgwick, “The Beast in the Closet: James and the Writing of Homosexual Panic,” in Sex, Politics and the Nineteenth Century Novel, ed. Ruth Yeazell (Baltimore: Johns Hopkins University Press, 1986), 148–186. 24. André Gide, Correspondance André Gide - Roger Martin du Gard (Paris: Gallimard, 1968), vol. 1 (1913–1914), 78. 25. Fernando Arrabal, Plaidoyer pour une différence (Grenoble: Presses Universitaires de Grenoble, 1978), 22. 26. Ibid, 100. 27. Jacques Renaud, the childhood friend of Cocteau, became a painter and a musician. Francis Ramirez and Christian Rolot place the writing of the play as early as 1909. See their “Notice,” in Cocteau’s Théâtre Complet, 1829–1832. 28. Le Portrait surnaturel de Dorian Gray, pièce fantastique en quatre actes et cinq tableaux (The Supernatural Portrait of Dorian Gray, a fantastic play in four acts and five scenes) was first published in 1978 by Olivier Orban in Paris. 29. Judith Halberstam, Skin Shows: Gothic Horror and the Technology of Monsters (Durham: Duke University Press, 1995), 63. 30. Ibid, 24. 31. See, for example, Harry M. Benshoff, Monsters in the Closet: Homosexuality and the Horror Film (Manchester: Manchester University Press, 1997); Sedgwick, “The Beast in the Closet”; Showalter, 105–126; Michael William Saunders, Imps of the Perverse: Gay Monsters in Film (Westport, CT and London: Praeger, 1998); Kent L. Brintnall, “Re-building Sodom and Gomorrah: The Monstrosity of Queer Desire in the Horror Film,” Culture and Religion 5, no. 2 (2004), 145–160; Richard Dyer, “Stereotyping,” in Gays in Film, ed. by Richard Dyer (New York: Zoetrope, 1984), 27–39. 32. On Cocteau’s films, see James S. Williams, Jean Cocteau (Manchester: Manchester University Press, 2006), and Francis Ramirez and Christian Rolot, Jean Cocteau, L’Oeil architecte (Paris: ACR, 2000). On Cocteau’s play Orpheus, see also Kazuyuki Matsuda, “La métamorphose d ‘Orphée chez Cocteau,” Gallia (Osaka) 28 (1991): 51–58; on Cocteau’s film Orpheus, see her article “La Mort sous la forme d’une jeune femme chez Cocteau—sur la genèse du personnage de la Princesse du film Orphée,” Gallia (Osaka) 40 (2000): 219–226. 33. See also Milorad, “Le Livre blanc, document secret et chiffré,” Cahiers Jean Cocteau, no. 8 (1979): 112–117. 34. Bertrand de Chambon, Le Roman de Jean Cocteau (Paris: L’Harmattan, 2001), 191–192. 35. See Emmanuel Cooper, The Sexual Perspective: Homosexuality & Art in the Last 100 Years in the West, (London: Routledge and Kegan Paul, 1986), 168 Notes

139; Alain and Odette Virmaux, “La malédiction surréaliste et ses limites,” La Nouvelle Revue de Paris, no. 16 (1989): 49–54. 36. Peter G. Christensen, “Three Concealments: Jean Cocteau’s Adaptation of The Picture of Dorian Gray.” Romance Notes 27, no. 1 (Autumn 1986): 27–35. 37. Richard A. Kaye, “ ‘A Splendid Readiness for Death’: T. S. Eliot, the Homosexual Cult of St. Sebastian, and World War I,” Modernism/Modernity 6, no.2 (1999): 124. 38. Charles R. Batson, Dance, Desire, and Anxiety in Early Twentieth-Century French Theater: Playing Identities (Burlington, Vermont: Ashgate, 2005), 16, 21. 39. See also Robinson, 53–59. 40. Le Livre blanc et autres textes (Paris: Livre de Poche, 1999), 83. 41. Ibid, 62. 42. Opium (Paris: Stock, 1983), 137. 43. Quoted by Jean Touzot, Jean Cocteau (Lyon: La Manufacture, 1989), 92. 44. See Benshoff’s Monsters in the Closet. 45. Nicholas de Jongh, Not in front of the Audience: Homosexuality on Stage (London: Routledge, 1992), 185. 46. Journal d’un Inconnu, 40. 47. Les Mariés de la Tour Eiffel, 42. 48. See, for example, Ihab Hassan, “Beyond Postmodernism: Toward an Aesthetic of Trust,” Angelaki 8, no. 1 (April 2003): 7. 49. The Knights of the Round Table was published in 1937. 50. Neal Oxenhandler, “Le Mythe de la persécution dans l’oeuvre de Jean Cocteau,” La Revue des Lettres Modernes, no. 298–303 (1972/3): 97. 51. The Infernal Machine, II, 133. 52. See Borgal, 52. See also Germaine Brée, Twentieth-Century French Literature, trans. Louise Guiney (Chicago: University of Chicago Press, 1983), 243–244. 53. See, for example, Virmaux, and Oxenhandler, “Le Mythe de la persécution dans l’oeuvre de Jean Cocteau,” 91. 54. See Arnaud. 55. Virmaux, 51. 56. Le Passé défini, I, 91. 57. Ibid., 92. 58. Ibid., 165. 59. Ibid., 368. 60. Brée, 249. 61. Touzot, Jean Cocteau: Le Poète et ses doubles, 77–83. 62. Journal d’un Inconnu, 201–202. Jean-Pierre Millecam is critical about Cocteau’s reluctance to discuss his sexuality in public. See his L’Etoile de Jean Cocteau (Paris: Criterion, 1991). See also Milorad and Jean-Pierre Joecker, eds. Album Masques. Jean Cocteau. Supplement to Masques, no. 19 (September 1983). Notes 169

63. See The White Paper (New York: The Macaulay Company, 1958), 8. The book’s author was listed as “Anonymous” and did not bear the name of its translator either. Margaret Crossland translated again the book and it was published under the title The White Book: Le Livre blanc in 1989 in San Francisco by City Lights Books. This time, the name of the author, Cocteau, was not omitted. 64. The Infernal Machine, III, 131. 65. Arnaud, 104. 66. Serge Dieudonné delved into this self-searching. Dieudonné, 193. 67. Freud’s La Psychanalyse, translated by Yves Le Vay, was published in Paris by Payot in 1921; his Introduction a la psychanalyse and La Psychopathologie de la vie quotidienne in 1922 (trans. S. Jankélévitch); Trois Essais sur la théorie de la sexualité and Cinq Leçons sur la psychanalyse were published in 1923; Totem et tabou and Psychologie collective et analyse du moi in 1924; then fol- lowed Le Rêve et son interprétation (1925), La Science des rêves (1926), Essais de psychanalyse, 5 vols. (1927), Un Souvenir d’enfance de Léonard de Vinci (1928), Ma vie et la psychanalyse & Psychanalyse et médecine (1928), Journal psychanalytique d’une petite fille (1929), Le mot d’esprit et ses rapports avec l’inconscient (1930), Délire et rêves dans un ouvrage littéraire: la Gradiva, de Jensen (1931), Essais de psychanalyse appliquée (1933), and Malaise dans la civilisation (1934). By the time The Infernal Machine was first produced, most of Freud’s writings were available in French translation. 68. Antony Copley, Sexual Moralities in France, 1780–1980 (London: Routledge, 1989). 69. See also Judith Miller, 205–210; Schlumberger, 874; Paul Saegel, “La Semaine Dramatique. Comédie des Champs Elysées, La Machine Infernale, pièce en 4 actes de M. Jean Cocteau,” Le Ménestrel, April 20, 1934; René Salomé, “Chronique Dramatique. Sophocle et Jean Cocteau,” Etudes, August 5, 1934, 380–387; André Bellesort, “La semaine dramatique,” Feuilleton du Journal des Débats, April 16, 1934; R. K. (pseud.), “La Machine Infernale à la Comédie des Champs Elysées,” Vu, April 18, 1934; Georges Godchaux, “Les générales à Paris. Comédie des Champs Elysées, La Machine Infernale de Jean Cocteau,” Journal d’Anvers, April 20, 1934; Lucien Dubech, “La Chronique des théâtres: La Machine Infernale,” L’Action française, April 21, 1934; and the anonymous review “Les pièces nouvelles,” Candide, April 26, 1934. 70. See Borgal, 152–153; Steegmuller, 392. 71. Journal d’un Inconnu, 40–42. 72. Felman, 21. 73. Quoted in Milorad, “Addendum. Esquisse d’une théorie de la sexualité,” Cahiers Jean Cocteau, no. 8 (1979): 132–141. 133. 74. Lawrence R. Schehr, French Gay Modernism (Urbana and Chicago: University of Illinois Press, 2004), 116. 75. See Girard, Violence and the Sacred and Ahl. 170 Notes

76. Bert Archer, The End of Gay (and the Death of Heterosexuality) (London: Fusion Press, 2002).

7 VISIBILITY, INVISIBILITY, AND THE FANTASTIC

1. Lewis Carroll, Through the Looking Glass (London: Penguin, 1973), 257. 2. Clum, Acting Gay, 173–174. 3. “Le théâtre français fait peu de cas du surnaturel, encore moins d’un mélange de réel et d’irréel dont se sustente le théâtre anglais. Shakespeare, Shaw . . . pour ne citer que ces deux-là, on sait comment ils mènent le réel jusqu’à l’irréel, par la passerelle de l’humour. Il est impossible de ne les point nommer, quand il s’agit de Cocteau. A cette différence près que l’humour anglais caricature grièvement, dans les conjonctures où Cocteau préfère jouer avec la réalité, la vérité, les capter subtilement au lieu de s’écarter d’elles. Entre ses mains, le réel cinématographique- ment visité sous les angles les plus divers, fond et refond sa géometrie, se déforme et nous enivre.” Colette, “Première Parisienne,” Le Journal, April 15, 1934. 4. Soraya le Corsu provides biographical and psychoanalytical explanations for the recurrence of several motifs, such as the magic horse, the centaur or the magic glove, in Cocteau’s oeuvre. See her L’Image surréaliste dans l’oeuvre de Jean Cocteau (Paris: Connaissances et Savoirs, 2005), 205–252. 5. Eric Rabkin, The Fantastic in Literature (Princeton: Princeton University Press, 1976), 20–21; Christine Brooke-Rose, A Rhetoric of the Unreal (Cambridge: Cambridge University Press, 1981), 3–11. For a psychoana- lytic approach to the fantastic, see Louis Vax, La Séduction de l’étrange (Paris: Presses Universitaires de France, 1965). 6. Nancy H. Traill, Possible Worlds of the Fantastic: The Rise of the Paranormal in Literature (Toronto: University of Toronto Press, 1996), 8–9. 7. Lucie Armitt, Theorising the Fantastic (London: Arnold, 1996), 17–36. 8. Todorov, 25; Brian Attebery, Strategies of Fantasy (Bloomington: Indiana university Press, 1992), 14–15. 9. Attebery, 16–17; Colin N. Manlove, Modern Fantasy (Cambridge: Cambridge University Press, 1975). 10. Hume, 21. See also Patrick Parrinder, “Introduction: Learning from Other Worlds,” in Learning from Other Worlds, ed. Patrick Parrinder (Durham: Duke University Press, 2001), 4–11. 11. Cocteau’s “added stress on the fantastic” in this adaptation was pointed out by Christensen. Christensen, 29. 12. Le Portrait Surnaturel de Dorian Gray, in Théâtre Complet, III, 1, 1408. 13. Cocteau designed the sets and costumes for the production of Debussy’s Pelleas and Melisande that marked the composer’s centenary at the Fifth Festival of Metz in 1962. Notes 171

14. For a detailed discussion of the prevailing symbolists theories on theatre and drama, see Frantisek Deak, Symbolist Theater: The Formation of an Avant- Garde (Baltimore: John Hopkins University Press, 1993); A. G. Lehmann, The Symbolist Aesthetic in France, 1885–1895 (Oxford: Basil Blackwell, 1968); Jacques Robichez, Le Symbolisme au théâtre: Lugné-Poe et les débuts de L’Oeuvre (Paris: L’Arche, 1957). 15. Preface to Les Mariés de la Tour Eiffel, 45. 16. On the production of this play, see also Annette Shandler Levitt, “Jean Cocteau’s Theatre: Idea and Enactment,” Theatre Journal 45, no. 3 (October 1993): 363–372. 17. Le Secret professionnel, 53–54. 18. Orphée, Scene 13, 118. 19. Le Mystère laïc, in Poésie Critique (Paris: Gallimard, 1959), vol. 1, 159. 20. Francis Ramirez and Christian Rolot place the writing of this play in 1934. See their “Notice” in Jean Cocteau, Théâtre Complet, 1702–1710. 21. Attebery, 17. 22. Les Chevaliers de la Table Ronde, in Théâtre, vol. 1, I, 91. 23. Ibid., II, 121. 24. Ibid., III, 176. 25. Renaud et Armide, in Théâtre (Paris: Gallimard, 1948), vol. 2, II, 5, 253. 26. Ibid., I, 3, 206. 27. Milorad, “La Clé des mythes dans l’oeuvre de Cocteau,” Cahiers Jean Cocteau, no. 2 (1971): 97–140. See also Milorad, “Le Mythe Orphique dans l’oeuvre de Cocteau.” 28. See Macris, and Martin, 143–165; Touzot, Jean Cocteau. Le Poète et ses doubles, 122–135. 29. See her article “Les Mythes classiques dans l’oeuvre de Jean Cocteau,” in Le Monde de Jean Cocteau, ed. Geneviève Albrechtskirchinger (Paris: Albin Michel, 1991), 73–85. 30. Valette, 22. 31. Evans, Arthur B. Jean Cocteau and His Films of Orphic Identity (Philadelphia: Art Alliance Press, 1977), 43. 32. See Chaperon. 33. Lydia Crowson, The Esthetic of Jean Cocteau (Hanover, NH: University Press of New England, 1978), 151. 34. See, for example, Evans, 43–44. 35. The Infernal Machine, II, 84. 36. Jan Hokenson, “Introduction,” in Forms of the Fantastic (Westport, CT: Greenwood Press, 1986), 153. 37. Rosemary Jackson, Fantasy: The Literature of Subversion (London: Methuen, 1981), 1–91. 38. Ibid., 45. 39. Steegmuller, 416. 172 Notes

40. In his article “Le Numéro Barbette,” published in Paris in June 1926 in the Chronique des spectacles, Cocteau paid tribute to “the magic light of the theatre” and the aesthetic pleasure it provides. The article, an aesthetiza- tion of a homosexual experience, is considered by critics as Cocteau’s Ars Poetica. See Jennifer Forrest, “Cocteau au cirque: The Poetics of Parade and ‘Le Numéro Barbette,’ ” Studies in 20th Century Literature 27, no. 1 (Winter 2003): 9–47; Mark Franko, “Where He Danced: Cocteau’s ‘Barbette’ and Ohno’s ‘Water Lilies,’ ” PMLA 107, no. 3 (May 1992): 594–607; Maité R. Monchal, Le Sacerdoce de la désobeissance. Création et séxualite chez Jean Cocteau. Suivi d’un entretien avec Jean Marais. (Ann Arbor: UMI, 1994), and her Homotextualité: creation et sexualité chez Jean Cocteau (Paris: L’Harmattan, 2004). 41. “Notices,” in Théâtre, vol. 1, 76–77. 42. Cocteau, “Du Merveilleux au cinématographe,” in La Difficulté d’être, 75–79. 43. Patrick D. Murphy, “Introduction,” in Staging the Impossible: The Fantastic Mode in Modern Drama, ed. Patrick D. Murphy (Westport, CT: Greenwood Press, 1992), 1–14. 44. The Infernal Machine, II, 88–89. 45. See, for example, Bert. O. States, Great Reckonings in Little Rooms: On the Phenomenology of Theater (Berkeley: University of California, 1985); Hans Ulrich Gumbrecht, Production of Presence: What Meaning Cannot Convey (Stanford: Stanford University Press, 2004); Stanton B. Garner, Jr., Bodied Spaces: Phenomenology and Performance in Contemporary Drama (Ithaca: Cornell University Press, 1994). 46. See Batson. 47. On the influence of popular traveling theatres on Cocteau, see Jeremy Cox, “ ‘Le théâtre forain’: Historical and Stylistic Connections between Parade and Histoire du Soldat,” Music and Letters 76, no. 4 (November 1995): 572–592. 48. Théâtre, vol. 1, 45–47. 49. Wilshire, 44. 50. Journal d’un inconnu, 95. 51. Sinfield, Alan. “Private Lives/Public Theater: Noel Coward and the Politics of Homosexual Representation.” Representations, no. 36 (Autumn 1991): 57. 52. On theatre and homosexuality, mostly in France, England, and Germany at the end of the nineteenth century, see Laurence Senelick, “The Homosexual as Villain and Victim in Fin-de-Siècle Drama,” Journal of the History of Sexuality 4, no. 2 (October 1993): 201–229; “The Queer Root of Theater,” in The Queerest Art: Essays on Lesbian and Gay Theater, ed. Alisa Solomon and Framji Minwalla (New York: New York University Press, 2002), 21–39; and Ibid., “General Introduction,” 1–14. Notes 173

8 ETHICS, ALTERITY, AND DESIGNED EMOTION

1. Along with the studies of Halberstam, Gilmore, Twitchell, Benshoff, and Chris Baldick on the monster, see also Joseph D. Andriano, Immortal Monster: The Mythological Evolution of the Fantastic Beast in Modern Fiction and Film (Westport, CT: Greenwood Press, 1999); Edward J. Ingebretsen, At Stake: Monsters and the Rhetoric of Fear in Public Culture (Chicago: University of Chicago, 2001); Monster Theory, ed. Jeffrey J. Cohen (Minneapolis, MN: University of Minnesota Press, 1996); Daniel Cohen, Encyclopedia of Monsters (New York: Dodd, Mead, 1982); David Williams, Deformed Discourse; David J. Skal, The Monster Show: A Cultural History of Horror (New York: Norton, 1993); Elaine L. Graham, Representations of the Post/Human: Monsters, Aliens and Others in Popular Culture (New Brunswick, NJ: Rutgers University Press, 2002); and Monsters in the Italian Literary Imagination, ed. Keala Jewell (Wayne State University Press, 2001). On the vampire, see Nina Auerbach’s and Paul Barber’s studies; David Glover, Vampires, Mummies and Liberals (Durham: Duke University Press, 1996); Ken Gelder, Reading the Vampire (London: Routledge, 1994); Roz Kaveney, ed., Reading the Vampire Slayer (London: Tauris, 2004). On physical deformations, see Rachel Adams, Sideshow U.S.A.: Freaks and the American Cultural Imagination (Chicago: University of Chicago Press, 2001). On the monster in cinema, see Stuart Galbraith, Monsters are Attacking Tokyo: The Incredible World of Japanese Fantasy Films (Venice, CA; Feral House, 1998), and Katherine Fowkes, Giving up the Ghost: Spirits, Ghosts, and Angels in Mainstream Comedy Films (Wayne State University Press, 1998). 2. José B. Monleón, A Specter is Haunting Europe: A Sociohistorical Approach to the Fantastic (Princeton University Press, 1990), 139. 3. The black dog is also the attribute of Hecate, goddess of the moon and goddess of death. In the Middle Ages, it was believed that demons often take the form of black dogs. See Jean Campbell Cooper, An Illustrated Encyclopaedia of Traditional Symbols (London: Thames and Hudson, 1978), 52–53; Hans Biedermann, Dictionary of Symbolism: Cultural Icons and the Meanings behind Them, trans. James Hulbert (New York: Meridian 1994), 98. 4. From the many handbooks that have compiled some of the “secrets of the trade,” Albert Hopkins’ encyclopedic guide from 1898 is still an invaluable source. See Albert A. Hopkins, Magic: Stage Illusions, Special Effects and Trick Photography (1898) (Rpt. New York: Dover, 1976). 5. On Frankenstein’s various adaptations for the stage, see Forry, “The Hideous Progenies,” 13–31. Stoker’s own adaptation of Dracula from 1897 was never staged. The first stage adaptation was produced by Hamilton Deane in 1912. See Anne-Marie Finn, “Whose Dracula is it anyway?” Journal of Dracula Studies 1 (1999): n.p. 174 Notes

6. For a definition of realism that is based on subjective perception, see Marshall Brown, “The Logic of Realism: A Hegelian Approach,” PMLA 26, no. 2 (March 1981): 224–241. 7. Jean Campbell Cooper, Symbolic and Mythological Animals (London: Aquarian Press, 1992), 78. 8. “The Ghost Sonata,” in The Plays of Strindberg, trans. Michael Meyer (New York: Vintage Books, 1964), I, 467. 9. In 1905, the play launched Meyerhold’s short-lived Theatre Studio in Moscow. 10. I thank Joseph Donohue for bringing O’Casey’s play to my attention. 11. On the theatre of Tony Kushner, see James Fisher, The Theater of Tony Kushner: Living Past Hope (New York: Routledge, 2001); “ ‘Succumbing to Luxury’: History, Language, and Hope in Homebody/Kabul,” in Tony Kushner: New Essays on the Art and Politics of the Plays, ed. James Fisher (New York: McFarland & Co., 2006), 190–200; “Between Two Worlds: Ansky’s The Dybbuk and Kushner’s A Dybbuk,” Slavic and East European Performance 18, no.2 (Summer 1998): 20–32; “On the front Lines in a Skirmish in the Culture Wars: Angels in America Goes to College,” On-Stage Studies 21 (Fall 1998): 6–30; “ ‘The Angels of Fructification’: Tennessee Williams, Tony Kushner, and Images of Homosexuality on the American Stage,” Mississippi Quarterly 49, no. 1 (Winter 1995): 13–32. 12. See my article “Exorcising a Theater Myth: S. Ansky’s The Dybbuk,” Journal of the Fantastic in the Arts 11, no. 1 (2000): 14–23. 13. See my article “Fantastic Elements in Beckett’s Theatre,” in The Cracked Lookingglass: Contributions to the Study of Irish Literature, ed. Carla de Petris, Jean M. Ellis D’Allessandro, and Florenzo Fantaccini (Roma: Bulzoni, 1999), 173–184. 14. Ruth Ronen, Possible Worlds in Literary Theory (Cambridge University Press, 1994), 50. 15. An ad by Chronotime for a fountain pen of Montegrappa (1912)—the reputed Italian manufacturer of writing instruments—reads: “Hand-made emotions.” The Marker, April 6, 2007. 16. Antonin Artaud, The Theater and Its Double, trans. Mary Caroline Richards (New York: Grove Press, 1958), 25. 17. In a recent interview, Gérard Mortier, the director of the Opéra National de Paris, concedes that the smallest error in devising sounds, costumes, and lighting “destroys emotion.” Jean-Gabriel Fredet, “Gérard Mortier, l’Artificier de la Bastille,” Le Nouvel Observateur, March 29–April 4, 2007, 6. 18. Freddie Rokem, Performing History: Theatrical Representations of the Past in Contemporary Theatre (Iowa City: University of Iowa Press, 2000), 13. 19. See Ellen Schiff, From Stereotype to Metaphor: The Jew in Contemporary Drama (Albany: State University of New York Press, 1982). Notes 175

20. See Moe Meyer, “Introduction: Reclaiming the Discourse on Camp,” in The Politics and Poetics of Camp, ed. Moe Meyer (London and New York: Routledge, 1994), 1–22. 21. James Fisher, “ ‘The Angels of Fructification,’ ” 17. 22. Nicholas De Jongh, Politics, Prudery and Perversions: The Censoring of the English Stage 1901–1968 (London: Methuen, 2001), 83–94. 23. Clum, Acting Gay, 186; Still Acting Gay: Male Homosexuality in Modern Drama (New York: St. Martin’s Griffin, 2000), xiii. See also Richard Dyer, The Culture of Queers (London: Routledge, 2002); Alan Sinfield, Out on Stage: Lesbian and Gay Theater in the Twentieth Century (New Haven: Yale University Press, 1999); Carl Miller, Stages of Desire: Gay Theatre’s Hidden History (London: Casssell, 1996); Ann Fleche, “When a Door is a Jar, or Out in the Theatre: Tennessee Williams and Queer Space,” Theatre Journal 47, no. 2 (May 1995): 253–267; Edmund White, “The Burning Book: Genet and Cocteau,” Yale Review 81, no. 4 (October 1993): 24–44; Jeffrey Meyers, Homosexuality and Literature 1890–1930 (London: University of London Athlone Press, 1977). 24. Cocteau, Maalesh, 104. 25. Dollimore, 325. 26. Tony Kushner, “Ten Questions for Tony Kushner,” New York Times, June 4, 2004. Selected Bibliography

WRITINGS

Ahl, Frederick. Sophocles’ Oedipus: Evidence and Self-conviction. Ithaca and London: Cornell University Press, 1991. Albrechtskirchinger, Geneviève, ed. Le Monde de Jean Cocteau. Paris: Albin Michel, 1991. Amossy, Ruth. “Toward a Rhetoric of the Stage: The Scenic Realization of Verbal Cliché.” Poetics Today 2, no. 3 (1981): 49–63. Amossy, Ruth and Elisheva Rosen. Les Discours du Cliché. Paris: SEDES, 1982. Andriano, Joseph D. Immortal Monster: The Mythological Evolution of the Fantastic Beast in Modern Fiction and Film. Westport, CT: Greenwood Press, 1999. Archer, Bert. The End of Gay (and the Death of Heterosexuality). London: Fusion Press, 2002. Armitt, Lucie. Theorising the Fantastic. London: Arnold, 1996. Arnaud, Claude. Jean Cocteau. Paris: Gallimard, 2003. Arrabal, Fernando. Plaidoyer pour une différence. Grenoble: Presses Universitaires de Grenoble, 1978. Artaud, Antonin. The Theater and Its Double, translated by Mary Caroline Richards. New York: Grove Press, 1958. Attebery, Brian. Strategies of Fantasy. Bloomington: Indiana University Press, 1992. Auerbach, Nina. Our Vampires, Ourselves. Chicago: University of Chicago Press, 1995. Baldick, Chris. In Frankenstein’s Shadow: Myth, Monstrosity, and Nineteenth- Century Writing. Oxford: Clarendon Press, 1987. Barber, Paul. Vampires, Burial and Death: Folklore and Reality. New Haven: Yale University Press, 1988. Batson, Charles R. Dance, Desire, and Anxiety in Early Twentieth-Century French Theater: Playing Identities. Burlington, VT: Ashgate, 2005. Bauschatz, Paul. “Oedipus: Stravinsky and Cocteau Recompose Sophocles.” Comparative Literature 43, no. 2 (Spring 1991): 150–170. Belli, Angela. Ancient Greek Myths and Modern Drama: A Study in Continuity. New York: New York University Press, 1969. 178 Selected Bibliography

Benshoff, Harry M. Monsters in the Closet: Homosexuality and the Horror Film. Manchester: Manchester University Press, 1997. Besser, Gretchen. “Old Wine in New Bottles: The Reinterpretation of the Oedipus Myth by Gide and Cocteau.” Mythology in French Literature 3 (1976): 97–106. Boissy, Gabriel. “La Machine Infernale, pièce en 3 tableaux de M. Jean Cocteau.” Comoedia, April 12, 1934. Bonadeo, Alfredo. Mark of the Beast: Death and Degradation in the Literature of the Great War. Lexington: University Press of Kentucky, 1989. Borgal, Clément. Jean Cocteau, ou De la claudication considérée comme l’un des beaux arts. Paris: Presses Universitaires de France, 1989. Brée, Germaine. Twentieth-Century French Literature, translated by Louise Guiney. Chicago: University of Chicago Press, 1983. Brémond, Mireille. “Mais où sont passés les monstres? Réflexion sur le Sphinx de J. Cocteau et le Minotaure de M. Yourcenar.” Bulletin de la Société Internationale d’Etudes Yourcenariennes 19 (December 1998): 61–68. Brintnall, Kent L. “Re-building Sodom and Gomorrah: The Monstrosity of Queer Desire in the Horror Film,” Culture and Religion 5, no. 2 (2004): 145–160. Brooke-Rose, Christine. A Rhetoric of the Unreal. Cambridge: Cambridge University Press, 1981. Brosse, Jacques. Cocteau. Paris: Gallimard, 1970. ———. “Morts, Résurrections et survie du poète invisible.” in Jean Cocteau Aujourd’hui, edited by Pierre Caizergues, 235–241. Paris: Meridiens Klincksieck, 1992. Brown, Frederick. An Impersonation of Angels. A Biography of Jean Cocteau. London: Longmans, 1969. Brown, Marshall. “The Logic of Realism: A Hegelian Approach.” PMLA 26, no. 2 (March 1981): 224–241. Butler, Judith. Bodies That Matter: On the Discursive Limits of “Sex”. London and New York: Routledge, 1993. Chambon, Bertrand de. Le Roman de Jean Cocteau. Paris: L’Harmattan, 2001. Chanel, Pierre. Album Cocteau. Paris: Henri Veyrier-Tchou, 1975. Chaperon, Danielle. Jean Cocteau. La Chute des Angles. Lille: Presses Universitaires de Lille, 1990. Christensen, Peter G. “Three Concealments: Jean Cocteau’s Adaptation of The Picture of Dorian Gray.” Romance Notes 27, no. 1 (Autumn 1986): 27–35. Clancier, Anne. “Jean Cocteau et les Mythes.” In Mythes et Psychanalyse, edited by Anne Clancier and Cléopâtre Athanassiou-Popesco, 155–163. Paris: Arnaud Dupin and Serge Perrot, 1997. Claudel, Paul. L’Annonce faite à Marie. Paris: Gallimard, 1993. Clement, Roland. “Jean Cocteau dans les parvis du Temple.” Cahiers Jean Cocteau, no. 8 (1979): 207–226. Cleto, Fabio. “Introduction: Queering the Camp.” In Camp: Queer Aesthetics and the Performing Subject. A Reader, edited by Fabio Cleto, 1–42. Ann Arbor: University of Michigan Press, 1999. Selected Bibliography 179

Clum, John M. Acting Gay: Male Homosexuality in Modern Drama. New York: Columbia University Press, 1992. ———. Still Acting Gay: Male Homosexuality in Modern Drama. New York: St. Martin’s Griffin, 2000. Coates, Paul. The Double and the Other: Identity as Ideology in Post-Romantic Fiction. New York: St. Martin’s Press, 1988. Cocteau, Jean. Beauty and the Beast: Diary of a Film, translated by Ronald Duncan. New York: Dover, 1972. ———. Beauty and the Beast: Scenario and Dialogs, edited by Robert M. Hammond. New York: New York, 1970. ———. Les Chevaliers de la Table Ronde, in Théâtre, vol. 1. Paris: Gallimard, 1948. ———. Correspondance Guillaume Apollinaire Jean Cocteau, edited by Pierre Caizergues and Michel Décaudin. Cahors: Jean-Michel Place, 1991. ———. La Difficulté d’être. Monaco: Editions du Rocher, 1957. ———. “Essai de critique indirecte” (1928). In Poesie Critique, vol. 1. Paris: Gallimard, 1959. ———. L’Impromptu du Palais Royal (1962). In Théâtre Complet, 1263–1290. ———. “Inédit feudal.” Cahiers Jean Cocteau, no. 8 (1979): 142–144. ———. The Infernal Machine. In The Infernal Machine and Other Plays by Jean Cocteau, translated by Albert Bremel. New York: New Directions Books, 1967. ———. Le Journal d’un Inconnu. Paris: Grasset, 1953. ———. Le Livre blanc. Paris: Ed. du Signe, 1930. ———. Maalesh. Journal d’une tournée théâtrale. Paris: Gallimard 1949. ———. La Machine Infernale. Paris: Bernard Grasset, 1934. ———. Les Mariés de la Tour Eiffel. In Théâtre, vol. I. Paris: Gallimard, 1948. ———. Le Mystère laic. In Poésie Critique, vol. 1. Paris: Gallimard, 1959. ———. “Le Numéro Barbette.” Chronique des spectacles, June 1926. ———. Oedipe Roi. Adaptation libre d’après Sophocle. In Oeuvres Complètes, vol. 5. Paris: Marguerat, 1948. ———. Opera, suivi de Plain-Chant. Paris: Stock, 1959. ———. Opium. Paris: Stock, 1983. ———. Orphée. Paris: Stock, 1927. ———. Passé défini I (1951–1952). Paris: Gallimard, 1983. ———. Le Passé défini III (1954). Paris: Gallimard, 1989. ———. Poesie Critique, vol. 1. Paris: Gallimard, 1959. ———. Le Portrait surnaturel de Dorian Gray, pièce fantastique en quatre actes et cinq tableaux.In Théâtre Complet, 1381–1418. ———. Le Potomak. Paris: Stock, 1924. ———. “Preface,” Les Mariés de la Tour Eiffel. In Théâtre, vol. 1. Paris: Gallimard, 1948. ———. Renaud et Armide. In Théâtre, vol. 2. Paris: Gallimard, 1948. ———. Two Screenplays: The Blood of a Poet, The Testament of Orpheus, translated by Carol Martin-Sperry. London and New York: Marion Boyars, 1989. 180 Selected Bibliography

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Dollimore, Jonathan. Sexual Dissidence: Augustine to Wilde, Freud to Foucault. Oxford: Clarendon Press, 1991. Durix, Jean-Pierre. Mimesis, Genres, and Post-colonial Discourse: Deconstructing Magic Realism. London: Macmillan, 1998. Dyer, Richard. The Culture of Queers. London and New York: Routledge, 2002. ———. “Stereotyping.” In Gays in Film, edited by Richard Dyer, 27–39. New York: Zoetrope, 1984. Edmunds, Lowell. Oedipus: The Ancient Legend and Its Later Analogues. Baltimore: Johns Hopkins University Press, 1985. ———. The Sphinx in the Oedipus Legend . Königstein/Ts: Hain, 1981. Engelman, Suzanne R. “The Phoenix, Dragon and Sphinx: A Glimpse at Cultural Metaphors.” International Journal of Symbology 7 (1976): 94–105. Evans, Arthur B. Jean Cocteau and His Films of Orphic Identity. Philadelphia: Art Alliance Press, 1977. Eynat-Confino, Irene. “Exorcising a Theater Myth: S. Ansky’s The Dybbuk.” Journal of the Fantastic in the Arts 11, no. 1 (2000): 14–23. ———. “Fantastic Elements in Beckett’s Theatre.” In The Cracked Looking Glass: Contributions to the Study of Irish Literature, edited by Carla de Petris, Jean M. Ellis D’Allessandro, and Florenzo Fantaccini, 173–184. Roma: Bulzoni, 1999. Felman, Shoshana. “Le Scandale de la Verité.” In Discours et Pouvoir, edited by Ross Chambers, Michigan Romance Studies 2 (1982): 1–28. Fifield, William. Jean Cocteau. New York: Columbia University Press, 1974. Figes, Eva. Tragedy and Social Evolution. New York: Persea Books, 1990. Fischlin, Daniel. “Queer Margins: Cocteau, La Belle et la bête, and the Jewish Differend.” Textual Practice 12, no. 1 (Spring 1998): 69–88. Fisher, Dominique D. and Lawrence R. Schehr, eds. Articulations of Difference: Gender Studies and Writing in French. Stanford: Stanford University Press, 1997. Fisher, James. “ ‘The Angels of Fructification’: Tennessee Williams, Tony Kushner, and Images of Homosexuality on the American Stage.” Mississippi Quarterly 49, no. 1 (Winter 1995): 13–32. ———. “Between Two Worlds: Ansky’s The Dybbuk and Kushner’s A Dybbuk.” Slavic and East European Performance 18, no. 2 (Summer 1998): 20–32. ———. “On the front Lines in a Skirmish in the Culture Wars: Angels in America Goes to College.” On-Stage Studies 21 (Fall 1998): 6–30. ———. “ ‘Succumbing to Luxury’: History, Language, and Hope in Homebody/ Kabul.” In Tony Kushner: New Essays on the Art and Politics of the Plays, edited by James Fisher, 190–2000. New York: McFarland & Co., 2006. ———. The Theater of Tony Kushner: Living Past Hope. New York: Routledge, 2001. Fleche, Anne. “When a Door is a Jar, or out in the Theatre: Tennessee Williams and Queer Space.” Theatre Journal 47, no. 2 (May 1995): 253–267. Forbes Irving, Paul M.C. Metamorphosis in Greek Myths. Oxford: Clarendon Press, 1990. 182 Selected Bibliography

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———. “Préface à une préface.” In Cocteau, Le Potomak 1913–1914, précédé d’un Prospectus 1916 (Paris : Passage du Marais, 2000), 11–28. Lowe, Romana N. The Fictional Female: Sacrificial Rituals and Spectacles of Writing in Baudelaire, Zola, and Cocteau. New York: Peter Lang, 1997. Lucas, Ian. Impertinent Decorum: Gay Theatrical Manoeuvres. New York: Cassell, 1994. Lyotard, Jean-Francois. The Postmodern Condition. Minneapolis: University of Minnesota Press, 1984. Macris, Pierre. “L’Ange et Cocteau.” La Revue des Lettres Modernes, no. 298–303 (1972/3): 71–90. Maeterlinck, Maurice. La Mort de Tintagiles, in Théâtre Complet, vol. 2. Reprint. Geneve: Slatkine, 1985. Magnan, Jean-Marie. Cocteau, l’Invisible voyant. Paris: Marval, 1993. ———. “Jean Cocteau et le double peint de Dorian Gray.” Cahiers Jean Cocteau, no. 8 (1979): 185–192. ———. “Le jeu des enfants terribles.” Cahiers Jean Cocteau no. 8 (1979): 145–172. ———. “La Machine à signification.” La Revue de Paris 72 (December 1965): 51–65. Malekin, Peter. “Knowing about Knowing: Paradigms of Knowledge in the Postmodern Fantastic.” In State of the Fantastic: Studies in the Theory and Practice of Fantastic Literature and Film, edited by Nicholas Ruddick, 41–48. Westport, CT: Greenwood Press, 1992. Manlove, Colin N. Modern Fantasy. Cambridge: Cambridge University Press, 1975. Marny, Dominique. Les Belles de Cocteau. Paris: Jean-Claude Lattès, 1995. Martin, Claude. “Gide, Cocteau, Oedipe: le mythe ou le complexe.” La Revue des Lettres Modernes, no. 298–303 (1972/3): 143–166. Mathews, Richard. Fantasy: The Liberation of Imagination. London and New York: Routledge, 2002. Mauriac, Claude. Jean Cocteau, ou la vérité du mensonge. Paris: Odette Lieutier, 1945. Mellencamp, Patricia. “Seeing is Believing: Baudrillard and Blau.” Theatre Journal 37, no. 2 (May 1985): 141–154. Merrick, Jeffrey and Bryant T. Ragan, Jr., eds. Homosexuality in Modern France. Oxford: Oxford University Press, 1996. Meyer, Moe. “Introduction: Reclaiming the Discourse of Camp.” In The Politics and Poetics of Camp, edited by Moe Meyer, 1–22. London and New York: Routledge, 1994. Meyers, Jeffrey. Homosexuality and Literature 1890–1930. London: Athlone Press, 1977. Millecam, Jean-Pierre. L’Etoile de Jean Cocteau. Paris: Criterion, 1991. Miller, Carl. Stages of Desire: Gay Theatre’s Hidden History. London: Cassell, 1996. 186 Selected Bibliography

Miller, Judith G. “Jean Cocteau and Hélène Cixous: Oedipus.” In Drama, Sex, and Politics, edited by James Redmond, 203–211. Cambridge: Cambridge University Press, 1985. Milorad (pseud.). “Addendum. Esquisse d’une theorie de la sexualité.” Cahiers Jean Cocteau, no. 8 (1979): 132–141. ———. “La Clé des mythes dans l’oeuvre de Cocteau” Cahiers Jean Cocteau, no. 2 (1971): 97-140. ———. “Des hermaphrodites à Vérone.” Cahiers Jean Cocteau. Nouvelle Série, no. 3 (2004): 49–59. ———. “Introduction.” in Jean Cocteau. Mes Monstres sacrés, edited by Edouard Dermit and Bertrand Meyer, 9–14. Paris: Encre, 1979. ———. “Le Livre blanc, document secret et chiffré.” Cahiers Jean Cocteau, no. 8 (1979): 109–131. ———. “Le Mythe orphique dans l’oeuvre de Cocteau.” La Revue des Lettres Modernes, no. 298–303 (1972): 111–113. ———. “Les Potomak.” Cahiers Jean Cocteau, no. 8 (1979): 9–43. ———. “Romans jumeaux ou de l’imitation.” Cahiers Jean Cocteau, no. 8 (1979): 87–107. Milorad and Jean-Pierre Joecker, eds. Album Masques. Jean Cocteau. Supplement to Masques, no. 19 (September 1983). Miomandre, Philippe de. Moi, Jean Cocteau. Paris: AKR, 2003. Monchal, Maïté. Homotextualité: création et sexualité chez Jean Cocteau. Paris: L’Harmattan, 2004. ———. Le Sacerdoce de la désobeissance. Création et sexualité chez Jean Cocteau. Ph.D. thesis, University of Arizona, 1994. Ann Arbor: UMI Research Press, 1994. Monleón, José B. A Specter is Haunting Europe: A Sociohistorical Approach to the Fantastic. Princeton: Princeton University Press, 1990. Mourgue, Gerard. Jean Cocteau. Paris: Editions Universitaires, 1965. Mourier Casile, Pascaline. “La ‘Firme’ du mythographe: l’ombre d’Orphée dans la ‘poésie de roman.’ ” Quaderni del Novecento Francese (Bulzoni, Roma) 15 (1992): 35–53. Special issue on Cocteau. Murphy, Patrick D. “Introduction.” In Staging the Impossible, 1–14. ———, ed. Staging the Impossible: The Fantastic Mode in Modern Drama. Westport, CT: Greenwood Press, 1992. Odagiri, Mitsutaka. Ecritures Palimpsestes, ou Les théâtralisations françaises du mythe d’Oedipe. Paris: L’Harmattan, 2001. Odier, Dominique. Jean Cocteau: La Machine Infernale. Paris: Ellipses, 1997. Ormand, Kirk. “Oedipus the Queen: Cross-gendering without Drag.” Theatre Journal 55, no. 1 (March 2003): 1–28. Owens, Craig. Beyond Recognition: Representation, Power and Culture, edited by Scott Bryson, Barbara Kruger, Lynne Tillman, and Jane Weinstock. Berkeley: University of California Press, 1992. Selected Bibliography 187

Oxenhandler, Neal. “Le Mythe de la persecution dans l’oeuvre de Jean Cocteau.” La Revue des Lettres Modernes, no. 298–303 (1972/3): 91–107. ———. Scandal and Parade: The Theater of Jean Cocteau. New Brunswick, NJ: Rutgers University Press, 1957. ———. “The Theater of Jean Cocteau”. In Peters, Jean Cocteau and the French Scene, 125–151. Page, H. Dwight. “The Resurrection of the Sophoclean Phoenix: Jean Cocteau’s La Machine Infernale.” Classical and Modern Literature 18, no. 4 (Summer 1998): 329–343. Paini, Dominique. “L’Homme invisible.” In Cocteau, Catalogue de l’exposition ‘Jean Cocteau, sur le fil du siècle.’ ” Paris: Centre Pompidou, 2003. Parrinder, Patrick, ed. Learning from Other Worlds. Durham, NC: Duke University Press, 2001. Pasler, Jann. “New Music as Confrontation: The Musical Sources of Jean Cocteau’s Identity.” Musical Quarterly 75, no. 3 (Fall 1991): 255–279. Pauly, Rebecca M. “Beauty and the Beast: From Fable to Film.” Literature Film Quarterly 17, no. 2 (1989): 84–90. Pavis, Patrice. “The Classical Heritage of Modern Drama: The Case of Postmodern Theatre.” Modern Drama 29, no. 1 (March 1986): 1–22. Perloff, Marjorie. 21st Century Modernism: The “New” Poetics. Malden, MA: Blackwell, 2002. ———. The Poetics of Indeterminacy: Rimbaud to Cage. Princeton: Princeton University Press, 1981. Peters, Arthur King, ed. Jean Cocteau and the French Scene. New York: Abbeville Press, 1984. Petro, Patrice. “The Woman, the Monster, and ‘The Cabinet of Dr. Caligari.’ ” In The Cabinet of Dr. Caligari: Texts, Contexts, Histories, edited by Mike Budd, 210–215. New Brunswick: Rutgers University Press, 1990. Peyre, Henri. “What Greece Means to Modern France.” Yale French Studies 6 (1950): 53–62. Philippe, Claude-Jean. Jean Cocteau. Paris: Seghers 1989. Pollard, Patrick. André Gide: Homosexual Moralist. New Haven: Yale University Press, 1991. Popkin, Michael. “Cocteau’s Beauty and the Beast: The Poet as Monster.” Literature Film Quarterly 10, no. 2 (1982): 100–110. Rabkin, Eric S. The Fantastic in Literature. Princeton: Princeton University Press, 1976. Ramirez, Francis. “La Belle et la Bête, genèse d’un monstre.” In Le siècle de Jean Cocteau, edited by Pierre Caizergues and Pierre-Marie Héron, 133–146. Montpellier: Université Paul-Valéry, 2000. ———. “Le comique sous-cutané dans le théâtre de Jean Cocteau.” In Jean Cocteau et le théâtre, edited by Pierre Caizergues, 123–137. Montpellier: Université Paul-Valéry, 2000. 188 Selected Bibliography

Ramirez, Francis and Christian Rolot. Jean Cocteau, L’Oeil architecte. Paris: ACR, 2000. ———. “Notice.” In Cocteau, Théâtre Complet, 1829–1832. Richardson, Brian. “Voice and Narration in Postmodern Drama.” New Literary History 32, no. 3 (2001): 681–694. Ries, Frank W. D. The Dance Theatre of Jean Cocteau. Ann Arbor: UMI Research Press, 1986. Robillard, Monic. “L’Ange et le nom divin de Cocteau.” Romanic Review 81, no. 2 (March 1990): 224–235. Robinson, Christopher. Scandal in the Ink: Male and Female Homosexuality in Twentieth-century French Literature. New York: Cassell, 1995. Ronen, Ruth. Possible Worlds in Literary Theory. Cambridge: Cambridge University Press, 1994. Rorem, Ned. “Cocteau and Music.” In Peters, Jean Cocteau and the French Scene, 153 –183. Rosario, Vernon A. II. “Pointy Penises, Fashion Crimes, and Hysterical Mollies: The Pederast’ Inversions.” In Homosexuality in Modern France, edited by Jeffrey Merrick and Bryant T. Ragen, 146–176. Oxford: Oxford University Press, 1996. Royle, Nicholas. The Uncanny. London and New York: Routledge, 2003. Russell, Jeffrey Burton. The Devil: Perceptions of Evil from Antiquity to Primitive Christianity. Ithaca: Cornell University Press, 1977. ———. Lucifer: The Devil in the Middle Ages. Ithaca: Cornell University Press, 1984. Saegel, Paul. “La Semaine Dramatique. Comédie des Champs Elysées, La Machine Infernale, pièce en 4 actes de M. Jean Cocteau,” Le Ménestrel, April 20, 1934. Salomé, René. “Chronique Dramatique. Sophocle et Jean Cocteau,” Etudes, August 5, 1934: 380–387. Saunders, Michael William. Imps of the Perverse: Gay Monsters in Film. Westport, CT and London: Praeger, 1998. Savran, David. “Queer Theater and the Disarticulation of Identity.” In The Queerest Art: Essays on Lesbian and Gay Theater, edited by Alisa Solomon and Framji Minwalla, 152–167. New York: New York University Press, 2002. Scheel, Charles. “Jean Cocteau et Franz Kafka: écriture de la métamorphose et métamorphose de l’écriture.” Revue de l’Université de Bruxelles 1, no. 2 (1989): 65–78. Schehr, Lawrence R. French Gay Modernism. Urbana: University of Illinois Press, 2004. Scherer, Jacques. Dramaturgies d’Oedipe. Paris: Presses Universitaires de France, 1987. Schiff, Ellen. From Stereotype to Metaphor: The Jew in Contemporary Drama. Albany: State University of New York Press, 1982. Schinz, Albert. “L’Annee littéraire 1934.” Modern Language Journal 19, no. 8 (May 1935): 561–570. Selected Bibliography 189

Schlobin, Roger C. “The Locus Amoenus and the Fantasy Quest,” Kansas Quarterly 16, no. 3 (1984): 29–33. Schlumberger, Jean. “La Machine Infernale de Jean Cocteau à la Comédie des Champs Elysées.” Nouvelle Revue Française (May 1, 1934): 873–875. Sedgwick, Eve Kosofsky. “The Beast in the Closet: James and the Writing of Homosexual Panic.” In Sex, Politics and the Nineteenth Century Novel, edited by Ruth Yeazell, 148–186. Baltimore: Johns Hopkins University Press, 1986. Segal, Charles. “Oedipus through the Ages.” Review Article. International Journal of the Classical Tradition 7, no. 2 (Fall 2000): 215–226. ———. Oedipus Tyrannus: Tragic Heroism and the Limits of Knowledge. New York: Twayne Publishers, 1993. Senelick, Laurence. “General Introduction.” In Lovesick: Modernist Plays of Same-sex Love, 1894–1925, 1–14. London and New York: Routledge, 1999. ———. “The Homosexual as Villain and Victim in Fin-de-Siècle Drama.” Journal of the History of Sexuality 4, no. 2 (October 1993): 201–229. Senior, William A. “Where Have All the Monsters Gone?” Journal of the Fantastic in the Arts 14, no. 2 (Summer 2003): 214–216. Sheaffer-Jones, Caroline. “Fixing the Gaze: Jean Cocteau’s La Belle et la Bête.” Romanic Review 93, no. 3 (May 2002): 361–374. Showalter, Elaine. Sexual Anarchy: Gender and Culture at the Fin de Siècle. London: Bloomsbury, 1991. Silver, Kenneth E. “Jean Cocteau and the Image d’Epinal: An Essay on Realism and Naiveté.” In Peters, Jean Cocteau and the French Scene, 81–105. Sinfield, Alan. Out on Stage: Lesbian and Gay Theater in the Twentieth Century. New Haven: Yale University Press, 1999. ———. “Private Lives/Public Theater: Noel Coward and the Politics of Homosexual Representation.” Representations 36 (Autumn 1991): 43–63. Sontag, Susan. AIDS and Its Metaphors. New York: Farrar, Straus and Giroux, 1989. ———. “Notes on ‘Camp.’ ” In Against Interpretation, 275–292. New York: Farrar, Straus, and Giroux, 1966. Sprigge, Elizabeth and Jean-Jacques Kihm. Jean Cocteau: The Man and the Mirror. London: Victor Gollancz, 1968. State, Bert. O. Great Reckonings in Little Rooms: On the Phenomenology of Theater. Berkeley: University of California University Press, 1985. Steegmuller, Francis. Cocteau. A Biography. Boston: Little, Brown and Co., 1970. ———. “Proust and Cocteau: A Note.” In Marcel Proust, 1871–1922: A Centennial Volume, edited by Peter Quennell, 187–191. New York: Simon and Schuster, 1971. Strindberg, August. The Ghost Sonata, translated by Michael Meyer. In The Plays of Strindberg, vol. 1. New York: Vintage Books, 1972. Suleiman, Susan Rubin. Subversive Intent: Gender, Politics, and the Avant-Garde. Cambridge, MA: Harvard University Press, 1990. Tinkcom, Matthew. Working like a Homosexual: Camp, Capital, and Cinema. Durham and London: Duke University Press, 2002. 190 Selected Bibliography

Todorov, Tzvetan. Introduction à la littérature fantastique. Paris: Seuil, 1970. Tonelli, Franco. “Edipo, la rapprezentazione e la macchina infernale.” Il Lettore di Provincia 15, no. 61–62 (June–September 1985): 5–13. Touzot, Jean. Jean Cocteau. Lyon: La Manufacture, 1989. ———. Jean Cocteau, Le Poète et ses doubles. Paris: Bartillat, 2000. Twitchell, James B. Dreadful Pleasures: An Anatomy of Modern Horror. Oxford: Oxford University Press, 1985. Valette, Bernard. “Modernité du mythe chez Jean Cocteau.” Revue de l’Université de Bruxelles 1–2 (1989): 7–22. Vax, Louis. Les Chefs-d’oeuvre de la littérature fantastique. Paris: Presses Universitaires de France, 1979. ———. La Séduction de l’étrange Paris: Presses Universitaires de France, 1965. Vernant, Jean-Pierre and Pierre Vidal-Naquet. Oedipe et ses mythes. Paris: Editions Complexe, 1988. Virmaux, Alain and Odette Virmaux. “La malédiction surréaliste et ses limites,” La Nouvelle Revue de Paris 16 (1989): 49–54. Warner, Marina. Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self. Oxford: Oxford University Press, 2002. Weeks, Jeffrey. Against Nature. Essays on History, Sexuality, and Identity. London: Rivers Oram Press, 1991. Weisweiller, Carole. Je l’appelais Monsieur Cocteau. Monaco: Editions du Rocher, 1996. White, Edmund. “The Burning Book: Genet and Cocteau.” Yale Review 81, no. 4 (October 1993): 24–44. Williams, David. Deformed Discourse: The Function of the Monster in Medieval Thought and Literature. Exeter: University of Exeter Press, 1996. ———. “Wilgefortis, Patron Saint of Monsters, and the Sacred Language of the Grotesque.” In The Scope of the Fantastic: Culture, Biography, Themes, Children’s Literature, edited by Robert A. Collins and Howard D. Pearce, 171–177. Westport, CT: Greenwood Press, 1985. Williams, James S. Jean Cocteau. New York, Manchester: Manchester University Press, 2006. ———. “Resurrecting Cocteau: Gay (In)visibility and the Clean-up of French Culture.” Modern and Contemporary France 14, no. 3 (August 2006): 317–330. Willingham, Ralph. Science Fiction and the Theatre. Westport, CT: Greenwood Press, 1994. Wilshire, Bruce. Role Playing and Identity: The Limits of Theatre as Metaphor. Bloomington: Indiana University Press, 1982. Winegarten, Renee. “In Pursuit of Cocteau.” American Scholar 58, no. 3 (Summer 1989): 436–443. Wirtz, Otto. Das Poetologische Theater Jean Cocteaus. Geneve: Droz 1972. Wolter, Christoph. Jean Cocteau et l’Allemagne: Mythes et réalité de la reception de son théâtre. Paris: L’Harmattan, 2007. Selected Bibliography 191

Wyns, Marielle. Jean Cocteau, l’Empreinte de l’ange. Paris: L’Harmattan, 2005. Yarrow, Ralph. “Ambiguity and the Supernatural in Cocteau’s La Machine Infernale.” In Murphy, Staging the Impossible, 108–115. Youssef, Ahmed. Cocteau L’Egyptien: La tentation orientale de Jean Cocteau. Monaco: Editions du Rocher, 2001.

PLAYS

The following chronological list of selected plays is indicative of the use of the fantastic in modern Western theatre. The list does not include all the science fiction plays (Ralph Willingham quotes 328 in his study) and it cites only a few of the many Frankenstein, Dracula, doppelgänger, ghosts, and vampire plays. Titles are given in English.

1790 Faust I (Goethe) 1797 The Castle Spectre (Matthew Gregory Lewis) 1799 The Castle of the Apennines or The Living Ghost (Pixérécourt, based on Anne Radcliffe’s novel The Mysteries of Udolph) 1812 Orra: A Tragedy in Five Acts (Joanna Baillie) 1816 Manfred (Byron) 1820 The Vampire (Charles Nodier) The Vampire (John Robinson Planché) The Vampire (Eugene Scribe and Mélesville) 1826 Frankenstein, or The Man and the Monster (Henry M. Milner, based on Mary Shelley’s novel) 1827 The Flying Dutchman (Edward Fitz-Ball) 1830 The Devil’s Elixir (Edward Fitz-Ball) 1843 The Burgraves (Hugo) 1850 The Vampire (Alexandre Dumas, père) 1867 Peer Gynt (Ibsen) 1874 The Temptation of St. Anthony (Flaubert) 1878 Coram Populo! (Strindberg) 1888 The Lady from the Sea (Ibsen) 1890 Axel (Villiers de l’Isle-Adam) The Intruder (Maeterlinck) 1892 Pelleas and Melisande (Maeterlinck) 1893 Death and the Fool (Hofmannsthal) 1894 The Death of Tintagiles (Maeterlinck) Little Eyolf (Ibsen) 1901 Sister Beatrice (Maeterlinck) Visitors (Stanislaw Przybyszewski) 1902 Riders to the Sea (Synge) 192 Selected Bibliography

1903 Oedipus and the Sphinx (Joséphin Péladan) 1904 Peter Pan (J. M. Barrie) 1905 Dream Comedy (Valle-Inclán) Oedipus and the Sphinx (Hofmannsthal) 1906 The Stranger (Alexander Blok) 1907 Ghost Sonata (Strindberg) 1909 The Supernatural Portrait of Dorian Gray (Cocteau and Jacques Renaud, based on Wilde’s novel) 1910 The Tidings Brought to Mary (Paul Claudel) 1914 The Dybbuk (S. Ansky) 1916 At the Hawk’s Well (Yeats) 1917 The Breasts of Tiresias (Apollinaire) 1920 The Emperor Jones (O’Neill) 1921 The Goat Song (Franz Werfel) The Golem (Halpern Leivick) Metushelah (George Bernard Shaw) RUR: A Fantastic Melodrama (Karel Cˇapek) Six Characters in Search of an Author (Pirandello) The Wedding on the Eiffel Tower (Cocteau) 1924 Dracula (Hamilton Deane, adapted from Bram Stoker’s novel) 1926 Orpheus (Cocteau) 1928 Victor or Children in Power (Roger Vitrac) 1929 Amphitryon 38 (Giraudoux) Lazarus (Pirandello) 1930 The Public (Lorca) 1931 After Five Years (Lorca) 1932 Blood Wedding (Lorca) The Infernal Machine (Cocteau) 1934 The Knights of the Round Table (Cocteau) The Stranded Siren (Alejandro Casona) 1936 The Mountain Giants (Pirandello) 1938 Purgatory (Yeats) 1939 The Family Reunion (T. S. Eliot) Ondine (Giraudoux) 1940 The Shadow (Evgeny Schvarts) 1941 Dark of the Moon (Howard Richardson) Renaud and Armide (Cocteau) 1944 The Dragon (Evgeny Schvarts) No Exit (Sartre) Theseus (Gide) 1949 Cock-a-doodle Dandy (Sean O’Casey) Trees Die Standing Tall (Alejandro Casona) 1950 Waiting for Godot (Beckett) Selected Bibliography 193

1951 The Devil and the Good Lord (Sartre) 1952 Marie the Miserable (Ghelderode) Seven Screams across the Sea (Alejandro Casona) 1953 Amedeus or How to Get Rid of Him (Ionesco) Camino Real (Tennessee Williams) 1955 Damn Yankees (George Abbott and Douglass Wallop) Endgame (Beckett) 1957 Flood (Gunter Grass) Orpheus Descending (Tennessee Williams) 1958 Rhinoceros (Ionesco) 1959 Embers (Beckett) 1960 Happy Days (Beckett) 1962 Cascando (Beckett) Play (Beckett) 1964 Tiny Alice (Albee) 1965 Come and Go (Beckett) The Owl Answers (Adrienne Kennedy) 1966 Rosencrantz and Guildenstern Are Dead (Tom Stoppard) 1969 Metamorphosis (Steven Berkoff, based on Kafka’s story) The Unseen Hand (Sam Shepard) 1970 Deafman Glance (Robert Wilson) Operation Sidewinder (Sam Shepard) 1972 Macbett (Ionesco) Not I (Beckett) 1974 Geography of a Horse Dreamer (Sam Shepard) Seascape (Albee) Travesties (Tom Stoppard) 1975 The Dead Class (Tadeusz Kantor) That Time (Beckett) 1976 Angel City (Sam Shepard) Vinegar Tom (Caryl Churchill) 1977 Hamletmachine (Heiner Müller) Marco Polo Sings a Solo (John Guare) 1979 Cloud Nine (Caryl Churchill) 1980 Ohio Impromptu (Beckett) 1982 Nacht und Traume (Beckett) 1983 What Where (Beckett) 1985 Return to the Forbidden Planet (Bob Carlton) 1987 The Crossing of the Empire (Arrabal) Henceforward . . . (Alan Ayckbourn) The Piano Lesson (August Wilson) The Woman in Black (Stephen Mallatrat, adapted from Susan Hill’s novel) 1988 In Perpetuity Throughout the Universe (Eric Overmeyer) 194 Selected Bibliography

Symphony of Rats (Richard Foreman) Tales of the Lost Formicans (Constance Congdon) 1989 Imperceptible Mutabilities in the Third Kingdom (Suzan-Lori Parks) 1990 The Black Rider (William S. Burroughs, music by Tom Waits) The Death of the Last Black Man in the Whole Entire World (Suzan-Lori Parks) Mad Forest (Caryl Churchill) 1991 Prom Night of the Living Dead (Brad Fraser) 1992 Angels in America (Tony Kushner) 1993 The America Play (Suzan-Lori Parks) The Dreaming Child (Hanoch Levin) Hubert Murray’s Widow (Michael Harding) 1994 Sheep’s Milk on the Boil (Tom Mac Intyre) The Skriker (Caryl Churchill) 1997 St. Nicholas (Conor MacPherson) 1998 70 Hill Lane (Phelim McDermott) Comic Potential (Alan Ayckbourn) The Weir (Connor McPherson) 2000 Learning to Love the Grey (Jonathan Hall) 2002 Anna Bella Eema (Lisa D’Amour) A Number (Caryl Churchill) Shining City (Connor McPherson) 2004 Dracula, the Musical (Christopher Hampton and Don Black; music by Frank Wildhorn) Monster (Neal Bell) 2005 Miss Witherspoon (Christopher Durang) 2006 Argonautika (Mary Zimmerman) Candy and Dorothy (David Johnston) The K of D, An Urban Legend (Laura Schellhardt) The Last Days of Judas Iscariot (Stephen Adly Guirgis) Index

Ahl, Frederick, 68, 109 Beckett, Samuel, 151 Albee, Edward, 151 Endgame, 146 Seascape, 146 Happy Days, 146, 148 Tiny Alice, 146 Not I, 131 Albert-Birot, Pierre, 47 Waiting for Godot, 146, 148 Albrechtskirchinger, Geneviève, 121 Bérard, Christian, 28–9, 72, 99 Amossy, Ruth, 81 Berkoff, Steven, 146 Anouilh, Jean, 79 Biaggini, Olivier, 23 Anquetil, Georges, 94 Blood of a Poet, The, 9, 20–1, 124 Ansky, Salomon, The Dybbuk, 146, Böcklin, Arnold, 144 148, 151, 174n12 Boissy, Gabriel, 49 Antigone, 10, 53, 59, 73, 86, 129 Bonadeo, Alfredo, 17 Apollinaire, Guillaume, The Breasts of Bouhélier, Saint-Georges de, Oedipus, Tiresias, 45–7, 104 King of Thebes, 53 Archer, Bert, 110 Brée, Germaine, 105 Archers de Saint Sébastien, Les [St. Bremel, Albert, 41 Sebastian’s Archers], 99 Brémond, Mireille, 64 Armitt, Lucie, 112 Breton, André, 99, 104–5 Arnaud, Claude, 104 Brooke-Rose, Christine, 112 Arrabal, Fernando, 97 Brosse, Jacques, 48 Artaud, Antonin, 149 Browning, Tod, Dracula, 27, 41 Attebery, Brian, 112, 118 Butler, Judith, 43, 160n45 Auerbach, Nina, 27 Aumont, Jean-Pierre, 154n7 Camus, Albert, 79 Cˇapek, Karel. R. U. R, 137 Bacchus, 104, 120, 133 Carroll, Lewis [Charles Lutwidge Baldick, Chris, 22, 26 Dodgson], 111 Barbette’s Show, see Numéro Barbette Chambon, Bertrand de, 99, 166n17 Barrie, James M., Peter Pan, 4 Chanel, Pierre, 158n16 Batson, Charles R., 133 Chaperon, Danielle, 19, 121 Beauty and the Beast, 21, 93, 96, 98, Charcot, Jean-Martin, 94 120, 126–7 Christensen, Peter G., 99, 170n11 196 Index

Churchill, Caryl, Cloud Nine, 146 Oedipus, 79 Cixous, Hélène, 49 Saul, 94 Claudel, Paul, 151 Theseus, 18 The Tidings Brought to Mary, 145 Gilbert, Sandra, 51, 160n47 Clum, John M., 86, 111, 151 Gilman, Sander L., 68–9 Colette, Sidonie-Gabrielle, 112, 115, Gilmore, David D., 29, 96 119–20, 126 Girard, René, 32, 68, 70, 109, 147 Crowson, Lydia, 73–4, 121 Giraudoux, Jean, 79 Cujec, Carol A., 154n5 Goethe, Johann Wolfgang von, Faust, 139–41, 142 Daniélou, Jean, 5, 153n4 Gould, Eric, 8 Dargelos, Pierre, 99 Gubar, Susan, 51, see also Gilbert, Daudet, Lucien, 99 Sandra De Jongh, Nicholas, 101, 151 De Maré, Rolf, 163n49 Hahn, Reynaldo, 99 Dean, Carolyn J., 95 Halberstam, Judith, 97–8 Décaudin, Michel, 153n3 Hartigan, Karelisa V., 32 Diaghilev, Sergei, 81, 99, 106 Helbo, André, 156n21 Dieudonné, Serge, 19, 169n66 Hirschfeld, Magnus, 94 Dollimore, Jonathan, 151 Hofmannsthal, Hugo von, Oedipus and Donohue, Joseph, 174n10 the Sphinx, 16, 26, 65–6, 156n24 Duncan, Isadora, 8, 11–12, 51, Hokenson, Jan, 124 154n12 Hollinger, Veronica, 159n30 Hugo, Valentine, 81 Evans, Arthur, 121 Hume, Kathryn, 13, 112–13, 117 Hutcheon, Linda, 87 Fantomâs, 159n38 Felman, Shoshana, 41, 54, 107 Ibsen, Henrik, 141, 151 Feuillade, Louis, 40–1 Little Eyolf, 142–4 Figes, Eva, 51 Peer Gynt, 142 Fisher, James, 151, 174n11, 175n21 Inge, William, 111 Flaubert, Gustave, The Temptation of Ionesco, Eugene, 141, 151 St. Anthony, 16 Amedeus or How to Get Rid of Him, Forbes Irving, Paul M. C., 46–7 146 Forry, Steven Earl, 156n23, 150n36 Macbett, 146 Foucault, Michel, 20, 43, 97, 109 Rhinoceros, 146 Freud, 7, 91, 95, 98, 106–7, 109 reading, 9, 32, 53, 92, 109, 120 Jackson, Rosemary, 125 refutation of, 7, 14–15, 50–1, 92, Jacob, Max, 47, 99, 159n38 102, 106–9 James, Henry, 97 unheimlich, 14, 63 Jarry, Alfred, Ubu Roi, 5, 115 Jejcic, Marie, 49, 161n13 Gide, André, 97, 104, 106, 109, 114 Jones, Colin, 68 Corydon, 94–5, 166n12 Jouvet, Louis, 6, 67, 154n7 Index 197

Kaye, Richard A., 99 Monleón, José B., 137–8 Kennedy, Adrienne, The Owl Answers, Montesquiou, Robert de, 99 146 Mortier, Gérard, 174n17 Khnopff, Fernand, 30 Murat, Violette, 81 Kihm, Jean-Jacques, 108 Murphy, Patrick D., 4, 129 Kristeva, Julia, 163n48 Kushner, Tony, 151–2 Numéro Barbette, Le [Barbette’s Show], Angels in America, 146 172n40

Laurenti, Huguette, 155n19 O’Casey, Sean, Cock-a-doodle Dandy, Le Corsu, Soraya, 112, 170n4 146 Leadbeater, Lewis W., 62, 72 Odagiri, Mitsutaka, 53, 66, 162n33 Leavy, Barbara Fass, 68 Oedipe-Roi, 5, 9, 20, 58 Leivick, Halpern, The Golem, 4 Oedipus Rex, 5, 9, 133 Linares, Serge, 17 Orpheus, 17–19, 87, 98, 116–17, Lorca, Federico Garcia, 151 125–6, 133 After Five Years, 146 Owens, Craig, 43 Blood Wedding, 146 Oxenhandler, Neal, 75, 103 The Public, 146 Yerma, 146 Péladan, Joséphin, Oedipus and the Lowe, Romana N., 32 Sphinx, 26 Lucas, Ian, 84 Perloff, Marjorie, 87 Petro, Patrice, 51 Mac Intyre, Tom, Sheep’s Milk on the Peyre, Henri, 8 Boil, 146 Picasso, Pablo, 104 Macris, Pierre, 19, 121 Polignac, Edmond de, 99 Maeterlinck, Maurice, 151 Pollard, Patrick, 156n36 The Blue Bird, 141 Porché, François, 95 The Death of Tintagiles, 144, 174n9 Potomak, The, 16–18, 49, 98 Pelleas and Melisande, 114, 170n13 Poulenc, Francis, 99, 133 Sister Beatrice, 114 Proust, Marcel, 94, 99–100 Magnan, Valentin, 94 Mallarmé, Stéphane, 19 Rabkin, Eric, 112 Manlove, Colin, 112 Racine, Jean, 7, 12, 79 Martin, Claude, 121 Athalie, 7 Martin du Gard, Roger, 97 Radiguet, Raymond, 99 Mauriac, François, 104–5 Raffalovich, Marc-André, 94 Max, Edouard de, 97, 99 Redon, Odilon, 20 Melville, Jean-Pierre, 166n19 Réja, Marcel, 95 Meyerhold, Vsevolod, 174n9 Renaud and Armide, 119–20, 125, 128, Millecam, Jean-Pierre, 168n62 133 Miller, Judith G., 49, 65 Renaud, Jacques, 97, 113, 167n27 Milorad [pseud.], 17–18, 120–1, Reverdy, Pierre, 47 169n39 Richardson, Brian, 78 198 Index

Rimbaud, Arthur, 19 Strindberg, August, 4, 141, 151 Robillard, Monic, 19 Dream Play, 37 Rocher, René, 99 Ghost Sonata, 143–4 Rokem, Freddie, 150 Suleiman, Susan Rubin, 71 Ronen, Ruth, 148 Supernatural Portrait of Dorian Gray, Rose, Margaret A., 86 The, 97–9, 113, 126, 149 Rose, Sir Francis, 99 Rosen, Elisheva, 81 Testament of Orpheus, The, 18, 21, 93, 98 Rubinstein, Ida, 99 Todorov, Tzvetan, 13, 42, 112, 126, 150 Russell, Jeffrey Burton, 35 Tonelli, Franco, 92 Touzot, Jean, 53, 105, 121 Saegel, Paul, 107 Traill, Nancy H., 112 Salomé, René, 107 Twitchell, James, 26, 40 Sartre, Jean-Paul, 79 Scherer, Jacques, 158n14 Valette, Bernard, 8, 121 Schinz, Albert, 165n33 Verlaine, Paul, 19 Schlobin, Roger C., 29 Schlumberger, Jean, 49–50, 54, 107 Wagner, Richard, 7, 84 Sedgwick, Eve Kosofsky, 167n23 Wedding on the Eiffel Tower, The, 8, 87, Segal, Charles, 54, 164n3 102, 126–7, 129 Seneca, 43–54, 64 Preface, 73, 80, 102, 114–15, 133 Senior, William A., 4 White, Edmund, 95 Séon, Aléxandre, 30 White Paper, The, 3, 93–100, 105 Shakespeare, 16, 111, 133 Wilde, Oscar, 97, 99 Hamlet, 7, 11, 14–15, 53, 82, 85, The Portrait of Dorian Gray, 70, 97, 91, 108 113–14 Shaw, George Bernard, 111 The Sphinx, 25, 101 Shelley, Mary, Frankenstein, 16, 141 Williams, David, 54 Silver, Kenneth E., 164n8 Williams, James S., 167n32 Sinfield, Alan, 135 Williams, Tennessee, 111, 151 Sontag, Susan, 68, 84 Camino Real, 146 Sophocles, 13, 68 Orpheus Descending, 18, 146 Oedipus Tyrannos, 5, 7, 72, 106, A Streetcar Named Desire, 85–6 109 Willingham, Ralph, 153n3 reworking of, 38, 59, 68, 108, 133 Wilshire, Bruce, 35 Sphinx, 7, 26 Wilson, August, The Piano Lesson, 146 St. Sebastian’s Archers, see Archers de Wilson, Robert, Deafman Glance, 146 Saint Sébastien Wyns, Marielle, 19 Steegmuller, Francis, 126, 166n18 Stoker, Bram, Dracula, 35, 97, 141, Yarrow, Ralph, 61 173n5 Yeats, William Butler, 4, 146 Stravinsky, Igor, 5 Yourcenar, Marguerite, 64