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Introduction 1 the Infernal Machine

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Introduction 1 the Infernal Machine 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.
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