DOCSLIB.ORG

The Human Voice 1.Numbers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Human Voice 1.Numbers The human voice TABLE OF CONTENTS General information regarding the performance 3 Section 1 - Research 4 About the writer of the play - Jean Cocteau 5 Research for The Human Voice 6 Themes explored in the play 8 Section 2 - Inspiration 10 Set inspiration 11 Light inspiration 13 Section 3 - The process 15 About the character of the play 16 Set making 17 3d Exports 19 Experimentation with the window and shadows 21 Lighting plan 24 Focus list 25 Cue list 27 2 The Human Voice INFO LIST Project Name: The Human Voice Production Company: Open Arts Theatre Venue: Space Venue Address: Kosti Palama 12-14, 1096 Nicosia Premiere: Saturday 4 February 2017 Written By: Jean Cocteau Director: Athinetta Kasiou Set Designer: Lydia Mandridou Costume Designer: Lydia Mandridou Lighting Designer: Karolina Spyrou Sound Designer: Andreas Trachonitis Lighting Operator: Achilleas Mouskis Photography: Stelios Kallinikou Video: Natassa Charalambous CONTACT LIST Name Role Phone Email Athinetta Kasiou Director 99 461186 [email protected] Lydia Mandridou Set / Costume 99 585162 [email protected] Designer Karolina Spyrou Lighting 99317603 [email protected]. Designer cy Achilleas Mouskis Lighting 96 705965 [email protected] Operator 3 The Human Voice RESEARCH In every theatre project I take on, I like to find out as much as I can about the writer, the play (past performances, reviews), as well as the themes the play explores. This part of the process never changes for me. “The Human Voice” provided me with an opportunity to discover out how famous the play is and how Cocteau’s life influenced his work. A familiar everyday object, the telephone, can be used as a means of transmitting dramatic essence. The exploration of nostalgia of a lost love and communication can be used to provide a reflection of our own time. !4 The Human Voice JEAN COCTEAU (1889-1963) “Jean Maurice Eugène Clément Cocteau was a French writer, designer, playwright, artist and filmmaker. He was one of the most multi-talented artists of the 20th century. In addition to being a director, he was a poet, novelist, painter, playwright, set designer, and actor. He began writing at 10 and was a published poet by age 16. He collaborated with the Russian Ballet Company of Sergei Diaghilev, and was active in many art movements, but always remained a poet at heart. His films reflect this fact. Cocteau was also a homosexual, and made no attempt to hide it.Cocteau made about twelve films in his career, all rich with symbolism and surreal imagery. He is now regarded as one of the most important avant-garde directors in cinema.” http:// Cocteau as a young man in www.longbeachopera.org/2016-season/la-voix-humaine the Twenties. Credit: REX Cocteau with Salvador Dali in 1923 Credit: REX “Cocteau's fascination with the rejected lover was not unique to Voix, but may extend back to his own love affair with the young Raymond Radiguet, who died suddenly at the age of twenty.”(Keith Clifton) https://www.erudit.org/revue/ cumr/2001/v22/n1/1014499ar.pdf Cocteau was described as : “passionate observers of women” (Benjamin lvry, Francis Poulenc (20th Century Composers) ) “Cocteau… whirled through life like an overgrown, opiated poodle, irritating as many people as he astonished, … the discourse of camp is evident in numerous ways, from his dandian dress to his outrageous films that pre- a n d p o s t - d a t e t h e D a d a movement.” (Benjamin lvry ,Francis Cocteau at his home in Paris in 1955 Credit: REX Poulenc (20th Century Composers)) “Cocteau, above all, intended to promulgate a new form of art, one free from Romantic and Impressionistic trappings” (Keith Clifton) https://www.erudit.org/revue/cumr/ 2001/v22/n1/1014499ar.pdf "Cocteau utilized his art as a personal exorcism or protection against reality instead of as an affirmation of knowledge” “microcosm of his mental structures” "Cocteau's theatre provides a much fuller, more complex insight into his mind than his films do.” (Lydia Crowson, The aesthetics Of Jean Cocteau) 5 The Human Voice ABOUT THE PLAY "Absolute silence ... accounts for the majority of the supposed conversation of the lover.” Jean Cocteau: opium, eroticism and the dark despair of La voix humaine “Alone in her chaotic bedroom, a dishevelled woman clutches the receiver of a Bakelite telephone. As the call is repeatedly cut off or Directed by Ivo van Hove crossed or the operator interrupts, she does everything she can to Performed by Halina keep her lover on the other end of the line. Reijn What matters to La voix humaine ’s impact is the ability to evoke the peculiar agony of losing love, expressed through the prism of the homosexual sensibility, with its ingrained streak of hysterical self- dramatisation and emotional masochism. In this respect, La voix humaine belongs alongside the plays of Tennessee Williams, the films of Pedro Almodóvar, and the ballads of Dusty Springfield as an exposure of the dirty linen of a woman's inner life, in which dignity goes by the board. Elle’s tactics are craven rather than heroic, and for all the genuine pain behind her isolation and desolation, Cocteau does not sentimentalise her behaviour: “the actress must give the impression of bleeding,” he wrote in a preface to the published text, “ of losing blood like a Claire Booth Credit: Polly Thomas limping beast, and ending the action in a room full of that blood.” For Cocteau, the play grew out of an even more intense period of crisis. It was written shortly after opium addiction had led him to detox in a rehab clinic, in the malestrom of a turbulent affair with a needy young writer Jean Desbordes, who would end up leaving Cocteau for a woman, joining the Maquis and dying after ghastly torture under the Gestapo. Desbordes was only one of a succession of such troubled young men who passed through Cocteau’s life .All too often, Cocteau was the one who was dumped. Some saw it as raw confessional: during a preview, the Surrealist poet Paul Eluard caused a great stir when he half-jokingly shouted from his seat “Obscene! Enough! It’s Desbordes on the other end of the line!” More objective critics felt that its naturalism indicated that the avant- gardiste Cocteau was selling out to commercialism – what was he doing, for instance, exploiting the trope of the telephone conversation, a clichéd feature of every tu’penny boulevard comedy of the 1920s? Conservatives, on the other hand, deplored that anything so vulgar should be staged at the Comédie-Francaise, otherwise home to the Ho-Jung in The Human Voice. Photo by Ed Krieger classical formalities of Racine and Molière. The net result of this controversy was the biggest popular success of Cocteau’s mercurial career to date – one that has persisted. Despite its provenance, La voix humaine shouldn’t be camped up: it’s too honest for that. It portrays a very ordinary romantic situation with sincerity and acumen and like Shakespeare’s Cleopatra or Sunset Boulevard ’s Norma Desmond, Elle emerges as the archetype of the woman who will stop at nothing to keep her man, even if it means her own destruction. Hardline feminists may find the implications of its stance unpalatable, but time has proved that La voix humaine shines a harsh clear light into a psychological darkness that can’t be ignored or gainsaid.”(Rupert Christiansen http://www.telegraph.co.uk/opera/ what-to-see/jean-cocteau-opium-eroticism-and-the-dark-despair-of-la- voix-hum/ ) __________La Voix Humaine is not so much a monologue as the audible half of a dialogue. 6 The Human Voice “A woman. A broken heart. A telephone. It is late at night and a distraught woman is on the phone with her former lover. Tomorrow he intends to marry (http:// someone else; however, tonight her hopes cling to their final conversation.” www.longbeachopera.org/2016-season/la-voix-humaine ) “Cocteau's text, vague and emotionally charged, is half silence, half sound, with large sections of the script filled with ellipses, creating wordless, unspoken moments. The unheard voice is that of the male lover, who remains mysterious and enigmatic, his significance to the plot entirely filtered through Elle. Certainly Cocteau was aware that such a work would present tremendous challenges for the performer, and so he employed another mute character, the telephone itself. Far from serving as a mere prop, the phone becomes at once the final palpable link Ingrid Bergman between the two former lovers, a phallic symbol, and a possible agent of suicide.”(Keith Clifton,https://www.erudit.org/en/ journals/cumr/2001-v22-n1-n1/1014499ar/) “…essential element in Cocteau's dramatic method, the technique of fragmentation…In many ways, Voix transforms the elliptical, fragmented medium of the telegram-one of Cocteau's most characteristic forms of expresssion—into spoken form.” (Crowson, The Aesthetic of Jean Cocteau) About Cocteau's Play________________________________________________________________ “Cocteau's experiments with the human voice peaked with his 1930 play La Voix humaine (The Human Voice). The telephone proved to be the perfect prop for Cocteau to explore his ideas, feelings, and "algebra" concerning human needs and realities in communication. La Voix humaine is deceptively simple — a woman alone on stage for almost one hour of non-stop theatre speaking on the telephone with her departing lover. It is full of theatrical codes harking back to the Dadaists' Vox Humana experiments after World War One, Alphonse de Lamartine's La Voix humaine, part of his larger work Harmonies poétiques et religieuses and the effect of the creation of the Vox Humana ("voix humaine"), an organ stop of the Regal Class by Church organ masters (late 16th century) that attempted to imitate the human voice but never succeeded in doing better than the sound of a male chorus at a distance.
Load more

Recommended publications
  • La Voix Humaine: a Technology Time Warp
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 La Voix humaine: A Technology Time Warp Whitney Myers University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.332 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Myers, Whitney, "La Voix humaine: A Technology Time Warp" (2016). Theses and Dissertations--Music. 70. https://uknowledge.uky.edu/music_etds/70 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • « Le Théâtre Libéré De Prague. V. & W. »
    Document generated on 09/26/2021 5:03 a.m. Jeu Revue de théâtre « Le Théâtre Libéré de Prague. V. & W. » Michel Vaïs Théâtre-femmes Number 66, 1993 URI: https://id.erudit.org/iderudit/29529ac See table of contents Publisher(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (print) 1923-2578 (digital) Explore this journal Cite this article Vaïs, M. (1993). « Le Théâtre Libéré de Prague. V. & W. ». Jeu, (66), 110–112. Tous droits réservés © Cahiers de théâtre Jeu inc., 1993 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Michel Vaïs «Le Théâtre Libéré de Prague. V. & W. » Essai de Danièle Monmarte. Préface de Vâclav Havel; postface de Denis Bablet. Paris, Institut d'études slaves, 1991, 288 p., ill. De 1925 à 1938 a existé à Prague un regroupement de joyeux lurons qui a pris le nom de Osvobozené divadlo, ou Théâtre Libéré. Ses principales sources d'inspiration furent Vsevolod Meyerhold et la biomécanique, l'autre metteur en scène russe important de la même époque, Alexandre Taïrov1, mais aussi des courants dérivés ou rattachés d'une manière ou d'une autre à ces personnages : poétisme et constructivisme, futurisme et surréalisme première manière (celle d'Apollinaire), sans oublier Dada, bien évidemment (Tristan Tzara faisait publier des traductions tchèques de ses ouvrages à Prague, avant même qu'ils paraissent en France).
    [Show full text]
  • Memory and Film
    MEMORY AND FILM Cinema is obsessed with memory. Time, memory and the past are thematic threads which run through the whole range of film, persistently recurring in national cinemas across the international spectrum. From the popularist mainstream to the obscurest avant-garde – from Steven Spielberg to Andrey Tarkovsky, Alfred Hitchcock to Jean Cocteau, David Lynch to Wong Kar-Wai – it’s difficult to think of a major film artist who hasn’t explored the theme of time, memory and the past. The medium exhibits properties which makes a focus on memory attractive to cinema. The frisson of film, its actuality quality, its ability to pinpoint a moment of time visually and aurally with a visceral immediacy difficult for other mediums. Yet also the sweep of cinema, its ability to move through time and space with the momentum of montage and the evocation of flashback. Cinema can give us an entire life in a few seconds. The fleeting mental images cinema is able to summon – the pictures in the fire – resemble the process of recall itself. Cinema is protective of memory and its veracity. Many films harbour deep suspicion of experiments with memory –Eternal Sunshine of the Spotless Mind (Condry, 2004) and Minority Report (Spielberg, 2002) are examples. I can only think of one movie which guardedly approves of experiments with memory and recall 2 being of potential benefit to mankind – Wim Wenders’ Until the End of the World (1991). Living vicariously through the recall of others is negatively portrayed in dystopian post-apocalyptic narratives such as Blade Runner (Scott, 1982), Strange Days (Bigelow, 1995) and Johnny Mnemonic (Longo, 1996).
    [Show full text]
  • Classic French Film Festival 2015
    Mon Oncle SEVENTH ANNUAL ROBERT CLASSIC FRENCH FILM FESTIVAL Presented by March 13 - 29, 2015 Sponsored by the Jane M. & Bruce P. Robert Charitable Foundation A co-production of Cinema St. Louis and Webster University Film Series Vive la FrAnce! WANT TO SPEAK FRENCH? REFRESH YOUR FRENCH CULTURAL KNOWLEDGE? CONTACT US! Alliance Française de St. Louis A member-supported nonprofit center engaging the St. Louis community in French language and culture. Contact info: 314-432-0734, [email protected], alliancestl.org American Association of Teachers of French The only professional association devoted exclusively to the needs of French teach- ers at all levels, with the mission of advancing the study of the French language and French-speaking literatures and cultures both in schools and in the general public. Contact info: Anna Amelung, president, Greater St. Louis Chapter, [email protected], www.frenchteachers.org Centre Francophone at Webster University An organization dedicated to promoting Francophone culture and helping French educators. Contact info: Lionel Cuillé, Ph.D., Jane and Bruce Robert Chair in French and Francophone Studies, Webster University, 314-246-8619, [email protected], facebook.com/centrefrancophoneinstlouis Les Amis A support group for the French heritage programs of the Missouri Department of Natural Resources, with the mission of promoting the preservation, interpretation, and purchase of historic property in Missouri’s unique French colonial region. Contact info: 314-454-3160, [email protected], www.les-amis.org La Société Française de Saint Louis An organization dedicated to the survival of the language, culture, and traditions of the French in St. Louis.
    [Show full text]
  • Miguel Angel Asturias Et La Culture Française: Un Parcours Métis
    Miguel Angel Asturias et la culture française : un parcours métis Maximilien Kerfyser To cite this version: Maximilien Kerfyser. Miguel Angel Asturias et la culture française : un parcours métis. Histoire. 2015. dumas-01256946 HAL Id: dumas-01256946 https://dumas.ccsd.cnrs.fr/dumas-01256946 Submitted on 15 Jan 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Université Paris 1 (Panthéon-Sorbonne) Centre Malher. Maximilien KERFYSER Miguel Angel Asturias et la culture française : un parcours métis Mémoire de master Histoire sous la direction de Pascal Ory Printemps 2015 Miguel Angel Asturias et la culture française : un parcours métis A Francisca Sommaire Introduction Première partie Le temps de l'approche et de la formation I) Le choix de la France II) L'apprentissage III) Les peurs Deuxième partie L'écriture IV) La maturation d'un projet littéraire V) Le surréalisme VI) Le réalisme magique comme interstice : le métissage Troisième partie L'enrichissement d'un parcours VII) Réseaux de sociabilité et carrefours parisiens VIII) L'engagement Quatrième partie L'enracinement IX) Publier le métis X) Les traductions : ancrer l'homme et son œuvre 1 Cinquième partie L'échange à maturité: contempler XI) Le bouleversement du décès : célébrer Asturias XII) La commémoration Conclusion Annexes Bibliographie Etat des sources Table des matières 2 Introduction 3 « Aujourd’hui, avec Miguel Angel Asturias, nous faisons encore appel a la France eternelle, mère des idees et des libertes, mais surtout mère de ces Arts qui recreent le monde en la claireveillée du printemps.
    [Show full text]
  • El Acierto En El Fracaso. La Revista Imán (1931), Un Episodio De La Historia Literaria Latinoamericana
    Vol 6, Nº 11 (2018) ISSN 2169-0847 (online) Claudio Maíz CONICET- Universidad Nacional de Cuyo [email protected] El acierto en el fracaso. La revista Imán (1931), un episodio de la historia literaria latinoamericana The Succes in Failure. The Journal Imán (1931), an Episode of the Latinamerican Literary History Resumen En este trabajo pretendemos poner de relieve que la fugacidad de la revista Imán, que apareció en París en 1931, editada por la argentina Elvira de Alvear (1907-1959) no mermó su capacidad en cuanto a los objetivos literarios que se había propuesto. Imán acertó cuando difundió fragmentos de obras de quienes formarían parte de la renovación de la prosa latinoamericana del siglo XX: Alejo Carpentier, Miguel Ángel Asturias y Arturo Uslar Pietri. Palabras claves revista, París, narrativa latinoamericana, Carpentier, Asturias, Uslar Pietri. Abstract In this work we intend to highlight that the fleetingness of the magazine Imán, which appeared in Paris in 1931, edited by Argentina's Elvira de Alvear (1907-1959), did not diminish its capacity in terms of literary goals that had been proposed. when he disseminated fragments of works by those who would be part of the renovation of the Latin American prose of the 20th century: Alejo Carpentier, Miguel Ángel Asturias and Arturo Uslar Pietri. Keywords magazine, Paris, Latin American narrative, Carpentier, Asturias, Uslar Pietri. doi 10.5195/ct/2018.368 | http://catedraltomada.pitt.edu Vol 6, Nº 11 (2018) CATEDRAL TOMADA: Revista literaria latinoamericana / Journal of Latin American Literary Criticism Claudio Maíz Introducción El oxímoron que encabeza este trabajo -el acierto en el fracaso- tiene que ver con algunos proyectos editoriales que aún en su malogro, por la falta de continuidad como es el caso de una revista de la que solo aparece un número, puede realizar un singular aporte a la historia de la cultura latinoamericana.
    [Show full text]
  • Dehumanizing Technology in Cocteau's and Poulenc's La Voix Humaine Lynette Miller Gottlieb
    Document generated on 09/28/2021 2:01 p.m. Canadian University Music Review Revue de musique des universités canadiennes Phone-Crossed Lovers: Dehumanizing Technology in Cocteau's and Poulenc's La Voix humaine Lynette Miller Gottlieb Jean Cocteau: Evangelist of the Avant-garde Article abstract Jean Cocteau : évangéliste de l’avant-garde Forty years after his previous collaboration with his former mentor Jean Volume 22, Number 1, 2001 Cocteau, Francis Poulenc embarked on another joint work with the playwright, the opera La Voix humaine (1958). The sole character is a woman known as URI: https://id.erudit.org/iderudit/1014500ar Elle, who converses with her former lover on the telephone, a device DOI: https://doi.org/10.7202/1014500ar representative of the negative side of technological progress made during the first few decades of the twentieth century. This study considers the nature of the collaboration between Cocteau and Poulenc, then employs narrative theory See table of contents to interpret the telephone's power in this drama. Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Miller Gottlieb, L. (2001). Phone-Crossed Lovers: Dehumanizing Technology in Cocteau's and Poulenc's La Voix humaine. Canadian University Music Review / Revue de musique des universités canadiennes, 22(1), 86–104. https://doi.org/10.7202/1014500ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2002 (including reproduction) is subject to its terms and conditions, which can be viewed online.
    [Show full text]
  • The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B
    THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THE EX~lPLE OF JEAN COCTEAU THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THEEXM1PLE OF JEAN COCTEAU by JOYCE ANNE FUNAMOTO, B. A., B. ED. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University June 1981 I~~STER OF ARTS (1981) McMASTER UNIVERSITY ( Roman ce Languages) Hamilton, Ontario. TITLE: The Search for New Expression in the Theatre: The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B. A. (MCMaster University) B. Ed. (University of Toronto) SUPEHVISOR: Dr. B. S, Pocknell NUMBER OF PAGES: iv, 117 SCOPE AND CONTENTS: The purpose of this paper is to examine the theatre of Jean Cocteau in its search for new expression. The first chapter presents Jean Cocteau's precursors and their parallels with his theatre, and his early fOlJmation in the theatre. The second chapter deals with his contemp- oraries in the areas of dance, music and art. Chapter three treats the plays of Jean Cocteau in the light of their sources and innovations. ii ACKNOWLEDGEMENTS My sincere thanks goes to Dr. B. S. Pocknell, whose patience, encouragement and enthusiasm will continue to provide inspiration. I would also like to express my debt to Professor N. Jeeves for his careful reading and guidance. iii TABLE OF CONTENTS Page LIST OF PHOTOGRAPHS 1 INTRODU CTION 2 CHAPTER I - COCTEAU'S PRECURSORS AND HIS EARLY 5 FORMATION IN THE THEATRE CHAPTER II - COCTEAU AND HIS CONTEMPORARIES 33 CHAPTER III - THE DEVELOPMENT OF JEAN COCTEAU'S 59 THEATRE CONCLUSION 98 APPENDIX A 103 APPENDIX B 105 APPENDIX C 107 APPENDIX D 109 APPENDIX E· III BIBLIOGRAPHY 113 iv LIST OF PHOTOGRAPHS Photo 1 - Le Dicu Bleu.
    [Show full text]
  • THE HUMAN VOICE …A Riveting Production Review by Frank Spezzano Ontario Arts Review, Mar
    THE HUMAN VOICE …a riveting production Review by Frank Spezzano Ontario Arts Review, Mar. 4, `11 Part of the Harbourfront Centre world Stage Series is The Human Voice, a play written by Jean Cocteau in 1932 with the French title La Voix Humaine and it’s set in Paris. The story is about a middle‐aged woman who calls her ex‐lover for the last time, he having ended his relationship with her a few days ago. Though she tries. in vain, to keep him talking on the phone, he tells her that he’s leaving for a younger woman. That period of the 1930s was a time when men and women were being driven to indecisions, desperate acts of violence. They went to shrinks, were psychoanalytical, existential, and at the same time in depressing moods expressing annihilation. While the movie version of this play is immortalized by none other than Ingrid Bergman, a European star who made her own legend in Hollywood and made it a very personal affair on screen. This Harbourfront production arrives in Toronto from Amsterdam, where actress Halina Reijn has been working with Toneelgroep Theatre since 2003. Halina held the audience spellbound with her solo performance earning an uncommon silence…uncommon because the audience in the Enwave Theatre filled the air with gasps and pauses. Reijn gave us a performance which held us breathless with our eyes glued to the stage and maintained good character‐focus and projection. She has previously appeared in The Taming of the Shrew; Hedda Gabler; Oresteia and is seen regularly in films and television in her native Holland.
    [Show full text]
  • First Man the Irish Film Institute
    OCTOBER 2018 FIRST MAN THE IRISH FILM INSTITUTE The Irish Film Institute is Ireland’s EXHIBIT national cultural institution for film. It aims to exhibit the finest in independent, Irish and international cinema, preserve PRESERVE Ireland’s moving image heritage at the IFI Irish Film Archive, and encourage EDUCATE engagement with film through its various educational programmes. IFI FRENCH FILM FESTIVAL Place publique MYSTERY MATINEE The IFI’s flagship festival, the IFI French Film Festival, This month’s secret screening, for which tickets cost just €5, will return for its 19th edition from November 14th to 25th. will take place at 13.00 on Sunday 14th. Sometimes it will Highlights of this year’s festival include Agnès Jaoui’s latest be a preview, but not always; sometimes, it will be a title one Place publique, Stéphane Brizé’s At War, and Gilles Lellouche’s might expect to see at the IFI, but not always. Join us for this hilarious Sink or Swim. Full festival details will be available month’s screening, and expect the unexpected! Previous from www.ifi.ie/frenchfest. surprise screenings have included a preview of Greta Gerwig’s Lady Bird and Alexander Payne’s Citizen Ruth. WINE TASTING FEAST YOUR EYES AND TAPAS Every month we pair a new release with a specially Join us at the IFI Café Bar for a night of classic wine tasting devised main course from the IFI Café Bar kitchen. This on Thursday, October 4th at 19.30. For just €20 learn how month’s film choice will be the 18.30 screening of Matteo to tell your Rueda from Rioja, all paired with Lamb Sausage, Garrone’s Italian crime drama Dogman on Wednesday Salmon and Crab Roulade, and Durrus Cheese with Pickled 24th.
    [Show full text]
  • Jean Cocteau and the Occupation of France Ruth Elizabeth Newns Austin UCL M.Phil
    Jean Cocteau and the Occupation of France Ruth Elizabeth Newns Austin UCL M.Phil 1 I, Ruth Elizabeth Newns Austin, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signature: 2 Abstract The work of Jean Cocteau continues to be of interest and has been the subject of many studies, with anniversaries relating to the poet’s life and work continuing to prompt new exhibitions of his work and assessments of his work. The fact that the interest in Cocteau so often extends beyond the work itself is a starting point for this study of the poet’s work during the period of the German Occupation of France, 1940-1944, and this will also be explored in this project. The project is divided into three sections which consider ‘l’affaire Breker’, Cocteau’s work for the cinema and his theatre productions of the period. I have worked through the newspaper archives at both the British Library’s collection in Colindale and that of Leeds University, the only two archives in Britain which between them offer a complete collection of the journal Comoedia as well as a number of other newspapers from the period, such as Je suis partout and La Gerbe. I have also read much of Cocteau’s work in parallel with the Journal intime he kept from 1942-1945, which was published posthumously. By examining the article on Breker, Cocteau’s involvement with cinema and the theatre during the Occupation, a view emerges of an artist grappling, not always successfully, with the particular challenges of the wartime context.
    [Show full text]