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Jean Maurice Eugène Clément Cocteau (UK: / ˈ k ɒ k t oʊ / KOK-toh, US: / k ɒ k ˈ t oʊ / kok-TOH; French: [ʒɑ̃ mɔʁis øʒɛn klemɑ̃ kɔkto]; 5 July 1889 – 11 October 1963) was a French poet, playwright, novelist, designer, film director, visual artist and critic.
Les Enfants Terribles is a 1929 novel by Jean Cocteau, published by Editions Bernard Grasset.It concerns two siblings, Elisabeth and Paul, who isolate themselves from the world as they grow up, an isolation which is shattered by the stresses of their adolescence.
Les Enfants terribles (French pronunciation: [lez‿ɑ̃fɑ̃ teʁibl]; literal English translation: The Terrible Children; English title: The Strange Ones) [2] is a 1950 French film directed by Jean-Pierre Melville, with a screenplay adapted by Jean Cocteau from his 1929 novel of the same name about the tangled relationship of a close brother and sister.
Les Parents terribles is a 1938 French play written by Jean Cocteau.Despite initial problems with censorship, it was revived on the French stage several times after its original production, and in 1948 a film adaptation directed by Cocteau was released.
La voix humaine (English: The Human Voice) is a forty-minute, one-act opera for soprano and orchestra composed by Francis Poulenc in 1958. The work is based on the play of the same name by Jean Cocteau, who, along with French soprano Denise Duval, worked closely with Poulenc in preparation for the opera's premiere.
Théâtre Hébertot (French pronunciation: [teɑtʁ ebɛʁto]) is a theatre at 78, boulevard des Batignolles, in the 17th arrondissement of Paris, France. History [ edit ]
Also, the theater Jean Cocteau, the first pieces of Jean Giraudoux such as Siegfried in 1928 and the works of Italian Luigi Pirandello are famous examples that were very successful. [clarification needed] In 1920, post-impressionist painter Nils Dardel and de Maré together created Ballets suédois at the Théâtre des Champs-Élysées.
The first issue of Cahiers appeared in April 1951. [4] Much of its head staff, including Bazin, Doniol-Valcroze, Lo Duca, and the various younger, less-established critics, had met and shared their beliefs about film through their involvement in the publication of Revue du Cinéma from 1946 until its final issue in 1948; Cahiers was created as a successor to this earlier magazine.