It was paired with a Darius Milhaud opera, `` The Poor Sailor '', set to a libretto by Jean Cocteau, a kind of Grand Guignol by the sea, a sailor returns, unrecognized, and gets done in by his wife.

She states in Volume One of her diaries that she drew inspiration from Marcel Proust, André Gide, Jean Cocteau, Paul Valéry, and Arthur Rimbaud.

It developed from the earlier magazine Revue du Cinéma ( Review of the Cinema ) involving members of two Paris film clubs — Objectif 49 ( Objective 49 ) ( Robert Bresson, Jean Cocteau and Alexandre Astruc, among others ) and Ciné-Club du Quartier Latin ( Cinema Club of the Latin Quarter ).

Cahiers du Cinema authors also championed the work of directors Jean Renoir, Roberto Rossellini, Kenji Mizoguchi, Max Ophüls, and Jean Cocteau, by centering their critical evaluations on a film's mise en scène.

Jean Maurice Eugène Clément Cocteau (; 5 July 1889 – 11 October 1963 ) was a French poet, novelist, dramatist, designer, playwright, artist and filmmaker.

Portrait of Jean Cocteau by Federico de Madrazo de Ochoa

Tribute to René Clair: I Married a Witch, Jean Cocteau ( 1945 ), a set design for the Théâtre de la Mode.

In the 1930s, Cocteau had an affair with Princess Natalie Paley, the daughter of a Romanov grand duke and herself a sometime actress, model, and former wife of couturier Lucien Lelong .. Cocteau's longest-lasting relationships were with the French actors Jean Marais and Édouard Dermit, whom Cocteau formally adopted.

Stained glass windows of Jean Cocteau, Saint-Maximin church, Metz, France

* 1973 Jean Cocteau par Jean Cocteau ( posthumous ; A discussion with William Fielfield )

* 1925: Jean Cocteau fait du cinéma

* 1950: Les Enfants terribles directed by Jean-Pierre Melville, script by Jean Cocteau based on his novel

* 1965: Thomas l ' imposteur directed by Georges Franju, script by Jean Cocteau based on his novel

* Colette par Jean Cocteau, discours de réception à l ' Académie Royale de Belgique, Ducretet-Thomson 300 V 078 St.

* Collection of three vinyl recordings of Jean Cocteau including La Voix humaine by Simone Signoret, 18 songs composed by Louis Bessières, Bee Michelin and Renaud Marx, on double-piano Paul Castanier, Le Discours de réception à l ' Académie Française, Jacques Canetti JC1, 1984

* Derniers propos à bâtons rompus avec Jean Cocteau, 16 September 1963 à Milly-la-Forêt, Bel Air 311035

* Les Enfants terribles, radio version with Jean Marais, Josette Day, Silvia Monfort and Jean Cocteau, CD Phonurgia Nova ISBN 2-908325-07-1, 1992

* Anthology, 4 CD containing numerous poems and texts read by the author, Anna la bonne, La Dame de Monte-Carlo and Mes sœurs, n ' aimez pas les marins by Marianne Oswald, Le Bel Indifférent by Edith Piaf, La Voix humaine by Berthe Bovy, Les Mariés de la Tour Eiffel with Jean Le Poulain, Jacques Charon and Jean Cocteau, discourse on the reception at the Académie française, with extracts from Les Parents terribles, La Machine infernale, pieces from Parade on piano with two hands by Georges Auric and Francis Poulenc, Frémeaux & Associés FA 064, 1997

In the early twenties, he and other members of Les six frequented a wildly popular bar named Le Boeuf sur le Toit, a name that Cocteau himself had a hand in picking.

Admiring of Radiguet's great literary talent, Cocteau promoted his friend's works in his artistic circle and arranged for the publication by Grasset of Le Diable au corps ( a largely autobiographical story of an adulterous relationship between a married woman and a younger man ), exerting his influence to have the novel awarded the " Nouveau Monde " literary prize.

* Cocteau, Jean, Le Grand Écart, 1923, his first novel

* Cocteau, Jean, Le Numéro Barbette, an influential essay on the nature of art inspired by the performer Barbette, 1926

* Cocteau, Jean, The White Book ( Le Livre blanc ), sometimes translated as The White Paper, translated by Margaret Crosland, City Lights Books, San Francisco, 1989

Hartmann also involved sculptors and artists such as Jean Cocteau, Le Corbusier, and Joan Miró in exhibitions at Musica Viva.

* Le sang d ' un poète by Jean Cocteau ( 1930 )

The fact that Satie had abandoned the Nouveaux jeunes less than a year after starting the group, was the " gift from heaven " that made it all come true for Cocteau: his 1918 publication Le coq et l ' Arlequin is said to have ticked it off.

After World War I, Jean Cocteau and Les Six began to frequent a bar known as " La gaya " which became Le Bœuf sur le Toit ( The Ox on the Roof ) when the establishment moved to larger quarters and as the famous ballet by Milhaud had been conceived at the old premises, the new bar took on the name of Milhaud's ballet.

The group was successful and in 1960 were asked by Jean Cocteau to provide music for his film, Le Testament d ' Orphée.

It is supposed that such additions by Cocteau showed his eagerness to create a succes de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before.

This fact inspired Clouzot for his film Le Corbeau and Cocteau for his play La Machine à écrire.

As a regular figure at music and poetry venues like Le Tabou on Rue Dauphine, Greco became acquainted with Miles Davis and Jean Cocteau, even being given a role in Cocteau ’ s film Orphée in 1949.

The ballet reflects both the ideal of the aesthetic of Les six to combine popular forms of art ( CF Cocteau " Le Coq et L ' Arlequin "), and a centuries-old French penchant for exotica.

A tradition of “ Saturday dinners ” had been established with Cocteau and his circle, congregating at the newly in vogue jazz milieu of the Paris cabaret, “ Le Boef sur le toit .” Morand and the couturiere Coco Chanel traveled in the same social circles and he became her friend and confidante.

Le jeune homme et la mort (“ The Young Man and Death ”) of 1946 ( libretto by Jean Cocteau ) is considered his magnum opus and it is also his most well-known work ; the choreography and the costumes are of astonishing modernity.

* Cocteau et La chapelle Saint-Blaise-des-Simples

et: Jean Cocteau

* Ornella Volta, Satie / Cocteau-les malentendus d ' une entente: avec des lettres et des textes inédits d ' Erik Satie, Jean Cocteau, Valentine Hugo et Guillaume Apollinaire-Castor Astral-1993-ISBN 2-85920-208-0

* Cocteau, Jean-Le coq et l ' Arelquin: Notes Autour de la Musique-Avec un portrait de l ' auteur et deux monogrammes par P. Picasso-Paris, Éditions de la Sirène-1918

* Jean Cocteau is elected to both the Académie française and the Académie royale des Sciences, des Lettres et des Beaux-Arts de Belgique.

The production budget was a million francs, and was financed and produced by the Vicomte Charles de Noailles ( 1881 – 1981 ), a nobleman who, beginning in 1928, yearly commissioned a film as a birthday gift to his wife, the Vicomtesse Marie-Laure de Noailles ( 1902 – 1970 ), who was a renowned patroness of the arts and of artists, such as Dalí and Buñuel, Balthus, Jean Cocteau, Man Ray, Francis Poulenc, Jean Hugo, Jean-Michel Frank et alii.

* A French version entitled La Belle et la Bête was made in 1946, directed by Jean Cocteau, starring Jean Marais as the Beast and Josette Day as the Beauty.

As the title indicates, the premise of the series is inspired by the fairy tale " Beauty and the Beast "; in particular, there is some connection to the Jean Cocteau French film of 1946, La Belle et la Bête.

* Jean Cocteau produced such acclaimed works as the poems of L ' Ange Heurtebise Angel Heurtebise ( 1925 ), the plays Orphée ( 1926 ) and Les Chevaliers de la Table Ronde Knights Of The Round Table ( 1937 ), and the hauntingly beautiful and surreal 1945 film version of La Belle et la Bête aka Beauty and the Beast.

During this period he met eighteen-year old actress, Josette Day, ( later “ Belle ” in Cocteau ’ s film “ La Belle et la Bête ,” ) who became his mistress.

* Beauty and the Beast ( 1946 film ) ( La Belle et la Bête ), a French film directed by Jean Cocteau