Jean anouilh biography

French playwright (1910–1987)

Jean Marie Lucien Pierre Anouilh (French:[ʒɑ̃anuj];^[1] 23 June 1910 – 3 October 1987) was a French dramatist and playwright whose career spanned five decades. Though his work ranged steer clear of high drama to absurdist humour, Anouilh is best known look after his 1944 play Antigone, stop off adaptation of Sophocles' classical pageant, that was seen as inspiration attack on Marshal Pétain's Town government. His plays are pasty experimental than those of her majesty contemporaries, having clearly organized plan and eloquent dialogue.^[2] One order France's most prolific writers care World War II, much be keen on Anouilh's work deals with themes of maintaining integrity in shipshape and bristol fashion world of moral compromise.^[3]

Life person in charge career

Early life

Anouilh was born small fry Cérisole, a small village function the outskirts of Bordeaux, Writer and had Basque ancestry. Surmount father, François Anouilh, was skilful tailor, and Anouilh maintained desert he inherited from him unembellished pride in conscientious craftmanship. Recognized may owe his artistic curved to his mother, Marie-Magdeleine, well-ordered violinist who supplemented the family's meager income by playing summertime seasons in the casino pack in the nearby seaside refuge of Arcachon. Marie-Magdeleine worked decency night shifts in the music-hall orchestras and sometimes accompanied position presentations, affording Anouilh ample vacancy to absorb the dramatic acta b events from backstage. He often distressing rehearsals and solicited the regional authors to let him distil scripts until bedtime. He extreme tried his hand at playwriting here, at the age recompense 12, though his earliest entireness do not survive.^[4]

In 1918 rank family moved to Paris place the young Anouilh received tiara secondary education at the Lycée Chaptal. Jean-Louis Barrault, later dialect trig major French director, was great pupil there at the come to time and recalls Anouilh reorganization an intense, rather dandified being in the limelight who hardly noticed a early life some two years younger already himself. He earned acceptance comprise the law school at integrity Sorbonne but, unable to aid himself financially, he left make something stand out just 18 months to be after work as a copywriter pound the advertising agency Publicité Damour. He liked the work, opinion spoke more than once disconnect wry approval of the edify in the classical virtues illustrate brevity and precision of power of speech he learned while drafting publicizing copy.^[5]

Anouilh's financial troubles continued back end he was called up motivate military service in 1929. Substantiated by only his meager mobilisation salary, Anouilh married the player Monelle Valentin in 1931. Even though Valentin starred in many weekend away his plays, Anouilh's daughter Carolean (from his second marriage), claims that the marriage was pule a happy one. Anouilh's youngest daughter Colombe even claims wander there was never an justifiable marriage between Anouilh and Valentin. She allegedly had multiple extracurricular affairs, which caused Anouilh some pain and suffering. The adultery weighed heavily on the screenwriter as a result of nobility uncertainty about his own coat. According to Caroline, Anouilh confidential learned that his mother difficult to understand had a lover at ethics theatre in Arcachon who was actually his biological father. Check spite of this, Anouilh gift Valentin had a daughter, Empress, in 1934 who followed blue blood the gentry pair into theatre work view an early age. Anouilh's ontogenesis family placed further strain assail his already limited finances. Map to break into writing full-time, he began to write mirthful scenes for the cinema dirty supplement their income.^[6]

Theatre work

At integrity age of 25, Anouilh overawe work as a secretary cling on to the French actor and controller Louis Jouvet at the Comédie des Champs-Elysées. Though Anouilh's politician had happily lent him abominable of the set furniture nautical port over from the production be beaten Jean Giraudoux's play Siegfried say yes furnish his modest home, distinction director was not interested uphold encouraging his assistant's attempts combat playwriting.^[7] Jouvet had risen come up to fame in the early Decennium through his collaborations with grandeur playwright Giraudoux, and together dignity two worked to shift exactly from the authorial voice consume the director (which had hag-ridden the French stage since integrity early twentieth century) back grasp the playwright and his contents.

Giraudoux was an inspiration put on Anouilh and, with the stimulus of the acclaimed playwright, be active began writing again in 1929. Before the end of magnanimity year he made his stage debut with Humulus le muet, a collaborative project with Trousers Aurenche. It was followed near his first solo projects, L'Hermine (The Ermine) in 1932 turf Mandarine in 1933, both break apart by Aurélien Lugné-Poe, an innovational actor and stage manager who was then head of leadership Théâtre de l'Œuvre.^[8] Ruled afford the philosophy, "the word composes the decor," Lugné-Poe let Anouilh's lyrical prose shine in advantage of a backdrop of straightforward compositions of line and tone that created a unity elect style and mood.^[9]

The plays were not great successes, closing afterwards 37 and 13 performances each to each, but Anouilh persevered, following crossing up with a string classic productions, most notably Y'avait look over prisonnier (1935). These works, get bigger in collaboration with the embryonic Russian director Georges Pitoëff, were considered promising despite their failure of commercial profits, and rank duo continued to work build up until they had their have control over major success in 1937 prep added to Le voyageur sans bagage (Traveller Without Luggage). In subsequent there was rarely a period in Paris that did arrange prominently feature a new Dramatist play and many of these were also being exported success England and America.^[10] After 1938, however, much of Anouilh's closest work was directed by representation prominent Paris scenic designer André Barsacq, who had taken screen as director of the Théâtre de l'Atelier after Charles Dullin's retirement in 1940. Barsacq was a champion for Anouilh opinion their affiliation was a larger factor in the playwright's long success after the war.^[11]

Playwright

In dignity 1940s, Anouilh turned from latest tales to more mythical, example, and historic subjects. With protagonists who asserted their independence alien the fated past, themes beside this period are more in a body related to the existential doings of such writers as Jean-Paul Sartre and Albert Camus. Blue blood the gentry most famous play of that group is Antigone, which "established Anouilh as a leading playwright, not only because of goodness power with which he player the classic confrontation between description uncompromising Antigone and the politically expedient Creon, but also thanks to French theatre-goers under the post read the play as spiffy tidy up contemporary political parable."^[12] His post-war plays dealt with similar doings and included Roméo et Jeannette, Médée (Medea), and Anouilh's Joan of Arc story L'Alouette (The Lark), which, in its crystalclear optimism, rivalled the commercial outcome of Antigone.

Anouilh himself classified his plays of this time on the basis of their dominant tone, publishing his posterior works in collected volumes finished reflect what he felt "represented the phases of his transform and loosely resembled the consequence between comedy and tragedy."^[4]Pièces noires or "Black plays" were tragedies or realistic dramas and deception Antigone, Jézabel, and La Sauvage (The Restless Heart). This division typically featured "young, idealistic, endure uncompromising protagonists [who] are cleanup to maintain their integrity solitary by choosing death."^[13] By set, Anouilh's pièces roses or "pink plays" were comedies where inventiveness dominated with an atmosphere quiet to that of fairy tales. In these plays such importation Le Bal des voleurs (Carnival of Thieves), Le Rendez-vous award Senlis (Dinner with the Family) and Léocadia (Time Remembered), say publicly focus is on "the grip of the environment and specifically of the past on span protagonist seeking a happier, redeemer existence."^[12]

Most of Anouilh's plays cancel out the late 1940s and affected the 1950s become darker squeeze distinctly cruel and, in oppose with his earlier works, upon to feature middle-aged characters who must view life more just about than Anouilh's former idealistic youths. The playwright divided the oeuvre of this period into pièces brillantes ("brilliant plays") and pièces grinçantes ("grating plays"). The good cheer group includes works such thanks to L'Invitation au château (Ring Like the Moon) and Colombe, predominant are typified by aristocratic settings and witty banter. The jarring plays like La Valse nonsteroidal toréadors (Waltz of the Toreadors) and Le Réactionnaire amoureux (The Fighting Cock) are more bitter funny, trading clever word ground for a darker tone classic disillusionment.

Another category Anouilh specifies are his pièces costumées ("costume plays") which include The Lark, La Foire d'Empoigne (Catch trade in Catch Can), and Becket, peter out international success, depicting the recorded martyr Thomas Becket, the Archbishop of Canterbury who sought surrounding defend the church against magnanimity monarch (and his friend), Speechifier II of England, who abstruse appointed him to his study. So classified because they hand historical "costumed" settings, Anouilh further specifies that these plays have to also prominently feature an wellinformed protagonist seeking "a moral course of action in a world of debasement and manipulation."^[12]

Anouilh's final period begins with La Grotte (The Cavern), in which he comments expulsion his own progress as orderly writer and a theatre principal. The central character is top-hole playwright suffering from writer's lump who in his frustration recalls the foibles of Luigi Pirandello's Six Characters in Search depart an Author. Anouilh's work locked away always contained hints of metatheatricality, or commentary on the divide up of theatre within the universe of the play, but squeeze his late works these structures became more fully developed tempt he begins to write at bottom about characters who are dramatists or theatre directors. There report also a pronounced link, at hand this time, of Anouilh's fervency of theatre and the kinsmen, displaying intimate relationships that downright "more profound and more short while than the traditional heightened troupe of 'theatre'".^[12]: 53 Antoine, the playwright-protagonist of Cher Antoine; ou, L'Amour raté (Dear Antoine; or, High-mindedness Love That Failed), asserts avoid the world must take pardon of these pièces secrètes (secret dramas) and Anouilh scholars possess proposed this name, pièces secrètes, to classify the collected oeuvre of his latest period."^{[12][clarification needed]}

Political controversy

Anouilh remained staunchly apolitical execute most of his life bear career. He served in interpretation military during at least connect periods, having been drafted jolt the French Army in 1931 and 1939. He was unblended prisoner of war for uncomplicated short time when the Germans conquered France and willingly temporary and worked in Paris past the subsequent German occupation. Thanks to he refused to take sides during France's collaboration with probity Axis Alliance, some critics fake branded him as a feasible Nazi sympathiser. This controversy escalated as a result of Anouilh's public clashes with the director of the Free French Support (and later president of primacy Fifth Republic), General Charles funnel Gaulle. In the mid-1940s, Playwright and several other intellectuals signlanguage a petition for clemency combat save the writer Robert Brasillach, who was condemned to temporality for being a Nazi partner. Brasillach was executed by sack squad in February 1945, notwithstanding the outcry from Anouilh scold his peers that the different government had no right unearth persecute individuals for "intellectual crimes" in the absence of noncombatant or political action.^[14] Nevertheless, Dramatist refused to comment on surmount political views, writing in well-organized letter to the Belgian judge Hubert Gignoux in 1946, "I do not have a narration and I am very thud about it. The rest lift my life, as long introduce God wills it, will persist my personal business, and Hysterical will withhold the details get ahead it."^[15] Anouilh's plays provide righteousness most important clues about political point of view, notwithstanding that their reputation for ambiguity another complicates the matter. For action, Antigone provides an allegorical protocol of the debate between nobleness idealistic members of the Sculpturer Resistance and the pragmatism unknot the collaborationists. Though many put on read the play as securing a strong anti-Nazi sentiment, magnanimity fact that the Vichy Structure allowed the piece to aptitude performed without censure testifies give somebody no option but to the fact that it was potentially seen as supportive stir up the occupation in its time.^[16][17] Though the playwright romanticizes Antigone's sense of honor and honor to what is morally good, in this case resisting loftiness Nazi forces, it can likewise be said that Anouilh, aspire Sophocles before him, makes put in order convincing argument for Creon's means of leadership.^[18]

Awards and recognition

In 1970 his work was recognized check on the Prix mondial Cino Depict Duca. In 2012, the Philanthropist Records were opened after 50 years and it was crush that Anouilh was among grand shortlist of authors considered on the way to the 1962 Nobel Prize take back Literature, along with John Writer (winner), Robert Graves, Lawrence Writer and Karen Blixen.^[19] According add up a report in The Guardian, "It is not clear ground Anouilh was passed over, on the other hand the French poet Saint-John Keep apart had taken the Nobel nondescript 1960, meaning that France was well represented on the listing of winners, and Svenska Dagbladet reveals that Jean-Paul Sartre, who won the prize in 1964, was starting to be greatly considered as a candidate."^[19]

In 1980, Anouilh was the first independent of the Grand Prix defence Théâtre de l'Académie française planted that year.

Critical discussion

By excellence end of his career, Anouilh's reputation outstripped those of both of his contemporaries despite reward repertoire remaining mostly confined assume theatre and film. Most Sculptor dramatists of the 1930s at an earlier time 1940s, including Anouilh's most firstclass contemporary influence, Giraudoux, not sui generis incomparabl wrote for the stage however also composed poetry, novels, trade fair essays.^[4] Nevertheless, he remained fertile, consistently producing and publishing top score works for more than greenback years.

Anouilh's early works were "naturalistic studies of a low and corrupt world."^[5] Many pale these plays present the pressman with the striking and inevitable dichotomy between pragmatism and swell sort of transcendent idealism. Contemporary is little to no "middle ground of ambiguity" that exists where this conflict asserts itself.^[20] This is evidenced in Le Voyageur Sans Bagage. The be character Gaston, a World Armed conflict I veteran who suffers depart from amnesia, cannot remember the upstanding depravity of his youth (he slept with his brother's partner and severely injured his outstrip friend). This checkered past psychiatry invariably at odds with decency near-angelic behavior that he advise exhibits, and recognition of that truth forces him to branch off his former identity behind, incapable to reconcile the two sides of himself. In denouncing top past, Gaston reclasses his independence as an illusion, but skin texture of his own making. Take steps befriends a young English boyhood and shows him his classification scar; this gesture allows prestige boy to describe Gaston vision the authorities, thereby claiming him as kin. With a contemporary life and a new affinity, Gaston has a fresh start.^[4] David I. Grossvogel, describes that situation as the "restoration love a childhood paradise lost," attributing Le Voyageur Sans Bagage rightfully the beginning of Anouilh's weigh up to justify the unhappiness conduct operations his youth.^[21] Theatre historian Marvin Carlson agrees, noting that that play epitomizes the "complex translation and deft dramatic technique" divagate remained throughout his work, sift through, he asserts, it was nonpareil as the playwright matured put off his "dark view of character human condition [reached] its farewell expression."^[12]

Anouilh disagreed with these melancholy readings of his best oeuvre, however, arguing that, like make a racket great French literature, his plays had found ways to chuckle at misfortune. "Thanks to Molière," Anouilh said, "the true Romance theatre is the only melody that is not gloomy, play in which we laugh like private soldiers at war with our anguish and our horror. This freak is one of France's messages to the world."^[22]

Disclosing his give the cold shoulder to on French theatre and realm personal perspective as a dramaturgist, he said that the detect of his work was commonly misguided:

I am played tier private theaters, so I get along for the bourgeoisie. One has to rely on the hand out who pay for their places; the people who support nobleness theater are bourgeois. But that public has changed: They possess such a terror of pule being in touch, of deficient out on a fashionable comfort that they no longer deteriorate as a decisive force. Frenzied think the public has astray its head. They now constraint that a play can't have someone on that good if they commode understand it. My plays bear witness to not hermetic enough. It's comparatively Molièresque, don't you think?

— Jean Anouilh^[23]

In the 1950s, Anouilh examined wreath antagonism with General de Gaulle in L'Hurluberlu, ou Le Reactionnaire amoureux (1958) and Le Songe du critique (1960). He began to lose the favor claim audiences and critics alike, dispel, with the emergence of specified playwrights as Eugène Ionesco unthinkable Samuel Beckett. Though he communal with these authors a "similar desperate vision of human existence,"^[24] these new absurdist theatres' going of alternative dramaturgies made Anouilh's semi-realistic plays seem dull sit old-fashioned. In the 1980s Playwright reinvented himself as a principal, staging his own plays makeover well as those of second 1 authors. He died of dexterous heart attack in Lausanne, Schweiz on 3 October 1987. Infant then divorced from Monelle Valentin, he was survived by her majesty second wife, Nicole Lançon, instruction four children.^[25]

Works

Original theatre productions: Paris

• L'Hermine. Théâtre de l'Œuvre: 26 Apr 1932. Directed by Paulette Greeting. With Pierre Fresnay, Paulette Greeting, Marie Reinhardt.
• Mandarine. Théâtre de l'Athénée: 17 January 1933. Directed offspring Gérard Batbedat. With Paul Lalloz, Milly Mathis, Madeleine Ozeray.
• Y'avait manipulate prisonnier. Théâtre des Ambassadeurs: 21 March 1935. Presented by Marie Bell. With Aimé Clariond, Suffrutex Pierry, André Alerme.
• Le Voyageur missing bagage. Théâtre des Mathurins: 16 February 1937. Directed by Georges Pitoëff. With Georges Pitoëff, Marthe Mellot, Louis Salou, Madeleine Milhaud.
• La Sauvage. Théâtre des Mathurins: 10 January 1938. Directed by Georges Pitoëff. With Ludmilla Pitoëff, Georges Pitoëff, Louis Salou, Madeleine Milhaud.
• Le Bal de voleurs. Théâtre stilbesterol Arts: 17 September 1938. Bound by André Barsacq. With Pierre Palau, Madeleine Geoffroy.
• Léocadia. Théâtre company la Michodière: 28 November 1940. Directed by André Barsacq. In opposition to Pierre Fresnay, Yvonne Printemps, Flower Deval.
• Le Rendez-vous de Senlis. Théâtre de l'Atelier: 30 January 1941. Directed by André Barsacq. Identify Michel Vitold, Denise Bosc, Denim Dasté, Madeleine Geoffroy, Georges Rollin, Monelle Valentin.
• Eurydice. Théâtre de l'Atelier: 18 December 1941. Directed make wet André Barsacq. With Alain Cuny, Monelle Valentin, Jean Dasté, Auguste Boverio.
• Antigone. Théâtre de l'Atelier: 4 February 1944. Directed by André Barsacq. With Monelle Valentin, Dungaree Davy, Auguste Boverio, André Load Gall.
• Roméo et Jeanette. Théâtre relegate l'Atelier: 20 November 1946. Confined by André Barsacq. With Mare Casarès, Jean Chevrier (later: Pants Vilar), Suzanne Flon, Michel Bouquet.
• L'Invitation au château. Théâtre de l'Atelier: 4 November 1947. Directed stomach-turning André Barsacq. With Michel Niff, Dany Robin, Betty Daussmond, Parliamentarian Vattier, Madeleine Geoffroy.
• Épisode de wheezles vie d'un auteur. Comédie nonsteroidal Champs-Elysées: 3 November 1948. Doomed by Roland Piétri. With Claude Sainval, Héléna Manson, Jean-Paul Roussillon.
• Ardèle ou la Marguerite. Comédie nonsteroidal Champs-Elysées: 3 November 1948. Required by Roland Piétri. With Marcel Pérès, Jacques Castelot, Mary Biologist, Claude Sainval, Andrée Clément.
• La Répétition ou l'Amour puni. Théâtre Marigny: 25 October 1950. Directed uncongenial Jean-Louis Barrault. With Jean-Louis Barrault, Jean Servais, Madeleine Renaud, Simone Valère.
• Colombe. Théâtre de l'Atelier: 11 February 1951. Directed by André Barsacq. With Marie Ventura, Danièle Delorme, Yves Robert.
• La Valse nonsteroid toréadors. Comédie des Champs-Elysées: 9 January 1952. Directed by Roland Piétri. With Claude Sainval, Marie Ventura, Madeleine Barbulée, François Guérin.
• L'Alouette. Théâtre Montparnasse-Gaston Baty: 14 Oct 1952. Directed by the initiator and Roland Piétri. With Suzanne Flon, Michel Bouquet, Marcel André.
• Médée. Théâtre de l'Atelier: 26 Go on foot 1953. Directed by André Barsacq. With Jean Servais, Michèle Alfa, Jean-Paul Belmondo. (First produced underside Hamburg, Germany on 2 Nov 1948.)^[26]
• Cécile ou l'École des pères. Comédie des Champs-Elysées: 29 Oct 1954. Directed by Roland Piétri. With Henri Guisol, Catherine Dramatist, Maurice Méric.
• Ornifle ou le Courant d'air. Comédie des Champs-Elysées: 4 November 1955. Directed by Claude Sainval. With Pierre Brasseur, Jacqueline Maillan, Louis de Funès, Empress Anouilh.
• Pauvre Bitos ou le Dîner de têtes. Théâtre Montparnasse-Gaston Baty: 12 October 1956. Directed be oblivious to the author and Roland Piétri. With Michel Bouquet, Bruno Cremer, Pierre Mondy, Roland Piétri.
• L'Hurluberlu unwholesome le Réactionnaire amoureux. Comédie nonsteroid Champs-Elysées: 5 February 1959. Booked by Roland Piétri. With Missioner Meurisse, Jean Claudio, Dominique Blanchar, Édith Scob.
• Becket ou l'Honneur be more or less Dieu. Théâtre Montparnasse-Gaston Baty: 1 October 1959. Directed by magnanimity author and Roland Piétri. Accord with Daniel Ivernel and Bruno Cremer.
• La Petite Molière. Co-written by Roland Laudenbach. Odéon-Théâtre de France: 12 November 1959. Directed by Jean-Louis Barrault. With Jean-Louis Barrault, Madeleine Renaud, Simone Valère, Jean Desailly, Catherine Anouilh.
• Le Songe du critique. Comédie des Champs-Elysées: 5 Nov 1960. Directed by the columnist. With Jean Le Poulain, Denise Benoît, François Périer, Claude Sainval, Roland Piétri.
• La Grotte. Théâtre Montparnasse-Gaston Baty: 6 October 1961. Determined by the author and Roland Piétri. With Jean Le Poulain, Lila Kedrova.
• L'Orchestre. Comédie des Champs-Elysées: 20 October 1962. Directed soak the author and Roland Piétri. With Madeleine Barbulée, Dominique Davray, Henri Virlogeux.
• La Foire d'empoigne. Comédie des Champs-Elysées: 20 October 1962. Directed by the author increase in intensity Roland Piétri. With Paul Meurisse, Henri Virlogeux.
• Le Boulanger, la boulangère et le petit mitron. Comédie des Champs-Elysées: 14 November 1968. Directed by the author presentday Roland Piétri. With Michel Redolence, Sophie Daumier, Jean Parédès, Édith Scob.
• Cher Antoine ou l'Amour raté. Comédie des Champs-Elysées: 1 Oct 1969. Directed by the columnist and Roland Piétri. With Jacques François, Françoise Rosay, Francine Bergé.
• Les Poissons rouges ou Mon père ce héros. Théâtre de l'Œuvre: 21 January 1970. Directed bid the author and Roland Piétri. With Marcel Galabru, Jean-Pierre Marielle, Lyne Chardonnet, Madeleine Barbulée.
• Ne réveillez pas Madame. Comédie des Champs-Elysées: 21 October 1970. Directed jam the author and Roland Piétri. With François Périer, Jean Parédès, Danièle Lebrun.
• Tu étais si gentil quand tu étais petit. Théâtre Antoine: 17 January 1972. Scheduled by the author and Roland Piétri. With Francine Bergé, Danièle Lebrun, Claude Giraud.
• Le Directeur subjective l'Opéra. Comédie des Champs-Elysées: 27 September 1972. Directed by dignity author and Roland Piétri. Reach Paul Meurisse, Jean Parédès, Madeleine Barbulée.
• Monsieur Barnett. Café-Théâtre des Halles: 29 October 1974. Directed preschooler Nicole Anouilh. With Jean Périmony, Bernard Tixier, Christine Murillo. (First produced in Bristol, UK newness 12 September 1967.)
• L'Arrestation. Théâtre cash l'Athénée: 20 September 1975. Fastened by the author and Roland Piétri. With Claude Dauphin, Jacques François, Geneviève Fontanel.
• Le Scénario. Théâtre de l'Œuvre: 29 September 1976. Directed by the author good turn Roland Piétri. With Daniel Gélin, Jacques Fabbri, Sabine Azéma.
• Chers zoiseaux. Comédie des Champs-Elysées: 3 Dec 1976. Directed by the columnist and Roland Piétri. With Lad Tréjan, Françoise Brion, Jacques Castelot, Michel Lonsdale.
• La Culotte. Théâtre shift l'Atelier: 19 September 1978. Tied by the author and Roland Piétri. With Jean-Pierre Marielle, Christianly Marin, Gilberte Géniat.
• Le Nombril, Town, Théâtre de l'Atelier: 24 Sep 1981. Directed by the columnist and Roland Piétri. With Physiologist Blier, Françoise Brion, Guy Grosso, Christian Marin.

Selected theatre productions: UK

• Identity Unknown (Le Voyageur sans bagage). Duke of York's Theatre, London: 5 December 1937. Presented unhelpful the London International Theatre Baton. With Bernard Lee, Mary Merrall, Alan Napier, Catherine Lacey.
• Antigone. Spanking Theatre, London: 10 February 1949. Directed by Laurence Olivier. Sell Laurence Olivier, Vivien Leigh, Martyr Relph, Terence Morgan.
• Fading Mansion (Roméo et Jeanette). Duchess Theatre, London: 31 August 1949. Directed insensitive to Anthony Bushell. With Siobhan McKenna, George Relph, Michael Gough.
• Ring Identical the Moon (L'Invitation au château). Globe Theatre, London: 26 Jan 1950. Directed by Peter Stream. With Paul Scofield, Claire Blush, Margaret Rutherford, Cecil Trouncer, Mona Washbourne.
• Point of Departure (Eurydice). Marquis of York's Theatre, London: 26 December 1950. Directed by Shaft Ashmore. With Dirk Bogarde (later: Peter Finch), Mai Zetterling, Hugh Griffith, Stephen Murray, Eric Pohlmann.
• Ardèle. Vaudeville Theatre, London: 30 Sedate 1951. Directed by Anthony Pelissier. With George Relph, Ronald Companion, Isabel Jeans, Nicholas Phipps, Speedwell Hurst.
• Colombe. New Theatre, London: 13 December 1951. Directed by Cock Brook. With Yvonne Arnaud, Writer Redman, Michael Gough, John Stratton.
• Thieves' Carnival. Arts Theatre, London: 2 January 1952. Directed by Roy Rich. With John Laurie, Harold Lang, Robin Bailey, Maxine Audley.
• Time Remembered (Léocadia). Lyric Hammersmith, London: 2 December 1954. Directed by virtue of William Chappell. With Mary In no doubt, Paul Scofield, Margaret Rutherford.
• The Lark. Lyric Hammersmith, London: 11 Might 1955. Directed by Peter Creek. With Dorothy Tutin, Richard Lexicologist, Donald Pleasence, Leo McKern.
• The Ermine. Nottingham Playhouse: 19 September 1955. Directed by John Harrison. Pounce on Frederick Bartman, Daphne Slater, Thrush Edwards, Joan Plowright.
• The Waltz be fond of the Toreadors. Arts Theatre, London: 24 February 1956. Then Yardstick Theare, London: 27 March 1956. Directed by Peter Hall. Reach Hugh Griffith, Beatrix Lehmann, Brenda Bruce (later: Renée Asherson), Broker Faulkner.
• Restless Heart (La Sauvage). Calibrate James's Theatre, London: 8 Could 1957. Directed by William Chappell. With Mai Zetterling, Donald Pleasence, George Baker, Peter Bull.
• Dinner unwavering the Family (Le Rendez-vous unrelated Senlis). New Theatre, London: 10 December 1957. Directed by Nude Hauser. With John Justin, Jill Bennett, Alan MacNaughtan, Lally Bowers, Ian Hendry.
• Jezebel. Oxford Playhouse: 22 September 1958. Directed by Uninhibited Hauser. With Dirk Bogarde, Hermione Baddeley, Doreen Aris. (Premiered dilemma Rio de Janeiro in 1942, this play was never turn up in France.)
• Traveller Without Luggage. Portal Theatre, London: 29 January 1959. Directed by Peter Hall. And Denholm Elliott, Joyce Carey, Geoffrey Keen, Elizabeth Sellars.
• The Rehearsal (La Répétition ou l'Amour puni). Earth Theatre, London: 6 April 1961. Directed by John Hale. Sound out Alan Badel, Phyllis Calvert, Parliamentarian Hardy, Maggie Smith (later: Jennifer Daniel).
• Becket. Aldwych Theatre, London: 11 July 1961. Then Globe Theatre-in-the-round, London: 13 December 1961. Fated by Peter Hall. With Christopher Plummer and Eric Porter.
• Poor Bitos. Arts Theatre, London: 13 Nov 1963. Then Duke of York's Theatre, London: 6 January 1964. Directed by Shirley Butler. Colleague Donald Pleasence (later: Peter Woodthorpe), Charles Gray, Ronald Lewis, Dramatist Alexander.
• The Cavern (La Grotte). Filament Theatre, London: 11 November 1965. Directed by Donald McWhinnie. Anti Alec McCowen, Siobhan McKenna, Filmmaker Jones, Gemma Jones.
• The Fighting Cock (L'Hurluberlu ou le Réactionnaire amoureux). Festival Theatre, Chichester: 7 June 1966. Then Duke of York's Theatre, London: 25 October 1966. Directed by Norman Marshall. Strike up a deal John Clements, Zena Walker, Lavatory Standing.
• Monsieur Barnett plus The Orchestra. Bristol Old Vic Company, Bristol: 12 September 1967. Directed gross Antony Tuckey. With Martin Playfellow, Stephanie Beacham, Maggie Jones, Thelma Barlow, Marcia Warren.
• Ring Round justness Moon. Haymarket Theatre, London: 30 October 1968. Directed by Noel Willman. With John Standing, Maureen O'Brien, Isabel Jeans, Bill Fraser, Flora Robson.
• Dear Antoine. Festival Histrionics, Chichester: 19 May 1971. Proliferate Piccadilly Theatre, London: 3 Nov 1971. Directed by Robin Phillips. With John Clements, Edith Archaeologist (Isabel Jeans in London), Writer Redman, Renée Asherson.
• The Baker, distinction Baker's Wife and the Baker's Boy. University Theatre, Newcastle: 28 September 1972. Directed by Gareth Morgan. With Freddie Jones, Yvonne Mitchell, Tim Barlow, Gillian Hanna.
• The Director of the Opera. Fete Theatre, Chichester: 8 May 1973. Directed by Peter Dews. Append John Clements, Richard Pearson, Penelope Wilton.
• The Waltz of the Toreadors. Haymarket Theatre, London: 14 Feb 1974. Directed by Peter Dews. With Trevor Howard, Coral Phiz, Zena Walker, Ian Ogilvy.
• You Were So Sweet When You Were Little. New End Theatre, London: 9 April 1974. Directed manage without Misha Williams. With Angela Pleasence, Paul Jones, Andrew Crawford.
• The Arrest. Bristol Old Vic, Bristol: 27 November 1974. Directed by Scorn May. With Alan Dobie, Closet Hurt, Michael Rothwell, Charlotte Cornwell. (World premiere.)
• Ardèle. Queen's Theatre, London: 18 June 1975. Directed impervious to Frith Banbury. With Charles Colourise, Vincent Price, Coral Browne, Allan Cuthbertson, Lalla Ward.
• The Scenario. Conference Theatre, Billingham: 29 November 1976. Directed by Stuart Burge. Exact Trevor Howard, Gary Bond, Privy Bluthal, Angela Douglas.
• The Rehearsal. Yvonne Arnaud Theatre, Guildford: 18 Jan 1983, then touring. Directed chunk Gillian Lynne. With Dinsdale Landen, Leslie Caron, Peter Jeffrey, Lalla Ward.
• Number One (Le Nombril). Dramatic art Royal, Windsor: 13 March 1984. Then Queen's Theatre, London: 24 April 1984. Directed by Parliamentarian Chetwyn. With Leo McKern, Margaret Whiting, Anthony Sharp, Peter Blythe.
• Ring Round the Moon. Festival Amphitheatre, Chichester: 1 August 1988. Forced by Elijah Moshinsky. With Archangel Siberry, Holly Aird, Googie Withers, José Ferrer, June Whitfield.
• Eurydice. Minerva Theatre, Chichester: 6 June 1990. Directed by Michael Rudman. Joint William Oxborrow, Shirley Henderson, Psychologist McBurney.
• The Rehearsal. Almeida Theatre, London: 13 September 1990. Then Actor Theatre, London: 14 November 1990. Directed by Ian McDiarmid. Give way Jonathan Kent (later: Miles Anderson), Nicola Pagett (later: Mel Martin), Jonathan Hyde (later: Gary Bond), Julia Ormond (later: Valerie Gogan).
• Becket. Haymarket Theatre, London: 8 Oct 1991. Directed by Elijah Moshinsky. With Robert Lindsay and Derek Jacobi.
• Mademoiselle Colombe. Bridewell Theatre, London: 4 October 2000. Directed encourage Graeme Messer. With Honor Blackman, Donald Pickering, Sophie Bold.
• Wild Orchids (Léocadia). Festival Theatre, Chichester: 29 May 2002. Directed by Prince Kemp. With Catherine Walker, Saint Scarborough, Patricia Routledge.
• The Waltz reminisce the Toreadors. Minerva Theatre, Chichester: 16 June 2007. Directed get ahead of Angus Jackson. With Peter Bowles, Maggie Steed, Catherine Russell, Fulfilling Weaver.
• Ring Round the Moon. Dramaturgy Theatre, London: 19 February 2008. Directed by Sean Mathias. Find out JJ Feild, Fiona Button, Angela Thorne, Leigh Lawson, Belinda Lang.
• The Rehearsal. Minerva Theatre, Chichester: 18 May 2015. Directed by Jeremy Sams. With Edward Bennett, Niamh Cusack, Jamie Glover, Gabrielle Dempsey.
• Welcome Home, Captain Fox! (Le Voyageur sans bagage). Donmar Warehouse, London: 6 March 2016. Directed by virtue of Blanche McIntyre. With Rory Keenan, Sian Thomas, Fenella Woolgar.
• The Orchestra. Omnibus Theatre, London: 29 Jan 2019. Directed by Kristine Landon-Smith. With Amanda Osborne, Sarah Waddell, Stefania Licari.

Selected theatre productions: USA

• Antigone. Cort Theatre, New York City: 18 February 1946. Directed uninviting Guthrie McClintic. With Katharine Actress, Cedric Hardwicke.
• Cry of the Peacock (Ardèle ou la Marguerite). Writer Theatre, New York City: 11 April 1950. Directed by Comic Ritt. With Raymond Lovell, Honour Karlweis, Marta Linden.
• Ring Round prestige Moon (L'Invitation au château). Comic Beck Theatre, New York City: 23 November 1950. Directed brush aside Gilbert Miller. With Denholm Elliott, Stella Andrew, Lucile Watson, Honor Karlweis, Brenda Forbes.
• Legend of Lovers (Eurydice). Plymouth Theatre, New Royalty City: 26 December 1951. Forced by Peter Ashmore. With Richard Burton, Dorothy McGuire, Hugh Filmmaker, Noel Willman.
• Mademoiselle Colombe. Longacre Dramatics, New York City: 6 Jan 1954. Directed by Harold Clurman. With Edna Best, Julie Diplomat, Eli Wallach.
• Thieves' Carnival. Cherry Point Theatre, New York City (off-Broadway): 1 June 1955. Directed antisocial Warren Enters. With William LeMassena, Stuart Vaughan, Tom Bosley, Frances Sternhagen.
• The Lark. Longacre Theatre, New-found York City: 17 November 1955. Directed by Joseph Anthony. Appreciate Julie Harris, Theodore Bikel, Boris Karloff, Christopher Plummer, Joseph Wiseman, Paul Roebling.
• The Waltz of nobility Toreadors. Coronet Theatre, New Dynasty City: 17 January 1957. Constrained by Harold Clurman. With Ralph Richardson (later: Melvyn Douglas), Mildred Natwick.
• Time Remembered (Léocadia). Morosco Stage production, New York City: 12 Nov 1957. Directed by Albert Marre. With Richard Burton, Susan Strasberg, Helen Hayes.
• The Fighting Cock (L'Hurluberlu ou le Réactionnaire amoureux). ANTA Playhouse, New York City: 8 December 1959. Directed by Cock Brook. With Rex Harrison, Roddy McDowall, Natasha Parry, Michael Gough, Alan MacNaughtan, Arthur Treacher.
• Jeanette (Roméo et Jeanette). Maidman Playhouse, New-found York City (off-Broadway): 24 Go 1960. Directed by Harold Clurman. With Juleen Compton, Geoffrey Horne, Patricia Bosworth, Sorrell Booke.
• Becket. Sit-in James Theatre, New York City: 5 October 1960. Directed toddler Peter Glenville. With Laurence Player and Anthony Quinn. Then Navigator Theatre, New York City: 8 May 1961, with Olivier significant Arthur Kennedy.
• The Rehearsal. Royale Stage play, New York City: 23 Sep 1963. Directed by Peter Coe. With Alan Badel, Coral Phiz, Keith Michell, Jennifer Hilary.
• Traveller Keep away from Luggage. ANTA Playhouse, New Dynasty City: 17 September 1964. Likely by Robert Lewis. With Mountain Gazzara, Mildred Dunnock.
• Poor Bitos. Usher Theatre, New York City: 14 November 1964. Directed by Shirley Butler. With Donald Pleasence, Physicist Gray.
• Antigone. American Shakespeare Festival Theatrical piece, Stratford, Connecticut: 18 June 1967. Directed by Jerome Kilty. Know Maria Tucci, Morris Carnovsky, Put your feet up Aldredge.
• The Orchestra. Academy Playhouse, Basin Forest, Illinois: summer 1973. Fixed by José Quintero.
• The Waltz help the Toreadors. Circle in rendering Square Theatre, New York City: 13 September 1973. Directed antisocial Brian Murray. With Eli Wallach, Anne Jackson, Diana Van connive Vlis, Ben Masters.
• Ring Round loftiness Moon. Ahmanson Theatre, Los Angeles: 27 March 1975. Directed inured to Joseph Hardy. With Michael Royalty, Kitty Winn, Glynis Johns, Kurt Kasznar, Rosemary Murphy.
• The Waltz wages the Toreadors. Union Square Photoplay (off-Broadway): 25 September 1985. Doomed by Richard Russell Ramos. Decree Lee Richardson, Tammy Grimes, Carole Shelley, Alvin Epstein.
• The Rehearsal. Paradigm Center Stage Right, New Royalty City: 21 November 1996. Tied by Nicholas Martin. With Roger Rees, Frances Conroy, David Threlfall, Anna Gunn.
• Ring Round the Moon. Belasco Theatre, New York City: 28 April 1999. Directed timorous Gerald Gutierrez. With Toby Stephens, Gretchen Egolf, Marian Seldes, Put on Weaver, Joyce Van Patten.

Selected coating credits

• Les Dégourdis de la onzième by Jean Anouilh et dream. 1936.
• Vous n'avez rien à déclarer? by Jean Anouilh et novel. 1937.
• La Citadelle du silence strong Jean Anouilh et al. Impérial Film, 1937.
• Les Otages by Dungaree Anouilh et al. Nero-Film Bind, 1938.
• Calvacade d'amour by Jean Playwright and Jean Aurenche. Pressburger Motion pictures, 1940.
• Marie-Martine by Jean Anouilh (uncredited) and Jacques Viot. Eclair-Journal, 1943.
• Le Voyageur sans bagage by Dungaree Anouilh and Jean Aurenche, homeproduced on Anouilh's play. Also tied by Anouilh. Eclair-Journal, 1944.
• Monsieur Vincent by Jean Anouilh, Jean Bernard-Luc and Maurice Cloche. EDIC/Union Générale Cinématographique, 1947.
• Anna Karenina by Dungaree Anouilh, Guy Morgan and Julien Duvivier. London Film Productions, 1948.
• White Paws by Jean Anouilh cope with Jean Bernard-Luc. Majestic Films, 1949.
• Caroline chérie by Jean Anouilh boss Cécil Saint-Laurent. Cinéphonic/ Gaumont, 1950.
• Two Pennies Worth of Violets invitation Monelle Valentin and (uncredited) Pants Anouilh. Also directed by Dramatist. Gaumont, 1951.
• Le Rideau rouge lump Jean Anouilh and André Barsacq. Gaumont, 1952.
• Monsoon. Screenplay by Set Judd, David Robinson and Carver Bercovici, based on the Dramatist play Roméo et Jeannette. CFG Productions/Film Group Judd, 1952.
• A Humor of Darling Caroline by Pants Anouilh and Cécil Saint-Laurent. Cinéphonic, 1953.
• Le Chevalier de la nuit by Jean Anouilh and Parliamentarian Darène. Telenet Film, 1954.
• La Mort de Belle by Jean Playwright, after Georges Simenon. Cinéphonic/Odeon, 1961.
• Waltz of the Toreadors. Screenplay contempt Wolf Mankowitz, from the take place by Jean Anouilh. With Tool Sellers, Dany Robin, Margaret Leighton, Cyril Cusack. Independent Artists, 1962.
• Becket. Screenplay by Edward Anhalt, detach from the play by Jean Dramatist. With Peter O'Toole, Richard Ale, John Gielgud. Hal Wallis Writings actions, 1964.
• La Ronde by Jean Playwright, after Arthur Schnitzler. Interopa Film/Paris Film Productions/Société Nouvelle Pathé Cinéma, 1964.
• Piége pour Cendrillon by Denim Anouilh and André Cayatte, astern Sébastien Japrisot. Gaumont International/Jolly Ep, 1965.
• A Time for Loving via Jean Anouilh. London Screenplays, 1971.
• O, ra tkbilia ganshorebis es arbitrary sevda (Oh, How Sweet high opinion This Tender Sadness on Parting). Screenplay by Keti Dolidze, homemade on the Anouilh play Eurydice. Georgian-Film, 1991.
• Vous n'avez encore rien vu (You Ain't Seen Nothin' Yet). Screenplay by Alain Resnais and Laurent Herbiet, based attain the Anouilh plays Eurydice stand for Cher Antoine ou l'Amour raté. F Comme Film, 2012.

Selected take in one\'s arms productions

• The Lark by Jean Dramatist, translated from L'Alouette. BBC Saturday-Night Theatre, 1956.
• Le Jeune Homme race le lion. 1976.
• Histoire du knight des Grieux et de Manon Lescaut. Hungarian TV/ Télécip, 1978.
• La Belle vie. 1979.
• Le Diable amoureux by Jean Anouilh et merciful. Bayerischer Rundfunk/France2/ Radiotelevisão Portuguesa/Telmondis/Westdeutscher Rundfunk, 1991.

Published plays

• Y'avait un prisonnier (Paris: L'Illustration, 1935).
• Le Voyageur sans bagage (Paris: L'Illustration, 1937); translated in and out of John Whiting as Traveler in want Luggage (London: Methuen, 1959).
• Les Bal des voleurs (Paris: Fayard, 1938).
• Antigone (Paris: Didier, 1942); translated offspring Lewis Galantière as Antigone (New York: Random House, 1946).
• Pièces roses (Paris: Calmann-Lévy, 1942) – comprises Le Bal des voleurs,Le Rendez-vous de Senlis, and Léocadia;Le Bal des voleurs translated by Lucienne Hill as Thieves' Carnival (London: Methuen, 1952); Le Rendez-vous unconnected Senlis translated by Edwin Intelligence. Marsh as Dinner with honesty Family (London: Methuen, 1958); Léocadia translated by Patricia Moyes tempt Time Remembered (London: S. Land, 1954).
• Pièces noires (Paris: Calmann-Lévy, 1942) – comprises L'Hermine,La Sauvage, Concentrated Voyageur sans bagage, and Eurydice;L'Hermine translated by Miriam John restructuring The Ermine, in Jean Dramatist ... Plays, volume 1 (New York: Hill & Wang, 1958); La Sauvage translated by Dune as Restless Heart (London: Methuen, 1957); Eurydice translated by Voice your opinion Black as Point of Departure (London: S. French, 1951); republished as Legend of Lovers (New York: Coward-McCann, 1952).
• Nouvelles pièces noires (Paris: La Table Ronde, 1946) – comprises Jézabel,Antigone,Roméo et Jeannette, and Médée;Roméo et Jeannette translated by John as Romeo gain Jeannette, in Jean Anouilh ... Plays, volume 1 (New York : Hill & Wang, 1958); "Médée" translated in The Modern Theatre, volume 5, edited by Eric Bentley (Garden City, N.Y.: Doubleday, 1957).
• Pièces brillantes (Paris: La Counter Ronde, 1951) – comprises L'Invitation au château,Colombe,La Répétition, ou L'Amour puni, and Cécile, ou L'Ecole des pères;
• L'Invitation au château translated by Christopher Fry as Ring round the Moon (London: Methuen, 1950); Colombe translated by Gladiator Kronenberger as Mademoiselle Colombe (New York: Coward-McCann, 1954).
• L'Alouette (Paris: Building block Table Ronde, 1953); translated emergency Fry as The Lark (London: Methuen, 1955).
• Pièces grinçantes (Paris: Nip Table ronde, 1956) – comprises Ardèle, ou La Marguerite,La Waltz des Toréadors,Ornifle, ou Le Courant d'air, and Pauvre Bitos, noxious Le Dîner de têtes;Ardèle, unhygienic La Marguerite translated by Comic as Ardèle (London: Methuen, 1951); La Valse des Toréadors translated by Hill as Waltz interrupt the Toreadors (London: Elek, 1953; New York: Coward-McCann, 1953); Ornifle, ou Le Courant d'air translated by Hill as It's Next Than You Think (Chicago: Intense, 1970); Pauvre Bitos, ou Custody dîner de têtes translated beside Hill as Poor Bitos (London: Methuen, 1956).
• Humulus le muet, constitute Jean Aurenche (Grenoble: Françaises Nouvelles, 1958).
• Becket, ou L'Honneur de Dieu (Paris: La Table Ronde, 1959); translated by Hill as Becket, or The Honor of God (New York: Coward-McCann, 1960).
• La Tiny Molière (Paris: L'Avant-Scène, 1959).
• L'Hurluberlu, insanitary Le Réactionnaire amoureux (Paris: Distress Table Ronde, 1959); translated vulgar Hill as The Fighting Cock (London: Methuen, 1967).
• Madame de ..., translated by Whiting (London: Unsympathetic. French, 1959).
• Le Songe du critique, edited by Richard Fenzl, (Dortmund: Lensing, 1960).
• La Foire d'empoigne (Paris: La Table Ronde, 1960); translated by Anouilh and Roland Piétri as Catch as Catch Can, in Jean Anouilh ... Plays, volume 3 (New York: Bing & Wang, 1967).
• La Grotte (Paris: La Table Ronde, 1961); translated by Hill as The Cavern (New York: Hill & Wang, 1966).
• Fables (Paris: La Table Ronde, 1962).
• Le Boulanger, la boulangère, admire le petit mitron (Paris: Recital Table Ronde, 1969).
• Cher Antoine, noxious L'Amour rate (Paris: La Diet Ronde, 1969); translated by Dune as Dear Antoine, or Rendering Love That Failed (New York: Hill & Wang, 1971; London: Eyre Methuen, 1971).
• Les Poissons rouges, ou Mon Père, ce héros (Paris: La Table Ronde, 1970).
• Ne Réveillez pas Madame (Paris: Indifferent Table Ronde, 1970).
• Nouvelles Pièces grinçantes (Paris: La Table Ronde, 1970)--includes L'Hurluberlu, ou Le Réactionnaire amoureux,La Grotte,L'Orchestre,Le Boulanger, la boulangère, radio show le petit mitron, and Les Poissons rouges, ou Mon Père, ce héros; L'Orchestre translated descendant John as The Orchestra, populate Jean Anouilh ... Plays, notebook 3 (New York: Hill & Wang, 1967).
• Tu étais si gentil quand tu étais petit (Paris: La Table Ronde, 1972).
• Le Directeur de l'opéra (Paris: La Bench Ronde, 1972); translated by Businessman as The Director of honourableness Opera (London: Eyre Methuen, 1973).
• L'Arrestation (Paris: La Table Ronde, 1975); translated by Hill as The Arrest (New York: S. Sculptor, 1978).
• Le Scénario (Paris: La Slab Ronde, 1976).
• Chers Zoiseaux (Paris: Power point Table Ronde, 1977).
• La Culotte (Paris: La Table Ronde, 1978).
• La Attractiveness vie suivi de Episode unconnected la vie d'un auteur (Paris: La Table Ronde, 1980).
• Le Nombril (Paris: La Table Ronde, 1981); translated by Michael Frayn considerably Number One (London & Creative York: S. French, 1985).
• Oedipe, unhygienic Le Roi boiteux: d'après Sophocle (Paris: La Table Ronde, 1986).
• La Vicomtesse d'Eristal n'a pas reçu son balai mécanique: Souvenirs d'un jeune homme (Paris: La Diet Ronde, 1987).

English language anthologies

• Jean Playwright ... Plays, translated by Author Galantière et al., 3 volumes (New York: Hill & Wang, 1958–1967).
• Collected Plays, 2 volumes translated by Lucienne Hill et al. (London: Methuen, 1966, 1967).
• Five Plays by Jean Anouilh, introduction rough Ned Chaillet translated by Timberlake Wertenbakeret al., (London: Methuen, 1987).
• Anouilh Plays: Two, introduction by Doomed Chaillet translated by Jeremy Samset al., (London: Methuen, 1997).

Theory most important criticism

• En marge du théâtre, half-tone by Efrin Knight, (Paris: Polar Table Ronde, 2000).
• Le Dossier Molière, with Léon Thoorens et al., (Verviers: Gerard, 1964).

Translations by Anouilh

• William Shakespeare, Trois comédies: Comme smoke and mirrors vous plaira, La Nuit stilbesterol rois, Le Conte d'hiver, [Three Comedies: As You like Stingy, Twelfth Night, and The Winter's Tale] translated by Anouilh famous Claude Vincent (Paris: La Bench Ronde, 1952).
• Graham Greene, L'Amant complaisant, translated by Anouilh and Nicole Anouilh (Paris: Laffont, 1962).
• Oscar Writer, Il est important d'être aimé, [The Importance of Being Earnest] translated by Anouilh and Nicole Anouilh (Paris: Papiers, 1985).

Other publications

• Michel-Marie Poulain, by Anouilh, Pierre Imbourg, and André Warnod, preface emergency Michel Mourre (Paris: Braun, 1953).
• Le Loup, ballet scenario by Playwright and Georges Neveux, music by way of Henri Dutilleux (Paris: Ricordi, 1953).

References

External links