Moraly

Every artist has a dream project an enterprise that he or she has continuously taken up but never completed. Via archived notes and drafts, a retrospective reconstitution of such projects can serve as a key for better understanding the authors artistic corpus. The present study reaches out to the authorship of Paul Claudel, Jean Genet, and Federico Fellini. Claudel deferred and never completed the fourth segment of his Trilogie des Coufontaine. The only indication of the existence of this prospective fourth part of the theatre sequence is a brief entry in his Journal. In 1949, he began writing a third version of his first great work Tete dOr. Like the unfinished fourth section that was to be added to the trilogy, the draft of the third version of Tete dOr reveals a dialogue between the Old and New Testaments a theme that appears to be central to Claudels entire corpus. Genet labored over La Mort for many years. At the conclusion of Saint Genet, comedien et martyr (1952), Sartre mentions this final w

Yehuda (Jean-Bernard) Moraly is professor emeritus at the Hebrew University, Jerusalem. His fields of research are mainly French theatre and film: Jean Genet, la vie ecrite (Editions de la Difference, 1988); Claudel metteur en scene (Presses Universitaires de Franche Comte, 1998); Le Maitre fou, Genet theoricien du theatre, Nizet, 2009). His Revolution in Paradise: Veiled Representations of Jewish Characters in the Cinema of Occupied France (2019) is published by SAP. He is also a play- wright and his plays are published and produced in France and Israel.