LES MARIES DE LA TOUR EIFFEL
The Parisian vanguard – the irony and the satire of Parisian bourgeois society are the elements
used by Cocteau in the construction of this delightful window on life at the beginning of the last century:
Les Mariés de la Tour Eiffel.
The music by Satie and by some musicians of the Group of Six who saw in him their maestro, such as Honegger,
Milhaud, Poulenc and Tailleferre, is the ideal backing for this surreal wedding party, during which strange things
occur and in which the actor’s skill is highlighted by the script’s genius.
The music therefore is alternated with text
interventions to the point that these two elements become intertwined, as the objective is to recreate the apotheosis of
the aesthetics of the circus and of the music hall which at the time was opposed to post-romantic seriousness, nearly
wanting to represent the show staged in 1921, in which Cocteau himself read the script to the public and the Group of
the Six’s music was played.