1. Early Life and Education
Jean-Louis Barrault was born in Le Vésinet, Yvelines Prefecture, France, on 8 September 1910. His father was a Burgundian pharmacist who died during the First World War. Despite his father's wishes for him to pursue a different path, Barrault worked various jobs, including as a shop assistant and a self-study supervisor in a middle school, while pursuing his artistic aspirations. He attended the Lycée Chaptal (also known as Collège Chaptal) in Paris until 1930, after which he continued his studies at the École du Louvre.
2. Artistic Development and Early Career
Barrault's theatre career began in 1931 when he joined Charles Dullin's L'Atelier theatre company, where he studied and performed until 1935. His debut stage performance was a small role in Ben Jonson's play Volpone. During this period of poverty, Dullin reportedly allowed Barrault to sleep on the stage bed used in the Volpone set. It was at L'Atelier that Barrault met and studied under Étienne Decroux, a renowned master of pantomime, with whom he co-created the pantomime piece La Vie Primitive in 1931. Marcel Marceau, another famous mime, also studied at this school.
Barrault quickly gained recognition, notably for his 1936 direction of William Faulkner's Requiem for a Nun (titled Mother's Story in French) at L'Atelier, which earned him the approval of influential theatre director Louis Jouvet. From 1932 to 1936, Barrault was also a member of the "Groupe Octobre," an agitation-propaganda theatre troupe organized by figures such as Jacques Prévert, Paul Grimault, and Claude Autant-Lara. During this formative period, he also encountered Antonin Artaud, and from 1935, Barrault began to explore avant-garde pantomime and experimental plays adapted from novels, shaping his unique artistic style.
3. Major Theatre Career
Jean-Louis Barrault's career in theatre spanned several significant periods, marked by his association with major French institutions and the groundbreaking work of his own company.
3.1. Comédie-Française Period
In 1940, Barrault was invited by interim director Jacques Copeau to join the prestigious Comédie-Française. He became a full member (sociétaire) of the company in 1943 and remained there until 1946. During his tenure, he played lead roles in celebrated productions such as Shakespeare's Hamlet and Corneille's Le Cid. He also directed notable works like The Dead Queen and Phèdre. A particularly significant achievement during this period was his 1943 direction and performance in Paul Claudel's monumental work, The Satin Slipper. Staged during the Nazi occupation, this production was widely regarded as a cultural triumph and a symbol of resistance. It was during his time at the Comédie-Française that he married actress Madeleine Renaud. In 1946, both Barrault and Renaud decided to leave the Comédie-Française, dissatisfied with certain reform decrees within the institution.
3.2. Compagnie Renaud-Barrault
After departing from the Comédie-Française, Jean-Louis Barrault and Madeleine Renaud established their own company, Compagnie Renaud-Barrault, which became a cornerstone of French theatre.
3.2.1. Founding and Marigny Theatre Era
The Compagnie Renaud-Barrault was officially formed in 1946. The newly founded troupe secured a ten-year contract with the Théâtre Marigny in Paris, a grand theatre located near the Champs-Élysées that had historically been founded by Jacques Offenbach. At the Théâtre Marigny, the company launched its activities with a production of Hamlet, translated by André Gide. They quickly gained popularity by staging a wide and diverse repertoire, ranging from classical works by Racine and Molière to modern and avant-garde plays by authors such as Franz Kafka, Marcel Achard, Jean Giraudoux, and Jean-Paul Sartre. Barrault notably advocated for "total theatre," a philosophy that emphasized the integration of all artistic elements, exemplified by his production of Claudel's The Book of Christopher Columbus. After their contract at the Théâtre Marigny expired in 1956, the company embarked on extensive tours, performing in various regional cities across France and abroad.
3.2.2. Directorship of Théâtre de France (Odéon)
In 1959, with the direct intervention of André Malraux, then Minister of Culture, the Compagnie Renaud-Barrault was invited to take over the Odéon Theatre, which had previously served as the second theatre of the Comédie-Française. Under Barrault's directorship, the theatre was renamed the Théâtre de France and gained independence from the Comédie-Française. Barrault used this prestigious platform not only to restage his earlier successful productions but also to boldly embrace and present avant-garde works by contemporary playwrights like Eugène Ionesco (e.g., Rhinoceros) and Samuel Beckett (e.g., Happy Days). He also provided opportunities and a venue for emerging directors with differing theatrical visions and ideas. Furthermore, Barrault initiated and hosted the "Théâtre des Nations" festival at the Odéon, inviting international theatre groups, such as the American The Living Theatre, and opening French theatre to global influences. This period solidified his position as a central and pivotal figure in the French theatre scene. Barrault remained in this role until 1969, and in 1971, he was reappointed as the director of the Théâtre des Nations.
3.2.3. Post-1968 Activities
The events of May 1968 had a profound impact on Barrault's career. During the student and worker protests, Barrault allowed students to occupy the Odéon Theatre, a decision that led to the company being forced to vacate the venue at the end of 1968. Subsequently, the Renaud-Barrault company had to perform in temporary and makeshift venues. From late 1968 to early 1969, they staged productions at the Élysée Montmartre, a former boxing arena. From 1974 to 1980, they performed in a temporary structure located within the former Orsay Station. Finally, in 1981, through the mediation of then-Minister of Culture Jean-Philippe Lecat, the company found a permanent home at the Théâtre du Rond-Point. The Renaud-Barrault company also toured internationally during this period, including three visits to Japan in 1960, 1977, and 1979. Barrault retired from theatre in 1990.
4. Film Career
Jean-Louis Barrault had an extensive career in film, appearing in nearly 50 movies. His cinematic debut was in 1935 with Marc Allégret's Les Beaux Jours. While he had many notable roles, his most iconic performance came in Marcel Carné's 1945 film Les Enfants du Paradis, where he played the lead role of Baptiste, a character based on the famous 19th-century mime Jean-Gaspard Deburau. This role greatly contributed to his international fame.
Other significant films in his extensive filmography include:
- Jenny (1936)
- Bizarre, Bizarre (1937)
- Le Destin fabuleux de Désirée Clary (1941), where he played Napoleon Bonaparte
- La Symphonie fantastique (1942), portraying Hector Berlioz
- Blind Desire (1945)
- La Ronde (1950)
- Traité de bave et d'éternité (1951)
- Royal Affairs in Versailles (1954)
- The Doctor's Horrible Experiment (1959), a television film
- The Longest Day (1962), an international war film
- Chappaqua (1966)
- That Night in Varennes (1982), where he played Nicolas-Edme Rétif
5. Artistic Philosophy and Influence
Jean-Louis Barrault was a visionary theatrical artist whose philosophy significantly shaped French theatre. He was a passionate advocate for "total theatre," an approach that sought to synthesize all elements of performance-acting, movement, music, and design-into a cohesive and immersive experience. His experimental directorial methods, particularly his bold choices to stage avant-garde works by playwrights such as Eugène Ionesco and Samuel Beckett, were pivotal in introducing new theatrical forms to a broader audience.
Barrault's influence extended beyond his own productions. By hosting the "Théâtre des Nations" festival, he opened French theatre to international influences, inviting renowned companies like The Living Theatre from the United States. He also fostered the careers of emerging directors and encouraged diverse theatrical perspectives, solidifying his role as a central and dynamic force in the French theatrical landscape. His artistic insights and experiences were documented in his published memoirs: Reflections on the Theatre, released in 1951, and Souvenirs pour demain (Memories for Tomorrow), published in 1972.
6. Personal Life
Jean-Louis Barrault was married to the accomplished French actress Madeleine Renaud. Their marriage in 1940 marked the beginning of a lifelong artistic partnership; they not only shared their lives but also co-founded and managed several successful theatre companies, most notably the Compagnie Renaud-Barrault. Together, they toured extensively, including performances in South America and Japan, bringing their unique theatrical vision to international audiences. Barrault was also the uncle of actress Marie-Christine Barrault and was an occasional sponsor and associate of the influential British theatre director Peter Brook.
7. Death
Jean-Louis Barrault died in Paris on 22 January 1994, at the age of 83. The cause of his death was a myocardial infarction, commonly known as a heart attack. He was buried alongside his wife, Madeleine Renaud, who followed him in death in September of the same year, in the Passy Cemetery in Paris.
8. Legacy and Assessment
Jean-Louis Barrault's life and work left an indelible mark on 20th-century theatre, making him one of the most significant figures in French performing arts.
8.1. Critical Acclaim and Contributions
Barrault is widely acclaimed for his innovative contributions to theatre, particularly his advocacy for "total theatre," which integrated various artistic forms into a cohesive experience. As both an actor and a director, he demonstrated remarkable versatility and depth. His achievements include his lead roles in classical plays and his groundbreaking direction of modern and avant-garde works. His 1943 production of Paul Claudel's The Satin Slipper during the Nazi occupation was a remarkable artistic and cultural statement, widely celebrated as a triumph of French theatre. Furthermore, his efforts to promote international theatre through the "Théâtre des Nations" festival significantly broadened the scope of French theatrical exposure and influence. He was considered a central figure in the French theatre, continually pushing boundaries by staging challenging and unconventional works.
8.2. Criticism and Controversies
Despite his significant artistic contributions, Barrault's career was not without controversy. A notable point of criticism arose during the May 1968 student protests, when he made the decision to allow students to occupy the Odéon Theatre, where his company, the Compagnie Renaud-Barrault, was in residence. This decision, intended by Barrault to open the theatre to the revolutionary spirit of the time, was met with strong disapproval by the authorities and ultimately led to his removal from the directorship of the Odéon and the subsequent eviction of his company from the theatre. This incident forced the Renaud-Barrault company to operate from temporary venues for over a decade, impacting their stability and public image during that period.
9. Major Works
Jean-Louis Barrault participated in numerous significant theatre and film works throughout his career, both as an actor and a director.
9.1. Major Theatre Works
Barrault's theatre work can be categorized by the periods he spent with different companies and at various venues.
Atelier Theatre Era (1931-1939)
- 1935: Directed Requiem for a Nun by William Faulkner
- 1937: Directed The Siege of Numancia by Cervantes
- 1939: Directed Hunger by Knut Hamsun
Comédie-Française Era (1940-1946)
- 1940: Directed Le Cid by Pierre Corneille
- 1940: Directed Phèdre by Racine
- 1941: Acted in Hamlet by William Shakespeare
- 1941: Artistic director for The Suppliants by Aeschylus, performed at Stade Roland Garros
- 1943: Directed The Satin Slipper by Paul Claudel
- 1945: Directed Antony and Cleopatra by William Shakespeare
- 1945: Directed Caligula by Albert Camus
- 1945: Directed Les Mal-Aimés by François Mauriac
Marigny Theatre Era (1946-1957)
- 1946: Directed Hamlet by William Shakespeare
- 1946: Les Fausses Confidences by Marivaux
- 1946: Les nuits de la colère by Armand Salacrou
- 1946: The Trial (adaptation) by Franz Kafka
- 1947: Amphitryon by Molière
- 1947: The Cherry Orchard by Anton Chekhov
- 1948: Occupe-toi d'Amélie by Georges Feydeau
- 1948: State of Siege by Albert Camus
- 1948: Partage de midi by Paul Claudel
- 1949: Scapin the Schemer by Molière, directed by Louis Jouvet
- 1950: La répétition ou l'amour puni by Jean Anouilh
- 1950: Malatesta by Henry de Montherlant
- 1951: Lazare by André Obey
- 1951: Bacchus by Jean Cocteau
- 1952: Siegfried by Jean Giraudoux
- 1953: Pour Lucrèce by Jean Giraudoux
- 1953: The Book of Christopher Columbus by Paul Claudel
- 1954: La Soirée des proverbes by Georges Schehadé
- 1955: Oresteia by Aeschylus
- 1955: A Sleep of Prisoners by Christopher Fry
- 1956: Le Personnage comattant by Jean Vautier
- 1957: Histoire de Vasco by Georges Schehadé
- 1957: Ruy Blas by Victor Hugo
Odéon Theatre Era (Théâtre de France, 1959-1967)
- 1959: Golden Head by Paul Claudel
- 1960: Rhinoceros by Eugène Ionesco
- 1961: Judith by Jean Giraudoux
- 1961: Mais, n'te promène donc pas toute nue by Georges Feydeau
- 1961: Le Voyage by Georges Schehadé
- 1961: Le Viol de Lucrèce by André Obey
- 1962: Andromaque by Racine
- 1963: Air Walker by Eugène Ionesco
- 1963: Happy Days by Samuel Beckett, directed by Roger Blin
- 1964: Il faut passer par les nuages by François Billetdoux
- 1965: Days in the Trees by Marguerite Duras
- 1966: The Screens by Jean Genet, directed by Roger Blin
- 1966: Henry IV by William Shakespeare
- 1967: The Temptation of Saint Anthony by Gustave Flaubert, directed by Maurice Béjart
- 1967: A Delicate Balance by Edward Albee
- 1967: Le Silence by Nathalie Sarraute
- 1967: Le Mensonge by Nathalie Sarraute
Temporary Venues Era (Post-1968)
- 1968: Directed Rabelais by Jean-Louis Barrault, performed at Elysée Montmartre
- 1970: Directed Jarry sur la butte by Jean-Louis Barrault, performed at Elysée Montmartre
- 1973: Directed The Bourgeois Gentleman by Molière, performed at Comédie-Française
- 1974: Thus Spoke Zarathustra by Nietzsche, performed at Orsay Station temporary theatre
- 1976: Madame de Sade by Yukio Mishima, performed at Orsay Station temporary theatre
- 1977: New World by Auguste Villiers de l'Isle-Adam, performed at Orsay Station temporary theatre
- 1978: The Arabian Nights, performed at Orsay Station temporary theatre (with Le Grand Magic Circus)
Rond-Point Theatre Era (1981-1990)
- 1981: L'Amour de l'amour, a show edited by Barrault from works by Apuleius, La Fontaine, and Molière
- 1982: Les Strauss by Georges Coulonges
9.2. Major Film Works
| Year | Title | Role | Director |
|---|---|---|---|
| 1935 | Beautiful Days | René | Marc Allégret |
| 1936 | Mayerling | Student | Anatole Litvak |
| 1936 | Under Western Eyes | Haldin | Marc Allégret |
| 1936 | Jenny | Le Dromadaire | Marcel Carné |
| 1936 | Helene | Pierre Régnier | Jean Benoît-Lévy |
| 1936 | Beethoven's Great Love | Karl van Beethoven | Abel Gance |
| 1937 | À nous deux, madame la vie | Paul Briançon | René Guissart and Yves Mirande |
| 1937 | Police mondaine | Scoppa | Michel Bernheim and Christian Chamborant |
| 1937 | Street of Shadows | Le client fou | G. W. Pabst |
| 1937 | The Pearls of the Crown | Young Napoleon, Jean Martin, Francis I, Paul Barras, Napoleon III | Sacha Guitry and Christian-Jaque |
| 1937 | Bizarre, Bizarre | William Kramps | Marcel Carné |
| 1938 | Orage | The African | Marc Allégret |
| 1938 | Le puritain | Francis Ferriter | Jeff Musso |
| 1938 | J'accuse! | Abel Gance | |
| 1938 | Mirages | Pierre Bonvais | Alexandre Ryder |
| 1938 | Altitude 3.200 | Armand | Jean Benoît-Lévy and Marie Epstein |
| 1938 | La Piste du sud | Olcott | Pierre Billon |
| 1939 | Farinet ou l'or dans la montagne | Maurice Farinet | Max Haufler |
| 1941 | Parade en sept nuits | Lucien Ardouin | Marc Allégret |
| 1941 | Montmartre-sur-Seine | Michel Courtin | Georges Lacombe |
| 1942 | La Symphonie fantastique | Hector Berlioz | Christian-Jaque |
| 1942 | Le Destin fabuleux de Désirée Clary | Napoléon Bonaparte | Sacha Guitry |
| 1944 | L'Ange de la nuit | Jacques Martin | André Berthomieu |
| 1945 | Children of Paradise | Baptiste Deburau | Marcel Carné |
| 1945 | Blind Desire | Michel Kremer | Jean Delannoy |
| 1947 | Le Cocu magnifique | Bruno | E.G. de Meyst |
| 1948 | Man to Men | Henri Dunant | Christian-Jaque |
| 1950 | Vagabonds imaginaires | Le récitant | Alfred Chaumel and Jacques Dufilho (Voice, segment 'Le bateau ivre') |
| 1950 | La Ronde | Robert Kuhlenkampf, the poet | Max Ophüls |
| 1951 | Traité de bave et d'éternité | Himself | Isidore Isou |
| 1954 | Royal Affairs in Versailles | Fénelon | Sacha Guitry |
| 1959 | The Doctor's Horrible Experiment | Doctor Cordelier / Opale | Jean Renoir (TV movie) |
| 1960 | Le dialogue des Carmélites | Le mime | Philippe Agostini and Raymond Leopold Bruckberger |
| 1961 | Le Miracle des loups | Louis XI of France | André Hunebelle |
| 1962 | The Longest Day | Father Roulland | Ken Annakin |
| 1964 | La grande frousse | Douve | Jean-Pierre Mocky |
| 1966 | Chappaqua | Doctor Benoit | Conrad Rooks |
| 1977 | Jacques Prévert | Himself | Jean Desvilles |
| 1980 | The Lovers' Exile | Introducer | Marty Gross |
| 1982 | That Night in Varennes | Nicolas-Edme Rétif | Ettore Scola |
| 1988 | La Lumière du lac | Le vieux | Francesca Comencini |
10. Writings and Publications
Jean-Louis Barrault authored several written works, providing insight into his theatrical philosophy and personal reflections. His most notable publications include:
- Reflections on the Theatre (1951)
- Souvenirs pour demain (Memories for Tomorrow), published in 1972, which serves as his autobiography.
These books offer valuable perspectives on his artistic journey, experimental approaches, and contributions to the world of theatre.
11. Tributes and Memorials
Jean-Louis Barrault's legacy is primarily honored through the continued study and performance of his significant theatrical and film works. His burial alongside his wife, Madeleine Renaud, in the Passy Cemetery in Paris serves as a permanent memorial to their enduring partnership and contributions to French culture.