I first met Georges Neveux (1900–1982) in 1963, while researching Roger Vitrac for my doctoral thesis. He received me with great kindness and, while sharing memories about his youthful friends, spoke to me of the Théâtre de la Tour Eiffel, for which he had written several scenes. I saw him again at my State thesis defense in 1975, just as charming and enthusiastic. It is rare for an author to attend a defense at which his own work is discussed! In fact, I was not dealing directly with him, but with the dramaturgy of Alfred Jarry, which he himself had fashioned in his own way. During the break, he encouraged me, stressing that I should not waver before a jury he felt knew little about theater. For him, my passion for theater was beyond doubt—and that, he said, was the most important thing.

So I did not hesitate when the editor of the programme published by the Paris Opera asked me to contribute an essay on Georges Neveux. Thanks to a musicologist friend, I knew that the Czechs prided themselves on having produced a surrealist opera, but at the time I was unaware of Neveux’s collaboration on Bohuslav Martinů's work. Fortunately, I only had to comment on the text.

Juliette or the Key of Dreams, Bohuslav Martinů, opera in French. Libretto by Bohuslav Martinů after the play by Georges Neveux, Juliette ou la clé des songes.

World premiere: March 16, 1938, National Theatre, Prague.
Added to the Paris Opera’s repertoire: November 6, 2002

Opera in three acts. Adaptation of the play by Georges Neveux “Juliette ou la clé des songes” by Bronislaw Horovicz.

Performances at the Paris Opera: 2002, new production.

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While preparing this program, a colleague asked me to give a talk to a group of young people—not about Martinů's opera, but about Neveux’s play. I accepted and got to work, until I was informed that this would take place at a private religious school. Having spent my entire career in the secular system, I had to withdraw from the event. The text can be read here: