Vincent, Delphine 2022 With his Cocteau trilogy, Glass challenges the definition of opera as a genre in that his Orphée (1993), La Belle et la Bête (1994), and Les Enfants terribles (1996) are based on films, an unusual choice of source at the time. By focusing on the adaptation process and determining what filmic components remain in Glass’s operas, I will be able to show what is at stake when adapting a film into opera. Because Glass’s Cocteau trilogy shows the many possibilities for adapting a film into opera, it is a particularly useful case study for demonstrating the complexity of the relationship between film and opera in film-based operas. Ultimately it will allow me to address the very concept of film-based opera and show the limits of this term. Adaptation process, production history and staging will be taken into consideration. application/pdf https://folia.unifr.ch/global/documents/329412 https://folia.unifr.ch/documents/329412/files/kbae003.pdf eng info:eu-repo/semantics/altIdentifier/doi/10.1093/oq/kbae003 info:eu-repo/semantics/openAccess License undefined The Opera Quarterly. - Winter-Autumn 2022. - 2022, vol. 38, no. 1-4, p. 24-42 Glass, Philip Cocteau Trilogy Orphée La Belle et la Bête; ; ; film-based operas; ; Les Enfants terribles Cocteau, Jean film-based operas; opera based on film contemporary opera info:eu-repo/classification/udc/78 Philip Glass’s Cocteau Trilogy, or the Multiple Ways of Adapting Film into Opera http://purl.org/coar/resource_type/c_6501