She graduated from the Conservatoire with a first prize in classical acting before joining the Troupe in 1969. Appointed an honorary member in 2006, she has remained faithful to her theatrical family, which she returned to in particular for Ibsen’s Peer Gynt, directed by Éric Ruf, and Marivaux’s La Double Inconstance, directed by Anne Kessler.
These 36 chandelles [36 candles] are a lively portrait of as many years spent in the House of Molière: between acting and confidences, the actress whose countless roles span from the young heroine to the duenna, slips into the shoes of the characters she has played, recounts her encounters and many anecdotes about the illustrious House. When speaking of the genius of Giorgio Strehler, who directed her in Goldoni’s Holiday Trilogy, she admits, with a twinkle in her eye: “I didn’t like rehearsals much, but with him they were fascinating!”
Revelation with Valère Novarina, or with Anatoli Vassiliev, whose fiery arguments she has not forgotten, complicity with Pierre Dux and Michel Duchaussoy, unconditional love for Musset or Bernanos: the distinguished actress summons a whole community, real or imaginary, with some of her Troupe comrades appearing on screen, including Guillaume Gallienne, one of her admirers, who directed her in Les Garçons et Guillaume, à table! The highly embodied spirit of these theatrical memoirs invites us to travel through an extraordinary life, both on stage and behind the scenes.

Rencontres

Catherine Salviat sera présente pour une rencontre-dédicace de 36 Chandelles dans la maison de Molière à l’occasion de son singulis au Studio-Théâtre. La rencontre aura lieu à la boutique le mardi 6 mai à juin de 18h.
Plus d'informations :Rencontre-Dédicace - Boutique de la Comédie-Francaise

Nous organisons également une rencontre avec le public à l'issue de la représentation du mercredi 14 juin, à partir de 21h30.
Elle sera animée par le comédien Bernard Lanneau en présence de Catherine Salviat.
En libre accès, avec ou sans billet pour la représentation du soir.

THE THEATRICAL PRACTICE OF THE SOLO is relatively new to the Comédie-Française. Ever since the seventeenth century, the institution has defined itself first as a troupe of actors whose collective identity predominates over the expression of individualities. From as early as 1674 this quality was pointed out by Samuel Chappuzeau in his Théâtre Francois, when he compared theatre troupes to political “bodies” that functioned as so many small “Republics”. Commenting on actors, he wrote that “they admit no superiors, the name alone offends them; they all wish to be equal, and call each other comrades”. The motto of the Comédie-Française, Simul et Singulis (be together and be oneself), which appeared in 1682 along with the emblem of the buzzing hive, characterises this philosophy in which each contributes, though his or her own talent, to the collective work.

No solos... only soloists

While the practice of performing alone on stage is not considered a fitting pursuit, the “solo” form of the monologue is highly appreciated by the public, and sometimes staged to showcase the protagonist in all his or her splendour and in contrast with the rest of the troupe. This is an effect of the star system that clearly emerged in the nineteenth century.
Soloist practices most often developed outside of the theatre’s activity. Some actors embarked on personal tours that were sometimes scheduled without regard for the interests of the Comédie-Française –Talma or Rachel were capable of taking off while leaving their comrades in difficulty. They would travel with trunks full of costumes but recruit fill-in actors and find makeshift sets on the spot to perform the great scenes of their repertoire. The performance then resembled a recital of choice excerpts, selected to showcase the actor whose talent was all the more strongly emphasised given that he or she was performing alongside second-class actors if not to say amateurs.
The monologue per se developed at the end of the nineteenth century, thanks to the Coquelin brothers, but today remains an exception. The motto Simul et Singulis, perfectly sums up the indispensable paradox for any actor who is the member of a Troupe.

• Visual : Hive, engraving by Guillaumot fils

Directed by: Serge Sarkissian