440e sociétaire
Michel Aumont belongs to the brotherhood of the actors of the comedy of discomfort, fully willing to and capable of interpreting the most challenging roles, straddling at the same time between the heartbreaking and the derisive, between the natural and the complex, and finally between the distressing and the entertaining.
At the Conservatoire national d’art dramatique (National Conservatory of Dramatic Arts) of Paris, he attended the classes of Denis d'Inès and of Jean Debucourt. In the 1956 competition, he was awarded a first prize for Modern Comedy in Chekhov's A Tragedian in Spite of himself and another first prize for Classic Comedy in the role of The Doctor in Molière’sThe Jealousy of le Barbouillé (La Jalousie du barbouillé).
On graduating from the Conservatoire, he was hired as a pensionnaire at the Comédie-Française on September 1, 1956, and was named a sociétaire on January 1, 1965, then a sociétaire honoraire in January 1994. His contract stipulated that he would play the roles specific to "character study," that is the old barons, which he brilliantly did in spite of his youth. He, therefore, was familiar with the miscellany of Géronte characters in Scapin the Schemer, in The Doctor in Spite of Himself, and in Regnard’s The Sole Heir (Le Légataire universel), but it was in Harpagon (Molière’s The Miser), a role heplayed for twenty years.
Among the chief roles he embodied, we can name numerous characters from plays by Molière, Shakespeare, Beaumarchais, Feydeau, Labiche, Courteline, Balzac, Becque, and even the characters of contemporary authors such as Giraudoux, Ionesco, and Beckett, whom he particularly liked. He gradually emerged from the character study thanks to his friend Jean-Paul Roussillon and set his true face free of the makeup and the hairpieces to emerge "without any adornment.” Simplicity and depth then take precedence over artificial makeup and design.
At the Comédie-Française, he mainly worked with Roger Blin, Jean-Paul Roussillon, Terry Hands, Antoine Vitez, Claude Régy, Jean-Pierre Vincent and Jorge Lavelli.
In 1972, he played the role played by Robert Hirsch in Richard III in Avignon, which earned him a triumphant success in a tragic role.
He created a host of roles at the Comédie-Française, at the Salle Richelieu or at the Odeon, most notably Amalric in Claudel's Partage de Midi (The Break of Noon) in 1975, Jean Puntila in Brecht’s Master Puntilla and His Valet Matti (1976), Berenger in Ionesco’s The King Is Dying (1975), Vladimir in Beckett’s Waiting for Godot (1978), Trigorin in Chekhov's The Seagull (1980), Hamm in Beckett’s Endgame (1988), Garcin in Jean-Paul Sartre’sBehind Closed Doors (1990), Mercadet in Balzac’s Le Faiseur (1993).
His friendship with Jean-Paul Roussillon gave birth to spectacles of a memorable intensity, such as those ofAmorphe d'Ottenburg by Jean-Claude Grumberg, La Nostalgie, camarade... by François Billetdoux, and Abel et Belo by Robert Pinget.
In 2005, he played in Dieu est un steward de bonne composition by Yves Ravey directed by Jean-Michel Ribes at the Théâtre du Rond-Point. In 2007, he appeared in Vincent Delecroix’s At the Door (À la porte) directed by Marcel Bluwal at the Théâtre de l'Œuvre and in Woody Allen’s Puzzle directed by Annick Blancheteau and Jean Mourière at the Théâtre du Palais-Royal. In 2010, he played in Lionel Goldstein’s David & Edward staged by MarcelBluwal at the Théâtre de l'Œuvre.
In addition to his continuing career in the theater, Michel Aumont has led a stunning career in the cinema, taking on the roles of the "eccentric character," the reason why, not surprisingly so, the best amateurs of figures seek him as an actor, namely Michel DevilIe, Claude Chabrol, Bertrand Tavemier, Francis Veber, and Pascal Thomas.
He has played in Palais Royal! directed by Valérie Lemercier (2005), in The Valet (La Doublure) by Francis Veber (2006), in Park Benches (Bancs publics – Versailles Rive-Droite) directed by Bruno Podalydès (2009), and, in 2010, in Comme les 5 doigts de la main directed by Alexandre Arcady, in Imogène McCarthery directed by Alexandre Charlot and Franck Magnier, and in A View of Love (Un balcon sur la mer) directed by Nicole Garcia.
He gives to his characters this right dose of humanity and a unique presence, which make him stand out on all occasions, including in figuration.
Portrait
Vx-Colombier
by Honoré de Balzac Directed by Jean-Paul Roussillon
Mercadet
Richelieu
by Honoré de Balzac Directed by Jean-Paul Roussillon
Mercadet
Richelieu
by Beaumarchais Directed by Jean-Pierre Vincent
Figaro
Richelieu
No Exit by Jean-Paul Sartre Directed by Claude Régy
Garcin
Richelieu
No Exit by Jean-Paul Sartre Directed by Claude Régy
Garcin
Richelieu
by Beaumarchais Directed by Jean-Pierre Vincent
Figaro
Richelieu
by William Shakespeare Directed by Lluis Pasqual
Jacques
Richelieu
The Miser by Molière Directed by Jean-Paul Roussillon
Harpagon
Richelieu
The Miser by Molière Directed by Jean-Paul Roussillon
Harpagon
Richelieu
by Samuel Beckett Directed by Gildas Bourdet
Clov
Richelieu
A Midsummer Night’s Dream by William Shakespeare Directed by Jorge Lavelli
Bottom
Richelieu
Le Véritable Saint-Genest, comédien et...
by Jean de Rotrou Directed by André Steiger
Adrian ; Genest
Richelieu
Un pour la route, Une sorte d'Alaska et...
by Harold Pinter Directed by Bernard Murat
le Dispatcher
Odéon
by Arthur Schnitzler Directed by Alfredo Arias
l'Auteur
Odéon
by Fiodor Dostoïevski Directed by Simon Eine
Pavel Pavlovitch Troussotzki
Odéon
A Midsummer Night’s Dream by William Shakespeare Directed by Jorge Lavelli
Bottom, Pyrame
Richelieu
An Italian Straw Hat by Eugène Labiche and Marc Michel Directed by Bruno Bayen
Nonancourt, pépiniériste
Richelieu
An Italian Straw Hat by Eugène Labiche and Marc Michel Directed by Bruno Bayen
Nonancourt, pépiniériste
Richelieu
The Misanthrope by Molière Directed by Jean-Pierre Vincent
Alceste
Richelieu
by Henry Becque Directed by Jean-Pierre Vincent
Bourdon
Richelieu
The Misanthrope by Molière Directed by Jean-Pierre Vincent
Alceste
Richelieu
The Misanthrope by Molière Directed by Jean-Pierre Vincent
Alceste
Richelieu
by Nicolaï Erdman Directed by Jean-Pierre Vincent
Aristarque Grand-Skoubnik
Odéon
by Jean Giraudoux Directed by Jacques Sereys
l'Inspecteur
Richelieu
The Summer Folk by Maxime Gorki Directed by Jacques Lassalle
Souslov
Richelieu
The Miser by Molière Directed by Jean-Paul Roussillon
Harpagon
Richelieu
by Marivaux Directed by Jean-Pierre Miquel
Mr Sorbin
Richelieu
The Summer Folk by Maxime Gorki Directed by Jacques Lassalle
Souslov
Richelieu
by Marivaux Directed by Jean-Pierre Miquel
Mr Sorbin
Richelieu
The Miser by Molière Directed by Jean-Paul Roussillon
Harpagon
Richelieu
by Jean Giraudoux Directed by Jacques Sereys
l'Inspecteur
Richelieu
by Henry Becque Directed by Jean-Pierre Vincent
Bourdon
Richelieu
by Henry Becque Directed by Jean-Pierre Vincent
Bourdon
Richelieu
The Gossip by Marivaux Directed by Jean-Paul Roussillon
le Neveu de Mlle Habert
Richelieu
by Victor Hugo Directed by Jean-Luc Boutté
Joshua Farnaby
Richelieu
Le Voyage de Monsieur Perrichon
by Eugène Labiche and Edouard Martin Directed by Jean Le Poulain
Majorin
Richelieu
The Girl from Maxim’s by Georges Feydeau Directed by Jean-Paul Roussillon
Mongicourt
Richelieu
The Seagull by Anton Tchekhov Directed by Otomar Krejca
Trigorine
Richelieu
Tartuffe - Les Plaisirs de L'Ile...
by Molière Directed by Maurice Béjart
Orgon
Richelieu
by Paul Claudel Directed by Antoine Vitez
Amalric
Richelieu
by Eugène Ionesco Directed by Jorge Lavelli
Bérenger
Odéon
Waiting for Godot by Samuel Beckett Directed by Roger Blin
Vladimir
Odéon
La Nuit des Rois ou Ce que vous voudrez
Twelfth Night or What you will by William Shakespeare Directed by Terry Hands
Malvolio
Richelieu
The Gossip by Marivaux Directed by Jean-Paul Roussillon
le Neveu de Mlle Habert
Richelieu
The Seagull by Anton Tchekhov Directed by Otomar Krejca
Trigorine
Richelieu
The Miser by Molière Directed by Jean-Paul Roussillon
Harpagon
Richelieu
by Fernando Arrabal Directed by Jorge Lavelli
Cul-de-jatte - Basilio Carrera, "Cid Campéador"
Odéon
The Miser by Molière Directed by Jean-Paul Roussillon
Harpagon
Richelieu
A Flea in Her Ear by Georges Feydeau Directed by Jean-Laurent Cochet
Augustin Ferraillon
Richelieu
The Triumph of Love by Marivaux Directed by Yves Gasc
Hermocrate
Richelieu
The Triumph of Love by Marivaux Directed by Yves Gasc
Hermocrate
Richelieu
Waiting for Godot by Samuel Beckett Directed by Roger Blin
Vladimir
Odéon
The Miser by Molière Directed by Jean-Paul Roussillon
Harpagon
Richelieu
by Eugène Ionesco Directed by Jorge Lavelli
Bérenger
Richelieu
The School for Wives by Molière Directed by Jean-Paul Roussillon
Arnolphe
by Paul Claudel Directed by Antoine Vitez
Amalric
Richelieu
by Robert Pinget Directed by Yves Gasc
Mortin
Odéon
by Eugène Ionesco Directed by Jorge Lavelli
Bérenger
Odéon
La Comédie-Française lance la troisième édition du Salon des métiers du spectacle vivant en visioconférence ! La Comédie-Française est une véritable ruche de près de 80 métiers exercés par 450 personnes qui fabriquent chaque élément des 25 spectacles qu’elle présente chaque saison. Venez les découvrir !
Les chèques-cadeaux seront mis en vente mercredi 4 décembre, à partir de 11h sur notre site Internet, par téléphone au 01 44 58 15 15 et aux guichets de la Salle Richelieu.
D'une valeur de 30 €, 50 € et 80 €, les chèques-cadeaux vous permettent d'offrir des places de spectacles dans nos trois salles (Salle Richelieu, Théâtre du Vieux-Colombier, Studio-Théâtre) et des entrées pour les visites individuelles (familles ou historiques) de la Salle Richelieu.
Ils ne constituent pas une place : toute personne détentrice d’un chèque-cadeau devra au préalable effectuer une réservation, dans la limite des places disponibles.
Les chèques-cadeaux 2024-2025 sont valables pour les représentations et les visites de décembre 2024 jusqu'au 14 janvier 2026. Ils ne sont pas remboursables.
En raison du renforcement des mesures de sécurité dans le cadre du plan Vigipirate « Urgence attentat », nous vous demandons de vous présenter 30 minutes avant le début de la représentation afin de faciliter le contrôle.
Nous vous rappelons également qu’un seul sac (de type sac à main, petit sac à dos) par personne est admis dans l’enceinte des trois théâtres de la Comédie-Française. Tout spectateur se présentant muni d’autres sacs (sac de courses, bagage) ou objets encombrants, se verra interdire l’entrée des bâtiments.