In a jacket and trousers over a blouse sparkling like silver coins, Catherine Salviat makes her entrance to music from the Grand Siècle. Majestic, smiling, she sketches a few dance steps. “Beware of your dreams, they come true”, repeats the honorary member of the Comédie-Française.
To say goodbye to the troupe in 2006, after thirty-six years of service, she wrote a text entitled 36 candles in the House of Molière. The director Serge Sarkissian had then advised him to bring together his memories in a book (36 candles, eight chandeliers of passion and friendship in the House of Molière, Éditions Onésime 2000). Then, a show that she has performed under her knowing gaze since its creation in Marseille in 2019.
Alone on stage, from the height of her 76 springs, Catherine Salviat pays homage to her “boss”, Jean-Baptiste Poquelin, looks back on the creation of “his” house, while returning to her own journey. From a shy student at the Lycée Molière – you can’t make it up – to his entry into the big house in 1969, passing through the National Conservatory of Dramatic Art, there is no shortage of anecdotes. The daughter of Léone Mail, ballet master at the Paris Opera and assistant to Serge Lifar, and Robert Manuel, who was also an honorary member of the French seems to have been destined for the theater.
She sees her first play at the French at 4 years old. At 22, she is in the place! His mother will be his good fairy. Face hidden by the lights of Sylvie Maestro and Jérôme Pastini, mischievous, the actress lends her voice, embellishes her memories with quotes from authors and imitates a Sacha Guitry never stingy with good words, or the visionary poet Jean Cocteau. Other “delicious” figures are summoned: Jean-Louis Barrault, Pierre Dux, Maurice Escande, Daniel Mesguich, Giorgio Strehler, the “master” or Franco Zeffirelli. Directed by Gildas Bourdet in Dialogues des Carmélites, by Georges Bernanos, Catherine Salviat received the Molière for Best Actress in a Supporting Role (1988).
The honorary member of the French also talks about the films in which she has shot and her unforgettable encounters. Video sequences show her alongside her sister whom she “adores”, the actress Christine Murillo or members of the Comédie-Française including her friend Guillaume Gallienne. She refers to Chekhov that she hasn’t played yet: “What to do? We must live !”. Catherine Salviat therefore lives, plays, works and rehearses at will. Like Michel Bouquet, she never ceases to put the work back on the job. With a constantly renewed passion.
