Micheline Boudet

Micheline Boudet , born in 1926, is a French Actrice .

She begin with the roles from young first, then approaches the employment of the maidservants. Its laughter - how it is in Nicole of the Bourgeois gentleman where it succeeds Béatrice Bretty, or in Zerbinette of the Fourberies of Scapin - still resounds in the clotheshangers of the Richelieu room! However, the succession of Beatrice Bretty, in Nicole, appeared O how much perilous. Louis Seigner, the inénarrable Mr the Jordan, appreciated the roundnesses of its usual partner and found “small Boudet” well too frail with its taste. But the laughter of Micheline Boudet resembles a cascade or a fountain. A true concerto! Meyer had said of it: “it will be never Bretty! ” Perhaps it did better than Bretty while becoming the “Boudet”, light and spontaneous that we know.

She plays Marivaux with a rare grace. Elsa Triolet saw it in Double Inconstancy and she writes: “admirable Silvia, Micheline Boudet, overflowing of talent”. With Robert Hirsch - come from the Dance like it - it forms an extraordinary comic couple of freshness and grace, lightness and cheerfulness. Jacques Charon, which put them in scene in this Marivaux, writing: “Robert was a Arlequin of one upsetting simplicity. Micheline, on her side, was Silvia of a quivering naivety. I had formed a new ideal couple. With each representation, Harlequin and Silvia seemed to invent of Marivaux by drawing it from their heart”. She still plays of the same author: Smoothing iron of the Play of the love and the chance (with Jacques Charon- Pasquin), the Test …

Later, at the age of maturity, it approaches the Prince disguised , always under the direction of Charon. Of this role, she says: “this Hortense at once upset me: touching and full with spirit, ready with the love and quartered soon between this love which it has for Lélio and its friendship for the princess, it appeared to me most human of all”. Araminte of the False confidences which she played under the direction of Jean Piat, constituted, according to her, “the achievement of my wishes of actress”. This character on whom it confers much charm and class, marks the apotheosis of his trade-guild marivaudien.

Who better than it interpreted the light women of Feydeau; that it is about the Dindon , of the Fly in the ointment , Feu the mother of Madam or of But thus walks very naked , she found the tone right without never falling into vulgarity. With it, the beautiful time found an interpreter privileged.

Like her comrade Robert Hirsch, it knew to give direction to settings in scene which did not have inevitably much of it; actress-born, the theater is metamorphosed thanks to its direction of the spectacle. Maurice Descottes evokes an episode of his interpretation of Suzanne of the Mariage of Barber in the setting in scene of Jean Meyer: “the actress emphasized certain new effects which filled with ease the experts. Almost all the critical reports make a fate with “the irresistible imitation of the countess” by Suzanne: “cheer for its pastiche of Helene Perdrière”… It is obviously a number of actress, but a number which is not free since he has the merit to fit well in the intricate one”. How much it did not save these dusty settings in scene of them! Itself tells the difficulties had by the actors to play of the parts in the absence of very put in scene: “For this first evening as for the others, I due deferring me for the author, indications of my dear Master and director being about limited with this: “You enter by the bottom, you are in blue, one will powder you the hair, it will be very pretty, let yourself go, you are the character”. And here: eighteen years, a very difficult role, any Paris which watches for the “beginner”, and not a work serious to which to hang up again itself! ”.

Jacques Charon speaks about the “fine team” in connection with the band which it formed with Hirsch, Boudet, Gence, Piat and Descrières. Perhaps Micheline Boudet it missed depth by not approaching more dramatic roles. But it symbolizes most brilliant of the Comédie-Française in spite of the few limits related to the dominant esthetic choices at that time.

Since its departure of the Comédie-Française, it was devoted to the Light comedies and carries out an interesting career of writer; the theater frequently has the good share there.

Formation

• Course of dance of the Opera of Paris
• Conservatory higher national of dramatic art, class of Georges Roy
• Contest of July 1945:
• 1st traditional price of comedy in the role of Smoothing iron, Sincere the (Marivaux)
• 1st modern price of comedy in the role of Estelle, the Two Schools (Alfred Capus).

Career with the Comédie-Française

• Entered with the Comédie-Française on September 1st 1945
• Member on January 1st 1950 (414e member)
• Departure the December 31st 1971
• honorary Member on January 1st 1972
• Roles:

Fictions and autobiographies

1. Come to see the actors , ED. Albin Michel, 1997
2. the Fleur of the evil , ED. Albin Michel, 1993
3. Julie Talma, happy shade , ED. Laffont, 1989
4. the Novel of a blower , ED. Plon, 1988
5. Miss Mars, inimitable the , ED. Perrin, 1987 Friendly
6. , lover , ED. Plon, 1984
7. Marguerite 1925 , ED. Albin Michel, 1982
8. a red-headed young man , ED. Albin Michel, 1980
9. the Portable lamp , ED. Albin Michel, 1979.

Cinema

• the Man with the round hat of Pierre Bellon (with Raimu and Aime Clariond)
• There's no smoke without fire of Andre Cayatte

Random links:

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