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She took an active part in this experiment, seeing to it that new and contemporary plays were staged alternately with the classical repertoire. On 23 June , Silvia wrote to Pierre Gruneberg : "I've convinced Danet to schedule for September a series of performances of the Prostitute and of Suddenly, Last Summer under a big top around Paris in this way the inconvenient returning directors will be able to come see it there if they need to.

Oh, I would have done what I could. She wrote at least once, sometimes several times a day to her companion Pierre Gruneberg.

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She interpreted numerous works of Racine and Corneille. She performed Sophocles ' Electra in the most incongruous of places, such as the "trou des Halles " in Paris in To celebrate the centenary of Cocteau 's birth, she appeared for the last time on the Vaugirard stage in 'The Two Ways' in For me, the one that I am playing fulfills me. What marvelous relations between an actor and his character. They see each other every day, but they also know that it's not forever, so they have to work twice as hard. Certain characters have more of an affinity for us. I have always felt myself closer to adolescents thirsting for the absolute than to women with divided hearts.

I prefer Electra to Clytemnestra. But this doesn't prevent me from knowing beautiful stories about those whom I wouldn't play. Of all the heroines, the one who perhaps excited me most was the queen of the Amazons, Penthesilea. When she thought herself defeated by Achilles, she refused to follow him into his kingdom.

atlantic.cerebralgardens.com/descargue-cuando-acabe-flush-when-finished.php She wanted him to be king in her land. So she tore him up with her nails, devoured him with her teeth, and said: All women swear to their lovers: I will eat you as long as I love you — well, I did it. A study by the CNRS about the great tragediennes who have incarnated this character in the 20th century was published in Pour la Science , the French version of Scientific American.

We have hardly grasped the image in the mirror when she dims, and the imminence of this obliteration sharpens the acuteness of the reflection […] What matters is that there has been a meeting in mystery even from the first reading. It is like desire, or rather it is present in the look that provokes it, or rather there will never be unison. She was especially interested in the circus world and organized an exhibit entitled Circus in color which met with success. They wanted to highlight the nobility of the circus's origins and were involved in bringing to life an updated old-style circus.

The Gruss circus followed Monfort in her successive moves until it became a national circus in Because of the building's awaiting renovation, she set up her stage under a big top in the Jardin d'Acclimatation from to She then had to move her big top onto the site of the former abattoirs of Vaugirard. There, she actually set up two big tops, one for theatre and one for the circus.

The decision to build the theatre such as it is today was taken in On 7 March , she wrote: "This will be my theatre. Even so, incredible! I don't know a single living person for whom his own theatre was built, with his name and of the right size.


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She died on 30 March of lung cancer in Courchevel. This prize is issued every two years to a young actress by a professional jury. Since its inception, the prizewinners have been:.