Marie-Christine Barrault Biography
Marie-Christine Barrault is a French actress well known for having been featured in over fifty films, forty telemovies and forty plays throughout her French and international career.
Marie-Christine Barrault Age
Marie-Christine was born on 21st of March 1944 in Paris, France, she is 74 years old as of 2018.
Marie-Christine Barrault Young | Family
She was born to French-Catholic parents Martha (mother) and Max-Henri Barrault (father). Her parents later divorced and her father, who worked in the theatre, died while she was still young, her mother was not able to take care of her children. She was raised along with her brother (Alain) by her grandmother. She got introduced in by her aunt and uncle, French performers Jean-Louis Barrault and Madeleine Renaud, although they initially did not support her dreams of becoming an actress.
Marie-Christine Barrault Husband | Married | Roger Vadim
Barrault was previously married to Roger Vadim from1990 to 2000, he later got married to Daniel Toscan du Plantier from 1965 to 1978.
Marie-Christine Barrault Children
Barrault has two children David Toscan du Plantier (Son) and Ariane Toscan du Plantier (Daughter).
Marie-Christine Barrault Career
Barrault began her career on television in L’oeuvre in 1967. She later made her feature film debut in Éric Rohmer’s My Night at Maud’s in 1969. the year after she was featured along with Pierre Richard in the comedy film Le Distrait. She as well got featured in the Cousin Cousine, for which she earned an Academy Award nomination for Best Actress in a Leading Role. She as well worked with Rohmer once again in 1978, in the role of Guinevere in Perceval le Gallois and she also has a cameo in his Chloe in the Afternoon.
She was not that good in English that she, therefore, has generally turned down offers to appear in English-language films. She got featured in Woody Allen’s film (Stardust Memories) in 1980. She later got to be nominated for a Genie Award for her performance in No Blame in 1988. She later got featured as Marie Curie in a television mini-series. She as well preferred acting on the stage in France. She got to me to Los Angeles on tour to perform in the play Les Yeux Ouverts, in which she portrays French author Marguerite Yourcenar.
Marie-Christine Barrault Net Worth
Barrault estimated net worth is under review.
Marie Christine Barrault Filmography | Movies
Year
|
Movies
|
2016
|
Meurtres à Strasbourg de Laurence Katrian
|
2015
|
Shades of Truth de Liana Marabini
|
2014
|
Toi que j’aimais tant (téléfilm)/Toi que j’aimais tant d’Olivier Langlois
|
2014
|
Jusqu’au dernier (mini-série)/Jusqu’au dernier de François Velle
|
2014
|
Mongeville (épisode 4) de Bruno Garcia (réalisateur)/Bruno Garcia
|
2014
|
Scènes de ménages (prime-time L’Album de famille)
|
2013
|
Le Grand Méchant Loup de Nicolas Charlet et Bruno Lavaine
|
2013
|
L’Art de la fugue de Brice Cauvin
|
2013
|
Je m’appelle Hmmm… d’Agnès B.
|
2013
|
La Vie domestique d’Isabelle Czajka
|
2013
|
Myster Mocky présente/Hitchcock by Mocky
|
2012
|
La main passe (téléfilm, 2012)/La main passe de Thierry Petit
|
2009
|
Non ma fille tu n’iras pas danser de Christophe Honoré
|
2008
|
Ella & Louis de Laurence Moine (court métrage)
|
2006
|
La Disparue de Deauville de Sophie Marceau
|
2006
|
Ange de feu de Philippe Setbon
|
2006
|
Passés troubles de Serge Meynard
|
2005
|
Parlez-moi d’amour (téléfilm)/Parlez-moi d’amour de Lorenzo Gabriele
|
2004
|
L’Empreinte de l’ange de Christophe Reynaud (court métrage)
|
2003
|
Le Don fait à Catchaires de William Gotesman
|
2003
|
Rêves en France de Pascal Kané
|
2003
|
Droit d’asile de Jean Marbœuf
|
2003
|
Saint-Germain ou la Négociation (téléfilm)/Saint-Germain ou La Négociation de Gérard Corbiau
|
2002
|
Les Amants de Mogador de Souheil Ben-Barka
|
2002
|
La Deuxième Vérité de Philippe Monnier (réalisateur)/Philippe Monnier
|
2002
|
Garonne de Claude d’Anna
|
2001
|
Le vieil ours et l’enfant de Maurice Bunio
|
2000
|
Azzurro de Denis Rabaglia
|
1999
|
La Dilettante de Pascal Thomas
|
1999
|
Maison de famille de Serge Moati
|
1997
|
Berlin Niagara (Obsession) de Peter Sehr
|
1997
|
C’est la tangente que je préfère de Charlotte Silvera
|
1997
|
Les braconniers de Belledombre de Philippe Triboit
|
1997
|
Un coup de baguette magique de Roger Vadim
|
1997
|
Le Grand Batre de Laurent Carcélès
|
1996
|
La Nouvelle tribu de Roger Vadim
|
1996
|
Mon père avait raison (téléfilm)/Mon père avait raison de Roger Vadim
|
1996
|
Tendre piège de Serge Moati
|
1995
|
Les maîtresses de mon mari de Christiane Lehérissey
|
1994
|
Bonsoir de Jean-Pierre Mocky
|
1994
|
Et ensuite, le feu (La Prossima volta il fuoco) de Fabio Carpi
|
1993
|
Amour Fou de Roger Vadim
|
1993
|
Jenny Marx, la femme du diable de Michel Wyn
|
1991
|
Marie Curie, une femme honorable de Michel Boisrond
|
1990
|
Dames galantes de Jean-Charles Tacchella
|
1990
|
L’Amour nécessaire (L’Amore necessario) de Fabio Carpi
|
1990
|
L’Enfant des loups de Philippe Monnier
|
1990
|
Moi, général de Gaulle de Denys Granier-Deferre
|
1989
|
Jésus de Montréal de Denys Arcand
|
1989
|
Un été d’orages de Charlotte Brandström
|
1989
|
Une femme tranquille de Joyce Buñuel
|
1988
|
Daniya, jardín del harem de Carles Mira
|
1988
|
Adieu, je t’aime de Claude Bernard-Aubert
|
1988
|
L’Œuvre au noir d’André Delvaux
|
1988
|
Sanguines de Christian François
|
1988
|
Prisonnières de Charlotte Silvera
|
1987
|
Le Jupon rouge de Geneviève Lefebvre
|
1986
|
Vaudeville de Jean Marbœuf
|
1986
|
L’Été 36 d’Yves Robert
|
1985
|
Louise… l’insoumise de Charlotte Silvera
|
1985
|
Le Meilleur de la vie de Renaud Victor
|
1985
|
Le Pouvoir du mal de Krzysztof Zanussi
|
1985
|
Le Soulier de satin de Manoel de Oliveira
|
1984
|
Un amour de Swann de Volker Schlöndorff
|
1983
|
Mir reicht’s – ich steig aus de Gustav Ehmck
|
1983
|
Table for Five de Robert Lieberman
|
1983
|
Un amour en Allemagne (Eine liebe in Deutschland) d’Andrzej Wajda
|
1983
|
Les Mots pour le dire de José Pinheiro
|
1981
|
L’Amour trop fort de Daniel Duval
|
1980
|
Ma chérie de Charlotte Dubreuil
|
1980
|
Même les mômes ont du vague à l’âme de Jean-Louis Daniel
|
1980
|
Stardust Memories de Woody Allen
|
1980
|
Petit déjeuner compris – Feuilleton en 6 épisodes de 52 min – de Michel Berny – Marie Louise Gauthier
|
1979
|
Femme entre chien et loup d’André Delvaux
|
1978
|
La Grande Menace de Jack Gold
|
1978
|
L’État sauvage de Francis Girod
|
1978
|
Perceval le Gallois d’Éric Rohmer
|
1977
|
Le Chandelier de Claude Santelli
|
1975
|
Cousin, cousine de Jean-Charles Tacchella
|
1975
|
Du côté des tennis de Madeleine Hartmann-Clausset
|
1974
|
La Confession d’un enfant du siècle de Claude Santelli
|
1974
|
Le tour d’écrou de Raymond Rouleau d’après Henry James
|
1974
|
La Famille Grossfelder de Jean L’Hôte
|
1973
|
L’Enlèvement de Jean L’Hôte
|
1973
|
Histoire vraie de Claude Santelli
|
1972
|
L’Amour l’après-midi d’Éric Rohmer
|
1972
|
Les Intrus de Sergio Gobbi
|
1972
|
Le Sagouin de Serge Moati
|
1972
|
Au théâtre ce soir – Un mari idéal d’Oscar Wilde, mise en scène Raymond Rouleau, réalisation Pierre Sabbagh, Théâtre Marigny
|
1971
|
Les Sesterain, (série) réalisé par François Villiers
|
1970
|
Le Distrait de Pierre Richard
|
1970
|
Lancelot du lac de Claude Santelli
|
1969
|
Ma nuit chez Maud d’Éric Rohmer
|
1969
|
Que ferait donc Faber ? (série) réal. par Dolorès Grassian
|
Marie Christine Barrault Max-Henri Barrault
Marie-Christine Barrault Pictures
Marie-Christine Barrault Photomarie-christine barrault pète un câble dans un couvent !
Marie-Christine Barrault Interview
Marie Christine Barrault gave three outstanding performances of ” L’homme rêvé ” at the Twentieth Theater last April. She regularly takes this show that she designed with Roger Vadim , for the texts of the songs, and Jean-Marie Sénia , for the music, which accompanies it also on stage.
We had the chance to meet her between two shows and many projects.
What is the genesis of this show?
Marie Christine Barrault: The original idea was to have unpublished songs to sing them. The goal was very precise. It’s been a long time since I wanted to sing. I did a lot of classical singing because it is a basic actress work and even outside of that, I always liked to sing and wanted to sing. And I even think that if I had only one regret it would be not to see singing my job. Well, not really a regret but if I was 15 today, knowing what I know, I think I will have tried to be a singer too. I do not know if I would have done it because I did not have a natural voice. When I see the singers who open their mouth and it goes … They work a little technique of course but they already have the voice.
So I knew that I wanted to sing and also that I wanted to do it with Jean-Marie Sénia, composer and pianist, whom I met for the first time in 1977 and with whom I worked in 1978. Since then, he had wanted that I sing and I sing with him, with his music. We had already flirted a bit with some of his songs. The difficulty lay in the content of the songs and we got to ask Roger Vadim to write songs, which he never did. He accepted and he was inspired! We were very excited at first because of the abundance of his ideas that went in all areas. He sometimes wrote 4-5 texts in one week! Afterwards, you had to work on them of course. He had an overflowing imagination and he wrote novels, scenarios, poetry, letters. He wrote constantly and always had the pencil in his hand.
The songs have existed gradually. Jean-Marie Sénia chose one that inspired him and he wrote the music. He can write very fast and also more slowly. I then worked the songs as I went. The show existed just after Vadim’s death. He started from Vadim’s death, not that we wanted to talk about death, but we had to take into account his death that had just happened. It was not possible to sing only happy things because there was a gravity that was needed. If Vadim had lived, the show of songs would have been different with the same songs.
Roger Vadim was therefore ok for this show?
Marie Christine Barrault: He was not only in agreement but impatient to see it materialize and he thought it was long. It is true that it is very time to develop songs, to be comfortable to sing them … It takes much longer than for a play. It was very very long and he was very impatient because he was eager to see me on stage hearing me sing. We did not know yet what form this show would take. I would not say that it took the ideal form because I would have really liked it to be there …
“The dream man” is not only a recital since the songs alternate with texts.
Marie Christine Barrault: I always wanted to mix the two. I knew it would be such a format, even if I did not know what the texts would be, because I assume that I am an actress. and not singer and so I have to start from what I can do and what is my base, the spoken words and then go to the sung words. I’m not at all “varieties” so I did not see myself doing a variety show.
And then I saw recitals in which nothing happens because there is only someone who asks and who sings. I tell myself that this is not enough. In addition, with someone like me there is theatricality that settles. And what I love above all is to go from spoken to sung. That’s what I like when I listen to opera. For example, in Mozart’s operas, what I appreciate is the passage of the recitative, which expresses the feelings, to the air with that moment of apnea that precedes it.
This show is recurrent since you play it regularly. Is it still part of a limited number of performances?
Marie Christine Barrault: I have done it many times but not always in “series”. At Bouffes du Nord we had played a week. We have taken it for 3 performances at the Twentieth Theater but the goal is to play it in continuity. It is too demoralizing and difficult to recover with anxiety and jitters so that the next day is over!
Reduced representation also poses a problem of media coverage and public information.
Marie Christine Barrault: Yes. At Bouffes du Nord, we played a week and there was a crazy world because the show was part of the Théâtre de la Ville program. At the Twentieth Theater we had planned only 3 performances because we thought that the disc would be ready and that these representations would be part of the promotion of the album. But the record although technically ready, subject to 2 songs that I will record next week, will be released in September 2005.
So this programming was a bit private and we did not want to commit a very heavy budget for the promotion of some performances. That being the case, it gave us back the fishing, and even the record producer was delighted because he had never seen the show. And it also delighted the people we had invited and who are now motivated to help us.
How is the album “Women are always right”?
Marie Christine Barrault: The album will feature 14 of the 16 songs that are currently in the show.
Are there other songs that could be the subject of a show or recording?
Marie Christine Barrault: Yes, there are others but only 2 or 3 have music. In fact, there are tons of pages but I do not know if they will be exploited. Because I want to do so many things. We have so many projects with Jean-Marie Sénia …
Have you ever made an album called “Fénétrange Belle Ile”?
Marie Christine Barrault: Yes, with Jean Marie Sénia. It was during a show that only resulted in a unique performance at a festival around Sarah Bernhard. We had learned in a week, I do not even know how we had done, 9 beautiful songs with lyrics too. The excitement that resulted resulted in the recording of 3 songs. But our idea is to take this show back and make it exist.
Tell us a bit about your projects …
Marie Christine Barrault: I work a lot with the Quatuor Ludwig on 2 programs, one around Rimbaud, the other around Berlioz which brings us to move a lot in France and even abroad. I also continue the show “Liturgies for a world of peace” with Hélène Delavault and Susan Manoff who turns a lot. I also do “An Evening with George Sand” with Alain Duault, who wrote the text of a fictional interview of George Sand from his memoirs, and with Yves Henry pianist who interprets Chopin. I have many more …
I did recently “The beautiful indifferent” Cocteau. I also work with a guitarist that I love enormously, Arnaud Dumont, on a show of poetry and guitar. Often we make a single performance to see what is the welcome. This is a considerable amount of work. At the moment, I am preparing a show about Camille Claudel, a show about the sonnets of Shakespeare and Petrarch with Yves Brosse, harpsichordist and organist, an evening La Fontaine and Madame de Sévigné, a show Georges Bernanos-Paul Claudel, the 2ers with harpsichord and the 3rd with organ.
Actually, I was going to ask you the question about the work you do on the choice of texts.
Marie Christine Barrault: Yes, and I became extremely cultured. (Laughs). And I end up acquiring a kind of instinct that when I open a book I find what seeks. I spend my life in books and on stage. Thus in Grignan, I will do the correspondence of Proust and his mother with a comedian whom I adore, Nicolas Vaude.
Do you have theater projects?
Marie Christine Barrault: Yes, I hope that at least one of my 2 projects will be realized next season, which will allow me to go to the same theater every day.
The first, which is important to me, is based on the idea that I had to make the adaptation of a novel by Nina Berberova “The accompanist” narrating the reports of a singer and his pianist . I love the novel and I am fighting a lot for this project. Especially since I am very aware of the relationship problems between the star, the one in front, and his companion.
The second project is more uncertain. It’s about “Opening Night” about the rebirth of an actress who goes back on stage after years of galley and plays her va-tout, piece that was adapted for the last film of Cassavetes with Gena Rowlands.
For “The companion” you say that you asked for her adaptation. Would not it interest you to do it?
Marie Christine Barrault: No, not really, especially since it’s a novel written in the first person. Moreover, as I consider that I am no longer the age of the role as it is written it implied to proceed by flashback. Evelyne Pralot, the adapter, did a remarkable job.
Writing does not tempt you?
Marie Christine Barrault: If but as for “The horse in the stone” but not more.
Marie Christine Barrault gave three outstanding performances of ” L’homme rêvé ” at the Twentieth Theater last April. She regularly takes this show that she designed with Roger Vadim , for the texts of the songs, and Jean-Marie Sénia , for the music, which accompanies it also on stage.
We had the chance to meet her between two shows and many projects.
What is the genesis of this show?
Marie Christine Barrault: The original idea was to have unpublished songs to sing them. The goal was very precise. It’s been a long time since I wanted to sing. I did a lot of classical singing because it is a basic actress work and even outside of that, I always liked to sing and wanted to sing. And I even think that if I had only one regret it would be not to see singing my job. Well, not really a regret but if I was 15 today, knowing what I know, I think I will have tried to be a singer too. I do not know if I would have done it because I did not have a natural voice. When I see the singers who open their mouth and it goes … They work a little technique of course but they already have the voice.
So I knew that I wanted to sing and also that I wanted to do it with Jean-Marie Sénia, composer and pianist, whom I met for the first time in 1977 and with whom I worked in 1978. Since then, he had wanted that I sing and I sing with him, with his music. We had already flirted a bit with some of his songs. The difficulty lay in the content of the songs and we got to ask Roger Vadim to write songs, which he never did. He accepted and he was inspired! We were very excited at first because of the abundance of his ideas that went in all areas. He sometimes wrote 4-5 texts in one week! Afterwards, you had to work on them of course. He had an overflowing imagination and he wrote novels, scenarios, poetry, letters. He wrote constantly and always had the pencil in his hand.
The songs have existed gradually. Jean-Marie Sénia chose one that inspired him and he wrote the music. He can write very fast and also more slowly. I then worked the songs as I went. The show existed just after Vadim’s death. He started from Vadim’s death, not that we wanted to talk about death, but we had to take into account his death that had just happened. It was not possible to sing only happy things because there was a gravity that was needed. If Vadim had lived, the show of songs would have been different with the same songs.
Roger Vadim was therefore ok for this show?
Marie Christine Barrault: He was not only in agreement but impatient to see it materialize and he thought it was long. It is true that it is very time to develop songs, to be comfortable to sing them … It takes much longer than for a play. It was very very long and he was very impatient because he was eager to see me on stage hearing me sing. We did not know yet what form this show would take. I would not say that it took the ideal form because I would have really liked it to be there …
“The dream man” is not only a recital since the songs alternate with texts.
Marie Christine Barrault: I always wanted to mix the two. I knew it would be such a format, even if I did not know what the texts would be, because I assume that I am an actress. and not singer and so I have to start from what I can do and what is my base, the spoken words and then go to the sung words. I’m not at all “varieties” so I did not see myself doing a variety show.
And then I saw recitals in which nothing happens because there is only someone who asks and who sings. I tell myself that this is not enough. In addition, with someone like me there is theatricality that settles. And what I love above all is to go from spoken to sung. That’s what I like when I listen to opera. For example, in Mozart’s operas, what I appreciate is the passage of the recitative, which expresses the feelings, to the air with that moment of apnea that precedes it.
This show is recurrent since you play it regularly. Is it still part of a limited number of performances?
Marie Christine Barrault: I have done it many times but not always in “series”. At Bouffes du Nord we had played a week. We have taken it for 3 performances at the Twentieth Theater but the goal is to play it in continuity. It is too demoralizing and difficult to recover with anxiety and jitters so that the next day is over!
Reduced representation also poses a problem of media coverage and public information.
Marie Christine Barrault: Yes. At Bouffes du Nord, we played a week and there was a crazy world because the show was part of the Théâtre de la Ville program. At the Twentieth Theater we had planned only 3 performances because we thought that the disc would be ready and that these representations would be part of the promotion of the album. But the record although technically ready, subject to 2 songs that I will record next week, will be released in September 2005.
So this programming was a bit private and we did not want to commit a very heavy budget for the promotion of some performances. That being the case, it gave us back the fishing, and even the record producer was delighted because he had never seen the show. And it also delighted the people we had invited and who are now motivated to help us.
How is the album “Women are always right”?
Marie Christine Barrault: The album will feature 14 of the 16 songs that are currently in the show.
Are there other songs that could be the subject of a show or recording?
Marie Christine Barrault: Yes, there are others but only 2 or 3 have music. In fact, there are tons of pages but I do not know if they will be exploited. Because I want to do so many things. We have so many projects with Jean-Marie Sénia …
Have you ever made an album called “Fénétrange Belle Ile”?
Marie Christine Barrault: Yes, with Jean Marie Sénia. It was during a show that only resulted in a unique performance at a festival around Sarah Bernhard. We had learned in a week, I do not even know how we had done, 9 beautiful songs with lyrics too. The excitement that resulted resulted in the recording of 3 songs. But our idea is to take this show back and make it exist.
Tell us a bit about your projects …
Marie Christine Barrault: I work a lot with the Quatuor Ludwig on 2 programs, one around Rimbaud, the other around Berlioz which brings us to move a lot in France and even abroad. I also continue the show “Liturgies for a world of peace” with Hélène Delavault and Susan Manoff who turns a lot. I also do “An Evening with George Sand” with Alain Duault, who wrote the text of a fictional interview of George Sand from his memoirs, and with Yves Henry pianist who interprets Chopin. I have many more …
I did recently “The beautiful indifferent” Cocteau. I also work with a guitarist that I love enormously, Arnaud Dumont, on a show of poetry and guitar. Often we make a single performance to see what is the welcome. This is a considerable amount of work. At the moment, I am preparing a show about Camille Claudel, a show about the sonnets of Shakespeare and Petrarch with Yves Brosse, harpsichordist and organist, an evening La Fontaine and Madame de Sévigné, a show Georges Bernanos-Paul Claudel, the 2ers with harpsichord and the 3rd with organ.
Actually, I was going to ask you the question about the work you do on the choice of texts.
Marie Christine Barrault: Yes, and I became extremely cultured. (Laughs). And I end up acquiring a kind of instinct that when I open a book I find what seeks. I spend my life in books and on stage. Thus in Grignan, I will do the correspondence of Proust and his mother with a comedian whom I adore, Nicolas Vaude.
Do you have theater projects?
Marie Christine Barrault: Yes, I hope that at least one of my 2 projects will be realized next season, which will allow me to go to the same theater every day.
The first, which is important to me, is based on the idea that I had to make the adaptation of a novel by Nina Berberova “The accompanist” narrating the reports of a singer and his pianist . I love the novel and I am fighting a lot for this project. Especially since I am very aware of the relationship problems between the star, the one in front, and his companion.
The second project is more uncertain. It’s about “Opening Night” about the rebirth of an actress who goes back on stage after years of galley and plays her va-tout, piece that was adapted for the last film of Cassavetes with Gena Rowlands.
For “The companion” you say that you asked for her adaptation. Would not it interest you to do it?
Marie Christine Barrault: No, not really, especially since it’s a novel written in the first person. Moreover, as I consider that I am no longer the age of the role as it is written it implied to proceed by flashback. Evelyne Pralot, the adapter, did a remarkable job.
Writing does not tempt you?
Marie Christine Barrault: If but as for “The horse in the stone” but not more.
Inescapable question: and cinema?
Marie Christine Barrault: I’m going to shoot a little bit for television. I have some projects for the cinema. I am not opposed to the cinema but the ball is in the camp of the directors and I think that they are not interested any more at the women of my age. I rarely go to the cinema and see a role that could have been offered to me. A little more on television but the problem lies in the quality of the achievements. In retrospect, I find that the television films I have done in the past are absolute masterpieces compared to the ones we are seeing now.
You are also involved in religious shows.
Marie Christine Barrault: Yes. A week ago, in Grenoble, on the occasion of the commemoration of the 60th anniversary of the liberation of the camps in which I participated with Pierre Arditi to read beautiful and moving texts, a journalist asked me if it was the place of a comedian. But is there a human being that does not look? I do not even talk about the actor anymore, but about the human being. In addition, if one does not put his work of actor in the service of such causes who will do it? He told me the policies. But politics is not there to deliver a piece of humanity! I will make the same answer for religion.
So next week I go to Rome with the priest of the Abbey of Solesmes who is specialized in Gregorian chant, who, after having seen “Liturgies for a world of peace”, proposed to me to make a show on the Virgin Mary with a Le Mans choir. With this show we go from church to church and we will go to Jerusalem next year. It is on the border of what I am between the woman I am, who went to a religious school and for which Gregorian songs are part of the musical culture, and the actress.
The content matters to me and it is a plus in this case but it is not essential. I can say with the same conviction Jewish or Muslim texts. I found that in churches, texts are often very poorly spoken. So I’m happy to be able to hear lyrics and my work as an actress also.
For those who can not follow you in your many wanderings, what is your next news on Paris?
Marie Christine Barrault: It will be in September with the show dedicated to George Sand!
Marie Christine Barrault: I’m going to shoot a little bit for television. I have some projects for the cinema. I am not opposed to the cinema but the ball is in the camp of the directors and I think that they are not interested any more at the women of my age. I rarely go to the cinema and see a role that could have been offered to me. A little more on television but the problem lies in the quality of the achievements. In retrospect, I find that the television films I have done in the past are absolute masterpieces compared to the ones we are seeing now.
You are also involved in religious shows.
Marie Christine Barrault: Yes. A week ago, in Grenoble, on the occasion of the commemoration of the 60th anniversary of the liberation of the camps in which I participated with Pierre Arditi to read beautiful and moving texts, a journalist asked me if it was the place of a comedian. But is there a human being that does not look? I do not even talk about the actor anymore, but about the human being. In addition, if one does not put his work of actor in the service of such causes who will do it? He told me the policies. But politics is not there to deliver a piece of humanity! I will make the same answer for religion.
So next week I go to Rome with the priest of the Abbey of Solesmes who is specialized in Gregorian chant, who, after having seen “Liturgies for a world of peace”, proposed to me to make a show on the Virgin Mary with a Le Mans choir. With this show we go from church to church and we will go to Jerusalem next year. It is on the border of what I am between the woman I am, who went to a religious school and for which Gregorian songs are part of the musical culture, and the actress.
The content matters to me and it is a plus in this case but it is not essential. I can say with the same conviction Jewish or Muslim texts. I found that in churches, texts are often very poorly spoken. So I’m happy to be able to hear lyrics and my work as an actress also.
For those who can not follow you in your many wanderings, what is your next news on Paris?
Marie Christine Barrault: It will be in September with the show dedicated to George Sand!
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