Les Grosses Têtes: LE COUP DE FIL DU JOUR - "Music-Hall Colette" à l'honneur

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The series ends with a book entitled The Sentimental Retreat.

A series?

Yes, a literary series, which was also a TV series,

since it was then adapted to television.

You're right, Mr. Twain.

But it was first a series of famous novels, from 1900 to 1907.

The years during which the different novels were written,

and the last one in 1907 was called The Sentimental Retreat.

It's not Erkman Schottrillon.

It's a woman.

It's a woman?

And for everything you say?

Colette.

And the series is?

It's Claudine.

The answer is not Claudine.

Yes.

That was good.

I prefer Martin.

The famous...

You don't say Claudette?

No, the famous series of Claudine.

Indeed, there is no Claudine in the title of the last novel,

Claudine at school, Claudine in Paris, Claudine in Menage,

Claudine in Senvalle.

The last one is called The Sentimental Retreat.

And that's good.

Colette, you play on stage.

Cleo Senia, hello.

Hello, big heads.

Hello.

You should have answered the question, I guess.

It's good, Colette.

Yes.

Colette, in musical Colette, in the space of the art of Chalon on stage,

until next Saturday.

You trace the incredible story of this writer,

the event that must be said, was someone really a precursor,

not only in his field, but who did so many things,

including both at the Goncourt Academy,

like you, Philippe Claudel,

but who started as...

I was going to say, Streep-Tizos, like you, Philippe Claudel.

Yes, me too.

But no one remembers it.

And I can start over.

By the way, you yourself, you are in some kind of ephemeral...

Yes, it is.

Cleo...

Cleo Senia.

And that's why the director of this show

chose you to interpret Colette.

Me, in fact, I was...

I had a theater training, first of all.

So a comedy, rather classic, at school last year.

That's where I learned.

And very quickly, I was also directed to musical,

because I wanted to work with my body.

And with Léna, we regrouped all this to make musical Colette.

Musical Colette, which tells the story of this feminist,

without saying it again, who loved women, men,

who actually did...

Life, yes.

Life that made artists of Cabaret...

It was really good, life.

Artists of Cabaret, while then being great writers.

First, obviously, hidden for his husband, Willy.

It's the famous Claudine at the start.

You have to tell him, it wasn't under his name

that it was published in a...

No, no.

In a first place.

In fact, we had 30 years of career

for her to finish Colette.

It's crazy.

With Blé en Herbe.

It's her who wrote, but it's him who published

until finally she was able to write under her name

Colette, who was an artist of musical,

member and even president of the Academy Goncourt.

President of the Academy.

President of the Academy Goncourt.

Great lover.

Journalist.

Journalist.

By the way, I think she was...

We were talking about Andrew earlier.

If you remember, Rebonne, she assisted

several process of Andrew Colette.

And she's quite old, by the way.

81 years.

81 years.

You're going to the end?

You're going to the end.

We're going to the end.

We're going to the end.

You're going to the end.

To the national obstacle.

It even starts on that.

And we see her all young.

We see her all young.

We see her all young.

We see her all her life.

We see her all her life.

And above all, we have been guided in this show

through the dynamism of Colette

and its famous...

its motive letter.

I would like to start again.

Two, start over.

Three, start over.

So it's a gift to life, a gift to freedom

and a gift to reinvent yourself.

And there, we have to say it

in addition to the honor of this year, 2023

since it's also a commemoration.

She was born in 1873.

So it's the 150th anniversary

of Colette's birth.

It's maybe the reason why

also there, Chalon sur Seau,

we had the desire to have space

to make her a tribute through this musical Colette.

Well, let's say it was good,

but it wasn't at all premeditated.

It's been five, six years that I think of this show.

And I've been writing with Alexandre Zambeau for three years.

So it all turns out very well,

but it wasn't premeditated.

In any case, we can hear your voice,

a dynamism.

Oh yes.

You've just been paid.

Yes, exactly.

And it gives you a lot of enthusiasm

that will give envy to all those

who are on the side of Chalon sur Seau

to go and applaud you before next Saturday.

After that, you'll go on tour.

So after that, you'll go back to Paris in January.

Well, very good.

So now we're going to come and see you in Paris.

And when we were talking about voices,

I invite everyone to listen to archives

with the voice of Colette.

Oh yeah.

There was an accent.

Oh yeah.

It was very pronounced.

It was R, of course.

Oh yes.

And you did it with the accent.

You too, then?

So yes, but not during the whole show.

We stop very quickly.

It's Lena Breban who put on stage

the show, the musical Colette,

until next Saturday at Chalon sur Seau.

And then you told us,

so much better in January, it will be.

Do you know where already in Paris in January?

I can't say it yet.

So very good.

I don't want to anyway.

In any case, indeed.

In the prison of health.

Colette on stage.

Colette on stage.

Anthony Palouette, in any case,

go and applaud you at Chalon sur Seau.

Critics at Figuaro,

they recommend this show.

We will come to see you in January in Paris.

You will tell us where it will be until then.

We thank you.

We applaud you.

Pleosemia.

Machine-generated transcript that may contain inaccuracies.