Showing posts with label ben heine - art. Show all posts
Showing posts with label ben heine - art. Show all posts
Interview with Ben Heine
for 'The New American Dream'
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Mike Palecek: Where do you think your passion came from? What are your personal experiences of oppression, militarism, imperialism?

Ben Heine: My passion started a long time ago when I was a little boy. I didn’t live in an oppressed country, I read about it in books and news articles. And I do my best to denounce all kinds of social injustices, crimes against humanity, human rights infringements, racism and oppression with my pencils and brushes.

M P: How long have you been making a living as an artist? You don't have a day job, do you? Did you use to?

Ben Heine: Are you joking? Do you really think I make a living as a political artist? Ha ha, no, I don’t. I do have a full time day job. I teach French, English and History in a Belgian high school. This is very challenging and time consuming. A few months ago, I was working in a communication agency. I didn’t really like it. I think we, artists, must accept making jobs that have nothing related to our passion. That’s stupid, I know, but that’s what society obliges us to do. A good friend of mine and a very talented Spanish artist, Juan Kalvellido, used to work many years at Burger King and make his revolutionary political creations beside!

Mike Palecek: Would you like to choose one of these to answer, elaborate on? I don't ask this to make fun. I ask because I really seek the answers.

Are UFOs real? - Did we land on the moon in 1968? - Did Bush knock down the towers? - Was Paul Wellstone's death an accident? - The Oklahoma City bombing? Wasn't that just another U.S. government terrorist exercise? Or not. - Waco. We burned kids, right? You can see flames shooting out of the tanks. Or not. - Is Bigfoot real? - Is there a God? ... What makes you think that?

Ben Heine: Ok, I go for "Is there a God?". Yes, I think so. God is to be found in as many entities as there are human beings. This is just a personal opinion. (Mike, I’m not a crazy philosopher, you are. ☺)

Mike Palecek: Let me see, how do I want to put this... Do Europeans give a shit about America? Do we really affect your lives? How about our wars, our government? Our movies, entertainers? Or, do you have your own culture, exclusive of us. I have never been to Europe, you understand.

Ben Heine: Very good question you ask here. Yes, in my opinion, all European countries and people are very concerned about America’s decisions. Many European countries are involved in the same wars (sad to say, but for instance, the Belgian government sent some troops in Afghanistan too…) Many Americans used to be Europeans in the past. American culture affects us in a strong way too. We have all your big Hollywood movies in our cinemas. I’m not sure that this is positive because this is somehow a “brain colonization”. And we actually don’t have much choice. And yes, we have our own culture. We have our own movies too, ha ha! Each country in Europe has rich traditions. Belgium is in the middle of Europe. From Brussels, I can travel to Amsterdam, Paris, London or Berlin in just a few hours. We all have different languages. Although we all have different customs and standards of living, we still feel Europeans.

Mike Palecek: Do you have hope in Obama? Why? Why not? Do you spend time thinking about Obama? Bush?

Ben Heine: Yes, I have many hopes. Barack Obama has won the presidential elections and I believe an important change is happening in America. There is a new positive hope for Americans and for the citizens of other foreign nations. I foresee a better future for America hence for the world. There are a lot of expectations. And Obama might disappoint us in many ways. But he will act differently than his predecessors and if he follows only 50% of his promises this will have positive consequences. This election changed in many ways my views about America. America is able to renew itself as no other country can do.

Mike Palecek: Does your favorite coffee cup have words on it? What are they? What did you absolutely have to get done by noon today?

Ben Heine: My favourite coffee cup has a big heart on it. I’m a lover and I drink litters of coffee everyday. I must prepare the lessons I’ll give to my students tomorrow and answer to a bunch of emails.

Mike Palecek: What else would you like to add? What else should I have asked?

Ben Heine: I would like to put here some questions that were recently asked to me by Joe Szabo (Joe Szabo is an American cartoonist, author, editor, public speaker and founder of WittyWorld International Cartoon Magazine. He is currently making a worldwide survey for his upcoming book on “The Image of America”.

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Joe Szabo: If you could think of one word that could describe the United States best, what would that be?

Ben Heine: The US, as everybody knows, is a multicultural country. It is the fruit of the old European colonization. The practice of intense slavery gave the US African people. Now, people from all around the world (especially from South American coutries)are coming to live in the US, because they consider it as an "El Dorado". The US is a mix of nationalities, of origins and roots, that's, according to me, an explanation of it's cultural wealth, but also of the growing xenophobia, and the fear of the foreigner…

Joe Szabo: In its relation to other countries, do you see the U.S. as a partner, leader, or dictator?

Ben Heine: The US is definitely a worldwide leader. It is a strong democracy, thus not a dictatorship. Since the "Monroe Statement", the US has decided to lead and not to be lead. The US is a partner for some countries (mostly European) but also has many enemies (mostly in the Middle East and in South America).

Joe Szabo: Many countries took the model for their own constitution, legislative system as well as economic and cultural development from the United States. Do you see this as an equalizer, a threat to national and cultural independence or do you view this as a common sense, forward-propelling factor for the rest of the world hoping to catch up?

Ben Heine: I see this as "a common sense, forward-propelling factor for the rest of the world hoping to catch up." I am from Belgium. Belgium got its independence from the bigger nations surrounding it (Germany, France, Nederland...) in 1831. It got its own Constitution, which was inspired from the US Constitution. We can criticize the use of this Constitution by the Bush administration, but I think that the US Constitution in itself is a true and beautiful example of real democracy.

Joe Szabo: Is there still such a thing as "the American dream?" And if so what is it for you?

Ben Heine: The American dream is the search of material possessions as a way of finding happyness. The American dream is different for each American, though I think it's always related to material wealth and financial success. The famous "American dream" has evolved throughout American history. It has become a symbol and an ideal.

The American dream is different nowadays and is more related to egoism, making money and pure consumerism. I find it a bad choice. In some ways and for some people, it has become the "American nightmare".

Mike Palecek (an American writer living in Iowa for whom I made several illustrations in his recent book "Iowa Terror") has just launched a new website called "The New American Dream" where he gives a new definition of it, affirming that one of the obstacles Americans need to overcome is the lack of curiosity about the rest of the world... I can't agree more with him.

Joe Szabo: Why do people hate America?

Ben Heine: May be because of it's arrogance though its a young democratic State in mankind history, because of it's violent way of solving conflicts abroad (Iraq, Afghanistan...), because many Americans just ignore what's happenning outside the borders of their country, because big US multinationals (Coca Cola, Nike, Mc Donalds...)invade and destroy the economy of several other nations.

In the Middle East, many Arab countries hate America because it backs Israel by giving money to the Israeli government and weapons to Tsahal (the Israeli army).

Europeans usually criticize specifically the Bush administration (not the US in general). They usually dislike Bush because they believe he is stupid and doesn't understand the consequences of his acts.

But the US and European countries still have a lot in common (same judeo-christian roots, similar culture, same way of living, similar political systems...)

I think the question is wrong. It shouldn't be "Why people...", but "Why some people...". Americans are sometimes "paranoiac" and believe all the world hates them, which is of course wrong. People know North America is able to change fast.

Joe Szabo: About 59 million immigrants, including 11 million illegal aliens, live in the U.S. today. Why do so many people - some even risking their lives - keep migrating to the U.S.?

Ben Heine: As I said in a previous answer, I think the main reason to that is the "El Dorado" ideal. We have roughly the same situation in Europe (many Africans try to migrate to European industrialized countries, most of them die on their way. It's a terrible situation.)

The immigrants (Mexicans...) coming in the US dream to earn more money, to have a great job, to live in a nice house, and to enjoy social/financial help. Some immigrants also seek asylum and consider the US as a better democracy, they are political refugees.

This is a totally wrong conception. What they get instead is social exclusion, ghettos... America is considered as the richest and most powerful, technologically advanced country but many Americans do not earn a lot and live as "poor people". All the world saw the growing poverty some American citizens after the Katrina disaster last summer.

Joe Szabo: Tell a story you heard about or experienced in the United States and of which you could say it can happen "only in America."

Ben Heine: Well, a few years ago I visited all the Western coast of the US (and only Washington in the East). The landscapes, towns (Canyons, Yosemite village, salt desert, amazing hotels in Las Vegas, business in Holywood, Indians in Arizona...) hotels, food and people were great. I can't quote all the great things I saw.

But I was struck by the Indian tribes reserves in Arizona. This was quite shocking. Most of the Indians have no social help and live in total poverty. They become depressed and alcoholic and they die very young. They are treated like animals in a zoo by the "modern Americans" (because the Indians only shoud be called "Americans", as it's their land originally...). That can only happen in America. I liked a lot visiting the US, but I was deeply shocked by this.

I was also amazed by the "big dimension" of everything. Las Vegas is a particularly good example: Huge hotels with so many casinos... In one of the hotels, there is even a reconstitution of Paris! Along the streets, there are lakes with shows and spectacles to attract the tourists and visitors in the casinos... All the advertising lights, the smart limousines, the famous people. Actually Las Vegas is an artificial town in the middle of the desert! This was beautiful to see. That can only happen in North America.

Joe Szabo: Why did 9/11 (the terror attack against the World Trade Center and the Pentagon) happen?

Ben Heine: That's very complicated. The September 11 attacks were a tragic event in American history. It was also tragic for the world. The so called "War on terrorism" launched by the Bush administration generated more dramatic tensions between leading countries. Instead of appeasing the world, it increased terrorist attacks worldwide. I think it happened because Al-Qaeda wanted to show the world that American supremacist behaviour had come to an end. America was vulnerable as any other country. I believe it was also a revenge by the attackers and all their supporters against American imperialism.

Joe Szabo: How would you describe the American culture?

Ben Heine: I would say the American culture is rich and fertile. The only problem is that it’s too “self-centered”

Joe Szabo: What is America's greatest shortcoming?

Ben Heine: It's too "self-centered", blind to all the disasters that are happening outside its borders...

Joe Szabo: How is America different from your country?

Ben Heine: My country is really tiny :) The USA is huge. We, as Belgians do not really consider that being Belgian is a “top quality” in itself. At least that's my belief. I consider myself more as a “citizen of the world” or a “European”. I was born and lived 7 years in another country (Ivory Coast, Africa). So I might be somehow an "exception". I have the feeling that some Americans are so proud of their nationality that they don’t pay attention to what’s happening “outside”. This is an important difference.

Joe Szabo: Would the world be a better or worse place without America? Why?

Ben Heine: I don't know. What I know is that any other huge nation could make the same mistakes.

Joe Szabo: Describe your feelings, and emotion when you see an American flag.

Ben Heine: I see a lot of colored and complex symbols…

Now the fact that it is so frequently displayed in public and private places (more I think than in other European nations) proves a certain fear of the American people to lose what they have had with great difficulty: independence, unity, freedom, democracy and power.

Although American people do certainly not interpret it this way, I think many foreign observers see this as a hostile and arrogant demonstration of authority, control, supremacy…

A flag should have a rational meaning, but the American flag brings a lot, may be too much emotion, pride and passion.

Joe Szabo: In your view what are the main goals of U.S. foreign policy?

Ben Heine: I think the main goal of the U.S. foreign policy is to preserve national interests. This is rather logical. But I’m convinced that this shouldn’t be the purpose of a leading nation worldwide. A good leader normally helps as much as they can the weakest the poorest and the oppressed ones and do not fight only for their own interests. A good leader promotes Peace and defends democracy and justice in its land but also in other lands. But it’s always easier to play with people’s fear.

Joe Szabo: How do you see the foreseeable future of America?

Ben Heine: Barack Obama has won the presidential elections and an important change is happening in America. There is a new positive hope for Americans and for the citizens of other foreign nations. I foresee something good for America.

Joe Szabo: What are America's greatest contributions to the world? You may give more examples starting with the most important.

Ben Heine: There have been many contributions. Here are a few ones that I have in mind:

1) The progress and spreading of new technologies and applied sciences.
2) The proof that a country can have citizens of all origins, of all races, of all colours living in an apparent peaceful harmony.
3) The demonstration of the importance and effectiveness of the Constitutional democracy and the safe development of universal suffrage.
4) Freedom of the will for the individual.
5) Universal access to education and information

But all these positive contributions have been achieved with tremendous difficulties and after centuries. And I could evoke a negative aspect for each one of them. 1) weapons’ business, 2) Xenophobia, racism, 3) 8 years of almost “dictatorship” under the Bush administration…
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Over-Consumption...
Planet Earth in Danger !
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Fast Food
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By Richard Thompson

Big mac, small mac, burger and fries
Shove 'em in boxes all the same size
Easy on the mustard, heavy on the sauce
Double for the fat boy, eats like a horse.
Fry them patties and send 'em right through
Microwave oven going to fry me too
Can't lose my job by getting in a rage
Got to get my hands on that minimum wage.

Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.

Shake's full of plastic, meat's full of worms
Everything's zapped so you won't get germs
Water down the ketchup, easier to pour on
Pictures on the register in case you're a moron.
Keep your uniform clean, don't talk back
Blood down your shirt going to get you the sack
Sugar, grease, fats and starches
Fine to dine at the golden arches.

Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.

Baby thrown up, booth number 9
Wash it down, hose it down, happens all the time
Cigarettes in the coffee, contact lens in the tea
I'd rather feed pigs than humanity.

Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.

(The poem appeared on compsci.rice.edu)
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"Planet Health" for Obesity Reduction
in School Children—Readily Accepted
and Cost-Effective

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"Planet Health"

- Physical activity and nutrition lessons woven into existing middle school curriculum
- Effective in reducing TV viewing time in both boys and girls and decreasing obesity in girls
- Readily adopted by teachers; Boston Public Schools expand its use
- Cost-effective and projected to save money in later life

"Background"

Between 1980 and 1999 the prevalence of overweight in the United States nearly tripled (from 5% to 14%) among adolescents and nearly doubled (from 7% to 13%) among children 6 to 11 years of age. This trend forecasts an increase in chronic disease as the younger generation ages. Little is known about effective ways to reverse this alarming trend, although its root cause of insufficient physical activity in relation to excess calories consumed is well known. Because most children spend a substantial portion of their day in school, the school environment is a promising venue for educational and experiential lifestyle interventions.

Context

Focusing on how to increase physical activity and improve dietary habits, researchers at Harvard University’s CDC-supported Prevention Research Center (PRC) developed* an interdisciplinary curriculum (called Planet Health) for public middle schools, in explicit collaboration with teachers and school principals. The curriculum was designed to fit easily into existing language, math, science, social studies, and physical education classes; to foster basic educational competencies required by the state of Massachusetts; and to provide materials easy for teachers to use. The content emphasizes increasing consumption of fruits and vegetables, decreasing consumption of high-fat foods, decreasing television viewing, and increasing physical activity.

Methods and Results

Phase I

A 2-year randomized controlled trial* of the curriculum in 10 public middle schools in Boston yielded a significant reduction in television watching for both girls and boys, and a significant decrease in the prevalence of obesity among girls.

Phase II

After the Boston Public Schools (BPS) expressed interest in disseminating Planet Health, a partnership was formed to pilot test how feasible and sustainable the curriculum could be in public school settings where resources are constrained. Using the model of community-based participatory research, a project advisory board representing the key stakeholders within the BPS and the Harvard PRC guided the partnership from its inception. The BPS selected a sample of six inner-city middle schools to participate, while the PRC provided the Planet Health curriculum, training workshops for more than 100 teachers, small stipends for teacher coordinators within each of the participating schools, and research expertise to assess diffusion of the program.

The diffusion study demonstrated that 76% to 100% of teachers found the curriculum highly acceptable and 78% to 100% planned to continue using it. More than 90% found the curriculum effective and believed that it made a positive contribution to their classes.

Consequences

Satisfied that its criteria for success were met, BPS endeavored to sustain and expand use of the Planet Health curriculum through independent funding. It first secured funding from the U.S. Department of Education’s Physical Education for Progress for pilot expansion to 12 schools in 2002–2003. Subsequently, BPS received financial support for further expansion from the Boston Public Health Commission under the auspices of the new STEPS to a Healthier U.S. project, sponsored by the U.S. Department of Health and Human Services.

Impact and Potential Impact

Planet Health is being implemented in more than 120 schools in Massachusetts, and in the past two years, more than 1,000 teachers have been trained to use it. In addition, 2,000 copies of the curriculum have been purchased by interested parties in 48 states and 20 countries, potentially benefiting many thousands of children.

An independent economic analysis of Planet Health was conducted based on an estimated program cost of $14 per student per year and an obesity reduction of 1.9% persisting into adulthood among girls. Based on these assumptions, the program was found to be highly cost-effective—in fact, more cost-effective than commonly accepted preventive interventions such as screening and treatment for hypertension. Furthermore, the program was projected to save money via avoided medical costs and productivity losses later in life. For every dollar spent on the program in middle school, $1.20 in medical costs and lost wages would be saved when the children reach middle age.

Planet Health has demonstrated effectiveness, feasibility, acceptability, and sustainability in a public school environment. The curriculum has been found to be cost-effective and, dollar for dollar, to save society money in the long run.

*The original efficacy study was conducted under the auspices of the National Institutes of Health.

References

Gortmaker SL, Peterson K, Wiecha J, Sobol AM, Dixit S, Fox MK, Laird N. Reducing obesity via a school-based interdisciplinary intervention among youth: Planet Health. Archives of Pediatrics and Adolescent Medicine 1999;153:409–18.

Wang LY, Yang Q, Lowry R, Wechsler H. Economic analysis of a school-based obesity prevention program. Obesity Research 2003;11:1313–24.

Wiecha JL, El Ayadi AM, Fuemmeler BF, Carter JE, Handler S, Johnson S, Strunk N, Korzec-Ramirez D, Gortmaker SL. Diffusion of an integrated health education program in an urban school system: Planet Health. Journal of Pediatric Psychology 2004;29:467–74.

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--> The above study appeared on www.cdc.gov (Center for Disease Control and Prevention)
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Creative Commons License
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Silvia Monfort
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© 2008 - Ben Heine
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Silvia Monfort (1923, 1991) was a French actress and theatre director. Daughter of the sculptor Charles Favre-Bertin and wife of Pierre Gruneberg, this talented actress was an undying champion of the popular theatre. She was named Knight of the Legion of Honor in 1973, Officer of Arts and Letters in 1979 and then Commander of Arts and Letters in 1983. She is buried in the Père Lachaise cemetery.

A precocious vocation

She was born in the neighborhood of Le Marais, on Rue Elzévir, a short distance away from Rue de Thorigny, where she would set up her first theatre much later. Her family had lived in this Parisian neighborhood for seven generations. She lost her mother very early and her father put her in a boarding school. She undertook her secondary studies first at lycée Victor Hugo and then at lycée Victor Duruy. She obtained her baccalauréat at 14½ with special permission. Her father had intended for her career to be spent at the Gobelin manufactory but she preferred the theatre and took classes with Jean Hervé and Jean Valcourt. In 1939, aged 16, she met Maurice Clavel, who directed the Resistance network in Eure-et-Loir. Under the pseudonym "Sinclair" (the name of a hill that looms over Sète, Maurice Clavel's native town), she involved herself at his side and participated in the liberation of Nogent-le-Rotrou and of Chartres in 1944. She was one of the notables who welcomed General De Gaulle on the square in front of the Cathedral of Chartres. Once the war ended, she married Maurice Clavel. She was decorated with the Croix de guerre by General De Gaulle and with the Bronze Star Medal by General Patton.

Cocteau, Vilar and the TNP

In 1945, she attracted notice for her acting in a play by Federico García Lorca, La casa de Bernarda Alba. Her strange and powerful personality drew the attention of Edwige Feuillère, whose reader she became in L'Aigle à deux têtes by Jean Cocteau. The play was first presented in 1946 at the Royal Theatre of the Galeries Saint-Hubert in Bruxelles, where she met with great success. After passing through Lyon, the play had its Parisian premiere at the Théâtre Hébertot. Success followed the play all the way to a memorable performance at La Fenice in Venice, greatly contributing to establishing the renown of Silvia's talent.

Playing next in
Tennessee Williams' play, Summer and Smoke, she fell in love with Léonor Fini who was then beginning as a set designer. From their friendship a pretty portrait remains: Silvia painted by Léonor (1954).

Through Clavel, she then met Jean Vilar in 1947 and took part in the great adventure that was the Théâtre National Populaire. She thus took part in the first festival d'Avignon, with The Story of Tobias and Sarah (1947). Beside Gérard Philipe, she played Chimène in Le Cid, then performed at Chaillot and subsequently on tour across Europe (1954). Next, she played with Vilar in Cinna and in The Marriage of Figaro. She thus became an emblematic figure of the TNP and of French theatre in the world.

New Wave and cinema debut

Cinema, through the intermediary of Robert Bresson, had sought her out beginning in 1943, to play in Les Anges du péché. Bresson had hired her without knowing that she was an actress, as he was looking for non-professionals for his film... In 1948, she played the role of Édith de Berg in the cinematic adaptation of L'Aigle à deux têtes by Cocteau beside Feuillère and Jean Marais.

In 1955, Agnès Varda, then a photographer at the TNP, directed her first film, one of the first belonging to the New Wave. Varda remembers Silvia Monfort in La Pointe Courte: "Curious and a pioneer by nature, she threw herself into the project with delight and discipline. I really think she was happy to fight for a cinema of the future."

Henceforth separated from Maurice Clavel, Silvia Monfort shared her life with and participated in the films of director Jean-Paul Le Chanois. Despite her having an arm in a plaster cast, he insisted that she play a Polish prisoner beside François Périer and Pierre Fresnay in a film inspired by a true story, Les Évadés. This film met with great popular success in 1955. She then played beside Jean Gabin and Nicole Courcel in Le Cas du docteur Laurent, a film advocating painless childbirth (1957), and then in an obscure film of Le Chanois dealing with parent-child relations, Par-dessus le mur (1961). In two films dealing with social conditions, she was the unforgettable Eponine of Les Misérables, alongside Gabin and Bourvil (1958), and then the Gypsy girl Myrtille in Mandrin, bandit gentilhomme beside Georges Rivière and Georges Wilson. This film wrapped up her cinematic career[4] and her relationship with Le Chanois in 1962.

On the road

During the 1960s, Silvia Monfort was passionate about cultural decentralization and so set out on the road with Jean Danet and her Tréteaux de France. Each evening, they played under a big top in a different town. She took an active part in this experiment, seeing to it that new and contemporary plays were staged alternately with the classical repertoire. She deepened her knowledge of popular theatre and of her audience and thus acquired a mastery of travelling performances that was subsequently very useful to her. On 23 June 1965, 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."

Ceaselessly taking part in theatrical performances, she wrote at least once, sometimes several times a day to her companion Pierre Gruneberg. Scribbled on tablecloth corners, on the back of theatre programs or on hotel stationery, reactions, words of love and anecdotes were strung together.

In the collection of this correspondence, Letters to Pierre, Danielle Netter, assistant director, adds: "The Tréteaux de France was an extraordinary theatrical tool that gave us the occasion to present Sophocles and other dramatic poets before the tenants of the HLM, and one evening to hear a spectator declare at the end of Electra to Silvia, It's as beautiful as a Western!, which filled our tragedienne with joy."

An eclectic tragedienne

For nearly half a century, whether with the Tréteaux, in festivals, in private theatres and later in her Carrés, Monfort explored the ancient and modern theatrical repertoires. She acted in no less than five versions of Phèdre in diffrerent theatres as well as on television. 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 1970.

She acted in the plays and theatrical adaptations of Maurice Clavel, such as The Isle of Goats and The Noon Terrace. She was directed by Roger Planchon at Villeurbanne in 1959 in Love's Second Surprise and by Luchino Visconti in Paris in 1961 in 'Tis Pity She's a Whore beside Alain Delon and Romy Schneider. She made appearances in Summer and Smoke (1953) and Suddenly, Last Summer (1965) by Tennessee Williams. She incarnated the Sphinx of Cocteau's The Infernal Machine in festivals as well as on television with Claude Giraud in 1963. She was The Respectful Prostitute of Jean-Paul Sartre (1965) as well as The Duchess of Malfi beside Raf Vallone (1981).

At Carré Thorigny, she brought about the debut of Bernard Giraudeau in Tom Eyen's Why Doesn't Anna's Dress Want to Come off (1974). She was also seen in The Oresteia (1962) and The Persians of Aeschylus (1984). She incarnated the fearsome Lucrezia Borgia of Victor Hugo (1975) and Marguerite de Bourgogne of The Tower of Nesle by Alexandre Dumas, père (1986). She created an indescribable Alarica in The Evil Is Spreading (1963) and was the Maid of Jacques Audiberti (1971). She was a vibrant Ethel in a radical play helmed by Alain Decaux, The Rosenbergs Should Not Die (1968). She took on Ionesco with Jacques, or the Submission (1971). She restored Henrik Ibsen to popular favor with Philippe Lemaire in When We Dead Awaken (1976) and then with Michel Auclair in The Lady from the Sea (1977). To celebrate the centenary of Cocteau's birth, she appeared for the last time on the Vaugirard stage in a poetic and musical spectacle, The Two Ways, in 1989.

In 1972, on the occasion of the republication of her novel The Raia (Hands Full of Fingers), Silvia Monfort described her favorite roles: "Gérard Philippe, whose Chimène I was, had a habit of replying that his favorite role was his next. For me, the one that I am playing fulfills me. Imagine! 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. I was wildly in love with Alarica from The Evil Is Spreading, Éponine from Les Misérables and recently The Maid by Audiberti. 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. 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 mythic Phèdre

Silvia Monfort figures among the most important performers of Phèdre. Notably, she had as a partner in the role of Theseus Jean-Claude Drouot or of course Alain Cuny in the theatre and in a televised version in 1982.

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. This study analyzed the relationship between the pauses and the versified text as well as the fluctuations in delivery and demonstrated that Silvia Monfort made the most important use of them (92% of pauses and 3.8 syllables/minute) in relation to other tragic actresses (Sarah Bernhardt, Marie Bell, Nada Strancar and Natacha Amal); this characteristic of her acting contributed to give Silvia Monfort's interpretation an exceptional quality of psychological depth and emotion which made a success out of her.

She herself said of her character in 1973: "Phèdre burns in each one of us. 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. All the opinions, competent, imperious, singular, that were offered to me on the subject of Phèdre, and to which I listened intensely, had no other result with me than to lead me back to my Phèdre, despite her long being hazy, with the obviousness of a pawn moving back to the first square on a board game […] this is the wonder of Phèdre: to tackle it is to resign oneself to it."

The fall that made her an author

In 1946, her first novel appeared. She later explained that what had determined her to write was her seven-meter fall through the glass roof of the Studio des Champs-Élysées. She played in Federico Garcia Lorca's La casa de Bernarda Alba and Maurice Clavel, disdaining her philosophy books, wrote for her first play, The Love Letters. :

"The day when I was to abandon one play for the other, my colleagues from the Studio offered me champagne on the roof of the Théâtre des Champs-Élysées. I had never drunk wine or champagne. I passed through a skylight and found myself in the hospital, my head shattered. Three weeks in a coma, during which Maurice's play was prepared without me.
When I was back on my feet, sad and without a role to play, I sat down at my work table. Without this accident, maybe I would never have taken the time to write. For later, in order to write, I had to take away time from the theatre."

When a journalist asked her why the actress which she had never ceased to be had never been tempted to write a play, or a film script, she replied: "Writing for the theatre is a very special gift. Even some great novelists don't have it. The dramatic author breathes into his characters a life that he doesn't control.

But what interests me above all in writing is analysis. To know, to explain the reason for things, to follow step by step the actions of my characters. And then, I couldn't stand seeing them with another face than that which I had in my mind!"

"This will be my theatre!"

In 1972, with the support of Jacques Duhamel, then Minister of Cultural Affairs, she set up and directed the Carré Thorigny in the neighborhood of Le Marais in Paris, where she put on innovative multidisciplinary shows. She was especially interested in the circus world and organized an exhibit entitled Circus in color which met with enormous success. Following her contacts with circus people and her meeting with Alexis Gruss, she organized old-style circus performances in the courtyard of the Hôtel Salé, located in front of the Carré. The public's fancy led Monfort and Gruss to set up (in 1974) the first circus and mime's school in France, L'école au Carré, which they directed together. 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 1982.

It was at the Carré Thorigny that Alain Decaux awarded Silvia Monfort the Legion of Honor in 1973 while paying homage to "her passion for the theatre and the inflexible will with which she serves it."

The Carré had to leave Rue de Thorigny in 1974 because of a property transaction. Monfort thus transferred her Nouveau Carré into the old théâtre de la Gaîté-Lyrique which opened on 1 October 1974 and set up the Gruss circus in the square in front of the theatre. The hall was inaccessible for safety reasons, so the new Carré put actors and audiences on stage, but because of the building's great age and while awaiting its renovation, she was forced to set up her stage under a big top in the Jardin d'Acclimatation from 1978 to 1979. 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. Nevertheless, lacking funds, the project of renovating the Gaîté-Lyrique was abandoned.

Yet she never stopped working to establish a Nouveau Carré at Vaugirard on the site of and in place of the big tops. The decision to build the theatre such as it is today was taken in 1986. On 7 March 1989, 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." But she died a few months before its completion. Inaugurated in 1992, it bears her name: Théâtre Silvia-Monfort.

During the last years of their time together, Silvia Monfort and Pierre Gruneberg were constantly apart. In winter, as a ski coach, he had to stay at Courchevel, while she worked at Paris, then during the festival period he worked at Cap Ferrat as a swimming instructor, whereas Silvia Monfort's ill health obliged her to pass the summer at Courchevel, alone.

She died on 30 March 1991 of lung cancer.

The Silvia Monfort Prize

Pierre Gruneberg, who became Silvia Monfort's lover in 1963 and married her on 24 May 1990, founded the Silvia Monfort Prize Association in 1996, carrying to completion an idea that Monfort did not have time to put into material form. This prize is issued every two years to a young tragic actress by a professional jury. Since its inception, the prizewinners have been:

  1. Smadi Wolfman (1996)
  2. Rachida Brakni (1998)
  3. Mona Abdel Hadi (2000)
  4. Isabelle Joly (2002)
  5. Marion Bottolier (2004)
  6. Gina Ndjemba (2006)

The Prix Silvia Monfort 2006 was awarded on 22 May to Gina Ndjemba, aged 21, a first-year student at the Conservatoire National d’Art Dramatique, for her interpretation of the role of Camille in Horace by Corneille. This sixth Prix Silvia Monfort ceremony took place at the celebrated tragedienne's theatre in the presence of the academician Alain Decaux, a great friend of Silvia Monfort, to whom he paid a moving homage. This Prize was accompanied by a €4,600 award.

Quotations about her

Jean Cocteau :

"Silvia Monfort possesses an exquisite waist, like that of an hourglass, and the golden sand from up top flows toward the bottom, toward her belly, whence all great actresses draw their genius.

I have known several Silvia Monforts. One, with a wreath of wheat in her hair, entered free Paris as a young leader of the Resistance. Another had written a book of the first rank; a third – and my eye had not yet linked them – came and presented herself at the Théâtre Hébertot to play the role of Mademoiselle de Berg in L’Aigle à deux têtes. She played it and it was only later, a long time later, when all these Silvia Monforts became just one, to whom I address my tender gratitude.

Here she is on her successful voyage, the voyage from role to role, from book to book, the voyage on board which I wave the handkerchief of friendship as a sign of loyal affection and good luck."

Juliette Gréco :

"Silvia Monfort came back from a solitary walk and held out a flower to her husband Clavel, saying in her husky voice: 'I've stolen this flower for you on the mountain...' Jujube was stunned and the exotic Ophelia disappeared under the arches that surrounded the swimming pool."

L'Humanité (following her death) :

"She was a grande dame of the theatre and of the city. We will remember her beautiful tragedienne's voice and her determined wish to make a different theatre, her theatre, in the modernity of the ancients and of the classics. Let us hope that that which will be born and bear her name in the heart of Paris will prolong her memory, the fervor of her art and the exacting purity of her work."
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>>> Read more about Silvia Monfort (Filmography, Theatre and Television references…) on Wikipedia

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--> The above biography was initially written in French by Airair and appeared on Wikipedia in French and in English

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