Born in May 1948, actress Jany Gastaldi, whom director Antoine Vitez directed fifteen times between 1971 and 1987, died on November 24, at the age of 76, due to cancer.
The actress was strange on stage. Since 2011 and his role as Philaminte, in Scholarly womenby Molière (directed by Marc Paquien), was no longer in demand. Some fiction recordings for radio, a voiceover in 2024, in Palacea montage of texts proposed by Matthieu Marie, that’s all. “For many of us, she was the Doña Sol of Hernani and Doña Música satin shoe. Two unforgettable roles, Marc Paquien testifies. But the new generation of artists, who did not know her, had not seen her in Victor Hugo’s drama. [1985] nor in Paul Claudel’s [1987]He passed by her. »
What a shame to have been deprived of this singular voice with its sensual and singing phrasing, of this mischievous look under the mop of brown hair, of this not very tall body, of surprising energy, of this intense and generous presence. Awarded in 1990 with the award for best actress by the Critics’ Union, Jany Gastaldi did not shy away from theatre, contemporary or classic. In his bio, the authors’ names say a lot about his appetite for eclectic play. Michel Vinaver, Philippe Minyana, Botho Strauss, Jean Genet rub shoulders with the end of the end of the repertoire: Shakespeare, Beaumarchais, Corneille and also Marivaux, worked in 1973 with Patrice Chéreau, who directed it in The dispute.
“The nature of a tragic”
Since 1971, in the worldBertrand Poirot-Delpech underlined in a few lines the evidence of the actress’s talent. The debutante, only 23 years old, has just joined the sets of Antoine Vitez, who was her teacher at the National Higher Conservatory of Dramatic Art. Chosen for the role of Hermione (Andromacheof Racine), already reveals, according to Bertrand Poirot-Delpech, “the nature of a tragic, fragile and tenacious, full of nerves and already very controlled”. Tragic, it is true, but also mischievous, ironic, she loved to laugh and make people laugh. “We must not forget how fun she could be”insists Marc Paquien.
With Vitez the camaraderie is exemplary. She is part of all his adventures. Jany Gastaldi accompanies him to the Avignon Festival, where he covers three of the four Molière works that he develops in a legendary marathon (Juan Juan, The misanthrope, Tartuffe1978). Later, he participated in the (equally iconic) creation of the satin shoe (1987). A trip at night under the stars of the Court of Honor of the Papal Palace where, for the only time in his life, he addresses Claudel’s prose.
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