Silvia Monfort

Silvia Monfort (born Silvia Favre-Bertin; 6 June 1923, Paris–30 March 1991, Paris) was a French actress and theatre director. Daughter of the sculptor Charles Favre-Bertin and wife of Pierre Gruneberg.

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 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 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 Royales of Saint-Hubert in Brussels, 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 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 different 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 García 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."

Filmography

 * 1943: Les Anges du pêché by Robert Bresson with Renée Faure
 * 1947: La Grande Maguet by Roger Richebé with Madeleine Robinson
 * 1948: L'Aigle à deux têtes by Jean Cocteau with Edwige Feuillère and Jean Marais
 * 1949: Le Secret de Mayerling by Jean Delannoy with Jean Marais
 * 1955: La Pointe Courte by Agnès Varda with Philippe Noiret
 * 1955: Les Évadés by Jean-Paul Le Chanois with Pierre Fresnay and François Périer
 * 1956: Ce soir les jupons volent by Dimitri Kirsanoff with Sophie Desmarets
 * 1956: Le Théâtre national populaire by Georges Franju (Short film, 28 min) with Jean Vilar
 * 1957: Le Cas du docteur Laurent by Jean-Paul Le Chanois with Jean Gabin and Nicole Courcel
 * 1958: Les Misérables by Jean-Paul Le Chanois with Jean Gabin and Bourvil
 * 1959: Du rififi chez les femmes by Alex Joffé with Robert Hossein and Roger Hanin
 * 1960: La Française et l'amour, sketch La Femme seule by Jean-Paul Le Chanois with Robert Lamoureux and Martine Carol
 * 1961: Par-dessus le mur by Jean-Paul Le Chanois
 * 1962: Mandrin, bandit gentilhomme by Jean-Paul Le Chanois with Georges Rivière and Georges Wilson
 * 1975: Jean Marais, artisan du rêve by Gérard Devillers (Short film; narration)

Theatre
Private theatres, TNP and Tréteaux de France


 * 1945: Jeanne d'Arc by Charles Péguy (Dreux)
 * 1945: La casa de Bernarda Alba by Federico García Lorca (Studio des Champs-Élysées)
 * 1946: L'Aigle à deux têtes by Jean Cocteau (Théâtre Hébertot)
 * 1947: The Story of Tobias and Sarah by Paul Claudel (1st festival d'Avignon)
 * 1948: Shéhérazade by Jules Supervielle (Festival d'Avignon)
 * 1949: Pas d'amour by Ugo Betti, adaptation de Maurice Clavel (Noctambules)
 * 1950: Andromaque by Racine (Nîmes)
 * 1951: Maguelone by Maurice Clavel (Théâtre Marigny)
 * 1951: Electra by Sophocles, adaptation by Maurice Clavel (Mardis de l'œuvre, Noctambules)
 * 1952: Les Radis creux by Jean Meckert (Théâtre de Poche)
 * 1952: Doña Rosita la soltera by Federico García Lorca (Mardis de l'œuvre, Noctambules)
 * 1953: The Isle of Goats by Ugo Betti, adaptation by Maurice Clavel (Noctambules)
 * 1953: Le Chevalier des neiges by Boris Vian (Caen)
 * 1953: The Merchant of Venice by Shakespeare (Noctambules)
 * 1953: Summer and Smoke by Tennessee Williams (Théâtre de l'Œuvre)
 * 1954: Le Cid by Corneille (TNP)
 * 1954: Cinna by Corneille (TNP)
 * 1955: Penthesilea by Heinrich Von Kleist (Théâtre Hébertot)
 * 1956: Marie Stuart by Friedrich Schiller (Théâtre du Vieux-Colombier)
 * 1956: The Marriage of Figaro by Beaumarchais (TNP)
 * 1957: Pitié pour les héros by M.A. Baudy (Comédie de Paris)
 * 1959: Love's Second Surprise by Marivaux (Villeurbanne)
 * 1959: Bérénice by Racine (Festival de Dijon)
 * 1959: La Machine infernale by Jean Cocteau (Festival de Vaison-la-Romaine)
 * 1959: Lady Godiva by Jean Canolle (Festivals, Théâtre Moderne, Théâtre Édouard VII)
 * 1960: Edward II by Christopher Marlowe (Villeurbanne)
 * 1960: Love's Second Surprise by Marivaux (Villeurbanne)
 * 1960: Si la foule nous voit ensemble by Claude Bal (Théâtre de Paris)
 * 1960: Arden of Faversham (Festivals de Dijon et de Vaison-la-Romaine)
 * 1960: Phèdre by Racine (Théâtre du Vieux-Colombier, tournée Européenne)
 * 1961: 'Tis Pity She's a Whore by John Ford (Théâtre de Paris)
 * 1962: The Oresteia by Aeschylus, adaptation by Paul Claudel
 * 1962: La Nuit de feu by Marcelle Maurette (Port-Royal)
 * 1962: Helen by Euripides, adaptation by Jean Canolle (Narbonne)
 * 1962: Horace by Corneille (Scala de Milan)
 * 1963: The Evil Is Spreading by Jacques Audiberti (Théâtre La Bruyère)
 * 1963: The Governess by Vitaliano Brancati (Théâtre en Rond)
 * 1963: Marie Stuart by Friedrich Schiller (Les Nuits de Bourgogne)
 * 1964: Life Is but a Dream by Pedro Calderón de la Barca (Festival d'Annecy)
 * 1964: Julius Caesar by Shakespeare (Théâtre Sarah Bernhardt, Lyon)
 * 1964: Catharsis by Michel Parent (Dijon)
 * 1965: Suddenly, Last Summer by Tennessee Williams (Tréteaux de France, Mathurins)
 * 1965: The Respectful Prostitute by Jean-Paul Sartre (Tréteaux de France, Mathurins)
 * 1965: The Story of Tobias and Sarah by Paul Claudel (Les Nuits de Bourgogne)
 * 1965: Electra by Sophocles, adaptation de Maurice Clavel (Festival d'Annecy, Tréteaux de France)
 * 1965: Enemies by Maxim Gorky (Théâtre des Amandiers Nanterre)
 * 1965: La Surprise de l'amour by Marivaux (Théâtre des Amandiers Nanterre, festivals)
 * 1966: Electra by Sophocles, adaptation de Maurice Clavel (Mathurins)
 * 1966: The Evil Is Spreading by Jacques Audiberti (Tréteaux de France)
 * 1966: Suddenly, Last Summer by Tennessee Williams (Tréteaux de France, Mathurins)
 * 1966: The Respectful Prostitute by Jean-Paul Sartre (Tréteaux de France, Mathurins)
 * 1967: Phèdre by Racine (Tréteaux de France)
 * 1967: The Evil Is Spreading by Jacques Audiberti (Tréteaux de France)
 * 1968: The Rosenbergs Should Not Die by Alain Decaux (Tréteaux de France)
 * 1968: The Respectful Prostitute by Jean-Paul Sartre (Tréteaux de France)
 * 1969: The Rosenbergs Should Not Die by Alain Decaux (Porte Saint-Martin)
 * 1970: The Respectful Prostitute by Jean-Paul Sartre (Halles de Paris)
 * 1970: Electra by Sophocles, adaptation by Maurice Clavel (Halles de Paris)
 * 1970: Jacques, or the Submission by Ionesco (Château de Boucard)
 * 1970: The Maid by Jacques Audiberti (Nice)
 * 1971: The Maid by Jacques Audiberti (Festival du Marais)

Carré Thorigny


 * 1972: Opens October 12
 * 1973: Le Bal des cuisinières by Bernard Da Costa (and at the festival d'Avignon)
 * 1973: Phèdre by Racine
 * 1973: Cantique des cantiques, oratorio by Roger Frima
 * 1973: Conversations dans le Loir-et-Cher by Paul Claudel
 * 1973: Cirque Gruss at the Hôtel Salé
 * 1973: Jean Cocteau and the Angels, poetic soirée
 * 1973: Louise Labé, poetic soirée
 * 1974: Why Doesn't Anna's Dress Want to Come off by Tom Eyen
 * 1974: Closes at the end of September.

Nouveau Carré Gaîté-Lyrique


 * 1974: Opening of the circus School on October 15
 * 1974, November and December: Les Comptoirs de la Baie d'Hudson by Jacques Guimet done by the "In and Out Theatre", Great Hall
 * 1975, Edgar Poe, done by the "Ballet-Théâtre Joseph Russillo", Great Hall:
 * - January and February, Mémoires pour demain and Il était une fois comme toutes les fois
 * - May, Fantasmes, original creation


 * 1975, January to April: Old-Style Circus with the Gruss family, Great Hall
 * 1975, March to April: Seven Weeks in Song with Roger Siffer, Dick Annegarn, Jean-Marie Vivier and Monique Morelli, Serge Kerval and Anne Vanderlove, Gilles Servat, Great Hall
 * 1975, June to July: Dimitri Clown, Great Hall
 * 1975, September: Histoire du soldat by Igor Stravinsky and Ramuz, done by the Solistes de Marseille, directed by Devy Erlich, Great Hall
 * 1975, September to October: Le Tableau, comic opera by Ionesco and Calvi, Great Hall
 * 1975-1976, November to March: Lucrezia Borgia by Victor Hugo (presented at the Festival d'Avignon in August 1975), directed by Fabio Pacchoni, Great Hall
 * 1976, March: Hélène Martin Recital, Great Hall
 * 1976, March: Henri Tachan Recital, Gruss big top
 * 1976, October, November, December: When We Dead Awaken by Henrik Ibsen, adaptation by Maurice Clavel, Great Hall
 * 1977, January, February, March: The Lady from the Sea by Henrik Ibsen, Great Hall
 * 1977, April to May: A Doll's House by Henrik Ibsen, done by the Ensemble Théâtral Mobile, Great Hall
 * 1977: Songs of Bilitis by Pierre Louÿs
 * 1977: Visit of René-Guy Cadou, poetic soirée
 * 1977: Nuova Colonia de Luigi Pirandello
 * 1977: The Burial of a Boss de Dario Fo (Mulhouse)
 * 1977: Closes at year's end

Jardin d'Acclimatation
 * Just one season, from 1978 to 1979.

Carré Silvia Monfort Vaugirard
 * 1979: La Cantate à trois voix by Paul Claudel (Abbatiale de Rouen)
 * 1979: La Fourmi dans le corps by Jacques Audiberti
 * 1979: The Noon Terrace by Maurice Clavel
 * 1980: Conversation dans le Loir-et-Cher de Paul Claudel INA Archives: Daniel Gélin and Silvia Monfort in Conversation dans le Loir-et-Cher (TF1, 1988)
 * 1981: Ariane at Naxos by Georg Brenda (Rennes and Théâtre des Champs-Élysées)
 * 1981: Breakfast at Desdemona's by Janus Krasinski
 * 1981: The Duchess of Malfi by John Webster
 * 1982: Phèdre by Racine
 * 1983: Hot and Cold by Fernand Crommelynck
 * 1984: The Persians by Aeschylus
 * 1984: Die Panne by Friedrich Dürrenmatt
 * 1985: The Millionairess by George Bernard Shaw
 * 1985: Bajazet by Racine
 * 1985: The Tower of Nesle by Alexandre Dumas, père
 * 1987: Britannicus by Racine
 * 1987: Iphigénie by Racine
 * 1988: Théodore by Corneille
 * 1989: The Two Ways by Jean Cocteau

Directed by her
 * 1965: Electra by Sophocles, adaptation by Maurice Clavel (Tréteaux de France)
 * 1970: Electra by Sophocles, adaptation by Maurice Clavel (Halles de Paris)
 * 1979: La Cantate à trois voix de Paul Claudel (Abbatiale de Rouen)
 * 1984: The Persians by Aeschylus (Carré Silvia Monfort Vaugirard)
 * 1987: Iphigénie by Racine (Carré Silvia Monfort Vaugirard)
 * 1988: Théodore by Corneille (Carré Silvia Monfort Vaugirard)
 * 1989: The Two Ways by Jean Cocteau (Carré Silvia Monfort Vaugirard)

Television

 * 1959: Bérénice by Racine
 * 1960: Phèdre by Racine
 * 1960: Bajazet by Racine
 * 1962: Helen by Euripides
 * 1962: The Night of Fire by Marcelle Maurette
 * 1963: The Infernal Machine by Jean Cocteau - Directed by Claude Loursais
 * 1965: King Lear by Shakespeare
 * 1967: The Trojan war will not take place by Jean Giraudoux
 * 1971: The Bunker by Alain Decaux
 * 1975: Why Doesn't Anna's Dress Want to Come off by Tom Eyen - Directed by Armand Ridel
 * 1978: The Marshal of Ancre by Alfred de Vigny
 * 1980: Edgar Poe, theatre-ballet by Joseph Russillo
 * 1980: Phèdre by Racine
 * 1980: Electra by Sophocles
 * 1981: Conversation in the Loir-et-Cher by Paul Claudel
 * 1982: Phèdre by Racine
 * 1982: The Dream of Icarus, TV film by Jean Kerchbron
 * 1986: Bajazet by Racine
 * 1986: The Tower of Nesle by Alexandre Dumas, père