the essential
With “L’Air de rien”, actor and director Jean-Paul Rouve addresses the beloved world of French song. The strength of the texts, the passion for the authors and their ability to write pieces of life fascinate the artist who will be on the stage of the Halle aux Grains in May 2025.
La Dépêche du Midi: Is your show “L’Air de rien” a continuation of the one given in 2022 entitled “J’ai pas l’air”?
Yes and I loved playing it at the Théâtre Antoine in Paris. We gave it at 7 p.m., so it was shorter because a show followed at 8:30 p.m. and we had to allow time to set up the decor. So I was more concise to be on time! Then I worked on films so I couldn’t play it anymore, but my main desire was really to be able to tour. Which I had never done but I really wanted to go everywhere in France. So we return to theaters from April (May 8 at the Halle aux Grains in Toulouse) and we will finish with the Olympia (October 13 and 14, 2025). It will be a bigger show since we added lots of songs and I am very happy with this formula.
Do the protagonists remain the same?
Jérémie Lippmann directs as for the first time and Alain Lanty is a great musician who accompanies all the great artists, from Renaud to Johnny via Julien Clerc. We talked about it together but told myself that I would easily understand if he couldn’t play with me. In the end he was very enthusiastic. Although I’m not a singer, he accompanies me, we have a lot of fun, I think it’s a huge change from a classic recital. So I am proud and honored to have him by my side. When I talk about it to friends who are singers or musicians they are surprised: “You have Alain Lanty? Classy!”
What is the principle of the show?
My goal is really to discover the texts of the songs, which is why the basis consists of taking the texts as if they were poems. The authors of songs are today’s poets and I take great texts, great authors like Brel, Barbara, Renaud or Souchon, who are recognized in the Pantheon, and I also want to show that authors of more popular songs, of variety, are extraordinary. There are texts by Pierre Delanoé, Michel Sardou, Michel Delpech, Daniel Balavoine, Julien Clerc, Orelsan and, thanks to them, I want to show the richness of the texts of French song.
Through the choice of songs you reveal more of your personality…
-I’m a big fan of songs and lyrics, so I obviously take things that touch me, that can be told on stage like stories. For example, I realized that authors like Gainsbourg – and that doesn’t take away from the quality of course – it’s more difficult because he makes the words sound, the words resonate, he approaches the song more Anglo-Saxon way. Like Nougaro. Some songs like “Cécile” and others could be useful but their technique is more difficult. Therefore, each time, there really has to be a story and it must be like a short film.
You mention Nougaro, is he in the show?
No. But I said to myself that, since I am coming to the provinces, I will perhaps adapt the show according to the cities. I think I will add it for Toulouse. Besides, I think of him constantly because I live opposite his house in Paris. Pierre Richard recently told me that he lived in the house next door and that Claude played music very late at night and he called him from time to time to say “Claude, stop!” And he replied, “No, come and have a drink!” But Nougaro is an absolute poet and with his repertoire you are spoiled for choice!
Your most recent news concerns the Tuche, are you satisfied with the new opus which will be released in February?
Yes, I’m really happy, it was an idyllic shoot, I really had fun writing it, making it, editing it and I just finished it just a few days ago, so I’m happy to show it to the public all the month of January before its release on February 5.
Do you feel any particular emotion from being behind the camera?
Olivier Baroux wanted to let go a little after the first four episodes and someone else could perhaps take control then. It doesn’t matter, it’s a bit of a franchise like Asterix which has been tackled by several directors, or the American films, the Batman which have been filmed by lots of directors, from Burton to Nolan: it’s very good I find. What matters is to take ownership of the franchise, to put your stamp on it and, above all, to respect it.
