Feminist and political in her speeches, eclectic in her track record: the 35e Nuit des Molières, broadcast Monday May 6 on France 2, did not award a slew of statuettes to the same show, for once, but it did not escape the current issues which are shaking the world and the concerns of the live performance sector in France.
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On the Parisian stage of the Folies-Bergère, the comedian Caroline Vigneaux, mistress of ceremonies, promised, with energy, that the “sole purpose” of the evening was ” to entertain “, the lackluster interludes were not enough to lighten the mood. It was especially time for messages.
Sophia Aram (Molière from the comedy show for The World After) denounced the ” silence “ of the world culture after the massacres of October 7. “ How can we be in solidarity with the thousands of civilians who died in Gaza without also being in solidarity with the Israeli victims? How can we demand a ceasefire from Israel without demanding the release of Israeli hostages? How can we demand the departure of Netanyahu without demanding that of Hamas? “, asked the widely applauded France Inter columnist.
“Gathering clouds”
The cause of women, sexism and the violence they suffer, was almost the central theme of the evening, under the leadership of feminist Caroline Vigneaux. As for the Minister of Culture, Rachida Dati, she was not only questioned by an actor from the CGT-Spectacle on the budget cuts which affect culture. Even the president of Molières, Jean-Marc Dumontet, always quick, usually, to praise the benefits of cultural policy, did not hide his concerns in the face of “gathering clouds” on the system of intermittency of the spectacle.
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Speaking to the minister, the producer also highlighted the extent to which, “in a fragmented society and faced with the rise of extremes, culture has a real role to play”. Strongly recalling that “without freedom of expression and creation, there is no democracy”the president of Molières also mentioned the fate of Iranian rapper Toomaj Salehi, “a young artist victim of the barbarity and obscurantism of a medieval regime condemned to death for a song”.
In terms of awards, it is also a show evoking the exile in France of an Iranian couple fleeing the Islamic regime in the 1980s, 4,211 km, by Aïla Navidi, who was awarded twice (best private theater show and female revelation for Olivia Pavlou-Graham).
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