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Arditi Pierre

Fanny Ardant, born on March 22, 1949, girl of an officer of cavalry, passes his childhood to travel to Europe. Coed with Science-Po in the section international relations, it rather tardily decides to become actress in order to appease her passion of the theatre.
Whereas it prepares the contest of the Foreign Affairs in London, it goes up to Paris and is registered during Dramatic art of Périmony. In 1974, Fanny Ardant is committed with the Festival of the Marsh to interpret the role of Pauline in "Polyeucte", then plays the large texts with which it is in love (Root, Montherlant, Claudel), in rounds.In 1979, the public discovers it thanks to the televised series "the injuries of lacôte" of Nina Companeez.
François Truffaut falls under the charm and writes to him, in 1981, a role to measure in the woman of at side. It will say of her: “J' had been allured by its large mouth, its large eyes black, its face in triangle.
I immediately recognized in it qualities that I generally await protagonists of my films: vitality, enthusiasm, humour, intensity, but also taste of the secrecy, a savage side, a suspicion of brutality and, over all, something of vibrant.”
Then, it is with the turn of Alain Resnais to engage it for the life is a novel, before it does not find François Truffaut for his ultimate film, Vivement Sunday!, where it reveals an imagination and a demolition seldom exploited thereafter, except in the more recent part of its career.
Fanny then puts at the world small Joséphine, conceived with Truffaut a few months only before the death of the realizer.
It interprets thereafter the role of a pianist for André Delvaux (Benvenuta) and becomes the duchess of Guermantes in a love of Swann, of Volker Schlöndorff.
Alain Resnais again requests it for the love with died and Mélo, in a tragic register which made the “patte” Ardant.
With the theatre, it interprets "the good middle-class men" (1980), "Miss Julie" where it succeeds Isabelle Adjani (1983) and "Gift Juan" (1987).
Burbot, tempting indolente balancing itself with sensuality in the nonentity of Michel Deville, upsets his usual image of voluntary and impassioned woman.
But the actress then meets too seldom roles agreeing with her personality, in spite of her services successful in the œuvres scenario writers such as – already – Ettore Scola (the family), Costa-gavras (Board of guardians), Margarethe von Trotta (three sœurs) or Jean-Jacques Andrien (Australia).
In 1991, Double sight, of Peploe Mark, gives the opportunity to him to turn in English for the first, and it finds Gerard Depardieu (his partner in love with the woman with at side) in 1993 for the needs for Colonel Chabert of Yves Angelo.
It is the revival of a career which seemed more to be dedicated but to one cinema a little too confidential: here as a choucroutée tenancière of a gay box in Soft pedal, as a Marie de Guise in Elizabeth, an authoritative middle-class woman in Wished, according to Guitry, in the role of the woman of a man tormented by problems of erection in the rout and, very recently, as a granny professional singer lost in the jungle, the son of the French.
This among the pleiad of the held roles these last years by an actress révérée for her serious and major voice (it was – without singing for as much superb Maria Callas in the part "Master Class") and for its proud, limiting port starched, that it can fortunately désengourdir thanks to a true direction of humour.
With the occasion of the Dinner of Scola, it finds Vittorio Gassman, with whom it had already turned in Benvenuta, the life is a novel and the family.
In 2001, it interprets the role of Pebble, the sœur of the victim, in 8 WOMEN of François Ozon; and, the following year, one finds it in CALLAS FOREVER of Free Zeffirelli, in the role of the mythical Diva.

Arena Tina
Arkana Keny
Armstrong Lance
Arthur H
Ashcroft Richard
Aubert Jean-Louis
Aufray Hugues
Auteuil Daniel
Azan Rebecca
Aznavour Charles
Bachelet Pierre
Badi Chimene
Bailey-Rae Corinne
Balavoine Daniel


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