The Institution

“The Comédie-Française carries within it this utopia that consists of reading the present in the light of the past, its missions being too vast and the curiosity of its artisans too insatiable to be reduced to one meaning rather than another. The common catalyst remains its Troupe and all its departments, working tirelessly to lead you on these fanciful paths.”


Salle Richelieu

Inaugurated in 1790 for the troupe of the Variétés amusantes, the Salle Richelieu has been the historical theatre of the Comédie-Française since 1799.

Without interruption from September to the end of July, the Salle Richelieu proposes a dozen alternating productions drawn from the most varied repertoires and chosen to navigate between the most diverse styles of plays, aesthetics and performances.

One of its specific features is the creation of the Comédie-Française Repertoire: every text performed on its stage must first have been submitted to the Reading Committee in order to be registered in the Repertoire, which now encompasses nearly 3,000 plays from all eras.

The Salle Richelieu is the fruit of the conflicts and passions animating French society at the end of the Age of Enlightenment.

Initially intended to be an opera, this building, designed so as to fit in harmony with the Palais-Royal, was built at the initiative of the Duke of Chartres by the architect Victor Louis. At the beginning of the Revolution, it was occupied by the Théâtre des Variétés Amusantes, which were joined by Talma and his friends.

In 1791, the Comédie-Française was already 111 years old and had been housed in four other theatres.

It wasn’t until 1799 and the reunification of the troupes that this proscenium-stage theatre definitively imposed itself as the home of the Comédie-Française.

Key dates

  • 1791: part of the Comédiens-Français troupe, led by the tragedian Talma, for the first time takes up residence in this theatre, named Théâtre de la République at the time, while the other part performs at the Théâtre de la Nation (future Odéon).
  • 1799: following the revolutionary divisions and the burning of the Odéon, the reformed Troupe settles here definitively.
  • In the nineteenth century: the original volume of the theatre is expanded and developed under the supervision of Prosper Chabrol (1860-1864). We have him to thank for the grand staircase as well as the public foyer, in which marble busts of Voltaire and Molière have faced each other ever since.
  • 1900: a fire ravages the theatre. It is reconstructed identically.
  • 2012: major technical refurbishment work is undertaken in the Salle Richelieu, which closes for one year. The Troupe moves to the Théâtre Éphémère, a temporary building constructed in the heart of the Palais-Royal gardens. Made out of wood, this innovative structure combines an eco-responsible approach with excellent acoustic and thermal qualities. This 746-seat, end-stage theatre now belongs to the Grand Théâtre de Genève.

Théâtre du Vieux-Colombier

Created in 1913 by Jacques Copeau, in 1993 the Théâtre du Vieux-Colombier became the Comédie-Française’s second stage.

Located in the heart of Saint-Germain-des-Prés, the Théâtre du Vieux-Colombier programmes at least four new productions of classical or contemporary texts every year, in series between September and early July. Only plays performed in the Salle Richelieu enter the Comédie-Française Repertoire, however the artistic choices of the General Administrator are made with a view to the overall cohesiveness of the programming between the three stages.

The creation of the Théâtre du Vieux-Colombier on 22 October 1913 by Jacques Copeau was part of his project for a “dramatic renewal”, breaking with the commercial model of the Grands Boulevards theatres on the right bank.

Introducing the practice of alternating performances, he developed an intense activity with his company, notably with Charles Dullin and Louis Jouvet as General Manager. In 1924, Copeau moved to Burgundy to develop a theatre based on the principle of the bare platform, but his artistic legacy endured at the Vieux-Colombier, which, under successive directors, opened up to avant-garde cinema and jazz. Threatened with closure, it was bought by the state in 1986, and became the second stage of the Comédie-Française.

Key dates

  • 22 October 1913: creation of the Théâtre du Vieux-Colombier by Jacques Copeau.
  • November 1924: the director Jean Tedesco becomes artistic director of the theatre (until 1934), where he introduces avant-garde cinema to the French public (Abel Gance, Griffith, Jean Epstein, Charlie Chaplin and Jean Renoir).
  • June 10 1933: Georges Pitoëff’s first staging at the Théâtre du Vieux-Colombier, with Chirikov’s The Jews.
  • 27 May 1944: premiere of Jean-Paul Sartre’s Huis clos (In Camera), directed by Raymond Rouleau.
  • June 1945: Jean Vilar’s first staging at the Théâtre du Vieux-Colombier, the French premiere of T. S. Eliot’s Murder in the Cathedral.
  • 13 January 1947: lecture by Antonin Artaud.
  • 1948: inauguration of the Club du Vieux-Colombier in the theatre’s cellar with Claude Luter’s New Orleans Jazz orchestra, later to host Sidney Bechet and Boris Vian among others.
  • July 1961: as part of the Theatre of Nations, The Living Theatre stages Brecht’s In the Jungle of the Cities and the Vienna Volkstheater stages Genet’s The Balcony.
  • 1978: the Théâtre du Vieux-Colombier is listed on the supplementary inventory of Historic Monuments so as to prevent its destruction.
  • February 1986: bought by the state.
  • 9 April 1993: the Théâtre du Vieux-Colombier becomes the Comédie-Française’s second stage, placed at the time under the general administration of Jaques Lassalle, who opens the first season by directing two plays by Nathalie Sarraute, Le Silence and Elle est là.
  • 20 January 2010: first staging on a traverse stage, Paroles, pas de rôles / vaudeville, devised by the collectives tg STAN, De KOE and Discordia.
  • 29 September 2015: first production for “all audiences” with a show for actors and puppets, 20,000 Leagues under the Sea after Jules Verne in an adaptation and staging by Christian Hecq and Valérie Lesort.
  • 21 March 2018: Faust by Goethe, adapted and directed by Valentine Losseau and Raphaël Navarro. Apparitions, disappearances, levitations, holograms, transformations... magic is entering the Comédie-Française and the actors of the Troupe are learning a discipline, but also a stage practice and a type of concentration that is unusual for them.


Since 1996, the Studio-Théâtre, located in the Carrousel du Louvre and the Comédie-Française’s third stage, has programmed short and diversified forms.

The programming of shows and events at 6:30 pm from Wednesday to Sunday not only broadens the audience but also diversifies the range of productions on offer. Actors and audiences therefore have the opportunity to catch a second performance at 8:30 pm at the Salle Richelieu or the Théâtre du Vieux-Colombier, or even exceptionally at the Studio-Théâtre.

In addition to contemporary plays and classic works of the curtain-raiser type, the Studio-Théâtre is ideal for intimate plays, cabarets, children’s shows, as well as for public events.

When Jean-Pierre Miquel, at the time general administrator of the Comédie-Française, took the opportunity to create a third stage during the refurbishment of the Carrousel du Louvre, he had in mind a small venue that would act as a laboratory for different forms in close proximity with the public.

Thus, in 1996, the Comédie-Française inaugurated the seventh theatre in its history. Christened the Studio-Théâtre, its name refers to the first Studio of the Moscow Art Theatre created by Stanislavski in 1912.

Complementing the programming in the other two theatres, for the last twenty years, it has staged contemporary authors, sometimes for the first time in France, as well as short forms of “classics”, alone-on-stage performances or song-based shows.

Key dates

  • Découvrez

    Molière 2022

  • Important / COVID - 19

    Passe sanitaire


  • Places individuels et groupes : MARDI 7 DÉC à 11H


Voir toute la saison

Téléchargez en PDF pour plus d'informations :
> La brochure de la saison
> Le calendrier de la saison


Deux membres de la Troupe ayant été testés positifs au Covid-19, nous sommes malheureusement contraints, en respect des règles sanitaires en vigueur, d'annuler les représentations suivantes :

  • « LA CERISAIE » samedi 4, dimanche 5 et mardi 7 décembre décembre à 20h30 Salle Richelieu.
  • « FANNY ET ALEXANDRE » lundi 6 décembre 2021 à 20h30 Salle Richelieu.
  • « SANS FAMILLE » mercredi 8, jeudi 9 et vendredi 10 décembre 2021 à 20h30 au Théâtre du Vieux-Colombier


Suite aux annonces du Président de la République, et conformément au décret n°2021-955 du 19 juillet 2021 modifiant le décret n° 2021-699 du 1er juin 2021 prescrivant les mesures générales nécessaires à la gestion de la sortie de crise sanitaire, le passe sanitaire doit être mis en place pour tous les rassemblements de 50 personnes ou plus.
Il est donc en vigueur à la Comédie-Française pour les spectateurs majeurs depuis le 21 juillet, et nécessaire pour accéder à nos trois salles. Attention, il est également demandé aux spectateurs à partir de 12 ans depuis le 30 septembre 2021.


Le passe sanitaire concerne tous les spectateurs âgés de 12 ans et plus depuis le 30 SEPT 2021. Seuls les spectateurs munis d'un passe sanitaire seront admis en salle. Le passe sanitaire prend la forme d'un QR code disponible dans l’application Tous anti-Covid ou téléchargeable depuis le site
Le passe sanitaire est valide pour l’admission en salle lorsqu’il atteste :

  • soit d’une vaccination complète : 7 jours après la deuxième injection pour tous les vaccins à double injection (Pfizer, Moderna, AstraZeneca) ; 4 semaines après l'injection pour les vaccins à une seule injection (Janssen) ; 7 jours après l'injection pour les personnes ayant eu la Covid ;
  • soit d’un test PCR ou antigénique ou autotest réalisé sous supervision d'un professionnel de santé (pharmacien, médecin pouvant fournir un certificat) négatif de moins de 24h ;
  • soit le résultat d’un Test RT-PCR positif attestant du rétablissement de la Covid, datant d’au moins 11 jours et de moins de six mois.

Le port du masque demeure obligatoire pendant toute la durée de la présence dans le bâtiment (en salle comme dans les circulations).


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Suite au renforcement du plan Vigipirate, toute personne se présentant avec une valise ou un sac (hors sac à main) se verra interdire l'accès à l'enceinte des trois théâtres de la Comédie-Française.
Pour faciliter les contrôles, merci d'arriver au minimum 30 minutes avant le début des représentations.