The simple evocation of Saint-Exupéry’s tale is enough for many to awaken memories, tenderness or hopes. History, which has spanned continents and years, stimulates our personal imaginations. But if everyone maintains an intimate relationship with this work, its status as a collective cultural reference does not change. It is this entry point that is of interest Jean Bellorini when he decides to go up The Little Prince. For his second collaboration with the Yang Hua Theater, the director of the TNP therefore opts for a story with a universal aura, with which he makes ancestral Chinese poetry resonate.
From this intersection of popular cultures, a show is born which is built on common values. The notions of learning, transmission or curiosity accompany the protagonist’s journey to meet nature and men. In a scenography designed for the beauty of the images it produces, the director follows the structure of the novel with a certain fidelity, mixing in his own way the time of the narration and that of the fable.
A story with several voices
Solitary flowers in small glass pots materialize the border between the stage and the audience. Beyond, a large circle of snow-white confetti occupies the center of the space, which large structures frame around the stage. In the garden, a large wall of three-blade propellers faces, on the other side, as many searchlights turned towards it. Somewhere there is a model of an airplane lying around, on the scale of a child’s toy. There is a bohemian spirit everywhere, reinforced by the presence of musical instruments, scattered in three radiating points, golden surfaces on which the light is reflected.
In his formal approach, Jean Bellorini asserts from the outset the bias of a story made to be told. Further evidence of this, beyond the accessories and symbols playing illustrative roles – like the watercolors of Saint-Exupéry – is the relationship that is established between artists and spectators. With regard to this complicit relationship, the performers navigate between the different points of narration, moving from the distant story with several voices, to the incarnation of chosen characters. A two-measure structure to which is added from time to time a third score, this time musical.
Théâtre musical
Surrounding himself with a multidisciplinary team, the director thus reinforces the poetic dimension of the original work. With the help of Clément Griffault as musical director, he composes his show between original themes – with melodies like nursery rhymes – and variations of Don’t leave me of Brel. Two axes of the same desire to bring together adults and children, which the sounds of Mandarin reveal with as much power as delicacy. The voice of Liu Fanqing remains an incomparable discovery.
On stage, instrumentalists and actors move forward in unison in this shared fable. Faithful interpreter of Jean Bellorini, Francois Deblock takes on the role of the aviator and forms, with the Little Prince, a duo that links languages and generations. At his side, the very young Li Yichen impresses with its rigor of play. Fabric crown on the head, in an elegant costume signed Fanny Broustehe easily adorns each painting in which he appears with his candor.
“The essential is invisible to the eyes”
However, above Saint-Exupéry’s words, the images, the songs and the recitative rhythm reveal no more than the tale itself. With this creation, Jean Bellorini above all summons a common culture and offers it a setting to share it. The novel’s life lessons and small (mis)adventures continue to make viewers of all ages smile and think. If, as the fox says, “We only see clearly with the heart”SO The Little Prince has, by its essence, still much to convey.
Envoyé spécial à Villeurbanne
The Little Prince d’après Antoine de Saint-Exupéry
Création à Wuhan le 15 novembre 2025
Seen at the Théâtre National Populaire – Villeurbanne
From May 30 to June 6, 2026
Durée 2h
Tour
July 9 and 10, 2026 at the Yulan Grand Theater, Dongguan (China)
July 18 and 19, 2026 at the Poly Theater, Beijing (China)
July 24 and 25, 2026 at the Poly Theater, Qidong (China)
October 30 to November 7, 2026 Carouge Theater (Suisse)
20 and 21 novembre 2026 à la National scene of EssonneÉfree
26 and 27 November 2026 Ã la House of Arts of Créteil
based on the novel by Antoine de Saint-Exupéry
mise en scène and adaptation by Jean Bellorini
with François Deblock, Xue Fei, Li Yichen alternating with Zhai Youchen, Jin Zhenhe alternating with Zhang Hao Tong
chant Zhong Lifeng, Xiaoliu, Fanqing
keyboard, accordion – Chen Minhua
artistic direction – Wang Keran
artistic collaboration – Anaïs Martane
revival production – Ray Zhang
assistant director and stage supervision – Zhou Jingyi
traduction – Ma Zhencheng
poetry advisor – Dong Qiang
scenography – Jean Bellorini and Li Geng
light – Jean Bellorini
original music – Clément Griffault, Jean Bellorini, Zhong Lifeng, Xiaoliu, Fanqing
musical direction РCl̩ment Griffault and Jean Bellorini
costumes by Fanny Brouste
