After several postponements of this plenary meeting of the National Council of the Performing Arts, I might have feared that this meeting would not be seen as the one we no longer expected, if we had not all been fully aware of our common attachment to this Council. This is an opportunity for me to take stock of our progress, to hear your concerns and I hope to respond to them, In particular, in the light of all the more informal exchanges I can have with many of you in the interim of these plenary meetings.

I also know that the work of the Council’s subordinate bodies is dense and
The Bureau has held seven meetings since the last plenary of the
June, for which you will find the minutes in your
delivered. I am also pleased with the establishment of the new Presidency
Employment Committee, provided by Mr Xavier Greffe, whose
welcomes the presence here today for the first time.

The vitality of this council is indispensable. And I have measured the
requests that were expressed, and reported to me, during the
meeting of the bureau on its agenda. We have to
to make this body a real workplace and
exchange, a real tool at the service of development and
outreach of performing professions in our country, sector
essential to both our culture and our economy. I will not
so not a long introductory statement so that we can widely
discuss the two items on the agenda:

- Firstly, the structuring and development of the
live and recorded performance. We will notably discuss, with Jean-
Denis Combrexelle, Director General of Labour, whom I thank for his
faithful presence at these meetings, and Georges-François Hirsch, director
general artistic creation, the advancement of the negotiation of
collective agreements, the show leave fund, the salary transfer,
but also the modalities through which I intend to promote
further development of these sectors.

- On the other hand, the impact of Community legislation on the
show. I heard your concerns and I wished the implementation
mission entrusted to the General Inspection of Cultural Affairs. This
will examine the compatibility of our aid scheme
with the European rules. More
generally, it will look at how we can better anticipate,
better work together on the challenges of translating texts

First of all, let me put our exchanges today in a
broader context.
This meeting took place at a time when the Unedic negotiation was concluded by
a virtual extension of the agreement in force. The specific
the intermittence has therefore been preserved. However it is important not to release
efforts underway to better structure employment in this sector. We
will come back.

The State, while supporting these steps towards a better
continued to provide the support of national solidarity to the
intermittence regime, through the professionalization and
solidarity. The last report of this fund appears in today’s file,
established by Michel Lagrave, to whom I would like to pay tribute and
express my gratitude for the work he has done as
Chairman of the Executive Committee of this fund. Soon an inspector
Finance General should succeed him. I would like to stress that the fund
professionalization and solidarity has found, largely thanks to
its place in the life of this sector. I am thinking in particular of all
career support needs to which this fund allows
from now on to answer.

This meeting is also being held when, I must remind you, the budget
of the Ministry of Culture was completely unfrozen. Given the situation
met by show professionals in other countries
Europe, this is an important budgetary choice. Moreover, while the
subject raised many concerns among you, I got that the clause
general competence of local authorities in cultural matters
be preserved.

These three elements provide a framework conducive to the vitality of our creation
artistic. I know that we have much to strengthen, to
to build, to invent, in particular to ensure that this sector has
development. This is the subject of two missions I am announcing
today’s launch, dedicated one to funding the show
funding of the music industry. They will respond to the
needs specific to each of these sectors, but they will be conducted
in close liaison with each other.

When it comes to the performing arts, it is precisely because I believe that
nothing can replace the life of the stage and the emotion aroused by the
presence of the actor, singer, dancer, musician I
wants to do everything – exploring all avenues without a priori
- in order to find new margins. I know how much the players in the
are weakened by the erosion of artistic margins and by
conditions for carrying out their difficult activities, due to costs
increasing. These fragilities threaten their development capabilities,
sometimes their existence. So we need to mobilize new types of
resources. I have decided to entrust this mission to personalities
of this sector, whose names will be known in future

On the content of this mission, let us be clear. It is a matter of identifying
new resources, extra-budgetary, to find new
support for creation and dissemination. This is about better
accompany the tremendous artistic and cultural impetus carried by the artists,
companies and all public and private institutions. These
new resources will complement the means that the Ministry of
culture and communication and communities dedicate to this sector,
to be defined, based on the proposals that will be
rendered by the mission.

I also want to be clear on one point: There is no question of going
towards the creation of an agency, nor in the sense of a dismemberment of the
Ministry of Culture and Communication, as I have heard here
or there.

We must collectively be inventive and innovative. Ideas, some
have. I am also committed to supporting these initiatives, as
example that was launched by the coffee-culture platform for
to invent innovative employment support schemes.

In addition, I will specify in the coming weeks the orientations
An Action Plan for the Performing Arts to strengthen commitment
for the sector and to propose new tools and
new perspectives to meet the challenges. I would like to
work to improve national and international dissemination of
works and creations, strengthen support for the emergence and
artistic renewal. I also wish to achieve a better
balance between disciplines and allow a broadening of audiences, to
through redesigned training and awareness actions.

The Mission on the financing of the musical sector will have to inform the choices
of the public authorities on the modernisation of the legal framework and
support to the various players in this sector. I would like to
that the hypothesis of the creation of a
support dedicated to this sector. It could be inspired, if necessary, by the
emblematic model represented by the National Film and
the animated image (CNC). The question of the contribution to the financing of the
musical creation of the various players in the digital economy, including
resources arising in particular from the provision - direct or
indirect - cultural content, will have to be examined
particularly attentive. I have decided to entrust this mission to Gentlemen
Daniel Colling, Marc Thonon, Didier Selles, Franck Riester and Alain

I would now like to touch briefly on a few points relating to our

The State and the social partners in the sector have done a great deal to
of recent years for this sector to structure and develop
economic and social sector in its own right. The
Collective Agreement Negotiations which began in 2005
more than 400 joint committee meetings.
Entry into the professions is becoming more professional, thanks to the action of
Commission Paritaires Emploi Formation (CPNEF), through the creation of
degrees, to the ongoing reorganization of educational institutions
of the performing arts, to the development of
the implementation of the Framework Agreement on the Development of
Employment and Skills (ADEC) of the performing arts.

The challenge is to strengthen and secure the career of show professionals
living throughout their lives. This approach is accompanied by
legitimately strengthening the fight against illegal work.

Thanks to the mobilization of all, and especially to the mediation entrusted to
Antoine Gosset-Grainville, Collective Agreement Negotiations
“film production” is, I hope, close to a signature.
I call on all of you to take responsibility in concluding the
negotiation of this essential text for the future of this sector. I
recalls the recent implementation of measures inspired by
the «Club des 13», which will strengthen the state support for production
independent, the most fragile.

Negotiation of the Private Performing Arts Collective Agreement
remains difficult but is progressing. You may have noticed that the
"out-of-scope" provision - which is intended to make the
collective agreements for performers and technicians employees
by companies whose main activity is not entertainment - has been
adopted in the framework of the Warsmann
simplification of the law. It was an expected provision, which conditioned the
full engagement of some of you in negotiating this
We now have a collective agreement.

I am not forgetting the current social situation in the audiovisual sector, in particular
in the context of negotiating public broadcasting agreements.
Progress has been made in several other areas, notably in
which concerns authors: I would quote the agreement in favor of transparency
in the cinema sector, following the mission entrusted to Roch Olivier
Maistre, or the subject of the continuing training of artist authors. Since
the National Council of Performing Professions (CNPS) meeting in June
many meetings have been held on this issue, which responds to
an old expectation. Everything is being done to ensure that a suitable device
applicable from next year, the management of which will be entrusted to
AFDAS. The AFDAS of which I am aware and support the requests expressed by
elsewhere on other subjects.

As regards the application of Community rules in your field, I
know that this subject has, in the recent past, been a source of many
concerns or misunderstandings or tensions. The mission
entrusted to the General Inspection of Cultural Affairs, will allow
hope to shed light on the future. Ms Catherine Meyer Lereculeur and Mr
Benoit Paumier, who is familiar with both legal issues,
particularly European, by virtue of the functions they have exercised both
the other in this area, will listen to you. Ms. Meyer Lereculeur is
the rest of us here today for a first exchange. It’s about
allow your sector to operate in a clarified and
The engagement letter is on file.

I would like to return to this theme on a few points. First of all, you
confirm that the draft Order in Council on the remuneration of officers
will be the subject of a new consultation in the coming
led by Inspector General Serge Kancel. Then you
indicate, with respect to the show contractor licence, that the
implementation of the Services Directive
declaration by European employers who come to work
temporary show entrepreneur in France. The law of 23 March 2011
just confirmed it. And I can tell you today, but you
allow us not to say more: to date, this is the only
translation of this directive on the licence of entertainment contractor.
Before I conclude, I want to say how pleased I am to meet you
and exchanges that you will engage on these files that engage
the future of performing and cultural professions in the landscape that
I just drew.

I would now like to propose not a general round but a
move directly to the first item of the agenda, which will generate, I
There is no doubt about that. If you agree, I will cede the
To Jean–Denis Combrexelle for an update on the topics that fall under
of its competence.