Le Carré Saint-Vincent
Inauguré dans les années soixante-dix en remplacement du théâtre municipal, le Carré-Saint-Vincent, désormais dénommé "Théâtre d'Orléans", abrite plusieurs institutions et associations culturelles, dont le CDN d'Orléans depuis 1993.
Mais l’histoire du théâtre et de l’action culturelle à Orléans commence bien avant, au milieu des années soixante.
Mis à jour le
1965, November
Olivier Katian, who has just launched the Théâtre des Quatre-Vents in Versailles, offers to set it up in Orléans, with, beyond the idea of a municipalized troupe, the project of a real animation center.
At first, the City stuck to theatrical action. That’s how the troupe was inducted under the title of «Comédie d'Orléans».
1967
In March, about fifty people gathered by Mr. Hauchecorne, curator of the Orléans library, decided to work on the establishment of a permanent cultural action and the construction of a house of culture.
The Stage Hall being unsuitable for his conquest and novation projects carried by Olivier Katian, the city temporarily offered him to settle in the House of Joan of Arc remodelled.
About the municipal theatre
Located on the Place de l'Etape, then known as «Place de l'Etape aux Vins», the former municipal theatre of Orléans was originally a church. In 1792, the church of Saint-Michel became the property of the architect Lebrun who removed it from worship and transformed it into a performance hall. But the place, long narrow rectangle, poorly maintained moreover, lends itself poorly to the presentation of shows. As for the shows themselves, often of poor quality, they are rejected by the public. In 1818, the theatre was closed for essential restorations.
The theatre experienced a renaissance with the arrival of Alfred Harmant in 1848. As a well-known theatre man, he offered quality programming and financed the renovation of the theatre and the reconstruction of the Italian-style theatre with his own money. The new municipal theatre opened on 12 October 1850.
After the departure of Alfred Harmant in 1852, a dozen directors succeeded each other without being able to maintain the prestige of the municipal theatre.” The latter regained public favour in the Belle-époque thanks to the growing success of the operetta. The theatre survived in the difficult context of the war, hosting some prestigious names (Sarah Bernhard, Albert Brasseur, Aristide Bruand) but did not survive the modernization of the theatres.
The last performance was performed in 1974 and the theatre gave way to the town centre five years later.
1973, January
The name of Maison de la culture has been abandoned in favour of Centre d'animation culturelle d'Orléans and Loiret, but the acronym MCO has been retained.
Assisted by the author Louis Guilloux (cultural advisor from 1968 to 1971), Olivier Katian gradually formed a permanent team composed of artists, animators, technicians, administrators.
Architects: Messrs. Sonrel and Duthilleul
Floor area: 3000 m²
Floor Space: 4000 m²
Theatre: 2,600 m²
Cost of construction: 19,714,000 F (State contribution 5,205,000 F
Equipment cost: 2,060,000 F of which 512,000 F
Allocation of operating costs:
City: 44%
State (Culture Secretariat): 33%
Department: 22%
The construction
The project is built in consultation between future users, project owners and
city representatives.
At the initiative of the MCO, some unplanned premises were added: children’s pavilion, discotheque, video library, construction workshops.
May 2, 1973: foundation stone (Mayor: René Thinat)
July 1973: the foundations
November 1973: Construction of the theatre’s hexagon and stage cage
May 1974, the volume of the establishment becomes clear
January 1975: last interior fittings
24 January 1975: opening
7 February 1975: inaugural visit
In May 1975, after seven years of prefiguration, the Carré Saint-Vincent was inaugurated by Michel Guy, Secretary of State for Culture.
Built on the square that once hosted circuses and festivals, the new facility houses the Orléans-Loiret Cultural Entertainment Centre run by Olivier Katian and the new municipal theatre.
The rooms:
. The hexagon: convertible room (100 to 300 spectators) with bleachers and removable seats.
. The studio: small conference or screening room
. The Municipal Theatre made available to the MCO for its large audience shows (1000 spectators);
The new equipment implements the five main orientations defined from the outset by the MCO:
- provide ongoing benefits.
This is particularly the case for exhibitions, a very important sector for new equipment. Admission is free at all opening hours.
- working for the future, giving priority to action in favour of young people.
Children’s Pavilion offers a variety of activities, as well as books and records. Activities are also offered in schools. Young public shows are also presented on departmental tours.
- foster the creation
A balance between contemporary creation and works of cultural heritage is sought in the programming.
- Programming around themes;
- place its action in a global cultural context.
This translates into cooperation with national education, other cultural institutions in the city, groups and associations, and neighbourhood committees.
Key figures 1976
48,000 spectators for the 246 programs in the building and 52 performances and 134 animations in decentralization.
8,000 members: 61% living in Orléans, 5% at La Source, 24% in the agglomeration, 15% beyond.
The Orléans-Loiret cultural centre and the new municipal theatre are undergoing several institutional transformations.
Managed directly by the city until 1986, the place is then entrusted under contract to a Société Anonyme the Société d'Exploitation du Théâtre d'Orléans (SETO).
In 1989, the association Carré Saint-Vincent became manager of the venue and received the label Scène Nationale in 1993.
From 1985, a Centre Chorégraphique, which became National in 1995, moved there before integrating its own premises in 2001, rue du Bourdon Blanc.
At the same time, the Centre d'Art Dramatique d'Orléans (CADO), formed in 1988, is devoted to theatrical programming.
Finally, a National Drama Centre was established in 1993 for the creation and dissemination of contemporary theatre.
Several associations of the city are also welcomed for their activities.
In the early 1990s, architect François Deslaugiers (1934-2009) won the competition organized to expand the Orléans theatre, an extension made necessary by the arrival at the Centre Chorégraphique National and the Centre Dramatique National. He designs a resolutely contemporary facade, animated by light and reflections. It is also he who imagines the «Jean-Louis Barrault» room with its silver inclined plan, its glass gallery and its awning and the «Antoine Vitez» room entirely redesigned from the pre-existing structure to offer a more intimate setting, conducive to creation.
François Chaslin, architecture critic, paying tribute to the recently deceased architect, describes the architecture of the new building as follows:
“[… ] the new Orleans Theatre Hall (1992-1994), a large protruding volume, with rounded corners in the style of some Nouvel theatre projects, covered with a visor turned towards the old mail, with a stainless steel belly reflected in a basin. It is flanked by a beautiful air bridge that serves as a passageway and fireplace, a large tube of curved glass, discreetly mounted on two brackets that detach it from the building and bring it closer to the plane trees.»
The Théâtre d'Orléans currently has three broadcast rooms:
. Jean-Louis Barrault Room: 550 seats in bleachers; 40 seats in side boxes
. Salle Pierre-Aimé Touchard: 920 seats in bleachers
. Antoine Vitez Room: 213 seats in bleachers.
To these three rooms, we must add:
. "Kid", a small room used for screenings, readings, workshops, meetings with the public;
. the CDNO rehearsal room, which is occasionally used for the presentation of small shapes. the balcony and the hall in which some concerts are held (especially jazz).
Items:
Tribute by Jean-Pierre Sueur, Mayor of Orléans to François Deslaugiers
Frédéric Mitterrand pays tribute to François Deslaugiers
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