1.Theatrical institutions
At the end of the Second World War, by the will of some pioneering artists, A vast movement of theatrical decentralization is taking place which accompanies the reconstruction of the entire country and anticipates the creation of the Ministry of Cultural Affairs in 1959.
From then on, André Malraux continued the commitment he had begun in favour of theatre: he consolidated the budgets of the two existing national theatres, created the third by detaching from the Comédie Française l'Odéon, dubbed «Théâtre de France» whose direction was entrusted to Jean-Louis Barrault, and decided on the evolution of these theatres into public institutions.
André Malraux also continued the decentralization of theatre by creating new national drama centres from 1961. The department is also contributing to the emergence of subsidized troops. Private theatre received support through the creation of the private theatre support fund in 1964. With the creation of the houses of culture that have become National Scenes, a network is formed that meets the pre-existing network of CDNs, two networks that are constantly becoming more dense.
The panorama of French theatre creation takes shape around dedicated venues on the one hand and the vitality of independent teams on the other. Theatrical creations also find their place in multidisciplinary venues and festivals. The higher education and integration of young artists remain fundamental issues of the ministry’s policy.
- 4 national theatres : the Comédie-Française, the Théâtre National de La Colline, the Théâtre National de l'Odéon and the Théâtre National de Strasbourg. These public institutions are fully funded by the State and provide a mission of creation, dissemination and sharing of theatrical art with all audiences. If the Comédie-Française only works on repertory texts, the Hill is exclusively devoted to contemporary authors.
- 38 national drama centres. Structures directly resulting from theatrical decentralisation, they are co-financed by the (majority) State and local authorities. Directed by “one or more artists” for a maximum period of 10 years, the CDN’s priority is to carry out a mission of theatrical creation (production, co-production, dissemination) in connection with their territory of establishment and its audience.
- 14 National Street Arts and Public Space Centres : manufacturing sites dedicated to the arts in the public space, they are also venues for dissemination year-round. Some have major festivals (Aurillac, Chalon-sur-Saône, Sotteville-Lès-Rouen). Spread over the entire national territory, the CNAREP is co-financed by the State and local authorities. They support the production and dissemination of independent teams and have, in parallel, been pioneers in the development of territorial artistic projects, in situ and participatory.
- 12 national circus centres The PNC is the first network of establishments supported by the Ministry of Culture to support the production and dissemination of the creative circus. They provide production support to independent companies and ensure a year-round broadcast of this discipline in theatres or under marquees. The association Territoires de Cirque brings together, in addition to the PNC founding members, twenty other establishments particularly attentive to the production and dissemination of the circus. PNC labelling began in 2010.
- The theatre festivals, like Avignon, Montpellier ("Printemps des comédiens"), Périgueux ("Mimos"), Dijon ("Théâtre en mai"), Bussang, Charleville-Mézières ("Festival mondial des théâtres de marionnettes"), Aurillac, Chalon-sur-Saône (street arts), BIAC (Marseille) or Auch for the circus. More than 20 festivals are also dedicated to creations for young audiences.
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