Minister, dear Jack LANG,
Dear Didier DESCHAMPS, Director of the Théâtre National de Chaillot,
Mrs Clarisse MAZOYER, President of the OPPIC,
Mr Vincent BROSSY,
Ladies and gentlemen,
Dear friends,
Today, together, we are opening a new page in the life of this place. But in doing so, we give it above all the means to prolong its history. This renovation will allow you to extend the universal ambition that the Théâtre national de Chaillot carries in itself, intrinsically, since its creation.
Because the first palace of the Trocadéro was built in 1878 as part of a World Exhibition. Because it carried, from the foundation of the National Popular Theatre by Firmin GÉMIER, in 1920, the vocation of a «elitist creation for all» - according to the formula of Antoine VITEZ. Because it was replaced by the Palais de Chaillot with a new International Exhibition in 1937 – 80 years ago; Exhibition that took place in the historical context that we know, but whose original ambition was to “to unite all that unites men and nothing that separates them”. Finally, because this place hosted the signing of the Universal Declaration of Human Rights in 1948. Declaration which, I recall, raises the notion of “cultural rights”, indispensable to the “dignity” of every human being and to “the free development of his personality”;
And when the Ministry of Culture chose to make it a place primarily dedicated to dance, in 2008, it was to give this art the public establishment that it lacked. But it was also, and more broadly, a way of reaffirming a commitment to all the arts, to all forms of expression. It is this universal ambition, deeply rooted in the identity of this institution, that we must be able to carry a little further through renovation.
That is my message today: always keep in mind that if we have redone the walls of this place, it is not to better close it, it is to allow it to be even more open. Always more open to creation, always more open to the public, in their diversity and always more open to the territory.
I know that you have not waited for me to carry these priorities, dear Didier DESCHAMPS.
But I’m here to tell you that we share them. And the department will support that direction.
Be ever more open about creation, first. If this work was undertaken, it is for her: it is to offer our dancers and choreographers an additional ground of expression. This Firmin GÉMIER room will welcome a new diversity of projects. Smaller than the Jean VILAR stage, it will allow productions not less ambitious, but smaller, to find a suitable space. The transformation of the Maurice BÉJART room into a rehearsal and experimentation room will also allow the creation to develop.
Creative work is demanding, long-term work that requires a great deal of investment. These two rooms are at the service of this work: they will allow dancers and choreographers to have more time and space to warm up; to rehearse – including in front of the audience; to experiment; to try new things.
You have made this theatre, dear Didier DESCHAMPS, the first pole of production and diffusion of choreographic creation in France; and a central pole on a European scale. You are obviously not acting alone: you are part of the extraordinary network built for dance in France, for more than 30 years, by the companies, by the certified venues – the National Choreographic Centres, the Centres de développement chorégraphique…
But as a public institution, you have a particular responsibility. We are counting on you, together with your teams, to take advantage of the momentum created by this renovation and shine even further.
The second objective is to open up this institution more and more to the public. And I put an end to the plural. One of the major challenges of the five-year period is the fight against exclusion in all its forms, starting with cultural exclusion.
This is the core of your public service mission: to serve the public, all audiences – and to do “more” for those who need it the “most”. It is not enough to grow creation to grow culture in the heart of our nation, as you well know. It is necessary to have constant concern for its transmission: to all, everywhere.
It is the compass of my project: to develop the «access» of all citizens to creation that we support. It is also yours, dear Didier. You have consistently shown that. I’m counting on you to continue.
This work will improve the Theatre’s accessibility for people with disabilities. But we must continue to work for the diversification of audiences. This means making a special effort towards those who do not attend dance or theatre halls: for social, economic and geographical reasons. Which means touching them where they are, as much as opening the doors here.
This also means preparing today for the diversity of the audience of tomorrow: that is, addressing young people. This is a top priority. It is our collective responsibility. At the national level, I want to focus resources on youth: through the generalization of artistic practice at school – and especially dance! through the establishment of the Culture Pass, which will empower young people in their cultural choices.
Here, you also have to think about this young audience all the time: I know that this is already a central concern for you. And, I am thinking in particular of the “Chaillot en partage” program, through which you seek to reach young people who, by virtue of their personal, family or physical situation, would remain far from the artistic richness that is created here.
Finally, this place must be opened up even more in the rest of the territory.
With this work, the Ministry of Culture does not choose to invest in a Parisian institution: we invest in a «national» institution.
Let’s always keep that in mind.
Never think of this Theatre as a building, always think of it as a transmitting heart. And the impulse you’re sprouting here must cover all regions.
You have many ideas, such as the partnership that was established with the Chapelle d'Annonay in the Ardèche region to develop artistic residencies “outside the walls”. We must continue in this direction: multiply tours, partnerships, projects outside Paris, always with the same requirement – for dancers, for choreographers.
Those are the few words I wanted to have today. You’re doing an outstanding job here. You are equal to the History entrusted to you.
Firmin Gémier said, “I value my legend. You always have to have your legend.”
By extending hers, you are writing yours. All of France must benefit. All of France needs it.
Thank you again for your work. And I’m counting on you to continue.