[Music]
what legitimacy followed so well in
has one who will make you laugh
I am the one who inaugurated this room
to make it a theater in
1974
I had committed a piece meets a
team a company asked paul
puaux where I could have played it was
the beginnings of off 44 years before and he got me
said will see go see the bishopric there is
a parish hall and that was the
Benedict Hall xii
she did not look at all that
what is it today?
had a mezzanine there was a parterre
with wooden seats that mistakes
slammed it was a patronage room
there was a frame of a hard dial it was
really really a city not a very
good room to tell you everything
but the experience has been very positive and
allowed puyoô then to turn
to the city to buy this salad
bishopric and make it dirty you have
that in which you are sitting
today for me so this is the
loop seems not to close because
that I hope they close again
not tonight but in any case that’s it
I was on this stage 44 years ago and
tonight the other legitimacy the other
small inflection point small huge name
is that in my life I was lucky
and the happiness of meeting a young
woman’s name was dominique villars and the
jean girl so I have very good
known unfortunately dominated died
to these young people at 50 and I kept with
this family the closest ties
of affection and friendship
it is as such that higher after his
death is not he who turned
to me after his death but finally
it’s the board of directors of the 20
January the art that asked me to take
the direction of this house in 2003 and
I leave them and there is now a
very little year to leave her to a
new direction
a new director and I am
very happy we will talk about it maybe
just now there are two reasons
for which it would seem that I
know something about these
territories and line year but very
modestly I think it takes
maybe start by doing a little bit
history
some of you know this
history by heart but finally the
pedagogy by repetition I repeat
1947 jean vilar does not create the festival
avignon
these are two christian art dealers
ivan zervos who have the idea to bring here
the collection of painters they have
under their aegis
it’s not to be little known they do not
are not yet the stars that are going to be
they will become
they are picasso matisse light stunt
that’s it but they are not more known
that will be known the actors of
january the art a few years later
the jeanne moreau apart jura flip who
was known the joys of my role and
black philippe are not known when
they go to rio that’s the same thing that
the same relationship
the other thing quite extraordinary
on the part of the brains is to come to
avignon has worn his great painters who
are today at the pompidou center in
beaubourg for at the time come to
avignon present his works
it was going to africa remember
that malraux talk about the odious words of
province against which it was necessary
obviously struggled close to 0 6 beds at a
hoover a man called rhin
and cats who thinks that art
contemporary it’s not just the
visual artists it is also possibly
the theater the music so there will be some
theater and music align and he
turns to a young director
who just passed the nose to the window
like that and have a big hit with
the with a play called murder
in the cathedral which he asks
villars to come play in the yard
of honor murder in the cathedral
it’s a bit full to pleonasm
do you see because die in the
cathedral obviously the story of a
archbishop assassinated by a king and the
palace the palace of the popes everything is fine
it sticks together and that’s where
villard at his first idea at first
brilliant intuition is to refuse and
come back twenty days after a day
after with his friends zervos chariots
see the mayor of avignon also sir
the doctor pons must tell them listen
I have another idea, I’m going to come
in avignon with three shows so a
shakespeare you have seen a
shakespeare a claudel is a work
contemporary in three places
different
it’s very very important actor that I
see that I’m reminding you
the origin jean vilar to think this
festival
not as a fact
who is going to present him some non
which it is about to storm a
city and put a city on festival
Is not it like we enter religion?
3il three different places court
of honor urban vergeer 5 and theater
municipal which are therefore the first fruits of
what will become of the festival in the
following years in a letter
that he writes to his turkey his
administrator at the end of this festival
he told him he would have to next year
directors handles
works me I will take care of all these
people in the courts 47
it looks like they see the off and I
can you tell that this staging
will be greater than the previous what
always tell me that villard
was more of a director of the
public
he’s a great artist but first of all to
stage public so here it is
in the courtyard of honor very beautiful place
which gathered 2500 spectators
2500 spectators are not 2500
from day one but little by little
the bird makes its nest and as it
succeeds it is proposed to Paris I pass
on the details of the personality very
important young laurent who is going
ask jean vilar to move to
chaillot which here is the room
appalling 2006 in place also
villard discovers in the east in the
Chaillot palace cellars otherwise
in the omissions of chaillot that there
there was a theater called
popular national theater and it’s going
bring out these three letters to
to make a future helmand the flagship of this
what will be the popular theater of the end
of the last century in its two halls
walk on two feet is not it to
jean dion in these two avignon palaces
and chaillot villard palace will bring together
a huge audience again of 2500
places about 500 thousand spectators by
year at the end of his adventure he will gather
five and a half million spectators
it’s absolutely considerable and
answer the question of
territory with jean vila knows how to answer
by the word public the question of the public
that’s the answer of villars to the
question of the territory of today
but which audience
villard use a word usually
first villard speaks to all that
it’s clear
he has a universal approach but he
is of course to Avignon but
Avignonnais or Parisians or or
of the nation he will address everything
especially what he calls this
that was called at the time the classes
laborious in this word we do not mean
obviously a word a little communisants a
vocabulary a somewhat outdated ideology
certainly and lila was not communist
far from it but know that I have it from his
mouth that he knew at the beginning of the
war and in his young age so 28 30
in the greatest misery it is a man
who has suffered from malnutrition who
attended the soup kitchens which has
known black bread
he ate croutons of croutons from
hard bread in mustard backgrounds
he will be besides he will be very sick
suites would be of this type of
diet
in short he considers that he was part of
miserable dear to victor hugo which
will allow him to refuse lessons from
morality and propriety of the left
well thinking when later she
will come to bother him especially in 68
with this revolution that came
jostle january in his festival so
villard learns what in those years
he learns that we do not want a tale
not die that of late one dies too
of ignorance we also die of being deprived
entertainment and knowledge
is worthy of entertainment because
dinars is a serious serious man just
a man who likes to have fun and he thinks
that pleasure is an arm a weapon
essential obviously at the end of the
culture and remember that molière
said it’s about pleasing is touched
so how do we do it so here we are
is in the dance is about these
working classes how do we do for
touch them we’re back to our
history
let’s go back to greece the theater was born in
2005 1500 years before ours before
our era in greece and this is the first
act of democracy as you the
know it was about bringing together in
very big breeds assembly it’s a
question that ‘s mass talent
before assemblies of eight to ten
thousand people we gather around
gods around the myths around
national identity of course and that’s
there that we learn by sophocle by
euripides is that we learn that he
is and how is one treated and how
we go to catharsis of course see
this is where the theater is
shared for all the theater that brings together
the unanimous theater time passes the
theater leaves its religious roots
the guards until the middle ages and then
enters the world of capitalism that
start to conquer the world up
These days
and here comes the cultural industries
I think the struggle of vina
avignon festival as soon as he has he put
feet in Avignon is to say it
must escape this russian india
industrialization of culture to this
financialization to stay
disinterested and to escape the laws
of the market
at the same time the cannes festival
and is also in 47 with a palm
villa will refuse the palms of course there
will receive the legion of honor
signals and he will make sure that never
the festival of Avignon is not a
contest besides the word festival him
was imposed by word suitcase if you
want he would have preferred that it undermines
the encounter meets avignon
so what does he do if the this challenge of
villars how is he going to realize he
ya with an administrative team it’s
awesome
piloted by jean proven he will organize
set up a device device
access to culture that is the fact of
talk to people and allow them to
understand to enlighten when I say the
enlightened word it’s not lit illuminate
the way a lighthouse does not illuminate the
lighthouse road indicates the pitfall of which he
is to make clear the difficulties
to make clear the works and no
not the years lock them in
this is in a device that would be
excluded then with this team
administrative
he’s going to invent a subscription he’s going
advance the time of the shows
happiness to avoid going to bed too much
late
he’ll remove the tip a
tip it’s a humiliation it takes
reach out and me who have to give
this young emilie alms by accepting it
the cloakroom will be free I
will distribute at the exit or during the
finally show at intermission the text of
the room an absolutely affordable price
it’s the equivalent of one euro
today he will sell it by
a million and a half of all feet
from all the doubts the works played
by the tnt
see there is a whole series like that
the welcome to music
I even take that I have a very pretty
picture of the music cage we will come back
on this beautiful photo before you have
seen jean vilar by the assaults at this
people it’s scouts is not it and
this is how the festival of Avignon and
chaillot will expand the circle of these
connoisseurs city to address in his
time in those years 47 to 60 at a
public
today there are audiences then
obviously everything has changed and back to
avignon I think the study of this
territory is very interesting from
political artistic point of view
social and geographical etc.
we have a villar that will act in
a city of 40000 inhabitants intra muros
I was a little child here in the
region I remember a city very
active of ten craftsmen where there was
it was an anthill
it looks like summer avignon mama
city of the 50s it’s been summer
today it changed everything and well
sure the dila explode his clothes from
autotours and we are we are
thus left a univocal audience
I like to tell an audience to audiences
equivocal
they have multiple voices so how
solve these big contradictions
today’s two great craftsmen
this possible resolution is
obviously on one side the city and its
ediles and his elect and there I do not enter
at all
my policy whatever it is but in
anyway their responsibility that is
that of the fluidity of
circulations of the order obviously of the
peace but also happiness and comfort
urban
but is the theater anything
something that must belong to the comfort
urban
that’s one of the claims the theater
and the cultural action to be wanted
still more subversive than
simply satisfy needs
immediate
It’s not exactly the same thing.
well indeed this festival
I would like to draw your attention to
a thing jean vilar and so to chaillot
and Avignon until 1963 when
he leaves the PNT and not only he
quit the tnp but he gives up
continue to make the artist to do the
director and do the actor
he will do it occasionally at the movies
a little bit at the private theater elsewhere
a little bit at the opera but in fact he has
finished and he will take care of his work and
his work is what it is here it is the
avignon festival and it reads very
nicely i have long been in my
busy life of the arts scene of the
scene
one day I looked up and found
since it was happening around were
much more interesting it is
exactly I believe it is this word that he
must you keep that we kept
in the adventure of the festival of Avignon
from yesterday to today and tomorrow
Avignon is a very complicated city
very very very complicated it’s a city
of obstacles I lived in this house
jean vilar that you know behind
but on the wall who are themselves behind
ramparts and behind the ramparts there
there is the rampart of the river and the rampart
of the railway then the rampart of the
bypass and then the date of stature
green
we are in circles like that
they do not have concentric mitis yes
they are concentrated but moving away
from each other they make that the
publics the audiences are moving away one
others
what do people in the field have in common
flowers and the people of the Queen
jeanne
they do not even know each other so they are
so with intramuros even less
so you see these contradictions are
extraordinarily difficult
to solve and besides are they
reasonable I do not know strictly
nothing because I do not interfere
fortunately for me to happen some
major urban problems
but finally you see that the presence of the
festival is defined at this moment a
completely like a festival
eminently political not politician
political ie that there is a
civic responsibility a
social responsibility of artists
it’s a debate that is
artists is what we do from the game
sochaux more of the social cultural or is
what we do art this debate was
very very time consuming
direction of vincent brawl and
hortense archambault where there were
very contemporary artists who were not
not in the public’s concern
and you remember that that was it
had pretty much screamed so festival
of protest golden festival of
reflection but and why why these
festivals hinders since 1954 jean vila a
almost fired not a plot of
notables who would have preferred to see
norias rolls royce had rugs
red along the palace festival of
popes to go to applaud the ballets
of the Marquis de Cuevas or a festival of
any rods rather than 1 gerard
philipe in the cid the eyelashes and school
he wanted to see how not to
he defeated 7-6 7
this fang in leg by a petition of 24
thousand signatures that asked the
city to keep jean vila in power on
40000 people see it’s a phenomenon
quite extraordinary that makes me
to say that the peasant of vaucluse where the
proletarian of paris may not be
not to chaillot at the palace of the popes
but he knew he could go there I
wanted this reflection she and she and
she is very sorry me she is very
near me 2,46 who runs the tnt
currently in lyon
she is very deep they knew
that they could even if you go there
I do not know I can go and that
it’s a communication problem that
seems to me essential in the sharing
of culture and the approach to culture
of course in 68 you penny you remember
you know of course villa was
jostled and insulted but the festival has
held he kept his festival off
of water and it’s lily allen who won
against the wealthy bourgeois who came
the accused not to cultivate
popular what had it done during
so many years
so that was obviously a moment
extraordinarily dramatic on
which he undoubtedly left a lot
of his health since he died three
four years later in 2003 this festival is
canceled
I claim that it is not canceled
I claim it took place it was
canceled because the shows did not
not occurred but the festival takes place there
took place it’s kind of a conference
worker for a month of strike or the
intermittent symptoms were a symptom of
national social crisis and this is where
it happened it happened elsewhere
and this specificity avignonnaise I
believe we need to be
proud and that we continue the
defend tooth and nail because we are
in an appointment of thought so I
think villard was kind of
president of the republic of the theater and
of cultural action in general
remember that from July 5th to the 28th
August about 20 25 thousand people
come in and out of this city all
the days is a societal bomb that
we happen who comes to this city
economic leap
bombs of thought also my
little cousins and who held this forgiveness
who came last summer my 10
was wonderful spent three days
what did you see nothing
it was wonderful why the debate this
is happening here a little bit
little the same thing and 7.7 this thing I
would not say to the good franklin
because it’s very demanding but in
any good case and where we are
welcomed and not excluded so our
territory
in my eyes is always outdated and so
better it is this overtaking that is necessary
that we assume he is overwhelmed by he
must enter the territories of
intelligence do not be afraid
of the word intelligence it’s not a
arduous world it’s not a
we do not exclude the contrary you are
smart that’s what said city
arras and to his audience who often ten
years old but you know me I do not know but
no you are rich of
your lives so you are as rich as
it’s your life that counts that it’s
your culture so freedom elevation
I really like this word of a comedian who
said this little man was not very
big villains requires you to stand
right here is expanding the circle of
connoisseurs that’s a word of brecht
that villard would have taken well and me
I like to say that the utopia of jeans
vila is armed with a secular spirituality
tried to deepen with me these words
just now spirituality
lay rent to re-enchant a
this materialistic world and which
we are sometimes forced to come
that’s why I would say not without
laugh that we feel smile anyway
that gillard is somehow the
tenth popes of Avignon
not so long ago fire
a few years ago there was a slogan
avignon city of spirit I do not know
why it was good why forward
use it more for me said denying
Lille of spirit avignon open city
are the watchwords and beliefs
which are absolutely necessary to the
conquest of our territory
thank you
[Applause]
what legitimacy followed so well in
has one who will make you laugh
I am the one who inaugurated this room
to make it a theater in
1974
I had committed a piece meets a
team a company asked paul
puaux where I could have played it was
the beginnings of off 44 years before and he got me
said will see go see the bishopric there is
a parish hall and that was the
Benedict Hall xii
she did not look at all that
what is it today?
had a mezzanine there was a parterre
with wooden seats that mistakes
slammed it was a patronage room
there was a frame of a hard dial it was
really really a city not a very
good room to tell you everything
but the experience has been very positive and
allowed puyoô then to turn
to the city to buy this salad
bishopric and make it dirty you have
that in which you are sitting
today for me so this is the
loop seems not to close because
that I hope they close again
not tonight but in any case that’s it
I was on this stage 44 years ago and
tonight the other legitimacy the other
small inflection point small huge name
is that in my life I was lucky
and the happiness of meeting a young
woman’s name was dominique villars and the
jean girl so I have very good
known unfortunately dominated died
to these young people at 50 and I kept with
this family the closest ties
of affection and friendship
it is as such that higher after his
death is not he who turned
to me after his death but finally
it’s the board of directors of the 20
January the art that asked me to take
the direction of this house in 2003 and
I leave them and there is now a
very little year to leave her to a
new direction
a new director and I am
very happy we will talk about it maybe
just now there are two reasons
for which it would seem that I
know something about these
territories and line year but very
modestly I think it takes
maybe start by doing a little bit
history
some of you know this
history by heart but finally the
pedagogy by repetition I repeat
1947 jean vilar does not create the festival
avignon
these are two christian art dealers
ivan zervos who have the idea to bring here
the collection of painters they have
under their aegis
it’s not to be little known they do not
are not yet the stars that are going to be
they will become
they are picasso matisse light stunt
that’s it but they are not more known
that will be known the actors of
january the art a few years later
the jeanne moreau apart jura flip who
was known the joys of my role and
black philippe are not known when
they go to rio that’s the same thing that
the same relationship
the other thing quite extraordinary
on the part of the brains is to come to
avignon has worn his great painters who
are today at the pompidou center in
beaubourg for at the time come to
avignon present his works
it was going to africa remember
that malraux talk about the odious words of
province against which it was necessary
obviously struggled close to 0 6 beds at a
hoover a man called rhin
and cats who thinks that art
contemporary it’s not just the
visual artists it is also possibly
the theater the music so there will be some
theater and music align and he
turns to a young director
who just passed the nose to the window
like that and have a big hit with
the with a play called murder
in the cathedral which he asks
villars to come play in the yard
of honor murder in the cathedral
it’s a bit full to pleonasm
do you see because die in the
cathedral obviously the story of a
archbishop assassinated by a king and the
palace the palace of the popes everything is fine
it sticks together and that’s where
villard at his first idea at first
brilliant intuition is to refuse and
come back twenty days after a day
after with his friends zervos chariots
see the mayor of avignon also sir
the doctor pons must tell them listen
I have another idea, I’m going to come
in avignon with three shows so a
shakespeare you have seen a
shakespeare a claudel is a work
contemporary in three places
different
it’s very very important actor that I
see that I’m reminding you
the origin jean vilar to think this
festival
not as a fact
who is going to present him some non
which it is about to storm a
city and put a city on festival
Is not it like we enter religion?
3il three different places court
of honor urban vergeer 5 and theater
municipal which are therefore the first fruits of
what will become of the festival in the
following years in a letter
that he writes to his turkey his
administrator at the end of this festival
he told him he would have to next year
directors handles
works me I will take care of all these
people in the courts 47
it looks like they see the off and I
can you tell that this staging
will be greater than the previous what
always tell me that villard
was more of a director of the
public
he’s a great artist but first of all to
stage public so here it is
in the courtyard of honor very beautiful place
which gathered 2500 spectators
2500 spectators are not 2500
from day one but little by little
the bird makes its nest and as it
succeeds it is proposed to Paris I pass
on the details of the personality very
important young laurent who is going
ask jean vilar to move to
chaillot which here is the room
appalling 2006 in place also
villard discovers in the east in the
Chaillot palace cellars otherwise
in the omissions of chaillot that there
there was a theater called
popular national theater and it’s going
bring out these three letters to
to make a future helmand the flagship of this
what will be the popular theater of the end
of the last century in its two halls
walk on two feet is not it to
jean dion in these two avignon palaces
and chaillot villard palace will bring together
a huge audience again of 2500
places about 500 thousand spectators by
year at the end of his adventure he will gather
five and a half million spectators
it’s absolutely considerable and
answer the question of
territory with jean vila knows how to answer
by the word public the question of the public
that’s the answer of villars to the
question of the territory of today
but which audience
villard use a word usually
first villard speaks to all that
it’s clear
he has a universal approach but he
is of course to Avignon but
Avignonnais or Parisians or or
of the nation he will address everything
especially what he calls this
that was called at the time the classes
laborious in this word we do not mean
obviously a word a little communisants a
vocabulary a somewhat outdated ideology
certainly and lila was not communist
far from it but know that I have it from his
mouth that he knew at the beginning of the
war and in his young age so 28 30
in the greatest misery it is a man
who has suffered from malnutrition who
attended the soup kitchens which has
known black bread
he ate croutons of croutons from
hard bread in mustard backgrounds
he will be besides he will be very sick
suites would be of this type of
diet
in short he considers that he was part of
miserable dear to victor hugo which
will allow him to refuse lessons from
morality and propriety of the left
well thinking when later she
will come to bother him especially in 68
with this revolution that came
jostle january in his festival so
villard learns what in those years
he learns that we do not want a tale
not die that of late one dies too
of ignorance we also die of being deprived
entertainment and knowledge
is worthy of entertainment because
dinars is a serious serious man just
a man who likes to have fun and he thinks
that pleasure is an arm a weapon
essential obviously at the end of the
culture and remember that molière
said it’s about pleasing is touched
so how do we do it so here we are
is in the dance is about these
working classes how do we do for
touch them we’re back to our
history
let’s go back to greece the theater was born in
2005 1500 years before ours before
our era in greece and this is the first
act of democracy as you the
know it was about bringing together in
very big breeds assembly it’s a
question that ‘s mass talent
before assemblies of eight to ten
thousand people we gather around
gods around the myths around
national identity of course and that’s
there that we learn by sophocle by
euripides is that we learn that he
is and how is one treated and how
we go to catharsis of course see
this is where the theater is
shared for all the theater that brings together
the unanimous theater time passes the
theater leaves its religious roots
the guards until the middle ages and then
enters the world of capitalism that
start to conquer the world up
These days
and here comes the cultural industries
I think the struggle of vina
avignon festival as soon as he has he put
feet in Avignon is to say it
must escape this russian india
industrialization of culture to this
financialization to stay
disinterested and to escape the laws
of the market
at the same time the cannes festival
and is also in 47 with a palm
villa will refuse the palms of course there
will receive the legion of honor
signals and he will make sure that never
the festival of Avignon is not a
contest besides the word festival him
was imposed by word suitcase if you
want he would have preferred that it undermines
the encounter meets avignon
so what does he do if the this challenge of
villars how is he going to realize he
ya with an administrative team it’s
awesome
piloted by jean proven he will organize
set up a device device
access to culture that is the fact of
talk to people and allow them to
understand to enlighten when I say the
enlightened word it’s not lit illuminate
the way a lighthouse does not illuminate the
lighthouse road indicates the pitfall of which he
is to make clear the difficulties
to make clear the works and no
not the years lock them in
this is in a device that would be
excluded then with this team
administrative
he’s going to invent a subscription he’s going
advance the time of the shows
happiness to avoid going to bed too much
late
he’ll remove the tip a
tip it’s a humiliation it takes
reach out and me who have to give
this young emilie alms by accepting it
the cloakroom will be free I
will distribute at the exit or during the
finally show at intermission the text of
the room an absolutely affordable price
it’s the equivalent of one euro
today he will sell it by
a million and a half of all feet
from all the doubts the works played
by the tnt
see there is a whole series like that
the welcome to music
I even take that I have a very pretty
picture of the music cage we will come back
on this beautiful photo before you have
seen jean vilar by the assaults at this
people it’s scouts is not it and
this is how the festival of Avignon and
chaillot will expand the circle of these
connoisseurs city to address in his
time in those years 47 to 60 at a
public
today there are audiences then
obviously everything has changed and back to
avignon I think the study of this
territory is very interesting from
political artistic point of view
social and geographical etc.
we have a villar that will act in
a city of 40000 inhabitants intra muros
I was a little child here in the
region I remember a city very
active of ten craftsmen where there was
it was an anthill
it looks like summer avignon mama
city of the 50s it’s been summer
today it changed everything and well
sure the dila explode his clothes from
autotours and we are we are
thus left a univocal audience
I like to tell an audience to audiences
equivocal
they have multiple voices so how
solve these big contradictions
today’s two great craftsmen
this possible resolution is
obviously on one side the city and its
ediles and his elect and there I do not enter
at all
my policy whatever it is but in
anyway their responsibility that is
that of the fluidity of
circulations of the order obviously of the
peace but also happiness and comfort
urban
but is the theater anything
something that must belong to the comfort
urban
that’s one of the claims the theater
and the cultural action to be wanted
still more subversive than
simply satisfy needs
immediate
It’s not exactly the same thing.
well indeed this festival
I would like to draw your attention to
a thing jean vilar and so to chaillot
and Avignon until 1963 when
he leaves the PNT and not only he
quit the tnp but he gives up
continue to make the artist to do the
director and do the actor
he will do it occasionally at the movies
a little bit at the private theater elsewhere
a little bit at the opera but in fact he has
finished and he will take care of his work and
his work is what it is here it is the
avignon festival and it reads very
nicely i have long been in my
busy life of the arts scene of the
scene
one day I looked up and found
since it was happening around were
much more interesting it is
exactly I believe it is this word that he
must you keep that we kept
in the adventure of the festival of Avignon
from yesterday to today and tomorrow
Avignon is a very complicated city
very very very complicated it’s a city
of obstacles I lived in this house
jean vilar that you know behind
but on the wall who are themselves behind
ramparts and behind the ramparts there
there is the rampart of the river and the rampart
of the railway then the rampart of the
bypass and then the date of stature
green
we are in circles like that
they do not have concentric mitis yes
they are concentrated but moving away
from each other they make that the
publics the audiences are moving away one
others
what do people in the field have in common
flowers and the people of the Queen
jeanne
they do not even know each other so they are
so with intramuros even less
so you see these contradictions are
extraordinarily difficult
to solve and besides are they
reasonable I do not know strictly
nothing because I do not interfere
fortunately for me to happen some
major urban problems
but finally you see that the presence of the
festival is defined at this moment a
completely like a festival
eminently political not politician
political ie that there is a
civic responsibility a
social responsibility of artists
it’s a debate that is
artists is what we do from the game
sochaux more of the social cultural or is
what we do art this debate was
very very time consuming
direction of vincent brawl and
hortense archambault where there were
very contemporary artists who were not
not in the public’s concern
and you remember that that was it
had pretty much screamed so festival
of protest golden festival of
reflection but and why why these
festivals hinders since 1954 jean vila a
almost fired not a plot of
notables who would have preferred to see
norias rolls royce had rugs
red along the palace festival of
popes to go to applaud the ballets
of the Marquis de Cuevas or a festival of
any rods rather than 1 gerard
philipe in the cid the eyelashes and school
he wanted to see how not to
he defeated 7-6 7
this fang in leg by a petition of 24
thousand signatures that asked the
city to keep jean vila in power on
40000 people see it’s a phenomenon
quite extraordinary that makes me
to say that the peasant of vaucluse where the
proletarian of paris may not be
not to chaillot at the palace of the popes
but he knew he could go there I
wanted this reflection she and she and
she is very sorry me she is very
near me 2,46 who runs the tnt
currently in lyon
she is very deep they knew
that they could even if you go there
I do not know I can go and that
it’s a communication problem that
seems to me essential in the sharing
of culture and the approach to culture
of course in 68 you penny you remember
you know of course villa was
jostled and insulted but the festival has
held he kept his festival off
of water and it’s lily allen who won
against the wealthy bourgeois who came
the accused not to cultivate
popular what had it done during
so many years
so that was obviously a moment
extraordinarily dramatic on
which he undoubtedly left a lot
of his health since he died three
four years later in 2003 this festival is
canceled
I claim that it is not canceled
I claim it took place it was
canceled because the shows did not
not occurred but the festival takes place there
took place it’s kind of a conference
worker for a month of strike or the
intermittent symptoms were a symptom of
national social crisis and this is where
it happened it happened elsewhere
and this specificity avignonnaise I
believe we need to be
proud and that we continue the
defend tooth and nail because we are
in an appointment of thought so I
think villard was kind of
president of the republic of the theater and
of cultural action in general
remember that from July 5th to the 28th
August about 20 25 thousand people
come in and out of this city all
the days is a societal bomb that
we happen who comes to this city
economic leap
bombs of thought also my
little cousins and who held this forgiveness
who came last summer my 10
was wonderful spent three days
what did you see nothing
it was wonderful why the debate this
is happening here a little bit
little the same thing and 7.7 this thing I
would not say to the good franklin
because it’s very demanding but in
any good case and where we are
welcomed and not excluded so our
territory
in my eyes is always outdated and so
better it is this overtaking that is necessary
that we assume he is overwhelmed by he
must enter the territories of
intelligence do not be afraid
of the word intelligence it’s not a
arduous world it’s not a
we do not exclude the contrary you are
smart that’s what said city
arras and to his audience who often ten
years old but you know me I do not know but
no you are rich of
your lives so you are as rich as
it’s your life that counts that it’s
your culture so freedom elevation
I really like this word of a comedian who
said this little man was not very
big villains requires you to stand
right here is expanding the circle of
connoisseurs that’s a word of brecht
that villard would have taken well and me
I like to say that the utopia of jeans
vila is armed with a secular spirituality
tried to deepen with me these words
just now spirituality
lay rent to re-enchant a
this materialistic world and which
we are sometimes forced to come
that’s why I would say not without
laugh that we feel smile anyway
that gillard is somehow the
tenth popes of Avignon
not so long ago fire
a few years ago there was a slogan
avignon city of spirit I do not know
why it was good why forward
use it more for me said denying
Lille of spirit avignon open city
are the watchwords and beliefs
which are absolutely necessary to the
conquest of our territory
thank you
[Applause]
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