[Music]
What legitimacy issue here though there are
one that will make you laugh
I am the one who inaugurated this room
not make it a theater room 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 like what
what it is today there was
a mezzanine was a parterre with
faults wooden seats that
slammed it was a patronage room
there was a frame of a hard dial it was
really really is not enough 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
in which you are sitting
today for me so this is the
loop seems so not 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
gifi tonight the other legitimacy
the other little point of affection small
huge name does that in my life I had
luck and happiness to meet
a young woman’s name was dominique
wiel left the jean girl I have
so very well known unfortunately
dominated died to these young people at age 50
and I kept with this family the
closest links 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 will leave 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
event zervos who have the idea to bring here
the collection of painters they have
under their aegis
these painters are little known and are not
not the stars who will go beings
to become
they are picasso matisse light stunt
that’s it but they are not more known
that will be known the actors of
vilar jeans a few years later the
Jeanne Moreau apart Gérard Philipe
was known the joys of my role and
black philippe are not known when
they go to Rio it’s the same thing about
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
was to go there in africa
remember that malraux talk about
the odious words of province against which
it was obviously necessary to fight close to 0 6
beds to a vacuum cleaner a tall man who
is called rené char who says 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 and avignon and
he turns to a young director
scene that just went nose to the
window like that and to have a big
success with the with a piece that
is called murder in the cathedral
he asked villars to come and play
in the main courtyard the murder in
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 thought to himself first
brilliant intuition is to refuse and
come back a day after a fortnight after
with his friends zervos tanks see the
mayor of avignon also mister
doctor paul hardy listened I have a
other idea we’re going to come to 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 like
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?
three cities three different places court
of honor urban and theater 5 emperor
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 dann 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 a director of the public
of the great artist but first and putting
in the audience stage so here it is in the
court of honor very beautiful place which reunited
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 of jeanne laurent who will
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
naturally make the flagship of what
will be the popular theme of the end of
last century in its two halls
he walks on two feet is not it
avignon in these two palaces avignon the
chaillot palace villard 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
it’s villa’s answer to the question
of today’s territory but what
public
villard use a word is
naturally first villard addresses
to all that is 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 is
what was called at the time the classes
laborious in this word we do not mean
obviously a word a little communisants a
vocabulary and ideologies a little outdated
certainly and zila 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
years of greatest misery
it’s a man who has suffered from
malnutrition who went to soups
popular who knew black bread
he ate croutons of croutons from
hard bread in mustard bottoms
he will be besides he will be very sick
of the aftermath of this raid had this type of
diet
in short he considers that he was part of
miserable dear to victor hugo which
will allow him to refuse the lessons of
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 but
he’s a man who likes to have fun and he
think that pleasure and weapons a
essential weapon obviously after
culture and remember that molière
said it’s about pleasing is touched
so how do we do it so we are
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 the
democracy as you know it
was to bring together in very large
gather it’s a question that’s it
mass tap on
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 lines
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
road
finally indicates the pitfall of which it is a question
to make clear the difficulties of rendering
Clearly the works and 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 will remove the tip impro wood
it’s a humiliation you have to strive
hand and me who gave him this alms
I say to myself by accepting the cloakroom
will be free I will distribute at the exit
or during the show did to
the intermission the text of the piece a tariff
absolutely affordable it’s the equivalent
of a euro today it will be
sell nearly a million and a half
all feet of all the doubts the
works played by the ntp
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 we will come back on
this beautiful picture from before you saw
jean vilar by assaults to this people
it’s scouts is not it and it’s
as well as 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
present-day
it changed everything and of course the city has
exploded spread all around and
we are so we went out of a
unambiguous 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
political whatever it is but in any
case their responsibility which is that of
the fluidity of the circulations of
the order of course of peace but
also happiness and urban comfort
but is the theater anything
something that must belong to the comfort
urban
it’s an indication the theater and
cultural action are meant when
even more subversive than simply
meet immediate needs
it’s not quite the same thing and
well indeed this festival
I would like to draw your attention to
a thing jean vilar and so to chaillot
and Avignon until 1963 date to date at
which he leaves the PNT and no
only he leaves the tnp but he
give up on continuing to make the artist
to do the director and make
the comedian will do it occasionally
in the cinema or a small pot theater
private theater by the way a little bit to
the opera but in fact he’s finished and he’s going
to take care of his work and his work
what is it here is the festival
of Avignon and he reads very nicely I
am a long time in my busy life the
stage arts scene
one day I looked up and found
that what 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
in January there you know
behind but on the wall who are themselves
behind ramparts and behind the
ramparts there is the rampart of the river and then
the rampart of the railway then the
rampart of the ring road then the date of
green stature
we are in circles like that
they do not have concentric mitis yes
they are concentrated but moving away
from each other, it is necessary that
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
is then with our friend ross again
less so you see there are these
contradictions are extraordinarily
difficult
to solve and besides are they
reasonable I do not know strictly
nothing because I do not interfere
happily for me from this trial of
major urban problems
but finally you see that the presence of the
festival is defined it will be
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 and what we do with dudu
social or social cultural
that we do art
this debate was very very
time of the vincent leadership
baudriller and hortense archambault where he
there were very contemporary artists
who were not concerned about
public and where do you remember that it had
it was pretty screaming so
festival of protest festival of re
of reflection but and why why
these festivals hinders it since 1954 jeans
vila was almost fired not a plot
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 school site
he wanted to see how not to
he defeated 7-6 7 this leg fang by
a petition of 24 thousand signatures that
asked the city to keep jeans
vila in power over 40,000 people
see it’s quite a phenomenon
extraordinary that makes me say that the
peasant of the vaucluse where the proletarian
paris may not go to chaillot
at the palace of the popes
but he knew he could go there I
wanted this reflection she and she is
very sorry me she is very close not
of me ethical gaps that runs the
tnp 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 do not remember
you know of course villa was
jostled and insulted but the festival has
held he kept his festival off
of water and it is hygiene that has 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
extraordinary drama on which he
was probably a lot of his health
since he died three four years
after 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
happened there it was kind of
working conference for a month of
strike or the intermittent were the
symptom of a national social crisis
and that’s where it happened
passed elsewhere and this specificity
avignonnaise I think it is necessary that
we are proud of it and we
continue to defend it tooth and nail
because we are in an appointment of
thought so i think villard
was a kind of president of the
republic of theater and action
cultural in general
remember that from July 5 to 28
about 20 25 thousand people come in and
come out of this city every day
it’s a societal bomb that we
happens who comes to this city bond
economic
bombs of thought also my
little cousins and little niece forgiveness
who came last summer my 10
was wonderful spent three days
what did you see
wonderful
why the debate what is going on a little
here it’s a little bit the same thing and
7.7 this thing I would say no to the
good franquette because it’s very
demanding but in any case of good quality 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
intelligence and his key 10 and villa
shaved to his audience who often 10 but
you know me I do not know but no
you are rich of your lives you are
so as rich as me is your life
who counts and that is your culture
so freedom elevation I like a lot
this word of a comedian who said this little
man was not very big naughty
forces you to stand right here
expand the circle of connoisseurs that
it’s a word of brecht that villard
would have taken well and I like to say well
that the utopia of jean vila is armed with a
secular spirituality try to
deepen with me these words all to
the hour separately secular spirituality
focus to re-enchant a universe that’s
materialistic and who we are
sometimes forced to come to us
that’s why I would say not without
laugh that or his smile in any case that
villard is in a way the tenth
Avignon popes
Not long ago there was no end
a few years ago there was a slogan
avignon city of spirit I do not know
why that was why we do not use
more for me to tignes in order to
the avignon open city spirit are the
watchwords and beliefs that are
absolutely necessary to conquer
our territory
thank you
[Applause]
What legitimacy issue here though there are
one that will make you laugh
I am the one who inaugurated this room
not make it a theater room 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 like what
what it is today there was
a mezzanine was a parterre with
faults wooden seats that
slammed it was a patronage room
there was a frame of a hard dial it was
really really is not enough 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
in which you are sitting
today for me so this is the
loop seems so not 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
gifi tonight the other legitimacy
the other little point of affection small
huge name does that in my life I had
luck and happiness to meet
a young woman’s name was dominique
wiel left the jean girl I have
so very well known unfortunately
dominated died to these young people at age 50
and I kept with this family the
closest links 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 will leave 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
event zervos who have the idea to bring here
the collection of painters they have
under their aegis
these painters are little known and are not
not the stars who will go beings
to become
they are picasso matisse light stunt
that’s it but they are not more known
that will be known the actors of
vilar jeans a few years later the
Jeanne Moreau apart Gérard Philipe
was known the joys of my role and
black philippe are not known when
they go to Rio it’s the same thing about
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
was to go there in africa
remember that malraux talk about
the odious words of province against which
it was obviously necessary to fight close to 0 6
beds to a vacuum cleaner a tall man who
is called rené char who says 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 and avignon and
he turns to a young director
scene that just went nose to the
window like that and to have a big
success with the with a piece that
is called murder in the cathedral
he asked villars to come and play
in the main courtyard the murder in
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 thought to himself first
brilliant intuition is to refuse and
come back a day after a fortnight after
with his friends zervos tanks see the
mayor of avignon also mister
doctor paul hardy listened I have a
other idea we’re going to come to 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 like
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?
three cities three different places court
of honor urban and theater 5 emperor
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 dann 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 a director of the public
of the great artist but first and putting
in the audience stage so here it is in the
court of honor very beautiful place which reunited
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 of jeanne laurent who will
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
naturally make the flagship of what
will be the popular theme of the end of
last century in its two halls
he walks on two feet is not it
avignon in these two palaces avignon the
chaillot palace villard 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
it’s villa’s answer to the question
of today’s territory but what
public
villard use a word is
naturally first villard addresses
to all that is 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 is
what was called at the time the classes
laborious in this word we do not mean
obviously a word a little communisants a
vocabulary and ideologies a little outdated
certainly and zila 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
years of greatest misery
it’s a man who has suffered from
malnutrition who went to soups
popular who knew black bread
he ate croutons of croutons from
hard bread in mustard bottoms
he will be besides he will be very sick
of the aftermath of this raid had this type of
diet
in short he considers that he was part of
miserable dear to victor hugo which
will allow him to refuse the lessons of
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 but
he’s a man who likes to have fun and he
think that pleasure and weapons a
essential weapon obviously after
culture and remember that molière
said it’s about pleasing is touched
so how do we do it so we are
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 the
democracy as you know it
was to bring together in very large
gather it’s a question that’s it
mass tap on
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 lines
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
road
finally indicates the pitfall of which it is a question
to make clear the difficulties of rendering
Clearly the works and 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 will remove the tip impro wood
it’s a humiliation you have to strive
hand and me who gave him this alms
I say to myself by accepting the cloakroom
will be free I will distribute at the exit
or during the show did to
the intermission the text of the piece a tariff
absolutely affordable it’s the equivalent
of a euro today it will be
sell nearly a million and a half
all feet of all the doubts the
works played by the ntp
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 we will come back on
this beautiful picture from before you saw
jean vilar by assaults to this people
it’s scouts is not it and it’s
as well as 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
present-day
it changed everything and of course the city has
exploded spread all around and
we are so we went out of a
unambiguous 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
political whatever it is but in any
case their responsibility which is that of
the fluidity of the circulations of
the order of course of peace but
also happiness and urban comfort
but is the theater anything
something that must belong to the comfort
urban
it’s an indication the theater and
cultural action are meant when
even more subversive than simply
meet immediate needs
it’s not quite the same thing and
well indeed this festival
I would like to draw your attention to
a thing jean vilar and so to chaillot
and Avignon until 1963 date to date at
which he leaves the PNT and no
only he leaves the tnp but he
give up on continuing to make the artist
to do the director and make
the comedian will do it occasionally
in the cinema or a small pot theater
private theater by the way a little bit to
the opera but in fact he’s finished and he’s going
to take care of his work and his work
what is it here is the festival
of Avignon and he reads very nicely I
am a long time in my busy life the
stage arts scene
one day I looked up and found
that what 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
in January there you know
behind but on the wall who are themselves
behind ramparts and behind the
ramparts there is the rampart of the river and then
the rampart of the railway then the
rampart of the ring road then the date of
green stature
we are in circles like that
they do not have concentric mitis yes
they are concentrated but moving away
from each other, it is necessary that
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
is then with our friend ross again
less so you see there are these
contradictions are extraordinarily
difficult
to solve and besides are they
reasonable I do not know strictly
nothing because I do not interfere
happily for me from this trial of
major urban problems
but finally you see that the presence of the
festival is defined it will be
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 and what we do with dudu
social or social cultural
that we do art
this debate was very very
time of the vincent leadership
baudriller and hortense archambault where he
there were very contemporary artists
who were not concerned about
public and where do you remember that it had
it was pretty screaming so
festival of protest festival of re
of reflection but and why why
these festivals hinders it since 1954 jeans
vila was almost fired not a plot
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 school site
he wanted to see how not to
he defeated 7-6 7 this leg fang by
a petition of 24 thousand signatures that
asked the city to keep jeans
vila in power over 40,000 people
see it’s quite a phenomenon
extraordinary that makes me say that the
peasant of the vaucluse where the proletarian
paris may not go to chaillot
at the palace of the popes
but he knew he could go there I
wanted this reflection she and she is
very sorry me she is very close not
of me ethical gaps that runs the
tnp 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 do not remember
you know of course villa was
jostled and insulted but the festival has
held he kept his festival off
of water and it is hygiene that has 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
extraordinary drama on which he
was probably a lot of his health
since he died three four years
after 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
happened there it was kind of
working conference for a month of
strike or the intermittent were the
symptom of a national social crisis
and that’s where it happened
passed elsewhere and this specificity
avignonnaise I think it is necessary that
we are proud of it and we
continue to defend it tooth and nail
because we are in an appointment of
thought so i think villard
was a kind of president of the
republic of theater and action
cultural in general
remember that from July 5 to 28
about 20 25 thousand people come in and
come out of this city every day
it’s a societal bomb that we
happens who comes to this city bond
economic
bombs of thought also my
little cousins and little niece forgiveness
who came last summer my 10
was wonderful spent three days
what did you see
wonderful
why the debate what is going on a little
here it’s a little bit the same thing and
7.7 this thing I would say no to the
good franquette because it’s very
demanding but in any case of good quality 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
intelligence and his key 10 and villa
shaved to his audience who often 10 but
you know me I do not know but no
you are rich of your lives you are
so as rich as me is your life
who counts and that is your culture
so freedom elevation I like a lot
this word of a comedian who said this little
man was not very big naughty
forces you to stand right here
expand the circle of connoisseurs that
it’s a word of brecht that villard
would have taken well and I like to say well
that the utopia of jean vila is armed with a
secular spirituality try to
deepen with me these words all to
the hour separately secular spirituality
focus to re-enchant a universe that’s
materialistic and who we are
sometimes forced to come to us
that’s why I would say not without
laugh that or his smile in any case that
villard is in a way the tenth
Avignon popes
Not long ago there was no end
a few years ago there was a slogan
avignon city of spirit I do not know
why that was why we do not use
more for me to tignes in order to
the avignon open city spirit are the
watchwords and beliefs that are
absolutely necessary to conquer
our territory
thank you
[Applause]
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