theater writings under the direction of Jean-Pierre Han
We must welcome the publication of this remarkable issue that the editor preface on the intermittency of thought with three luminous articles by Jean Jourdheuil, a file on the collective F 71 and a text fulgurant Raharimanana. illuminated by two beautiful Portfolios by Gilles Aillaud and Titina Maselli.
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Jourdheuil with “theater, culture, festivals, Europe and the euro” traces on 30 exciting pages, the inexorable degradation of public theater thirty years after 1975, with the advent of the communication society. Director, translator, author of relevant analysis, he published in 1987 in Libération an article on the stationary theater which denounced the siding, the artistic and social impasse where the theater began to stray with the development of the festival system under the joint auspices of Michel Guy and Jack Lang.
The rising hegemony of the television system, the privatization of public channels began to contaminate the public space. In 1994, in The spectacular drift still published by Liberation, he develops the reflection on the media society and the growing importance of supermarkets, the loss of the social and political function of theater shows, the crisis of dramatic forms. He is worried about the public of the theaters, the disappearance, the extinction of the political projects of the theater in cultural matter.
During a symposium organized at the Quartz de Brest in 1997, he intervenes with an enlightened text Grandeur et décadence du service public and after what? which will be published in Frictions in 2007. In 2008, for the 40th anniversary of the NPT of Villeurbanne, in a new text The declaration of Villeurbanne, water lilies and windmills , it completes to trace the curve of the evolution of the destruction on the march of the public theater.
Several lucid analyzes of the evolution of major festivals, Nancy, Autumn and Avignon which end up resembling each other, the comparison with the theatrical life in Germany where Jourdheuil played an important role, the change of the public with the disappearance troops in public theaters, outsourcing and relocation, we go, he says to a loss of identity. “The theaters too have bowed to the supermarket economy with its entertainment and promotional campaigns (…) The figure of director and director of the sixties has, for the most part, given way to the figure. programmer sometimes flanked by an artist-in-residence or an associate artist. What is the relationship of the programmer and his artists today? Would it not be analogous to that of a breeder and his poultry raised in the open air?”
All those who continue to struggle in the shadows to preserve a public theater and they are numerous, artists, smugglers and conscientious critics must read this beautiful number of 140 pages which enlightens us on the fight to lead.