The change in the theatrical policy over recent years has led Culturesfrance to introduce major operations around the fundamentals of the actor and the director. Following “Tintas fescas” – a programme to circulate French dramatic writings in Latin America – in 2004, and “Act French” – a programme designed to promote contemporary French theatre in New York – in 2005, two major orientations were selected for 2006 and the following years:

• Théâtre ville ouverte in 2006 in Beirut (Théâtre du Rond Point/Jean-Michel Robes directing), in 2007 in Oporto and Lisbon (Comédie de Reims: Emmanuel Dermarcy-Motta directing), enables a director and his artistic and technical crew to spend ten days in a capital to demonstrate his/her expertise around a reactive partnership with artists, professionals and partners in the chosen city:

• Théâtre sur mesure (2007/2008/2009) in Montreal, São Paulo and Rio de Janeiro is a residency programme for theatre directors who explore contemporary French plays with actors from other countries. After 4 to 5 weeks of rehearsal, a run-through or production of a show takes place. The French script is translated and the director works with an interpreter. (+)
  

• Un acteur, un auteur is a programme which, from 2001 to 2006, was offered in 72 cities in 48 countries with the participation of 59 actors and the use of 55 plays. Offered throughout the world, this programme turned actors into messengers of contemporary French and French-speaking plays. It consisted primarily of readings with two voices and in two languages, but also included meetings, workshops and film projections.
  In 2006, Un acteur, un auteur highlighted readings from Marguerite Duras (on the occasion of the 10th anniversary of her death) and Samuel Beckett (on the occasion of the 100th anniversary of his birth).

For six years, the promotion and circulation of contemporary French dramatic works have spearheaded the theatre policy carried out by Culturesfrance. The contemporary French theatre is known to be exceptional for its richness, diversity and ability to experiment with new forms. In 20 years, playwrights have created a diverse range of movements. While some are unknown and others belatedly recognised, such playwrights as Philippe Minyana, Jean-Luc Lagarce and Serge Valletti are now read, translated and produced on the greatest French and international stages. The theatrical edition is now the depository of these plays, allowing for their circulation in France and abroad.

The French productions are internationally recognised as one of the most singular artistic “schools” for the quality of the sound, lighting, costumes, etc. They “revisit” the classics by updating the aesthetics and lighting and remain easy to identify for the spirit of the troupes.

Culturesfrance aims to promote and enhance contemporary French theatrical creativity in a relevant way in the international arena with the particular support of:

• le Fonds Etant Donnés, which was opened in 1999. It has enabled fifteen French plays per year to be staged by American actors.

• le Fonds d’aide au surtitrage (Subtitling Assistance Fund) has been supported by the Ministry of Foreign Affairs since 2000. Culturesfrance’s attention is particularly focused on theatrical language by systematically introducing subtitles to performances circulated abroad (between ten to twelve plays are translated per year). Thanks to subtitling, we have noted a wider presence of French productions at international festivals and an increase of 20% to 30% of audience attendance.

Contacts : Marie Raymond et Jacques Peigné