Gotowe bibliografie tematyczne / Avignon Festival

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Gotowa bibliografia na temat „Avignon Festival”

Autor: Grafiati

Data publikacji: 11 stycznia 2025

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Artykuły w czasopismach na temat "Avignon Festival"

Amargier, Nathalie. "Avignon, Festival Off 1997". Revue Russe 12, nr 1 (1997): 57–58. http://dx.doi.org/10.3406/russe.1997.1952.

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Miller, Judith Graves. "Performance Review: Avignon Theatre Festival". Theatre Journal 49, nr 1 (1997): 63–65. http://dx.doi.org/10.1353/tj.1997.0015.

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Schneider, Robert. "Avignon Theatre Festival Strike (review)". Theatre Journal 56, nr 2 (2004): 296–99. http://dx.doi.org/10.1353/tj.2004.0072.

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Chalaye, Sylvie. "Avignon 2006. Un festival en sol". Africultures 68, nr 3 (2006): 164. http://dx.doi.org/10.3917/afcul.068.0164.

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Faivre d�Arcier, Bernard. "Le Festival d�Avignon, terre de colloques". L'Observatoire N�48, nr 2 (2016): 15. http://dx.doi.org/10.3917/lobs.048.0015.

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Salazar-Martin, Florian. "La magie politique du Festival d�Avignon". L'Observatoire N�48, nr 2 (2016): 24. http://dx.doi.org/10.3917/lobs.048.0024.

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Miroir, Groupe. "Shakespeare at the Avignon Festival in 2015". Cahiers Élisabéthains: A Journal of English Renaissance Studies 90, nr 1 (lipiec 2016): 171–75. http://dx.doi.org/10.1177/0184767816648908.

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Chalaye, Sylvie. "Avignon 2009 : Festival et histoires de lézards". Africultures 79, nr 4 (2009): 200. http://dx.doi.org/10.3917/afcul.079.0199.

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Hong, Ran Joo, i Young Seob Shin. "Company See-Sun's Avignon Off Festival Promotion Actual". Journal of Korean Theatre Education 36 (30.06.2020): 325–49. http://dx.doi.org/10.46262/kte.36.1.9.

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March, Florence. "Amateur reviewing at the Avignon Festival: the “Mirror Group”". Cahiers Élisabéthains 81, nr 1 (1.01.2012): 133–39. http://dx.doi.org/10.7227/ce.spiss12.20.

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Rozprawy doktorskie na temat "Avignon Festival"

Malinas, Damien. "Portrait des festivaliers d'Avignon : transmettre une fois ? pour toujours ? /". Grenoble : Presses universitaires de Grenoble, 2008. http://catalogue.bnf.fr/ark:/12148/cb41277540q.

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Texte remanié de: Thèse de doctorat--Sciences de l'information et de la communication--Avignon--Université d'Avignon et des pays de Vaucluse, 2006. Titre de soutenance : Transmettre une fois ? Pour toujours ? : portrait dynamique des festivaliers en public.
Bibliogr. p. 227-240. Filmogr. p. 240. Webliogr. p. 241. Index.

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Han, Sohee. "La festivalisation : approche du Festival d’Avignon par l’anthropologie de la communication". Thesis, Avignon, 2018. http://www.theses.fr/2018AVIG1193/document.

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De nos jours, nombre de villes ont développé leur propre festival. Un festival est un événement qui transforme la ville et constitue un atout qui contribue à la distinguer. Dans cette situation, l’analyse d’une ville ne peut ainsi faire abstraction de l’événement festivalier et de la relation qui l’unit à la société de la ville. Cette relation est examinée à partir de la notion de festivalisation et conduit à envisager conjointement deux points de vue, celui des habitants et celui des visiteurs. On analyse ainsi ce qui se passe autour des habitants qui vivent au rythme du festival et autour des visiteurs, à la fois pendant le festival et pendant le reste de l’année. A travers ces points de vue dits « endogène » et « exogène », la festivalisation amène à se poser la question du « rassemblement » au niveau international à l’ère du numérique en privilégiant l’approche de l’anthropologie de la communication. Dans cette thèse, on analyse la festivalisation en s’appuyant sur la société avignonnaise : le Festival d’Avignon, les Avignonnais et les visiteurs asiatiques avec, en miroir, le Festival d’Édimbourg et les Écossais
Nowadays many towns have developed their own festival. A festival is an event that transforms the town and establishes an asset which goes towards distinguishing it from others. In this situation the analysis of a town cannot ignore the festival event and the relationship which links it to the community of the town. This relationship is examined from the notion of festivalisation and brings about the consideration of two points of view simultaneously, that of the inhabitants and that of the visitors. We thus analyse what happens around the inhabitants who live to the rhythm of the festival and around the visitors, both during the festival and throughout the rest of the year. Through these points of view called « endogenous » and « exogenous », festivalisation leads us to ask the question of « gathering » on an international level in the digital era, favouring the approach of the anthropology of communication. In this dissertation, we are analysing festivalisation based on the community of Avignon : the Avignon Festival, the inhabitants and Asian visitors, in comparison with the Festival of Edinburgh and the Scots

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Guillou, Lauriane. "Le public du Festival d'Avignon : des expériences vécues au temps remémoré : une approche communicationnelle de la mémoire individuelle et collective". Thesis, Avignon, 2020. http://www.theses.fr/2020AVIG1205.

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Pourquoi un festival de 73 ans réunit-il encore un public autour d’une même idée : faire un théâtre populaire qui soit de son temps ? Si le public du Festival d’Avignon évolue au fil des générations, le sens de la pratique reste identique : la découverte et la rencontre, la prise de risque et le débat. Au gré des éditions, des directions et des programmations, l’institutionnalisation du festival a généré des fondamentaux et des valeurs autour desquels un public se rassemble. « Faire le Festival » fait appel à la posture du public participant qui accepte un certain engagement dans son rôle de spectateur. Sans connaître Jean Vilar, le T.N.P. ou Le Mahabharata de Peter Brook, en faisant le Festival, le public vit une expérience et fait sienne celle d’une communauté spectatorielle. « Le ciel, la nuit, la pierre glorieuse »... et après ? Cette thèse en sciences de l’information et de la communication étudie des régimes d’historicité au Festival d’Avignon, soit le rapport au passé dans le présent, à travers des pratiques, des discours, des médiations…Pour cela, une enquête a été conduite entre 2015 et 2019, avec près de 7 390 questionnaires en ligne et 50 entretiens. Le numérique constitue ici une entrée privilégiée pour appréhender la manière dont les dynamiques et les pratiques liées à la mémoire, la nôtre et celle d’autrui, viennent enrichir une expérience, celle du festival, de même qu’une carrière de spectateur. L’étude du terrain numérique montre que la participation du public du Festival d’Avignon en ligne se caractérise par un intérêt pour les contenus audiovisuels relatifs aux œuvres et aux artistes. Cette enquête rend compte de la façon dont la relation au temps de l’expérience, au passé de l’institution, aux archives et aux traces de nos festivals se répondent et témoignent in fine d’un potentiel de démocratisation culturelle de cette mémoire individuelle et collective
Why does 73 years old festival still gather an audience around the same idea: producing a popular theatre (théâtre populaire) of his time? Yet the Avignon Festival’s audience evolves over generations, the core idea of this practice remains identical: discovering and encountering, artistic risktaking and debate. Throughout successive editions, boards and programs, the festival’s institutionalization led to basics and values around which an audience congregates. Doing the Festival (faire le Festival) calls on the participatory audience posture admitting a certain engagement in the role of spectator. The audience lives its own experience and appropriates the spectatoriel community’s. “The sky, the night and the glorious stone”… and then? This thesis in Information and Communication Sciences is a study of historicity regimes (régimes d’historicité) that is to say the relation to the past in the present time, through practices, discourses, mediations… To this end, between 2015 and 2019, a field inquiry was led. We collected more than 7 390 questionnaires and 50 interviews. Digital is a preferred entrance for an understanding of memory related dynamics and practices, our and other’s, and how it can enrich an experience, the festival one, as well as our general cultural experience as a spectator. The field study shows that the audience’s online involvement is characterized by an interest for audiovisual contents related to artists and plays. This inquiry reports how the relation to the experience, to the institution’s past, to archives and tracks of our festivals respond to each other and eventually testify of a cultural democratization’s potential of this individual and collective memory

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Vielmas, Violaine. "Cοrrespοndance littéraire et jοurnaux de travail de Jean Vilar : éditiοn, étude et cοmmentaire". Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMR061.

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Cette thèse repose sur une triple démarche éditoriale, génétique et littéraire. Jean Vilar appartient à l'histoire sociale et théâtrale en tant que fondateur et directeur du festival d'Avignon, de 1947 à 1971, directeur du Théâtre national populaire, de 1951 à 1963, comédien, metteur en scène et chef de troupe. C'est aussi un polygraphe dont l'ambition initiale était de devenir écrivain. Cette thèse réfute l'idée de concurrence entre la vocation littéraire et théâtrale. La pratique de l'écriture nourrit celle de la recherche scénique et sa position de directeur alimente une correspondance et un journal de travail au sein desquels s'expriment un style propre, un ton reconnaissable et une vision du monde. La démarche éditoriale repose sur la constitution d'un corpus de 328 lettres, pour la plupart inédites, transcrites, classées et commentées. Elles témoignent des échanges avec les personnalités théâtrales, littéraires, politiques et intellectuelles, de la sortie de guerre aux années 1970. Le journal de travail de Vilar, intitulé « mémento », est transcrit et annoté dans son entièreté, de 1952 à 1970. Il se compose de trois carnets dont seuls le premier et le début du deuxième avaient été publiés. Nous présentons et étudions le troisième, inédit, que Vilar a tenu de sa démission du TNP à sa mort. La démarche génétique consiste à comparer les différentes versions du « Mémento » : du journal de bord initial à sa réécriture. Quel regard l'artiste retiré porte-t-il sur le passé et comment le transforme-t-il ? Quelle image de son œuvre et de lui-même construit-il pour la postérité ? Comment la réécriture de soi hybride-t-elle le journal entre carnet de bord et autobiographie professionnelle ? L'analyse littéraire du corpus consiste enfin à étudier les caractéristiques de la plume d'un Vilar épistolier et diariste pour en dégager la spécificité, fondée sur un mélange de d'exigence professionnelle forte et d'amitié tendre
This PhD thesis follows a threefold editorial, genetic, and literary approach. Jean Vilar holds a prominent place in social and theatrical history as the founder and director of the Avignon Festival (1947–1971), the director of the Théâtre National Populaire (1951–1963), as well as an actor, director, and troupe leader. Additionally, Vilar was a prolific writer whose original ambition was to become an author. This thesis refutes the idea of competition between literary and theatrical vocations. The practice of writing enriches his theatrical research, and his position as director fosters a body of correspondence and work diaries where a distinct style, recognizable tone, and vision of the world emerge. The editorial approach focuses on the creation of a corpus of 328 letters, most of which are previously unpublished, transcribed, classified, and annotated. These letters reflect Vilar’s exchanges with theatrical, literary, political, and intellectual figures from the post-war period to the 1970s. Vilar’s work diary, entitled "Mémento", has been fully transcribed and annotated for the period from 1952 to 1970. It consists of three notebooks, of which only the first and the beginning of the second had been published. This study presents and analyzes the third, previously unpublished, which Vilar maintained from his resignation from the TNP until his death. The genetic approach compares the different versions of the "Mémento", from the initial logbook to its later rewritings. What perspective does the retired artist take on the past, and how does he transform it? What image of his work and of himself does he construct for posterity? How does this self-rewriting blend the journal between a logbook and a professional autobiography? Finally, the literary analysis of the corpus aims to study the characteristics of Vilar’s writing as a letter-writer and diarist, highlighting its specificity, based on a combination of high professional standards and tender friendship

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Ferrari, Cécilia. "Il y a plus de choses dans la salle et sur la scène que n’en montre votre scénographie : Étude spatiale et iconographique du « théâtre populaire » à partir des expériences de Firmin GÉMIER : Festivals suisses, TNAG, Œdipe Roi de Thèbes (1903-1919) ; Jacques COPEAU : Savonarola, Florence (1935) ; Jean VILAR : La Tragédie du Roi Richard II, Avignon (1947)". Caen, 2014. http://www.theses.fr/2014CAEN1016.

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Entre la fin du XIXe et le début du XXe siècle, plusieurs hommes de théâtre désignent le public qu’ils visent à rassembler par le terme peuple et leur théâtre par l’expression théâtre populaire. Leur attention se concentre sur la recherche d’un espace traduisant l’égalité propre à la société démocratique. Afin d’offrir à tous une bonne visibilité de la scène, ils choisissent le Festspielhaus de Bayreuth comme modèle de référence : le public est disposé face à la scène et la salle est plongée dans l’obscurité. Qui est le peuple que l’on place dans ce type d’espace où les échanges entre les spectateurs sont réduits et où chacun est fasciné par l’image scénique ? Pour répondre à cette question, la thèse propose d’étudier le dessin (projet de la scène et de la salle) de quelque spectacle populaire pour en mieux comprendre le dessein (acception du terme « populaire »). Grâce à l’élaboration d’une grille typologique analysant la scène, la salle et la scénographie, l’étude porte sur les expériences de Gémier (1903-1919) et le travail de Copeau pour Savonarola (1935). Ces exemples attestent la cristallisation du modèle frontal pour une réception de l’image-écran proposée par la figure naissante du metteur en scène. La grille est ensuite appliquée à une régie de Jean Vilar, La Tragédie du Roi Richard II (1947), spectacle n’utilisant ni le modèle frontal ni l’image illusionniste. En se faisant le régisseur d’une « scène illimitée » et d’une image polysémique confiée au spectateur, Vilar permet de passer de la réception passive à l’invention artistique. L’acception donnée au mot peuple se lit dans la scénographie : si l’on change de dessin, le dessein change aussi, ou vice versa
Between the end of the XIX century and the beginning of the XX century, many theater’s men call the audience they want to reunite as peuple and their theater as théâtre populaire. Their major interest is the research of a space capable to transmit the equality of the democratic society. In order to offer to everyone a good view of the stage, they choose the Bayreuth’s Festspielhaus as a reference model: the entire public is in front of the stage in the middle of darkness. Who’s the peuple that you place in that kind of space where spectators can’t almost have no exchange and where everyone is fascinated by the stage? In order to answer this question, the thesis proposes to study the dessin (room and scenography’s project) of a popular spectacle to better understand the dessein (acceptation of the word « populaire »). Thanks’ to a typological grid that analyzes the stage, the room and the scenography, the study will bring us to the Firmin Gémier’s experiences (1903-1919) and Jacques Copeau’s work for Savonarola (1935). These examples show the frontal model’s crystallisation for a reception of the image-screen proposed by the new figure of the metteur en scène. The grid is the used with Jean Vilar’s work, La Tragédie du Roi Richard II (1947); a spectacle that doesn’t uses neither the frontal model nor the illusionist image. Becoming the régisseur of « ilimitated stage » and of a polysomic image given to the spectator, Vilar allows to pass from a passive reception to an artistic invention. The acceptation given to the word peuple read in the scenography: if we change the dessin, the dessein also changes, or vice versa

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Shen, Yun-Ko, i 沈芸可. "Research of Cultural Tourist Typology and Travel Behavior: The Case of Avignon Festival, France". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/33tb9e.

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碩士
國立臺灣師範大學
歐洲文化與觀光研究所
104
In recent years, influenced by Western culture, there are more and more “modern festivals” in Taiwan. As suggested by McKercher et al.(2002), “The cultural tourism market is not homogeneous. ” However, only few researches focus on the characteristics of culture tourism market segmentation. To fulfuill the research gap, this research is directed to the tourist motivation, satisfaction and revisit intention, and cited McKercher(2002) research. “Survey of Avignon Festival Tourists”is the research tool of this master thesis, conducted in July, 2013, in Avignon Festival. Using purposive sampling as surveying method, questioned the tourists on 7th to 11th of July who attended Avignon Festival. The issued questionnaires are 207 copies, but only 204 copies are effective. The purpose of the thesis is to combine cultural and tourism theories by conducting the market segmentation and adopting the frame of five cultural tourists’ types created by McKercher(2002) with a case in Hong Kong, and has defined five cultural tourits’ of Avignon Festival. This research aims at examing the frame of five cultural tourists’ types created by McKercher(2002) and to offer consultations of festivals in Taiwan.

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Tsai, Pei-Ying, i 蔡佩穎. "The Development of Taiwanese Performing Arts Groups After Participating in the Avignon Off Festival". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/723a9r.

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碩士
國立臺灣師範大學
表演藝術研究所
105
To deal with the pressure of the international competition and communication, how to raise the competitiveness of the industry to become a rising star in the world has become the priority of management. In the Taiwanese performing arts industry, only few groups are invited to perform at the international stage owing to their capability and their long-term managed foreign relationships with other groups. In Recent years, Ministry of Culture, Taiwan holds auditions of Fringe Festival for performing arts groups to bring them onto international stages as well as broaden the foreign market. However, after gaining the experience in the Fringe Festival, does it bring the solid benefits to the performing arts groups? Do they have more opportunities to perform and cooperate at both national and international levels? Does the audition policy truly bring the high value benefit to the performing arts groups for future development? Other than financial support, whether the government provides other supports to the groups for gaining the worldwide publicity is also a worth-discussed topic. Through interviewing the performing arts groups which were selected by Ministry of Culture to perform at the Avignon Off Festival, this study focused on exploring their international performance experiences, obstacles and development after participation. In addition, this study also investigated and analyzed governments’ policies and practices which assists performing arts groups at the present stage. The study findings may serve as a guide for the performing arts groups to develop the international performing arts market and gain the worldwide publicity. Furthermore, the author hopes that the result may popularize all kinds of Taiwanese culture to the world.

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Książki na temat "Avignon Festival"

Alain, Léonard. Festival Off Avignon. Paris: Editions des quatre-vents, 1989.

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Claire, David, i Mezamat Pascale de, red. Avignon 50 festivals. [France]: Editions locales de France, 1996.

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Adler, Laure. Avignon: 40 ans de festival. [Paris]: Hachette, 1987.

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Claire, David, red. Avignon 98: Les clés du festival. Arles: Acte Sud-Papiers, 1998.

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Bruno, Tackles, red. Le cas Avignon 2005: Regards critiques. Vic-la-Gardiole: L'Entretemps éditions, 2005.

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Boissieu, Gisèle. Avignon: L'après Vilar, 1968-1994. Marseille: Editions Autres temps, 1995.

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Rasse, Paul. Le théâtre dans l'espace public, Avignon off. Aix-en-Provence: Edisud, 2003.

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Boissieu, Gisèle. Avignon: Nos années Vilar, 1947-1967. Marseille: Autres temps, 1994.

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Geneviève, Peyron, red. Atzinger: Trente ans de festival en Avignon, 1947-1977. Aix-en-Provence: Edisud, 1999.

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Jean-Louis, Fabiani, i Malinas Damien, red. Avignon, ou, Le public participant: Une sociologie du spectateur réinventé. Montpellier: L'Entretemps, 2008.

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Części książek na temat "Avignon Festival"

d’Arcier, Bernard Faivre. "The Future of European Festivals". W Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2661.

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Even if we sometimes trace the word ‘festival’ back to its ancient root (calling to mind the traditional events of Bayreuth, Orange and Verona), the idea of the arts festival as we know it is relatively recent. The modern festival has evolved as part of the ‘leisure society’, with its extended summer holidays and its all-pervasive media. The theatre festival in Avignon, the oldest and best known of all the French festivals, was founded in 1947 by actor and director Jean Vilar. Yet Vilar would never have imagined the success and geographical expansion that the future would bring to the festival phenomenon. For him, the festival was just another one of the many methods he used to bring young people together to share his aesthetic and moral values. Immediately after World War Two, festivals sprang up simultaneously in several countries. At the same time as Avignon and Aix-en-Provence were started in France, similar events in Edinburgh and Recklinghausen were born. This synchronicity implies that the festival is both a social and a historical phenomenon, one both rooted in and responding to the spirit of the times and to our consumer society.

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Pedler, Emmanuel, i David Bourdonnaud. "Chapitre V. La programmation du Festival". W Avignon, le public réinventé, 131–63. Ministère de la Culture - DEPS, 2002. http://dx.doi.org/10.3917/deps.ethis.2002.01.0131.

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Poggi, Marie-Hélène. "Chapitre VI. Discours et figures de la ville en festival". W Avignon, le public réinventé, 165–84. Ministère de la Culture - DEPS, 2002. http://dx.doi.org/10.3917/deps.ethis.2002.01.0165.

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Hertling, Nele. "Festivals, Why, What, When, A case study of Berlin". W Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2665.

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The focus for this chapter is a reflection on the relevance and role of festivals in contemporary life. It is prompted by reading nearly one hundred applications from young festival managers who were applying to participate in a professional Atelier organised by the European Festivals Association. What became very clear from this exercise was the importance of reflection on why we invest so much energy into festivals. The applicants’ submissions also prompted me to consider ‘Who are we doing this for?’ and more fundamentally to think about how to create, develop or sustain a festival in 2013. This reflection is not aimed at, nor does it discuss or question the existence of traditional big events, such as Salzburg, Bayreuth, Edinburgh or Avignon. Their continued existence (for the foreseeable future) may be more or less taken for granted. Due to their cultural weight and longevity they have developed as important touristic events and, in this respect therefore, they are atypical and not central to the focus of this debate on festivals today.

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March, Florence. "Shaping democratic festivals through Shakespeare in southern France: Avignon, Montpellier, Nice". W Shakespeare on European Festival Stages. The Arden Shakespeare, 2022. http://dx.doi.org/10.5040/9781350140196.ch-2.

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Lanskin, Jean-Michel Charles. "Antoine Vitez Re-staging Molière for or the 1978 Avignon Festival". W Moliere Today 1, 15–41. Routledge, 1998. http://dx.doi.org/10.4324/9780203990728-2.

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Brater, Enoch. "‘Other Only’ Images". W Beyond Minimalism, 139–64. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195066555.003.0007.

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Abstract The politics of making an arresting theater image is both the theme and special focus of Catastrophe. Beckett composed this play in French, a departure from his general practice since En attendant Godot and Fin de partie of using English as his original language for the live stage. Dedicated to Vaclav Havel, this short play opened on July 21, 1982, for a single performance at the Avignon Festival in Provence. The low-budget production was mounted by Stephan Meldegg, starring Pierre Arditi as the Protagonist, Gerard Desarthe as the Director, and Stephanie Loik as the Assistant.

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Ethis, Emmanuel. "9. La forme Festival à l'œuvre : Avignon, ou l'invention d'un « public médiateur »". W Le(s) public(s) de la culture, 181–94. Presses de Sciences Po, 2003. http://dx.doi.org/10.3917/scpo.donna.2003.01.0181.

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Ethis, Emmanuel. "Annexe I. Programmes des festivals in et off de 1995 à 2001". W Avignon, le public réinventé, 287–325. Ministère de la Culture - DEPS, 2002. http://dx.doi.org/10.3917/deps.ethis.2002.01.0287.

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Streszczenia konferencji na temat "Avignon Festival"

DARIE, Andreea. "Festival d’Avignon – The Challenges of a Doctoral Documentation". W The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0017.

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In my doctoral research, even though I chose the scientific route and not the professional one, I sought to expand the theoretical discourse in various applicative areas. In order to understand the springs of clowning and the psychosomatic structure of the clown actor, I conducted a non-verbal monologue study about the trickster, I participated in physical and online workshops with clowning teachers from the UK and Spain and, last but not least, I conducted together with an interdisciplinary team a niche theatrical laboratory with the theme: the clown condition of some dramatic characters. After all these practical extensions of the research, it was my turn, this summer, to undertake a documentary visit to the Avignon Festival. I had planned to watch shows that clearly contain a clownish expression, but also shows where I could identify it based on criteria defined in my research. Thus, I discovered that getting to Avignon during the festival is an adventure in itself. You risk yourself into a heterogeneous theatrical dynamics that is difficult to assimilate. The diversity of events that take place both in the courtyard of Palais des Papes and in several hundred other locations in the old town, but also in five other neighbouring towns – Châteauneuf-du-Pape, Monteux, Courthézon, Vedène and Noves – surpasses any other festival approach from Europe. This fact complicates the options for any viewer, competent or not. This year, in the official section (July 7-26), there were more than 40 events, some resumed in consecutive days, resulting in several hundred performances, all of them sold out. The “Off” section of the festival had a longer duration (July 7-30) and 1570 performances, each show having multiple performances, some even running the entire duration of the festival. No mathematical calculations are needed to get an idea of the artistic effervescence of those summer days in the south of France.

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Jara Calabuig, Aaron. "Urban stages: when cities and architecture become a theatre". W 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15109.

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Throughout history, the theatre has played a decisive part in urban space configuration, not only because of the location of theatre buildings within the city. Outdoor performances in squares, streets and community facilities have also assumed an essential role in the organisation of public space. In this sense, touring theatre must be understood as a resource for transforming and revitalising cities. Festivals such as Avignon, Bilbao and Tàrrega are clear examples of how theatre can appropriate the urban or architectural context and generate new atmospheres. The study of these three cases aims to show how performing practice finds or makes its place in the city, adapting itself to existing urban structures and enhancing their value. In addition, the purpose is also to analyse some buildings and public places that have been designed with an evident scenographic vocation. From Piazza di Sant’Ignazio (Rome) to Can Sau (Olot, Girona), several constructions are conceived as street stages, where everyday life becomes a live performance.

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