We Ariet Un Editorial

Winter • 2015

ED WE ARIET UN EDITORIAL

Winter • 2015

by SOPHIE DESCHAMPS, president of sacd

ED WE ARIET UN

editorial by Sophie Deschamps, President of SACD p.03

Tribune by Pascal Rogard p.04 Authors’ rights under threat

Feature p.06 Artists in the classroom Artists in the classroom. Take 4 Mohamed Hamidi : “Giving a boost” Find full information on ENCOUNTER p.10 François Morel www.sacd.fr “In my writing, I like to leave plenty of scope for the audience’s imagination.” Android© Iphone©

LIVE PERFORMANCE p.12 French writers performed abroad

INTERACTIVE CREATION p.14 Transmedia for dummies

DANCE p.16 Join us on 30 years of dance Facebook SERVICES www.facebook.com/SACD.fr Avantages p.18 A pension plus a job: all change p.19

DIARY p.20 Follow us on Ahmed, Bernard, Cabu, Charb, Clarissa, Elsa, Franck, François-Michel, Frédéric, Winter 2015 festivals and shows Twitter Honoré, Michel, Mustapha, Philippe, Tignous, Wolinski, Yoav, Yohan. CULTURAL ACTIONS p.22 @SACDParis SACD Funds N°169 CONTENTS

winter 2015 • LE MAGAZINE • SACD 3 TRIBUNE

“Without Europe, the future of cultural diversity would be traced out in dotted lines. But without Authors’ rights culture and without authors’ rights, what future would there under threat be for Europe?”

by Pascal Rogard, CEO

“Break down national barriers in matters of authors’ has either dented the dynamism of European crea- intention of soon offering its subscribers a “travel” “Creators” have quite simply disappeared. rights regulations.” This is not an order discovered tion or rendered impossible the circulation thereof option for watching programmes outside France, Does that make Europe nothing more than a market, in the archives of former President of the European throughout Europe. It is without doubt even in part proving that the programmed shake-up of authors’ emptied of any cultural ambition, in short a land of Commission, José Manuel Barroso, but the roadmap thanks to what Mr Juncker rights is neither pertinent nor necessary. consumption where the most powerful businesses sketched out by his successor, Jean-Claude Juncker, calls “national obstacles” - the diversity of languages It is obvious that Europe must harness the resources that control distribution supply consumers with the

gence E nguerand © A gence for his commissioners in charge of digital technolo- throughout Europe and the organisation of funding of digital technologies to facilitate the exploitation of cheapest possible offering? That’s all? gies - the Estonian Andrus Ansip and the German based on national markets - that abundant creation works, to improve their currently insufficient availa- Such a market is a lose-lose situation. A lose situa- Günther Oettinger. (which is one of the good things about Europe) can bility on video-on-demand platforms, and to increase tion for European businesses that distribute and The rhetoric is unnecessarily aggressive. But at least thrive and express itself. the public’s access. But it must do so lucidly and res- disseminate works, that respect commitments to the message is clear: create a single digital market It would be good for everyone to recognise that these ponsibly, without destabilising the funding of creation finance and disseminate European creation, and that in Europe by destabilising, by dismantling, by brea- “obstacles” are the sign of true linguistic diversity on or undermining writers’ remuneration. will have difficulty in coping with – the often unfair - king down authors’ rights. the European continent, which no politician has yet Sadly, the European Commission has not chosen that competition from American giants on the net. A lose This is obviously startling coming from a recently dreamt of criticising, and which make it possible to route. It has set its course for a single digital market, situation for creators as they will find it even more elected President, whom one would gladly have optimise the sale of programmes and films in order a horizon beyond which it will not travel. difficult to finance their works and ensure they are believed inclined to tighten the links that have slac- to pre-finance a work. This reflects, first and foremost, an obvious lack widely exposed. A lose situation for the consumer, kened between the European Commission and the This battle that the European Commission seems to of courage by those for whom it is easy, on the one who will see diversity shrink. A lose situation for the world of creation, particularly as the very same man, want to wage against authors’ rights is all the more hand, to stress the need to develop digital services ideal that Europe offers fertile soil to the cultural Jean-Claude Juncker, declared in Paris in 2005 that senseless as authors’ rights have nothing whatsoe- offering works without, on the other, saying a single diversity that is so important to us. “culture does not lend itself to stupid regulations.” ver to do with territorial restrictions pertaining to the word to vilify fraud or taking measures to counter A market, even a single market, does not engage in He still has time to go back to his earlier way of thin- dissemination of works. Bertrand Tavernier said as illegal offerings. They need to explain to us exactly politics, does not issue regulations, does not encou- king and refuse to follow the crowd that wants to turn much recently (on www.euractiv.fr): writers are the how legal and – very often free – illegal services can rage European creation. European institutions have authors’ rights into an abominable obstacle to acces- first to want their works to circulate, be broadcast survive side by side! an eminent role to play in the silence of this market. sing works. and be seen by the public; remuneration for writers It also betrays the lack of vision of those who, forget- The same applies to safeguarding authors’ rights. This negative vision of authors’ rights is sadly not new. is quite simply not responsible for territorialised ting the words of Jacques Delors (“you don’t fall in Since Beaumarchais, they have kept the freedom of Even back in the ‘80s, when the directive for TV wit- funding – this is part and parcel of the commercial love with a single market”), will have difficulty brea- expression alive and supported funding for creation. hout borders was being drawn up, European civil ser- practices surrounding the sale and the commercia- thing the magic back into the European dream, cur- The same also goes for the future of remuneration vants couldn’t find words harsh enough to combat the lisation of works. rently in a sorry state, running the risk of plunging us for creators and the integration of digital players into territorialisation of rights – pertaining to football or to This confusion is dishonest, fuelled by those who into the nightmare of an iniquitous market. cultural policies. It is essential that we continue to films. They even lobbied for the creation of a new right would like to use it to reform in depth authors’ rights You have to read all of the speeches by commissio- strive towards this goal so that Europe continues to – that of any expatriate in the Belgian capital to access and the directives surrounding them. Yet access to ners who have erased the word “creators” from their use its mind and its culture to write its History. works available in his or her country of origin. audio-visual services, including catch-up TV, could vocabulary. Meanwhile, “works” have become indis- Without Europe, the future of cultural diversity would Some 30 years later the demand is still the same. be improved and facilitated in the wake of commer- tinct “content”, the “public” and “audiences” are now be traced out in dotted lines. But without culture and Yet one cannot say that funding and commercialising cial discussions between rights holders and audio- referred to as “consumers”, “culture” and “creation” without authors’ rights, what future would there be films and audio-visual works territory by territory visual service operators. Canal+ has announced its have given way to “creative and cultural industries”. for Europe?

4 SACD • LE MAGAZINE • winter 2015 winter 2015 • LE MAGAZINE • SACD 5 FEATURE

What the pupils have to say

“It was really moving to meet him, especially for me. I think his visit triggered some vocations among the pupils” Fatoumata D., a 15-year-old at Missy middle school in Artists in the classroom. Take 4. La Rochelle after meeting scriptwriter Franck Philippon.

Another session of Un Artiste à l’École, promoted by France’s Ministries “These are very interesting jobs that we for Education, Culture and Communication, will take place from 2 February don’t usually hear about. We got an insight to 26 March 2015. The figurehead this year is Mohamed Hamidi. A key value: into things we’re not familiar with.” transmission. BY caroline collard A 16-year-old pupil at Lycée Hoche, Versailles, after meeting composer Béatrice Thiriet.

Since 2012, when it all began, a total of forty or so artists – wri- Najat Vallaud-Belkacem, Fleur Pellerin, ters or producers in the fields of Minister for Education, Higher Minister for Culture audio-visuals, live performance, Education and Research and Communication © SACD Participants in music, writing and the graphic Bertrand Tavernier at Lycée Henri IV in 2014 arts – have participated in Un ar- “Un Artiste à l’École is based on “Culture is the best rampart the 2015 programme tiste à l’École, a project invented by an idea in which I strongly believe: against exclusion and Pascal Rogard, CEO of SACD, and welcoming artists and creators incomprehension, which is why tory teacher, sometimes their phi- for both pedagogy and culture. Figurehead: Mohamed HAMIDI, organised by the association La into our schools will encourage a artistic education – administered losophy teacher). During the visit, All year round, the city of La Lycée Jean Renoir, Bondy (93) Culture avec la Copie Privée*. The maximum number of youngsters amongst others by artists - is one discussions are peppered with Rochelle hosts numerous presti- Sandra BECHTEL, idea is very simple: sending crea- to take an interest in art and of my policy priorities. I would like questions from the pupils, some- gious events on the theme of film Collège Roland Garros, Nice (06) tors back to their school desks to culture. By arranging for pupils to thank the association La Culture times structured around excerpts and images in the widest sense. BEN, Lycée Parc Impérial, Nice (06) meet the pupils sitting there now, to meet an artist or creator who avec la Copie Privée and all of the from the creator’s films or his or Inviting our pupils to meet, in Frédéric & Olivier Volovitch (alias to talk to them about their careers, attended their school, this project creators working with it on this her music, clips or short films, the flesh, one of the protagonists Volo) & Jean-Christophe BOURGEOIS, and to compare their cultures. allows them to identify with a initiative for their praiseworthy and sometimes pertaining to the from a universe that arouses so Lycée Henri IV, Paris 5e The four main goals of the opera- successful career.” involvement.” notion of authors’ rights. This many fantasies was an unhoped- David DRACH & Marie-José NAT, tion gain in pertinence with every really brings home the fact that for occasion to get the children Cité Passy-Buzenval, Rueil-Malmaison (92) year: to foster the transmission of writing is a job! Animation scrip- to work and reflect on the vast Catherine CLÉMENT, knowledge by combatting social twriter Christel Gonnard remem- subject of French culture and the Lycée Victor Duruy, Paris 7e intimidation, because culture too pupils and their schools; and to chers so that the pupils can iden- bers talking to a class of primary local riches of their own city. Not Emmanuel DEMARCY-MOTA, often still has an elitist, distant fuel an artistic and educational tify with the artist. They can think school children in Lyon: “The to mention any vocations such Lycée Rodin, Paris 13e and unreachable image today; to project on the subject of the artist, “if he or she did it, someone who children had prepared for my visit a day could trigger…” enthused Nasser DJEMAÏ, Collège Chartreuse, inform about how to get into an using visual props. was at my school, then I can do it, and really loved getting behind the Gaëlle Boucher-Letourneur on St Martin le Vinoux (38) artistic career by relating first- These encounters with pupils are too.” “Film maker Michel Ocelot scenes of animated film. It’s vital behalf of the entire team at the Nicole FERRONI, Lycée Joliot Curie, hand experience to the children; bound to be ground-breaking, ar- feels the same: “The encounter to share our experience, to pass Missy middle school in La Ro- Aubagne (13) to enrich the links between the tistic and full of surprises, making is bound to grab the youngsters’ knowledge down, to listen to the chelle, which participated in 2014. Laëtitia MOREAU, Lycée Victor Louis, a strong impact on all parties. “No attention: they get a real idea of children who will be the society of She added: “We have decided to Talence (33) two encounters are alike. The ex- what a profession can be like, tomorrow.” continue developing pedagogical Jean-Jacques MILTEAU, perience marks the writers who getting a much stronger idea actions on the theme of film in our École primaire Kuss, Paris 13e Milestones often get involved emotionally about that profession than usual Participation in the operation is school and will always be happy to Pascal MIRLEAU, when they revisit their own child- because the speaker used to be purely voluntary, for both the wri- welcome another Artist à l’École!” Collège Les Bouvets, Puteaux (92) 2012 : 1st edition headed by Gérard Krawczyk; 12 artists met hood,” explains Julie Carrère, there “like them”, and because he ters and the schools. Most of the The initiative will continue to Benoît PEETERS, Lycée Hoche, with 659 children in 6 regions, 9 départements event coordinator for La Culture or she is back there now, not just schools that have taken part in “promote the idea that there is, Versailles (78) 2013 : 2nd edition sponsored by Bertrand Tavernier; 15 artists avec la Copie Privée. For Gérard in pictures, but for real, acces- the experience have been satis- somewhere, tiny doors that can Denis ROBERT, Lycée Saint-Exupéry, travelled to 10 départements, 6 regions, to meet with 842 Krawczyk, figurehead of the first sible and with answers.” fied with what is a rather unusual be pushed open,” to quote Jean- Fameck (58) children edition and still very involved, “It’s experience within their walls. Claude Carrière, figurehead of the Ismaël SY SAVANE, Collège Les 2014 : 3rd year, sponsored by Jean-Claude Carrière; 15 a unique experience, saying to the Whenever possible, the pupils “The idea of being able to invite third edition. Ormeaux, Fontenay-aux-Roses (92) creators met 980 pupils pupils: “I was sat exactly where explore the creator’s work before scriptwriter Franck Philippon Tomer SISLEY, Centre International * An initiative of SACD, working jointly with 2015 : 1,450 pupils registered; 19 artists you are sitting”. It’s essential to the visit, and study it with their into our school (and cost-free, SACEM, SCAM, Procirep, Adami, ADAGP, ARP. de Valbonne, Sofia-Antipolis (06) do some prep work with the tea- teacher (often their French or his- to boot), was extremely positive, In partnership with Canopé.

6 SACD • LE MAGAZINE • winter 2015 winter 2015 • LE MAGAZINE • SACD 7 FEATURE

Mohamed Hamidi “Giving a boost”

After participating in Un artiste à l’école last year, Mohamed Hamidi agreed to be the figurehead of the 4th edition. As a former teacher, he feels it is essential to go back into the classroom to discuss with youngsters. Interview by caroline collard

Last year, you visited your old about the film, about working with about it to another, who in turn middle school in Bondy. What Jamel (Debbouze), the Marrakech supports a third. We were lucky. memories do you have of the comedy festival, etc. But it would be great if things event? could be made easier. I was a teacher for fourteen years How do you see your rôle as fi-

and I always loved teaching. I’m gurehead? CO L E © U N ARTISTE À L’É naturally attracted to education. I’d love to inspire other writers to This is about opening up pers- Mohamed Hamidi with pupils in Bondy in 2014. So obviously, whenever I can go participate in the operation. I’m pectives in the field of the arts, back to school, I say “yes”! Pas- really enthusiastic about it and which is very specific. What are sing on experience and talking talk about it to people I meet; all you going to say to the teenagers There are very few lucky ones and meet youngsters and explain what about careers is something I’ve the better if more artists parti- you meet this year? it would be madness to advise I do, they pick up my enthusiasm, been doing for the past few years cipate in future years. I believe For a good decade now, kids have a youngster to place all his bets my desires, my motivation. And through an association (Editor’s strongly in the process of identi- been given the impression that on that. I would like to tell them they realise that they too can have note: Alter-Égaux); so when SACD fication helping kids to think “why anyone can try their luck in the “do stuff around the edges of your desire. That gets them moving. invited me to participate in the not me?” Seeing someone from arts. I was an “amateur artist” studies and then, later, the time Un Artiste à l’École is not a mas- initiative I obviously said “yes”. A your school, your town, your back- for fourteen years and that didn’t will come when you have a real ter class, it’s visiting to say that huge and resounding “yes”, a ground, can be a trigger. It is often bother me. Nowadays, I’m a pro- choice to make. You’ll then know things are possible. It’s giving a “yes, with pleasure” as Malik difficult to imagine embracing an fessional artist. That’s the only whether or not you can make a boost. My rôle in the two hours I Bentalha might say (Editor’s note: artistic career. We do the same difference. career of it.” spend with them is to tell them reference to a line from a comedy thing with Bondy Blog, encoura- You can enhance your life with ar- There’s no diploma to qualify you that, and that if they’re hard-wor- that Mohamed Hamidi is direc- ging youngsters to come. They tistic activities without making it to be an artist. It’s not as auto- king, disciplined and professional, ting). need to loosen up, lose their inhi- your job. I would tend to tell them matic as studying medicine to they can succeed. They can go the CV So on the morning in question, I bitions. These youngsters have a that an artistic career should be become a doctor. Living from wri- full nine yards. It’s wanting some- Mohamed Hamidi, an ex-economics teacher, is dropped my children off at school sort of natural restraint, imagi- considered as a “bonus”. It’s so ting is wonderful, but it’s tricky. thing 100%. president and co-founder of Bondy Blog. He also then made my way on foot to the ning that it’s not for them. A young dependent on chance, people you You have to have several strings Then of course you can go into the contributed to the artistic direction and staging middle school, as I used to some lad who lives in Bondy has just as meet, time and place, etc. I would to your bow, particularly in today’s technical side of different artistic of the Marrakech Comedy Festival and shows by thirty years ago. I still live in much to say as anyone else, but tell them that if they want to write world. professions: for example, how to Jamel Debbouze (Made in Jamel, Tout sur Jamel, Bondy but not in the same spot. does not necessarily have the stories, to pick up a camera, then write a screenplay, what are the Le Comedy Club Live (radio), etc.) He co-wrote I’d not walked that way since. I right tools, the right paths to do do so. But don’t drop your studies How can you pass things on to- different phases, etc. And then, and directed Malik se la raconte by Malik Bentalha, walked by the council flats where so. if you can study. I’m not going to day? each individual sets off on their Vie de Chien by Abdelkader Secteur, and Dans la I used to live; it was really weird. In my immediate circle, there are encourage a fourteen-year-old By identification. By relations journey, meets different people. tête by Redouanne Harjane. In 2013, he directed I was really touched. Meeting the four or five of us from the same to drop everything and lock him- between human beings. By face to Youngsters often show me their the film Né quelque part, co-written with Alain- two classes of 15-year-olds went generation in the arts, and a fair self in his bedroom to make films face encounters. In different set- projects so that we can talk about Michel Blanc and starring Tewfik Jallab and Jamel really well. The pupils had seen dozen if I extend that to working with his camcorder, I’m not going tings. Desire is also very impor- them, to get an opinion. That’s Debbouze. He is just about to make his latest film, my film and we had a discussion in the “media”. We all benefitted to say to him “be an artist, it’s tant. Nothing works better than really getting into detail. But ori- La vache, co-written with Alain-Michel Blanc, that lasted for over two hours. from a lead-on effect between us: wonderful, and think of nothing explaining that you do what you ginally, the idea is to authorise starring Fatsah Bouyahmed. They asked me a lot of questions one friend becomes a writer, talks else.” I don’t really believe that… do because it drives you. When I desire.”

8 SACD • LE MAGAZINE • winter 2015 winter 2015 • LE MAGAZINE • SACD 9 encounter

Milestones

1959: born on 10 June in Flers (Orne). François Morel 1993 à 2000: After literary studies and a spell at the École de la Rue Blanche (ENSATT), he started an acting career, joining Jérôme Deschamps and Macha Makeïeff’s troupe. He played in Lapin-Chasseur, Les “In my writing, I like Frères Zénith, Les Pieds dans l’Eau, Les Brigands, C’est Magnifique, Les Précieuses Ridicules and Les Deschiens on Canal+. to leave plenty of scope 2006: Created and directed Bien des Choses with Olivier Saladin and started singing with a recital entitled Collection particulière. for the audience’s imagination.” 2008: Played Les Diablogues by Roland Dubillard, directed by Anne Bourgeois. 2015: Acted in two films: Valentin Valentin by Pascal Thomas (picked out by SACD’s film commission) and François Morel has just completed Mots en writing a piece for radio, I’m conscious of my phra- Une Famille à Louer by Jean-Pierre Améris (released sing and how I’m going to act it out. on 1 July). At the Théâtre du Rond-Point (Paris), until Scènes for SACD, providing an occasion to take 28 February in La Fin du Monde est pour Dimanche stock of his atypical career, hinged between directed by Benjamin Guillard, and every Friday In 2004, you founded your own production company. morning on France Inter in Patrick Cohen’s 7-9. frivolity and gravity. Interview by Macha Séry Was this to be less subject to others’ desires and G RAP H ERS © L N P H OTO gain greater freedom in your career choices? Definitely. But not contrary to the notion of a troupe. Does your main inspiration come from how words Between November 2011 and January 2013, I played The references you most readily mention are wri- When you write songs for other artists, are you asked sound, from images or from situations? in Le Bourgeois Gentilhomme by Molière and there ter-singers: Moustaki, Brassens, Barbara. to tune into a specific universe or to use your own? It all depends. I don’t have any rules or any rituals. were twenty-six of us on stage! It was a wonderful That’s true. I value the terseness of the songs. The first time I tackled such an exercise was for No- I’ve just finished writing a short Christmas tale that experience. My ambition is not to be alone on stage But I could just as well mention Gérard Sire who rah Krief. I wrote texts for her that I would never have was clearly inspired by the image I had of a circus all the time, to be the Raymond Devos of the 2010s. I worked lot with Jean Yanne and wrote surrealist dared write for myself. But then I realised that I could in the snow. It would be rather handy to know what want to have fun and surprise myself, without repea- short stories. I also love his voice; it’s so beautiful, very well have sung them myself, particularly Le Petit triggers the imagination! ting myself. I really admire Grock, the clown. All his well pitched. I also love the humourist in Brassens, Préféré. Juliette Gréco often asked Antoine Sahler life he fine-tuned an act that lasted less than twenty and Roland Dubillard. He is a writer who remains and me to write songs for her. We did as we were as- Does writing help straighten out your ideas or your minutes. He managed to attain perfection. But I don’t very mysterious to me, and that’s exactly what I ked, but none were ever accepted. It became a bit of a opinions on a given subject? have that type of patience. And in any case, La Fin du like in him. When I was rehearsing Diablogues with running joke between us. She asked us yet again for That’s certainly the case with my weekly radio slot on Monde est pour Dimanche is the first show where I’m Jacques Gamblin, we were anxious, perplexed at a song. This time, we decided we would start work at France Inter. I sometimes don’t know what I’m going completely alone; in Les Habits du Dimanche I had a the idea of getting a laugh out of such writing, 6pm and down tools at 7.30pm in time for pre-dinner to say on a given public debate or topic in the news. brass band on stage with me! practically nothing, dark, desperate, with tirades drinks. It was a flightier song, composed in a rush, Then writing, in one sense, helps me to organise my as tiny and minuscule as “1, 2, 3, hop!”. I chee- but turned out to be the one that Juliette Gréco liked! thoughts. It’s only once I can agree with myself, once Be that as it may, you nevertheless play a whole red myself up by reminding myself that Jacques my paper reflects who I am, that I can add the final cast of characters… Sellers and Claude Piéplu, who played Dubillard in What will you be working on next? full stop. Yes, but the stream of characters was not the idea the past, had managed. Me too, as a writer, I like Writing a new show together with my friend Olivier that led to the show. I’d wanted to group together to leave plenty of scope for the audience’s imagi- Saladin. We were in Bien des Choses together. I’m What’s the common denominator between your papers written for “Le Fou du Roi” and some other nation and try to understand what I write when I’m also working on a play, but I won’t be acting in this different activities – plays, songs, columns? Broa- original pieces that shared the themes of ageing, acting it out. In La Fin du Monde est pour Dimanche, one. It’s based on letters exchanged between Robert ching serious subjects in a light-hearted manner? happiness, the passing of time, love… In short, ma- for example, I tell a love story between a man and Mallet and Paul Léautaud. I have several writing projects on the go at once. jor existential themes that make for a show that is, an oyster. Not your everyday story. In the begin- I don’t decree any obligations, and nothing’s out I hope, funny and encouraging. It was a response to ning, the man finds the oyster’s silence wonderful. You were awarded the Alphonse-Allais Prize in 2012 of bounds either. In short, I feel my way forwards. theatre director Dominique Bluzet, who offered me He sees it as the perfect communion between two and the Raymond-Devos Prize in 2013. If an award I sometimes want to talk lightly about light subjects carte blanche on a Monday. On the other evenings beings. Then the silence starts to niggle. It finally were to bear your name in the future, what qualities and seriously about serious issues. I don’t systemati- of the week I was playing Diablogues with Jacques becomes unbearable. It’s that we project our own would the winner need to possess? cally pick out sinister topics. The important thing is to Gamblin. fantasies and emotions onto the one we love. We You’re making me grow old before my time, here! Let’s trust my emotions and be true to them. My main job create the object of our love. After the show, one say that humour would be a must, together with some- is acting, so the writer in me has to serve the actor. If Have you always been funny? spectator confessed that he had the impression I thing along the lines of consolation, so that the au- I wrote the text I’m playing, I have the right, I’m sure Yes, since childhood, at school, with the family. It was was describing his relation with his wife. He had dience feels lighter when leaving the theatre, convinced you’ll agree, not to respect myself. Even when I’m how I interacted with the world. interpreted the fable as a metaphor. that living together is possible and not so bad.

10 SACD • LE MAGAZINE • winter 2015 winter 2015 • LE MAGAZINE • SACD 11 LIVE PERFORMANCE International contracts

SACD’s International Section is part of the Authorisations and Contracts Unit of the Live Performance Department. It manages authorisations to put on French writers live performance works abroad. The team helps writers and their agents with procedures and with performed abroad signing their contracts, tying in with promotion work. Plain sailing ahead for French theatre abroad. According to the latest figures Contact : collected by SACD, a lot of French writers are doing rather well outside France, by the same agency, have scored Die Wahrheit Live Performance Department mit Leslie Malton, Herbert Knaup, Thomas Heinze and even outside Europe. by caroline collard full marks with Le Prénom. New und Johanna Christine Gehlen [email protected]

writer Sébastien Thiéry (repre- Rakete Jim Foto: sented abroad by Dominique Christophe, who also takes care Names that are already well- look-out for his plays. Last year, and Contracts Unit within SACD’s of Yasmina Réza and Éric-Emma- known beyond our borders and two major private theatres in Live Performance Department. nuel Schmitt) “works” well from

are well ranked among writers Berlin staged two of his plays at “The whole Hispanic world has Finland to Mexico via Rumania, von Florian Zeller aus dem Französischen von performed outside France include the same time… A first!” notes gone crazy for this play!” Poland and… Estonia. Also strong Annette und Paul Bäcker Regie: Ulrich Waller Bühne: Nina von Essen Yasmina Réza (who really paved Sandrine Grataloup, in charge of In the category of writers who are abroad are Fabrice Roger-Lacan Kostüme: Ilse Welter writers who have fallen into the the way with her play Art), Éric- international promotion at SACD. taking off, mention must be made (represented by Marie-Cécile Re- public domain. A French writer Emmanuel Schmitt and Francis Playwright Joël Pommerat also of Florian Zeller. His plays (parti- nauld, MCR), Pierre St. Pauli theater will only stand a chance if his or Veber. Éric Assous is also very in has the wind in his sails, taking cularly La Vérité) are performed in Palmade, Clément Michel, Pa- 12. Februar bis 13. März her play has already been a suc- Tickets 040/4711 0 666 oder www.st-pauli-theater.de vogue today; several of his plays his work all over the world. And numerous countries. The Father, trick Haudecoeur, Antoine Rault... sowie an allen bekannten Vorverkaufsstellen cess here in France, and is cultu- have been put on in one and the it’s impossible not to mention the acclaimed by critics when perfor- A window thus seems to have rally adaptable over there. It really same season in Germany and incredible success of Toc Toc by med at the Royal Theatre in Bath opened for French writers, heral- has to be something outstanding, Italy. And requests are flowing Laurent Baffie... The play is taking a few months ago, is to be per- ding new opportunities. Geogra- otherwise it’s hard to grab their in… from Spain, Russia and even the entire globe by storm, parti- formed in London in the spring, phical, first of all. New or dynamic performed in London or New York attention,” explains Dominique China! cularly South America. “Toc Toc and… drum roll… there is a future territories are popping up today: and its aura will be even stron- Christophe. “For Éric Assous, it cannot be was first staged in Spain – at the production in the pipeline for Poland, the Czech Republic, ger,” analyses Suzanne Sarquier. Talking of promotion in English- denied that having internatio- initiative of Brigitte Martin Saint New York. For his agent Suzanne Finland, Korea, Latin American Sandrine Grataloup promotes a speaking countries… the Cross nally renowned actor Alain Delon Léon – and then in Argentina, Sarquier (Agence Drama), the countries with a breakthrough in very diverse repertoire and can Channel Theatre Group is an in- in his play Les Montagnes Russes where it was a huge success. The track record of this play has been Brazil…French-speaking Belgium confirm the appetite for come- teresting concept. It is a reading launched his international career. story that takes place in a psycho- “faultless, a track record that has and Switzerland continue to wel- dies. committee, set up at the initiative Over the years, foreign agents logist’s waiting room… Then most been built up gradually, with top- come numerous French tours and But for all that, has it really be- of the Institut Français in London have been increasingly on the of the Latin American countries quality adaptations”. to put on productions. Germany (a come easier to conquer English- and SACD. It has selected seve- followed suit,” explains Véronique Alexandre de la Patellière and huge country in which each coun- speaking countries, reputed to ral French writers with different Marty, head of the Authorisations Matthieu Delaporte, represented ty, or Land, has its own theatre be the most difficult targets? styles, whose texts will be pro- production structure), Italy and Above and beyond a few sparkling moted in England. From the big screen to the Spain still rank highly in the list successes, the task remains For writers, being performed stage. New outlets for writers? of countries that readily perform arduous. Nevertheless, little by abroad is a fine mark of recogni- How SACD promotes theatre abroad French writers. little and with assiduity, it’s star- tion. It is also important to see Adapting really successful films to the theatre is all Of course foreign directors, ting to work. “To get to work with what a different culture can bring the rage. The Intouchables by Olivier Nakache and Éric Plays selected by the Entr’Actes in the original French language and agents and producers have to like English-speaking producers and to a text. “They can be amazed Tolédano reading committee are promoted translated. and be convinced by the texts. “At theatres, you really have to tar- when they discover certain ver- has already been adapted for the stage throughout abroad by SACD. The latter presents Site : http://entractes.sacd.fr the moment, get them, talk to them, get them sions, and always surprised by the Germany and Austria, with productions announced for them to appropriate partners (agents, we are very lucky as we have co- to read the play in English, bring diversity of proposals based on Canada, Brazil and elsewhere. In the same vein, Qu’est-ce festivals, theatres, translators, etc.). Contacts : medies that are both entertaining them to the show when they’re their own words,” notes Suzanne qu’on a fait au bon dieu? by Philippe by Chauveron and Guy SACD also helps to nurture and set up Promotion and Cultural Actions and intelligent, and that’s what in Paris, encourage them to dis- Sarquier. “We always dream that Laurent is also to be adapted for the stage in Canada and events focusing on French drama all Department they want. Nowadays, if a play has cover the plays… That’s the only a play will be taken up by the best, further projects are on the drawing board. SACD manages over the world (international cultural [email protected] been successful in Paris, you can way you can hope to reach them. with magnificent adaptations…” such adaptation rights if writers are interested… actions). It disseminates the texts both [email protected] be sure that everyone will want They have their own good wri- adds Dominique Christophe. Long it. If you’re really lucky, it will be ters, and they also like to adapt live words without borders.

12 SACD • LE MAGAZINE • winter 2015 winter 2015 • LE MAGAZINE • SACD 13 INTERACTIVE CREATION

Support for transmedia Through its cultural action, financed in part by private copy, SACD encourages the development of transmedia: • SACD prize for creative creation • SACD prize for “interactive works” at the MIFA transmedia pitch sessions during the International Transmedia Animation Festival in Annecy • SACD prize for fostering the creation of an interactive or transmedia work at the ProtoPITCH contest • SACD prize for support for interactive creativity in for dummies partnership with PRIMI (Pôle Transmedia Méditerranée) • SACD multiscreen prize in partnership with Pôle Média Grand Paris “Transmedia” refers to deploying a universe from fiction across several different • Financial support for Paris Courts Devant’s Fabrique works and devices. It is of increasing interest to creators, audiences and broadcasters; en Transmedia, Cross Vidéo Days, I Love Transmedia, Marseille Web Fest, Web Program Festival and writers can even register a transmedia bible with SACD. But that’s not all… • Aid for interactive creation in public spaces awarded by GUILLAUME REGOURD to two Street Art projects thanks to SACD’s Auteurs d’Espaces initiative

The Spiral and Intime Conviction narratives. The writer can explore “The French transmedia creation The Beaumarchais-SACD Association supports on Arte, Anarchy on France 4… more points of view, make his scene is particularly lively,” conti- transmedia via: A new form of fiction has appea- or her narrative universe evolve nues our knowledgeable observer, • Aid for writing: “Bourse Orange/Formats Innovants”, red on the French audio-visual over time, and nurture a stronger, who for a time was on the CNC’s a partnership between Orange and the Beaumarchais- scene in recent months. It’s called more intimate link between the new media commission. “But SACD Association that encourages the development of “transmedia” and ties in seve- work and its audience.” audiences remain small. Writers new audio-visual formats ral screens by broadcasting epi- Pierre Cattan founded the studio and production teams learn a lot • The Beaumarchais-SACD prize awarded to one of the sodes of a series on TV and exten- Small Bang, specialising in trans- from their own projects, their own student projects exhibited at the I Love Transmedia event ding it in the form of a game on media. He sees immense scope mistakes. It’s still tricky to finance Internet. French TV channels are for native transmedia. “Each new interactive fiction.” starting to take a real interest in creation can be explored in dif- Encapsulating transmedia in transmedia; it’s more than just a ferent ways,” he analyses. “What a contract is not an easy busi- fad or commercial opportunism. interests me most, is exploiting ness! But things are moving in on line at www.sacd.fr (Down- hin SACD’s Audio-Visual Depart- making it a priority,” rues Pierre Although transmedia is basically the to-ing and fro-ing between the right direction. Writers can loads), as is a form for registering ment, Sandrine Antoine heads Cattan. “The budgets bear witness a descendent of viral marketing, the digital world and the physi- now register a ‘transmedia bible’ a game associated with a trans- a unit in charge of audio-visual to this. Yet cultural enterprises when it is “native” (i.e. not created cal world. The biggest challenge with SACD: a reference document media universe. work programming and barome- would do well to continue their as a second thought to exploit an facing creators is to involve the describing the elements that are “The transmedia bible defines the ters, and Isabelle Meunier-Besin efforts with innovative stories in existing programme, but desig- public directly in the narration, common to each of the bricks framework for the work’s co-wri- heads the audio-visual production order to win the loyalty of the pu- ned from the very outset as part and for that, they have to find just used to construct the universe ters (at the origin of the universe), contract negotiation unit. They blic at a time when audiences are and parcel of the artistic project), the right balance: too much inte- deployed across the various me- and those who may extend it in explain that “each project is a pro- less and less loyal to channels but transmedia raction might take the user out of dia (TV drama, film, documentary, the future,” explains Catherine totype to which the contract must more and more loyal to creations. can also turn out to be a power- the narration; too little interaction web fiction or webdoc, on-line Cuenca. “It not only defines the be adapted. In all events, the wri- Broadcasters will become labels, ful tool for creation. “Developing takes you back to classical linear game, radio drama, live perfor- dramatic and visual universe, but ters must not hesitate to consult and their survival will depend on a transmedia work initially satis- production.” mance, etc.) The form is available also the way it is to be deployed us ahead of time”. their ability to create narrative fies the need to remain in contact across the different media. So if Pierre Cattan believes that the universes in which the public will with the programme’s audience, other writers become involved on public is ready: “The public is be totally immerged.” wherever the audience goes,” other media, the paternity of the increasingly keen to get into a Catherine Cuenca has great hopes notes Catherine Cuenca, SACD universe has already been esta- work’s fictitious land. The fans’ for transmedia live performance: board member in charge of Inte- Transmedia or crossmedia ? blished.” thirst for transmedia offerings “We are seeing immersive nar- ractive Creation. “It is also a way It’s not always easy to tell transmedia from crossmedia. So far, SACD has only handled in the series Game of Thrones is rative experiences on stage and of maintaining the conversation Widely used in marketing to define multi-device communication strategies, a small number of cases as it’s enough to convince anyone of in public spaces, with new forms with viewers, with the ‘commu- they seem more or less interchangeable. But there is a difference. In matters still early days – the exploratory that!” Decision makers need to of storytelling being constructed, nity’. Writers are gradually taking of creation, transmedia is defined as “the coherent development of a narrative phase. Writers working on trans- climb fully on board. Arte and based on exchanging with the au- on board the deep upheaval that universe that unfurls across distinct works on different devices”, whereas media projects generally contact France Télévisions (via its New dience. SACD is encouraging this is the connected society and are crossmedia refers to “exploiting one and the same work on different devices”. SACD for advice on drawing up Writing unit) seem to have rea- emergence, notably through its now inventing more immersive contracts with TV channels. Wit- lised this. “But they’re sadly not Auteurs d’Espace fund.”

14 SACD • LE MAGAZINE • winter 2015 winter 2015 • LE MAGAZINE • SACD 15 dance

Milestones

19 February 2015: anniversary gala at the Théâtre National de Chaillot in Paris, during which Héla Fattoumi many choreographers who have marked contemporary French Co-Manager of CCN Caen/Basse dance will perform together 30 years of dance Normandie with Éric Lamoureux 22 May 2015: Feedback day after How do your roles as creator and the «30 years» seminar at the manager tie in together? Gaîté Lyrique France’s 19 Centres Chorégraphiques Nationaux (CCNs) are celebrating their Very well! As of 1 March, we are setting off for the CCN Franche- Until December 2015: festivities, 30th anniversary. They form the only cultural network in France run by authors Comté in Belfort. Éric Lamoureux performances, seminars, – a noteworthy exception – and their missions include teaching the arts and I have used our experience in exhibitions in the different CCNs. Normandy to prepare an inno- and producing and disseminating works. Let’s meet three of them. by Pascal Marion vative project for a region that is new to us! New region, new project! CCNs are public service Daniel Larrieu G RAP H ERS © LL N P H OTO institutions. Above and beyond Emmanuelle For example? the administrative work that is Vo-Dinh A project called Histoires Ex- SACD board member responsible the public at large? People are carried out by a permanent team, quises where we ask people who for dance interested in dance. There are the management has to spend Manager of Phare, CCN Le Havre live in small villages to tell unu- massive audiences for dance pro- time with partner collectivities, Haute-Normandie, and President of sual stories. The interview is writ- You ran the CCN in Tours for nine grammes on major TV channels. relentlessly explaining the artis- ACCN (Association des Centres ten down and given to a choreo- years (1994-2002) and left at the But the rivalry and fierce competi- tic strategy. On top of that, we Chorégraphiques Nationaux) grapher, who turns the story into a end of your mandate. Why? tion that are rife in dance are totally now also have to seek out extra solo dance. We also organise par- Running a CCN means in-depth missing from TV. A series could be resources to try to compensate Describe the job a CCN manager? ticipative projects that are open to relations with the Ministry of created for the web or for Arte, for for falling budgets. It’s a job that requires a decent everyone, including people who Culture and with local councils; example! We need to construct the sense of dissociation! You have to don’t dance. We sometimes get I wanted to enjoy the freedom of memories of the future. We also What conclusions can you draw be organised and accept the poro- up to 700 participants! We also or- being an artist again. You meet have to take rapid action to help after 30 years of CCNs? sity between management per se ganise workshops for parents and some discreet politicians who are independent dance companies in Some 30 years later, thanks to (working for audiences, relations children. Plus a lot more. Giving sensitive to art, to dance in parti- France; they are more in jeopardy work on choreographic culture, with politicians, associations, etc.) up these activities that we enjoy cular. Others at best include you than ever because of lack of visi- the idea has finally been accepted and creation. I never allow myself would mean depriving ourselves in their communication strategy: bility and resources. They consti- that there are other dances than more than ten successive days of of an audience. As for creations they decide to support you if you tute a unique mesh, just like the the hitherto dominant ballet. The rehearsals and I work from 9am per se, I always tell people there’s will appeal to the voters. Artists network of choreography centres. public has realised that dance is in the morning until midnight, nothing to understand. Even I don’t suffer from that. A lot of people Although a CCN can be a wonder- not one thing, but a diversity of plus most of the weekend. In understand my shows! don’t see the point of boosting ful episode in a creator’s life, that languages. They can now select short, burn-out is never far away! choreography. Yet we could de- creator will remain a creator – be- from a palette ranging from jazz bate for hours about how our bo- fore and after the CCN. to contemporary via hip hop. The How do you go about teaching the dies fit into this consumer society public has grown adventurous arts in your region? of ours. We should set up a trai- Is SACD doing anything for the and attends more demanding Teaching the arts is extremely ning programme for councillors!!! anniversary? performances. The democratisa- important to us. We work with Yes. I felt it was essential to in- tion of culture has had an effect! CCNCBN

all kinds of people: centres for How should we celebrate the volve SACD’s cultural action. The © youngsters, hospitals, and retire- CCNs’ 30th anniversary? network of CCNs is mainly ma- What do you suggest for the 30th ment homes both in towns and out This will be an opportunity to take naged by creators who also work anniversary? regional venues. in the countryside. We also coor- stock of the wonderful, intangible for other creators. For example, Over time, CCNs have made their We are also working on trans- dinate the dance option at Lycée treasure that is contemporary the rights generated by the eve- mark as creators and producers. mission to new generations. François 1 in Le Havre. Our stance dance, stemming largely from ning at the Théâtre National de It is now vital that their role in the Having an associate artist fos- is that we are not teachers, but CCNs. This specific treasure, this Chaillot will be channelled in dissemination of performances ters the pooling of experience, artists who want to share artistic French model, has greatly in- full into social actions. All of the be shored up with suitable re- both artistic and administrative, processes, with the fragility and fluenced dance abroad. How can choreographers participating in sources – for example by structu- and thus enhances knowledge of rent Ph i l ippe a u rent

unpredictability that that involves. © L we heighten its profile amongst the evening have agreed on that. ring partnerships with local and these tools and how they work.

16 SACD • LE MAGAZINE • winter 2015 winter 2015 • LE MAGAZINE • SACD 17 services services

Avantages A pension plus a job: SACD’s “Avantages” programme User Relations at SACD. SACD SACD to offer holidays at reduced was the first authors’ society to prices. The programme was re- all change was launched over 10 years ago, introduce such a programme. cently enriched with a series of and still continues to offer authors As well as advantageous prices reductions on cookery classes Since 1 January 2015, the consequences of having both a job and a pension change. preferential prices for culture, sport at theatres (now about thirty in and aquabiking. Paris alone, plus about twenty The Author and User Relations Here’s how. and travel. in the regions), bookshops and Department keeps an open ear as cinemas, it quickly became clear to what authors want, in order to that we needed to expand the develop other types of advantage A law passed on 20 January 2014 authors lose the option of impro- reduction coefficients that apply Created at the beginning of the offering to include gyms. We had in the future or to round off the changes the game plan as of 1 ving the amount of their comple- to the amount of the pension if 2000s, SACD’s Avantages pro- quite a good take-up rate. Every existing palette. January 2015: from the moment mentary pension. This is all the an author asks to benefit from gramme was originally dreamt year, almost 200 people now take “We realise that there is a shor- you receive your basic state pen- more worrying for those who of- this advantage before the age of up to offer authors extra social advantage of a reduction of seve- tage in the regions. From Paris, sion, your contributions to obliga- ten contributed badly to the basic 65 or 67 (depending on year of advantages. “Because of their ral hundred euros on an annual it’s difficult to hunt round for par- tory complementary schemes will scheme, due to difficulties linked birth), without being eligible for profession, authors don’t have subscription at the Apollo Spor- tners,” comments Véronique Per- no longer generate rights. So an to operations at AGESSA and the the full basic pension. But for the a works council and we wanted ting Club, CMG Sports Club or lès. “If authors have activities to author who collects his or her ba- confusion between notions of lia- moment, the law is applied as it to make it easier for them to Les Cercles de la Forme. Tra- suggest, or establishments near sic state pension and who also re- bility and affiliation. stands. go to shows and to have access vel companies (Atalante, Center to where they live, they should ceives rights will continue to pay This reform only concerns those SACD is keen for authors to bene- to books, because that all costs Parcs, Hertz, Look Voyages, Mae- drop us a line.” A dedicated e-mail contributions to complementary individuals who have submitted, fit from the right to a pension that money, and these activities are va, Pierre & Vacances, Thalasso. address has been set up: avan- schemes but without triggering or are to submit, their request reflects their past activity, and essential to practicing their com, Vacances pour Tous, Club [email protected]. And for the full list any further rights. This is a major on or after 1 January 2015. For continues its efforts in this area. trade,” remembers Véronique Med, Palmiers Océan, Belambra of Avantages, visit your Author change for a sizeable number of authors who have been collec- “The first thing we have to do now Perlès, head of Author and Clubs) have also chipped in with pages at www.sacd.fr. authors who could, until now, ask ting their state pension since 31 is to get the authorities to imple- to benefit from their social securi- December 2014 and who have ment AGESSA reforms: namely, ty pension and choose to continue decided to continue to contribute deducting state pension contribu- to contribute to complementary to RAAP or RACD, nothing will tions and permitting retroactive schemes in order to build up a change: contributions paid after affiliation for authors who, poorly bigger total pension for later. 1 January 2015 will trigger rights. informed, have not completed Discussions are underway to find the procedures that would have “In light of this law, when an solutions that could compensate enabled them to build up the right author decides to ask for his or for the effects of this law, notably to a pension that reflects their ca- her basic state pension, we re- the option of purchasing points reer,” explains Véronique Perlès. culture is diversity ! commend that they think about for RAAP and eradicating the A long road lies ahead… liquidating all pension schemes at the same time, to avoid being penalised. i.e. to pay their contributions in the name of national solidarity and not receive a pension,” explains Véronique Perlès, “The first thing we have to do now head of Author and User Rela- tions at SACD. In concrete terms, is to get the authorities to implement SACD HOPES THAT YOUR 2015 this means that the authors have WILL BE RICH IN CULTURE to start procedures with the RAAP AGESSA reforms: namely, deducting and the RACD at the same time as they start procedures with state pension contributions...” the CNAV, when they decide to Véronique Perlès. liquidate their basic state pension. With these new measures,

18 SACD • LE MAGAZINE • winter 2015 winter 2015 • LE MAGAZINE • SACD 19 DIARY DIARY

Festivals shows

january february march april february march april h

Valence oc’ scénario Festival international des scénaristes 8 au 12 avril 2015 rwan Fl E rwan - u e comiq op é ra © fabre patrick © CREA ©

Festival Festival des Festival Festival international Forbidden Au Monde Pays Les Indiens International du Créations International de des scénaristes di sporgersi For his latest crea- Last September, sont à l’ouest Court-Métrage de Télévisuelles de films de femmes à Valence This project by tion, Belgian compo- during the François is passionate Clermont-ferrand Luchon For the first time, Founded in 1997, this playwright, actor ser Philippe Boes- Francophonies en about the movies and As a loyal supporter For 17 years now, SACD is supporting event is a must for and director Pierre mans joined forces Limousin, SACD dreams of becoming a of short films, SACD the Luchon festival a film festival that is writers of short and Meunier was created with Joël Pommerat, awarded its prize for director. He takes part will award the SACD has been celebrating now in its 37th year, feature films for the during a residence entering into the lite- a play in French to in a competition for prize for the best first French and Spanish devoted to female film silver screen, TV films at the Comédie de rary universe created Iranian Pedro teenagers, deciding drama in French and TV drama in all its directors from around and series. Professionals Clermont-Ferrand. in Au Monde, a play Kadivar for Pays. to tell the story of

the SACD prize for shapes and forms: the world. Almost find a forum here for It is a “collective staged for the first DR There is to be a American Indians the best animation one-offs, series, 150 films will be debate, plus a host of venture” based time in 2004. For the reading on 20 March resisting the invasion Biennale internationale film in French at 6pm miniseries, short screened, portraying previews, master classes on Algorithme French playwright Courte longue vie au grand petit roi ! at 6pm at the Théâtre by white settlers des arts du cirque on 7 February during programmes, web with talent women’s’ and discussions, not to éponyme, a book and director, this is Writer Philippe Dorin and composer de l’Odéon, Salle during the second half This first “international biennial of circus the closing ceremony fictions, etc. This year view of their society. mention workshops and written by an autistic a second musical Alexandros Markeas unite their talents in Roger Blin. of the 19th century. arts” is an extension of the Cirques en of the Clermont- will see the addition The festival has writing marathons. girl, Babouillec. project after Thanks an opera for singing puppeteers: a rip- With Dominique An ambitious project Capitales event, which took place on the Ferrand festival. On 5 of documentaries. hosted some historical From 8 to 12 April, Valence. Babouillec does to my Eyes. roaring, political, poetic farce for young Blanc, Behi Djanati- for a fifteen-year old! occasion of Marseille-Provence 2013. It is February, from 11am SACD supports this debates and remains www.scenarioaulongcourt.com not talk, she writes, The opera was per- and old, in which Philippe Dorin evokes Ataï and Gurshad The words of Christian the first event to continue on from European to midday, Isabelle event. It is open to attentive to the using a powerful and formed for the first Shakespeare’s kings, Alfred Jarry’s Ubu, Shaheman. Eymery, also director, Capital of Culture year. Federating Meunier-Besin, SACD professionals and to artistic, political and physical language time at the Théâtre operetta and much more. Directed by 20 March, are set to music by 45 programming partners from Marseille jurist & negotiator, the public. French social commitment thanks to an alphabet Royal de La Monnaie Neville Tranter (from the Stuffed Puppet Théâtre de l’Odéon, Paris. singer Juliette (with and the PACA region, it totals 60 shows,1 will run a workshop and Spanish authors of women around the of cardboard letters in Brussels on 30 Theater in Amsterdam) , who also designed arrangements by 5 world premieres and 300 artists. A at the Film Market will meet and debate world as conveyed in that she and her March 2014, and is the puppets. The four singing puppeteers Franck Steckar), village of big-tops is to be set up on the entitled “Close-up of on 6 February their films. mum invented. This now being performed perform an inventive and colourful fantasy with Didier Grojsman J4 esplanade, right next to the MUCEM; a my first contract” to at 6pm. From 13 to 22 March, is the second time in Paris by Frode in song, accompanied by the Ars Nova trio as musical director. festive weekend is organised at the Friche help authors with their From 13 to 22 March, Créteil. that one of her texts Olsen, Werner Van of musicians. Supported by the Fonds de Co-produced by LE de la Belle de Mai; and, throughout the admin. Créteil. www.filmsdefemmes.com has been adapted Mechelen, Phi- Création Lyrique 2013. CRÉA and the Théâtre entire month of the event, the circus will be From 30 January to 7 www.festivaldeluchon.tv for the stage, after lippe Sly, Charlotte From 19 to 21 March, Jacques Prévert coming to 23 towns in the region (as well as February, Clermont-Ferrand. Raison et acte dans Hellekant, Patricia Théâtre de Saint-Quentin-en-Yvelines. d’Aulnay-sous- Marseille). All in all, a wonderful celebration www.clermont-filmfest.com la douleur du silence. Petibon, Flur Wyn, Bois, with support of contemporary circus arts! This show is Yann Beuron, Ruth from the Fonds de From 22 January to 22 February, Marseille and towns supported by the Olaizola and the Création Lyrique 2014, in the PACA region. www.biennale-cirque.com SACD Theatre Fund. Radio France Phil- Spedidam and Dushow. From 24 to 27 February, harmonic Orchestra. From 2 to 4 April, Maison de la Culture de The show received Théâtre du Châtelet, Paris. Clermont-Ferrand. the support of the Fonds de Création Lyrique 2014. 22, 24, 26 and 27 February, Opéra Comique, Paris.

20 SACD • LE MAGAZINE • winter 2015 winter 2015 • LE MAGAZINE • SACD 21 Cultural Action

SACD funds Throughout the year, SACD supports creation through cultural actions funded by Private Copy.

Fund for stage music SACD THEATRE FUND In 2007, SACD launched a fund to aid the writing This fund to aid theatre production was created in of music for plays, pieces of choreography, circus 2005 by SACD’s Board of Directors to support private shows and street art. and public theatre projects: The aim is to get round the difficulties that producers • 11 brand new contemporary creations come up against when commissioning composers to • new performances of contemporary plays compose original music to go with a show in these The SACD fund encourages the production of daring different disciplines. It is becoming more common to works that capture the diversity of contemporary use existing music, to the detriment of original mu- writing, enabling them to be performed on stage and sic creation. Budgets set aside for original music are thus seen by a wide audience. getting smaller and smaller, creating very difficult working conditions for composers. Requests to be submitted: The Fonds SACD Musique de Scène provides aid for from 15 March to 15 April 2015 writing. A maximum of €5,000 is granted per project. The sum is paid to the production structure after it has presented a commissioning contract for the music and proof of payment to the composer(s).

Requests to be submitted before 15 February 2015

Submit your request on line via the portal for support from SACD and the Beaumarchais-SACD Association: http://soutiens.beaumarchais.sacd.fr.

Magazine for Authors SACD N°169 • Winter 2015 11 bis, rue Ballu - 75442 Paris cedex 09 Managing Directors: [email protected] Catherine Cuenca (interactive creation) Managing Editor: Tel. : +33 (0)1 40 23 44 55 Frédéric Fort (street arts) Pascal Rogard Philippe Goudard (circus arts) Board of Directors Daniel Larrieu (dance) Editor in Chief: 2014-2015 Didier Long (staging) Catherine Vincent Chair: Sophie Loubière (radio) Sophie Deschamps Pascal Mirleau (animation) Coordinating editor: Georges-Olivier Tzanos (animation) Caroline Collard First Vice-President: Didier Long Board Members: Graphic design: Jean Becker, Denise Chalem, Sylvie Coquart- Dimaj Studio Vice-Presidents: Morel, Luc Dionne, Jean-Paul Farré, Michel Louise Doutreligne (theatre) Favart, Joëlle Goron, Victor Haïm, Philippe Printing: Escourbiac Louis Dunoyer de Segonzac (music) Hersant, Laurent Heynemann, Luc Jabon, Caroline Huppert (television) Jean-Louis Lorenzi, Jean Marboeuf, Franck Cover: Claire Lemaréchal (television) Philippon, Dominique Probst, François Rollin, Le Goff & Gabarra Bertrand Tavernier (cinema) Christiane Spièro. UNIQUEMENT DANS LES BOUTIQUES PARISIENNES GUERLAIN ET SUR GUERLAIN.COM 22 SACD • LE MAGAZINE • winter 2015

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