Avignon2017 with Sacd, an Entire Program Ça Va, Ça Va Le Monde ! Les Territoires Intrépides Cinématographiques Des Spectacles Soutenus

SUMMER • 2017

CARTE BLANCHE HUMOUR

LES SUJETS À VIF LE SUJET DES THE SACD RENDEZVOUS AT THE CONSERVATOIRE SUJETS DU GRAND AVIGNON 8 > 21 juillet 2017 #AVIGNON2017 WITH SACD, AN ENTIRE PROGRAM ÇA VA, ÇA VA LE MONDE ! LES TERRITOIRES INTRÉPIDES CINÉMATOGRAPHIQUES DES SPECTACLES SOUTENUS

LES RENCONTRES DU CONSERVATOIRE

SOIRÉE VOIX ROUGE D’AUTEURS

Twitter/@SACDParis Facebook/sacd.fr Instagram/@sacdparis 2 SACD •LEMAGAZINE •su mmer 2017 CONTENTS N o .179 by JacquesFansten, SA SA #Avignon 2017 The SA A RENDEZV 2016 activities The SA 2017-2018 Board Members The 2017A “There’s something dream-like withchildren” Léa Mysius Les Intrépides (Fearless ones) Les SujetsàVif(HeartoftheMatter) Le SujetdesSujets(T CULTURAL A editorial feature F SA GENERAL SA INTERVIEW ORUM vignon SpecialReport D’AUTEURS VOIX CD Meetingsp CD CD ÇA VA, ÇAVA LE MONDE! TERRITOIRES CINÉMATOGRAPHIQUES

A Events RENCONTRES CD Fund CD in2016:key figures LES CONSERVATOIRE W by Pascal Rogard SUJETS LE ARDS C EREMONY

OUS MEETING SUJET CARTE BLANCHE HUMOUR DES wards

C TIVITIES DU WITH SACD, ANENTIREPROGRAM #AVIGNON2017 SOUTENUS SPECTACLES DES SUJETS alking Points) ROUGE SOIRÉE À VIF LES Instagram/@sacdparis CD President Twitter/@SACDParis Facebook/sacd.fr INTRÉPIDES SUMMER •2017 AT THECONSERVATOIRE THE SACD RENDEZVOUS

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Iconoclastic questions?

by Jacques Fansten, SACD PRESIDENT

Are we entering a new era? Within the space of a few TV license, unless the programmes they see and hear months, there has been a rebirth, a whole next genera- come with a difference and unless a particular link is

og rap h ers tion which has emerged and learned to reject the old created between creators and their audience? Why do t habits and customs that all too often passed for a politi- we still talk about competition and market share? Glo- cal vision. balisation, digital technology, and the amount of supply © LN Pho LN © For us, who have been flabbergasted by the absence of and screens available end up, paradoxically, creating any cultural debate during successive electoral cam- greater uniformity, as though competition was reduced paigns, is it not time to ask (again) a few possibly dis- to imitating each other. Isn’t the role of public service to turbing questions, even disturbing to ourselves? allow the creation of smaller works outside the system For example, what exactly is “cultural policy?” Is it of market demand, and to put on offer what cannot be something else besides a long list of actions, certainly found elsewhere? necessary ones, but ones that are simply performed to Is our model of cinema protection and regulation outdat- respond to needs as they occur, filling gaps here and ed? Or stifled, as some might say? Yes, it saved French there? Some people think of this as an extravagant lux- cinema, but in the face of current crises and shake-ups ury. We know through experience that without this inter- to come, how should it evolve, between closed corporat- ventionism, whole sections of cultural life would simply ism and short term interests? collapse. But let’s start giving it some sense of direction. What is artistic education? A school subject? Some- How should we gauge success? Should economic suc- thing to do outside of school? Knowledge that is passed cess be our only compass? Should we act on impulse, down or an opening to a richer kind of citizenship? How or through instinct to protect? Are we gate-keepers or should authors and artists contribute to this? governors? Must we always defend authors’ rights, against those And then, should we support cultural decentralisation? who consider it an obsolete way of surviving? How to Some think it but daren’t say it out loud. We know that convince people that, aside from creative pastimes that this has become essential, but in these times of tight are increasingly popular, a real author must be able to budgets, when companies throughout are suffering, live from his art, and that this is essential for the pro- what about the disparity between cultural famine and duction of new material? That an intellectual work has feudalism? Can we admit that, after so much effort, ac- at least as much value as a physical one, and that process to culture is still so imbalanced? What is our col- tection of its integrity is essential? lective responsibility, when excluded sectors of the pop- These are just a few questions among others. We have ulation have no choice but to turn to extremes? Should our various answers, but also our hopes and our con- we not think about what is left of the post-war dream? In cerns. this light, how is it possible that this long-awaited Crea- We have a great respect for our new minister, a woman tive Arts Bill, felt the need to specify that we need to proof culture and commitment. But we still don’t know what tect living francophone authors, ensure better distribu- her projects are, nor the projects of the new govern- tion of works, or seek gender balance, as though these ment and presidency. In history, times of construction things were not already blindingly obvious? often coincided with times of cultural effervescence. Are Do we really need an audiovisual public service? How we entering such times? And will culture as we know it can we justify to French citizens that they should pay a now have its place?

summer 2017 • LE MAGAZINE • SACD 3 forum

Renewal

by Pascal Rogard, DIRECTOR GENERAL

Who would have thought of such a political renewal year presidency made useful steps making us aware a few months ago? The rise to position of president of discrimination towards women. Measures were of the French Republic by someone less than 40 taken to take stock of and rectify the situation by E n gu erand years old, who was not even a candidate a year ago, reinforcing the presence of women, particularly in supported by a party which didn’t even exist, came high level positions of responsibility such as direc- ence Ag © as somewhat of a surprise, to put it mildly. Clearly torships of public institutions. this is the expression of a desire for change and re- juvenation, new practices and new faces in politics With the publication over the last five years of the and a fresh start for our country. brochure Où sont les femmes? (Where are the Women?), the SACD also played a role. We’re actually proud for having steered a steady course in this A renewal struggle in the public interest. And we shall keep steering this course, and not let our guard down, for the performing arts? since the history of social advancements has taught There are many questions to be asked about the fu- us that nothing is set in stone forever. ture policy regarding the performing arts: should state support be maintained? Which political di- We shall also follow through because we are today rection will be followed? Is there a will to demand still only in midstream. Awareness and political in- more accountability from institutions receiving tervention on their own have proved themselves in- public subsidies? sufficient as a driving force for deep and long lasting change. We will most likely need to take a more ac- It’s surely still too early to gauge or comprehend tive and aggressive stance in order for this principle the possible consequences of this major political of gender parity, dear to our hearts, to take a foot- change. Rather than lose ourselves in futile specu- hold. lation, let’s take a look at what’s at stake from a collective point of view. Beyond the status of women, our struggle has also the vocation to expand to all those who cannot break beyond the barriers of a cultural micro- cosm. The SACD commits to this. It is unaccepta- Making diversity more visible ble that in 2017 the cultural scene should be so Culture is obviously a symbol for openness, for oth- monochrome. How can one fight for cultural di- erness, for diversity, and for respect for differences. versity and not at the same time be more open to But the reality depicts a world whose contours are social diversity, which, thankfully, is not restricted decidedly less attractive than we like to think, too to elderly white men? It is required of us today often marked by discrimination and injustice for rea- that we open ourselves to new talent, new ways of sons of gender, social status, or skin colour. looking at things, new pathways, and that we set ourselves the ambitious yet simple goal of giving It’s time for a cultural policy that is even more open everyone the chance to succeed in our Crossbred and inclusive. We can’t deny that the previous five- Republic of Culture.

4 SACD • LE MAGAZINE • summer 2017 “It’s time for a cultural policy that is even more open and inclusive”

Making francophone works Breaking down borders? more visible To build a new policy for the performing arts, we must Increasing the visibility of the diversity of talent also now choose between continuity and rupture. Guaran- means doing everything we can so that works of liv- teeing key principles, defending artistic independ- ing authors working in French can find their audiences ence and creative freedom, ensuring strong commit- within artistic programmes. Everything should come ment from the state and local authorities are all part together in harmony: an extended network of perform- of the essential ongoing attention that the performing ing venues and cultural institutions over the whole arts require to thrive, creatively and dynamically in country, a performing arts strategy heavily influenced our country. by public service remits and requirements; emerging talent that expresses itself across all disciplines of the But we also should and must make certain breaks. performing arts. There is one that is particularly urgent: we must put an end to this schism between public and private Let us not forget that the erection of a new legal frame- theatre. Instead of maintaining this sterile and arti- work will soon have its effect. The July 2016 Loi Créa- ficial distinction, which is now completely outdated tion (Creativity Law) supporting contemporary franco- and often penalises authors who are pressured into phone creation was designed primarily to take steps choosing one side or the other and who fear reprisals supporting the performing arts. This positive move if they make the wrong choice, we should now find was completed by the adoption of regulatory meas- a way for the two systems of theatre to complement ures bringing these same objectives into the statutes one another. and contractual specifications signed with the national dramatic centres and other public institutions. There is no longer, on the one hand, a type of theatre that is demanding and brilliant, and on the other, a It will be the responsibility of the new minister for theatre that is necessarily dull and pointless. culture – and we wish her well in her endeavours – to nurture and respect what surely must be called a new Absurd and futile conflicts and divisions should now social contract between the state and its public insti- give way to intelligent synergy, meaningful collabora- tutions. This will depend on reciprocal commitments tions, and shared initiatives. This can be done without that must be adhered to: on one hand, solid financial lowering our ambitions that should make up the strat- support that will not fail, and on the other, keeping egy for the performing arts in France, and without ever promises made regarding nominations for team lead- losing sight of our vital interests for creativity. ers: production of contemporary francophone works, access to works by women in the programmes, open- Opening windows and doors, encouraging new prac- ing doors to youth, and artistic education... All of tices, breaking down borders – these are all expres- these objectives, which are now at the heart of con- sions of political renewal. The policy for the perform- tractual specifications, outline an insistence to be fol- ing arts might also, in the end, take inspiration in lowed through by scrupulous and all-encompassing order to lay the foundations of a theatre that really is evaluation. “on the move,” to use an current expression.

summer 2017 • LE MAGAZINE • SACD 5 focus

#Avignon 2017 And they’re off!

Encounters, debates, and partnerships are all on the programme at the SACD Meetings at the Avignon Conservatory, from 8 to 21 July. Services for authors are also on call, with a dedicated reception and information centre.

SACD Meetings at the Grand Avignon Conservatory

FACE TO FACE the Grand Avignon Conservatory, va le monde” (with RFI). Koffi Kwa- WITH THE ARTISTS Enzo Verdet (former student at the hulé will be in discussion with the TUESDAY 11 JULY Conservatory and a colleague of stage director Isabelle Pousseur, • Olivier Py and his double Olivier Py), and Sébastien Lauden- founder of the Theatre Océan Nord He is a man of many talents: actor, bach, writer-director. and winner of the Performing Arts author, theatre and opera director, Moderated by Elsa Boublil, journalist. Prize from SACD Belgium in 2015. dancer, singer, and managing direc- They will review in particular their tor of the National Dramatic Centre collaboration on L’Odeur des Ar- of Orleans, the Odeon National The- WEDNESDAY 12 JULY bres, a text by Koffi Kwahulé written atre, and the Avignon Festival. Olivi- • Les Chevaliers du Fiel specially for Isabelle Pousseur and er Py has a lot of hats and he wears During this exchange, the comedy produced in 2014 for the festival les them with disarming adaptability. duo Les Chevaliers du Fiel review Recreâtrales, in Ouagadougou, then But this ravenous-for-life hedon- their particular trajectory and reveal revived at the Theatre Océan Nord. ist and at the same time believer, some of their secrets as authors. Trained at the National Institute dressing and undressing in these Moderated by Charles Nemes, for the Arts in Abidjan and then at seemingly contradictory costumes, SACD comedy delegate (2016-2017) ENSATT in Paris, Koffi Kwahulé has fascinates us all the more for it, written around thirty plays and is an because that’s what makes him up. associated artist at the Montluçon That’s also what likely allowed him THURSDAY 13 JULY National Dramatic Centre, which is to communicate with, direct, write • L’Odeur des arbres directed by Carole Thibaut. for, and work with the inmates of the Meeting with Koffi Kwahulé and A meeting proposed by SACD Belgium. Avignon-Le Pontet Penitentiary. In Isabelle Pousseur Les Parisiens, his latest work, which A meeting with the Ivory Coast ac- he adapted and directs for this 71st tor, director, playwright, and nov- Avignon Festival, he sketches out elist who is all over Avignon this two strong portraits, both of which year with one commissioned piece resemble himself, one of hope and for “Sujet à Vif,” entitled Ezechiel SACD STAND the other of distress. It’s an oppor- et les bruits de l’ombre (Ezekiel and From July 8-21, the SACD will run a reception and tunity to meet and question Olivier the Sounds of Shadow, with Michel information stand for authors. Open every day except Py about himself and his “double.” Risse), his own play Jaz at the 9, 14 and 16 July from 10:00 a.m. to 12:30 p.m. and With: Jacques Fansten, SACD Pres- Chapelle du Verbe Incarné and a from 2-5 p.m. in the entrance hall of the Conservatory. ident, Jérôme Chrétien, director of lecture during the series “Ça va, ça

6 SACD • LE MAGAZINE • summer 2017 Still more! • The SACD and the Conservatory have made the reading room available to authors. • Find the Conservatory students’ Picks of the OFF festival on the SACD and “Avignon le OFF” YouTube channels. • Clips under the title “vide’OFF” on the “Avignon le OFF” YouTube channel. • Receptions by our partners: AAFA, ANRAT, anPad, E.A.T., SNMS, SAA.

MONDAY 17 JULY that emerge from them. Pierre Beffeyte, president of the Avi- • Les Intrépides With: Eva Doumbia, Leïla Cukier- gnon Festival OFF, Olivier Bianchi, For its third edition, at the behest of man, Marine Bachelot Nguyen president of the Clermont-Auvergne Denise Chalem, Les Intrépides will (members of the Decolonize the Métropole and co-president of be expressing themselves in an au- Arts Collective),Caroline Guiela- the Culture Commission of Urban dacious free-form writing session Nguyen, Jade Herbulot, artists (to France, Régine Hatchondo, general based on the theme of Courage. The be confirmed), Séverine Kodjo- director of artistic creation at the texts will be read in playful style by Grandvaux (researcher). Proposed Ministry of Culture, Corinne Klomp, their authors in a space arranged by by the SACD and the Decolonize the first vice-president of the SACD, and Catherine Schaub, accompanied by Arts Collective. Carole Thibaut, author and director original music by Aldo Gilbert. The of the National Dramatic Centre of six texts to be read by Les Intrépi- Montluçon. Moderated by Pascal des are published by l’Avant-scène • 2017: A breath of fresh air for a Rogard, SACD Director General. theatre. performing arts strategy? With: Penda Diouf, Camille Laurens, After the successive presidential Julie Gilbert, Céline Delbecq, Sand- and legislative elections, a new po- SUNDAY 16 JULY ie Masson and Meriem Menant. litical order is in place. Will this bring • Comedy: its authors and its jokers about a new direction concerning Comedy is everywhere: on TV, on- policy for the performing arts? The line, on the radio, on stage and on DEBATES question is crucial as the stakes are screen, and at the Avignon Festival! SATURDAY 15 JULY high and many: cultural democrati- During the Authors’ Day of the OFF • Decolonizing outlooks sation, level of public financial com- Festival, the SACD invites authors Although the issues of numbers of mitment, support for contemporary who are working on stage and/or minorities on stage and of attribution creation and its distribution, territo- on radio, or indeed in the cinema, of roles to minorities, victims of ra- rial dynamism, gender parity, etc. together with producers, program- cial profiling or outright racism, are The SACD has invited to take part mers, distributors and promoters, finally beginning to raise eyebrows in the debate a number of elected to talk about the production of comic in the cultural world, it remains an politicians, people involved in work writing. Explore the various current urgent task to challenge people’s on the ground, professionals, and comedy writing styles through the perceptions: listening to stories from involved authors of both genders. experience of these authors and the the colonized and overseas territo- With: Jérôme Chrétien, director of contexts and particularities of their ries, and sharing the aesthetic forms the Grand Avignon Conservatory, productions.

summer 2017 • LE MAGAZINE • SACD 7 focus

Events supported by the SACD

with France Culture with RFI Binôme Musée Calvet, public event Garden of the rue de Mons, public Avignon University, Cour minérale 9 AND 10 JULY, 8 p.m., live 15-20 JULY 11, 12, 13, 17, 18 JULY Concert-drama: Ca va ça va le monde ! Five original shows associating Antigone by Stéphane Michaka, For this fifth encounter with con- theatre and science: five short based on the play by Sophocles temporary francophone authors, plays freely inspired by a meeting Original composition and musical Radio France International (RFI) between an author and a scientist, direction: Didier Benetti participates in the Festival’s Focus whose filmed interview is projected With the musicians of the Orchestre on sub-Saharan Africa with a series during the show. National de France and the actors of lectures dedicated entirely to Af- Conception: Thibault Rossigneux / Judith Chemla, Marion Malenfant, rican authors. Spectators are invited the meaning of words. Luc-Antoine Diquero, Pierre Moure, to come listen to different types of Arrangement and performance: André Oumansky stories from another perspective of Sandrine Lanno, Anne Loiret, Thiba- Directed by: Cedric Aussir the world and discover a lively style ult Rossigneux, Paola Secret and As much music as text for a purely of literature from a mixture of estab- Florian Sitbon. radiophonic but nonetheless spec- lished and emerging authors, many Musical Creation: Christophe Ru- tacular piece of work. A “trilogy” of them with unpublished texts. etsch. for this invention of an unusual and unexpected format: unlike with op- with the avignon TERRITOIRES era, the orchestra is not in the pit, Festival CinemaTOGRAPHIQUES but on stage, sharing the space with Ceccano Garden, public event Grand Avignon Conservatory the actors, who are like one with the 8-23 JULY (except 10 and 17 July) In the context of our “animation” orchestra. On aura tout cultural activities, the SACD sup- Actors, students at the Conserva- ports Cinematographic Territories, 15 JULY, 8 p.m. toire National Supérieur d’Art a film festival organised by the Avi- Authors’ Voices Dramatique, and ordinary citizens, gnon Festival and the Utopia Cin- An evening dedicated to the poet and lovers of theatre, are put into the ema. Workshops for initiation to writer, Nathalie Quintane. shoes of some of the greatest and animation will be offered to children Reading and performance by Nath- well-known authors by Christiane aged 7-12 from 2-4 p.m. alie Quintane of her text Joan of Arc, Taubira and Anne-Laure Liégeois Reservations through the ticketing followed by an interview with Blan- (assisted by Camille Kolski, Roxane service of the Avignon Festival. dine Masson (France Culture) and a Isnard and Nelson Rafaell-Madel). reading of Quintane’s Descente de They play out these episodes while médiums by the actress Dominique they breathe new life into texts and Reymond. speeches pronounced or having Director: Baptiste Guiton appeared at the time of great con- quests. The Ceccano Garden trans- CARTE BLANCHE forms back into the Agora where SACD AVIGNON OFF COMEDY FUND serialised struggles may unfold Palace through words. 11, 13 AND 19 JULY, 10:10 p.m. The SACD is programming three “cartes blanches” sessions of around an hour each offered to the 21 winners of the SACD Avignon OFF Comedy Fund and pre- INFORMATION AND PROGRAMME ON: sented by 2016-2017 SACD Comedy delegates Charles Nemes, (on the 11th and 13th) and Sophie Loubière www.sacd.fr (on the 13th and 19th). The SACD also supports the twitter sacdparis • facebook AVIGNON FESTIVAL YOUNG TALENT scheme, in par- @ ticular the “Best OFF,” the daily OFF Festival comedy platform.

8 SACD • LE MAGAZINE • summer 2017 At the Heart of creativity

To celebrate the 20th anniversary of its “Sujets à Vif” (“Heart of the Matter”) section, the SACD and the Festival are putting on a special programme: le Sujet des Sujets

Le Sujet des Sujets WHAT IS IT? WHO DOES IT? A 2017 production in the Jardin A co-production between Vertical de la Vierge of the Lycée Saint- Detour, SACD & Avignon Festival Joseph. 2017.

8>25 July Jardin de la Vierge of the Lycée Saint-Joseph

To celebrate the 20th anniversary of the launch of the “Vif du Sujet” section, launched in 1997, and which became “Sujet à Vif” in 2004, and then “Sujets à Vif” in 2008, the SACD and the Avignon Festival have asked the author, actor, director, and geographer, Frédéric Ferrer (who presented his play Allonger les toits at the 2015 Sujets à Vif) to give us a historical overview of this event.

“My idea is to relive the history of the reality of figures and graphs, this very particular festival event will unquestionably put into con- by questioning some of its pro- text the beauty, the singularity, as tagonists who contributed to the well as the complexity of the sub- richness of the event, and revisit- ject, the subjects, and the heart of ing some of the scenic creations them, all the while of course mak- Invited guests day by day that made such splendid use of ing sure not to forget to raise a few 8 July : Melissa Von Vepy (Sujet à Vif 2009) the Jardin de la Vierge, as well as perspectives for development into 9 July : Olivier Dubois (Sujet à Vif 2006) certain architectural aspects of the future, because an anniversary 10 July : Aude Lachaise (Sujet à Vif 2012) the garden, and maybe even cer- is not an anniversary unless it uses 12 July : Jacques Bonnafé (Sujet à Vif 2011) tain aspects of the Blessed Virgin, the past to gaze into the future.” 13 July : Johanne Saunier (Sujet à Vif 2004) too, and, why not, a few lines of in- Frédéric Ferrer 14 July : Phia Ménard (Sujet à Vif 2010) quiry that were made into areas of 19 July : D’ De Kabal (Sujet à Vif 2013) dance and theatre whose memory Conception and performance: 20 July : Josef Nadj & Dominique Mercy (Sujet à Vif 1999) lingers inside the garden. I won’t Frédéric Ferrer & invited artists 21 July : Claire Diterzi (Sujet à Vif 2015) forget the other arts, either, and Assistant: 23 July : Nadia Beugré (Sujet à Vif 2014) for this I’ll be using certain statis- Claire Gras 24 July : Sylvain Prunenec (Sujet à Vif 2003 and 2008) tical tools, which are certainly not Scenography: 25 July : Agnès Sourdillon (Sujet à Vif 2010) beyond question, but which, behind Samuel Sérandour

summer 2017 • LE MAGAZINE • SACD 9 focus

Les sujets à vif

WHAT IS IT? 16 authors conjointly invited by the Avignon Festival and the SACD try out the adventure of a multi-disciplinary experience and present 8 previously unseen productions. WHO DOES IT? An Avignon Festival/SACD co-production Sisters, Sujet à Vif 2016 enormous impact on our lives, and What was he thinking of each time? 8>14 July (day off on the 11th) we keenly remember the year, the Did he think that at that exact mo- Jardin de la Vierge day, and the time. As a secondary ment, at this exact place, he was of the Lycée Saint-Joseph effect, these traces remain behind writing a little piece of the history for others, readers of Petrarch, of the universe? He must have, oth- Programme A / 11 a.m. historians, painters, or people erwise he would have changed his Ezéchiel et les bruits de l’ombre simply curious about human af- routine, and changed his life. Commissioned from Koffi Kwahulé fairs. The effect of an encounter Well, for us, it’s the same thing.” and Michel Risse cannot also be measured right Nikolaus et Joachim Latarjet “Koffi said to me: ‘It's not so bad.’ away; sometimes it even comes What he meant was, 'It's not the at a glancing angle. This is what Le rire-pare-balle end of the world.' I heard: 'Escap- performance artist Gwendoline Commissioned from Julien Ma- ing gravity.' So I decided to stage Robin, and choreographer Gaëlle biala Bissila and Adèll Nodé Lan- sounds rather than write music. For Bourges, will attempt: to measure glois this original experience, to escape the glancing angle of their meet- “Going through the museum of gravity, I wanted to hang sounds in ing point by following the steps of intimate things takes time, and space the way you hang up paper Clement V, Petrarch, and Laure in there is usually not enough time. lanterns, to shine a light on silence, Avignon. History, art history, lan- He who is in a hurry to have a child to taste the color of the sounds that guage, and explosive matter will should marry a pregnant woman. are already there, the flavor of the mark out the path leading to 1327. In life, you might be in a hurry, but words that are coming.” There will be an element of ran- your behind will never be in front.” Michel Risse domness, some debatable points, African philosophical saying some unsteadiness, and some Incidence 1327 unlikely passages, effects that Commissioned from Gaëlle will seem unsure, that barely hap- Bourges and Gwendoline Robin pen at all, or that will pop up right 9>25 July (day off on the 22nd) “As a child, Francesco Petrarca – when least expected.” Jardin de la Vierge in English: Petrarch – followed his Gaëlle Bourges of the Lycée Saint-Joseph parents to Avignon, where Pope and Gwendoline Robin Clement V had just moved his pa- Programme C / 11 a.m. pacy. On 6 April, 1327, he saw a girl Programme B / 6 p.m. (Untitled) Humpty Dumpty called Laure for the first time at La Même Chose Une commande à Cristina Kristal the Sainte-Claire church. Accord- Commissioned from Nikolaus and Rizzo et Sir Alice ing to his writing, the encounter Joachim Latarjet Commissioned from Cristina Kristal happened “during the morning,” “Georges Carl always performed Rizzo and Sir Alice and had life-long repercussions: the same number his whole life. All “As an ellipse, the world invites us we can read today from his texts in his life, the same thing… to slip into its circle and constant the Canzoniere (Songbook), which Three times a day, for over 40 modulations in the middle of bod- are mostly love poems intended years, he made people laugh at ex- ies that wrap around each other and for Laure, who remained inacces- actly the same places and for the unwrap, form and disintegrate, at- sible. Certain events have thus an same gags. tract and influence each other. An

10 SACD • LE MAGAZINE • summer 2017 LES INTRÉPIDES WHAT IS IT? Since three years, at the initiative of Denise Chalem, SACD first Vice-president from 2016-2017, Les Intrépides (the Fearless Ones) have been putting instant is a undefined form. The Programme D / 6 p.m. women at the front of the stage. choice of a particular posture or Bâtards For this 3rd edition, the SACD commissioned short attitude is just an illusion. Can we Commissioned from Mathieu form pieces from six authors, based on the theme create a vibration without moving? Desseigne-Ravel and Michel of “Courage.” The texts will be performed in playful Can we produce a system without Schweizer manner by the authors, in a spatial arrangement by spatial or temporal borders? Can “Limit: a tendency, anchored in Catherine Schaub. we construct an object without get- the structure of modern thought, ting caught in its mesh of relations? to transform the space in which Gender parity is a challenge for democracy. The SACD It’s in this space that Sir Alice and life develops into zones of separa- have for five years made it a priority by systematically Cristina Kristal Rizzo will bring their tion containing life. pointing out each season the number of works by artistic connection to life. The piece Sujets à vif: a person who has women programmed in the performing arts, the is designed as an arrangement in come to experience separation. audiovisual sector and in the cinema. The yearly which improvised elements are the Sujets à vif: profile of a person in- brochure Où sont les femmes? (Where are the Women?) key turning points, each time done clined to separate from the living. has for several years been demonstrating the under- differently: starting a move to create Bastard: balanced human subject representation of works written, acted, or directed by a sound, being in movement by cre- who seems to have accepted his women in the performing arts. And yet they are there, ating a sound, playing on the sens- own uncertain origins, who has talented, courageous, fearless. es, following instinct alone, one’s been advised not to pay too much own body, just for an instant. Dance attention to his/her moods and by After a one-off presentation at the Theatre Antoine on 26 is not a language – it’s dance. Sound extension to him/herself. June, Les Intrépides return to the Avignon Conservatory is not a language – it’s sound. (Un- At the entrance to the monastery on 17 July during the festival and will then appear on titled) Humpty Dumpty is the pos- there is a notice engraved in mar- 17 November at the Theatre de Poche in Geneva, with sibility to be meaningless, a poetic ble: don’t throw stones. the support of the Cultural Fund of the Swiss Authors space in the middle of dance. It will But they cannot wait to do so, and Society (SSA). show just how much the essence of empty their pockets. Their heads creativity comes from both vulner- call for respite.” ability and magic. Creativity comes Mathieu Desseigne-Ravel 17 July at 3 p.m. from vulnerability and magic and Michel Schweizer Grand Avignon Conservatory Cristina Kristal Rizzo and Sir Alice L’Éclosion des gorilles Authors and performers: Penda Diouf, Camille Accents au cœur d’artichaut Laurens, Julie Gilbert, Céline Delbecq, Sandie Masson Commissioned from David Somló Commissioned from Lazare and and Meriem Menant and Claudia Triozzi Jann Gallois Spatial arrangement: Catherine Schaub “The term ‘accent’ has three On the outside, there are two dis- Original music: Aldo Gilbert accepted meanings, but David proportionate bodies, two dis- Somló and Claudia Triozzi see sonant voices, two faraway at least six. Here is the proof, by worlds. On the inside, sen- means of example: sibilities converge: they dis- Accents have their particular place cover they are of similar siz- / Accents can be placed anywhere es, ready to go, to drift, even I’m sorry, I don’t understand your to capsize, if at all possible. Al- accent / Oh, your accent is sexy ways curious, sometimes wild, the My body expresses its accents / I souls sway on their legs in a jungle tried to accentuate this, but it got of emotions, between loud inter- away from me.” ludes and silent inner struggles. David Somló and Claudia Triozzi Lazare and Jann Gallois

summer 2017 • LE MAGAZINE • SACD 11 interview

Léa Mysius There is something dreamlike with children Having graduated from the state film school La Fémis barely three years ago, Léa Mysius this year presented her first feature film in Cannes, Ava. The film won the SACD Prize during the International Critics’ Week. already noticed for her short films, she now writes as well for Arnaud Desplechin and André Téchiné. INTERVIEW BY GUILLAUME REGOURD

How was your experience at the Cannes Film Fes- contemplate with sufficient distance. And also I really tival, where not only your film Ava was selected for love directing young actors. I started with Cadavre ex- the Directors’ Fortnight, but you were also there as quis, and the actress, Ena, was 8 years old, I think. With co-writer of the opening film in the OfficialS election, Ava, they’re a little older, around 16-17. Young actors Ismaël’s Ghosts? have this wild side, untameable, and yet at the same I was in fact more stressed out for Arnaud Desplechin’s time they are very malleable and listen very well. They film than for mine. There was this question hanging really take direction on a physical level, regarding their over of the shorter version of the film [editor note: the bodies and their voices. And they project themselves film was screened in its 1:45’ length, and there is an- differently than adults, with force and spontaneity. other version of 2:15’], and it was the beginning of the And so I ended up directing the professional actress in festival... the film, Laure Calamy, like I did her young partners. But Laure works a lot with her physique anyway, so it You’ve been known up to now for your short films, worked out well between us. and we get the feeling that you’re taking another step in your career. How is making a feature different from In the film there is a balance between realism and making a short? symbolism that mustn’t have been easy to communi- For me, making shorts was an essential step. Each cate to your young actors, who might take things too short I made taught me new things. The first one was literally… very intuitive and simple, with little dialogue. Bit by bit, I’m not so sure about that. Ava looks for the storytelling I added on layers. This process fed into my first feature in life and I want the film to gradually break away from and allowed me to gain some experience. For writing, naturalism in order to reach her point of view. She will it doesn’t really change much between a short and a soon lose her sight and from that point on, she can see feature. The re-writing process is more involved and beautiful things. I think there’s something dreamlike demands more time. And shooting on set, there were with children. In any case, when I was a child, that’s more characters, more people, more money at stake how I saw things. As a kid, I wrote stories, went on ad- and more production questions that were asked. But I ventures in the woods... still consider that as pretty much the same, only longer and on a larger scale. Stories that were not necessarily very bright and sunny... Why does childhood have such a strong presence in Sometimes it was pretty grim, actually. I wrote a lot of your films since the beginning? stories about death, mystics, stories about sex. That’s I like writing about children. Maybe simply because I’m something else that children are obsessed with. Sex- young and it’s one of the only periods in my life I can uality with children is overflowing. And healthy. But

12 SACD • LE MAGAZINE • summer 2017 when you talk about it, people get easily offended. That caused a few production issues during the shoot. I couldn’t see myself filming a 12 or 13 year old girl naked. The actress had to be over 16. And then, below that age, you’re restricted to a maximum of 4 hours shooting per day, which we couldn’t manage, for budg- etary reasons. We worked a lot on physique with Noée, who played Ava, so that she’d look like a 13-year-old, her shoulders a bit slouched forward like a little boy, so as to hide the very feminine stride she has in real life.

Was it during your childhood that you developed this passion for cinema? My parents always showed us films, to my twin sister and me. The Night of the Hunter was a film that had a huge impact on me. When I saw it I was somewhere between 2 and 7 years old, too young to read the sub- titles. I’ve only seen it once since, but I know it by heart. During my childhood and adolescence, I wanted to be a writer. That film and Freaks really influenced the short stories I wrote. Why did I go from writing to the cinema? We moved from Medoc to the Reunion Island, Léa Mysius and and maybe seeing the landscapes change, I had this Is it the same with André Téchiné, who choose you to Gérard Krawczyk desire for imagery. And then I discovered My Sex Life… work on the script of his next film? or How I Got into an Argument, which created a bridge Every director is different and writes his own way. It’s between literature and cinema. And then I started tak- never the same. André Téchiné, who I also admire a ing photos and getting really interested in imagery. lot, is now showing me another vision of writing and of the world. That’s what I really find exciting in this Could you direct someone else’s script? business – discovering each time a new way of thinking I could only do it if I was allowed to rewrite. I need to and creating. make things my own. I remember once almost directing a kind of commission, an 8 minute short. I had the And what will be your own next film? right to rework the script a bit, but I rewrote everything. I’ve started writing but I have to let it ripen a bit. I’ll take I got fired because I didn’t respect the rules. For the it up again when I have a bit more time, when every- time being, directing someone else’s script seem hard thing has settled down. It’s working away in a corner of to imagine. my head.

But inversely, you have no problem writing for other directors. What was it like writing for a director who had had such an influence on your work? When I write for others, it’s not like I hand them the Dates script and then it’s over. It’s a collaboration and I adapt to it. I’m at the service of someone else. Then, if the 2017: First feature film, Ava director gives you some leeway, you can put a bit of SACD Prize from the International Critics Week in Cannes yourself in it. I’ve always admired Desplechin. But in Co-wrote Les Fantômes d’Ismaël by Arnaud Desplechin working with him, the idol became a man, and that’s 2016: Third short film, L’Île-jaune even more interesting. I understood better how his 2014: Graduated from La Fémis in the screenwriting section films were made. And it was a real meeting of minds: Second short film, Les Oiseaux-tonnerre Arnaud taught me a lot of things. I could begin to ap- 2012: First short film, Cadavre Exquis, SACD Prize for the best first work preciate his vision of the world. I’m not going to start of fiction at the Clermont-Ferrand International Short Film Festival imitating his writing style, but it will have an influence in 2013 on me.

summer 2017 • LE MAGAZINE • SACD 13 SACD AWARDS CEREMONY

The 2017 Awards

Grand Prizes: André Téchiné and Johann Le Guillerm

Theatre Prize: Pascal Rambert Theatre New Talent Prize: Marie Remond Director Prize: Thomas Jolly Translation and/or Adaptation Prize: Séverine Magois

Comedy/One Man Show Prize: Anne Roumanoff Comedy /One Man Show New Talent Prize: Audrey Vernon 2017 Award winners

Cinema Prize: Fiona Gordon et Dominique Abel Cinema New Talent Prize: Stéphanie Di Giusto Suzanne Bianchetti Prize: Suliane Brahim (awarded to a young actress starting a promising cinematographic career)

Television Writer Prize: Nathalie Saugeon Television Director Prize: Xavier Durringer Television New Talent Prize: Laurent Perreau

Animation Prize: Michael Dudok de Wit Animation New Talent Prize: Sébastien Laudenbach Interactive Creation Prize: Cyprien

Circus Prize: Jean-Baptiste André Street Arts Prize: Caty Avram et Pierre Berthelot Christine Citti Fiona Gordon and Dominique Abel Radio Prize: Nicole Sigal Radio New Talent Prize: Claire Richard

Music Prize: Gérard Pesson Music New Talent Prize: Arthur Lavandier

Choreography Prize: Nacera Belaza Choreography New Talent Prize: Sylvain Bouillet, Mathieu Desseigne-Ravel et Lucien Reynes

European Prize: Aki Kaurismäki

Beaumarchais Medals: Nils Bouaziz ; Sabine Chevallier ; Olivier Chatel and Thierry Desurmont ; Pierre Sellal ; Caroline Sonrier (honouring public figures who have worked for authors and creativity) Anne Roumanoff Audrey Vernon and Gérard Krawczyk

14 SACD • LE MAGAZINE • summer 2017 Marie Remond Pascal Rambert Thomas Jolly André Téchiné and Jacques Fansten

Nacera Belaza, Lucien Reynes, Thomas VDB Pascal Légitimus and Vincent Azé Mathieu Desseigne-Ravel and Stéphanie Aubin

Stéphanie Di Giusto and Bertrand Tavernier Guy Bedos Suliane Brahim

summer 2017 • LE MAGAZINE • SACD 15 ANNUAL GENERAL MEETING

Board Members 2017-2018 Jacques Fansten was re-elected President of the Society. During the AGM of 15 June 2017, 9 new Board Members were elected to the Board of Directors for a mandate of three years, and 9 new members were elected to the Supervisory Commission. See their biographies on www.sacd.fr

BOARD OF DIRECTORS

The Board of Directors decides and defines the policy of the Society, The following new Members were elected to the Board: in conjunction with the President and the Director General (Article Marion Aubert, Sophie Deschamps, Louis Dunoyer de 21 of the statutes). Each Board Member is elected for a period of Segonzac, Graciane Finzi, Laurent Heynemann, Frédéric three years at the Annual General Meeting. The President is elected Michelet, Dominique Sampiero, Laurent Tirard and for one year by the new Board of Directors. Catherine Tullat.

First vice- President president Vice-presidents

Jacques Corinne Klomp Brigitte Buc Gérard Laurent Lévy Marie-Pierre Catherine Fansten (theatre) (theatre) Krawczyk (television) Thomas Verhelst (television) (cinema) (television) (music)

SUPERVISORY COMMISSION

As a new statutory organ created by obligation to the Commission have differing lengths to their mandates, in decree of 22 December 2016 relating to the adaptation order to allow for annual renewal of a third of its mem- of the European directive of 26 February 2014 regard- bership. The longest mandates, of three years, are for the ing collective management of royalties and neighbour- two authors elected from those repertoires with the larg- ing rights, this commission is composed of 6 members est number of votes. The shortest mandates, of one year, elected by the General Meeting. It watches over the were handed to the two authors from those repertoires activities of the management, administration and execu- with the fewest number of votes. The mandates of the two tive organs. The 6 authors elected to the first Supervisory remaining authors are for two years.

Vice- Rapporteur rapporteur Commissaires

Sandrine Ray* Charlotte Cerise Guy* Christiane Elisabeth Verry* Anca Visdéi* (audiovisual) Paillieux* (performing arts) Spièro* (performing arts) (performing arts) (audiovisual) (audiovisual)

16 SACD • LE MAGAZINE • summer 2017 ANNUAL GENERAL MEETING

Delegated Board Members

Stéphanie Aubin Frédéric Stéphane Piera Éric Rondeaux Alain Sachs Jérôme Thomas Catherine Tullat* (dance) Michelet* (interactive (animation) (staging) (circus) (radio) (street arts) creation)

Board Members © Marc Pastor © Marc Marion Aubert* Brigitte Bladou Sophie Luc Dionne Louis Dunoyer Graciane Finzi* Laurent Caroline Pascal Lainé (theatre) (theatre) Deschamps* (Canadian com- de Segonzac* (music) Heynemann* Huppert (television) (television) mittee Chairman) (music) (television) (television)

Christine Christine Miller Blandine Inès Rabadàn Jean-Philippe Dominique Alain Stern Laurent Tirard* Laurent (television) Pélissier (Belgian commit- Robin Sampiero* (television) (cinema) (cinema) (theatre) tee President) (animation) (cinema)

GAL ADMINISTRATION COMMISSIONS & DELEGATIONS DELEGATE FOR LEGAL AFFAIRS Director Secretary Social Action Commission general general Brigitte Bladou, Pascal Lainé, Georges Werler, Christine Miller delegate for legal affairs, and Catherine Tullat. was directly nominated Prize Delegation by the Board of Directors Sophie Deschamps for this specific and Christine Laurent assignment. Pascal Rogard Patrick Raude Georges Werler

* Members elected during the AGM of 15 June 2017. summer 2017 • LE MAGAZINE • SACD 17 ANNUAL GENERAL MEETING

The SACD in 2016: key figures

AUTHORS COLLECTION / DISTRIBUTION 60,139 members 224.6 million euro collected in 2016 1,706 new members (up 1.21% over 2015) DISTRIBUTION OF 4 166 associate senior 213.4 million euro distributed in 2016 €100 OF COLLECTED members including 437 new (down 4.9% over 2015) ROYALTIES associate senior members 6,374 senior members The 2016 results are solid: including 334 new senior • Collections increased by 1.21% over 2015 with members a sharp rise in the audiovisual sector (+6%) which 21,900 living authors and SACD made up for an 8% fall in the performing arts. members received at least one • Distribution levels reached €213m. The 4.9% €89.20 €10.80 royalty payment in 2016 (1.3% decrease is explained mainly by the exceptionally distributed management more than in‘ 2015). steep increase in 2015 due to once-off events. to the beneficiary fees

SOCIAL ACTION Direct solidarity actions: €300,000 DISTRIBUTION OF ROYALTIES BY REVENUE BRACKET Social assistance: 88% of beneficiary authors 246 people helped received less than €10,000 of 88 % DISTRIBUTION Supplemental retirement royalties in 2016 (as in 2015). from €0 to €10,000 OF ROYALTIES BY allocations: 9 % REVENUE BRACKET €3.6m from €10,000 to €50,000 3 % more than €50,000

CULTURAL ACTIVITIES n Overall Budget: €5.8m PARTNERSHIPS: n Legal allocations (article L312-9 of the CPI): €4.6m 314 partnerships in 2016 (up 1.3% over 2015) including: n Voluntary allocations: €1.2m 139 for the performing arts 70 in the audiovisual sector 4 “inter-repertoire” partnerships After the drop in Private Copying receipts seen in 2014 101 under the banner of Creativity Support Fund, including: – which restricted Cultural Activity resources allocated for 2015 – receipts in 2015 rose sharply (+28.4%), Comedy / One man show Fund 10 grants Web series Fund 19 grants thanks mainly to significant back payments brought up Opera creation Fund 17 grants Theatre Fund 14 grants to date by Apple, which in turn explains the increase in Stage music Fund 14 grants Authors in Spaces 9 grants allocations for 2016. Translation Fund 7 grants

18 SACD • LE MAGAZINE • summer 2017 ANNUAL GENERAL MEETING

2016 in actions

Where issues in the public interest and future challenges for artists and culture meet, the SACD will continue to answer present!

SUPPORTING AMBITIOUS STRENGTHENING DISSEMINATION FUNDING FOR CREATIVITY AND EXHIBITION OF WORKS

Cultural policy comes at a cost. In of creative production by helping Works that are well financed and works that have a times of economic crisis, this can to push through Parliament the high degree of exposure go hand in hand. Thanks to lead to reduced funding. Faced adoption of the so-called “You- action by the SACD, positive measures in favour of bet- with this risk, the SACD intervened Tube” tax, filling in a loophole that ter exhibition and dissemination of works have been in discussions with the state and exempted ad-supported video on adopted, namely within the “Creativity Law” with the regional authorities about main- demand platforms from payment introduction of an obligation of ongoing exploitation of taining in place financial commit- of any contributions to the CNC. In audiovisual and cinematographic works. Initiated and ments supporting creation and au- Europe, we defended the adoption defended by the SACD, this measure obliges the pro- thors and also defended levies and of new rules obliging digital and ducer or rights-holders of a work to make best efforts credits allocated to the National internet media content undertak- to ensure its exploitation. The definitions of the win- Cinema Centre (CNC) supporting ings to participate in the financing dows of exploitation (theatrical, TV, DVD, online, etc.) audiovisual and cinematographic of new works, and we argued for should also be made more flexible in order to strike production. The SACD made a par- a major reform of the directive on a balance between the need to preserve production ticular point of supporting a ma- audiovisual media services. finance and a better availability of films. Here as well, jor modernising of the financing the Creativity Law made a step forward by limiting the duration of the ministerial decree which validates the professional agreement on the windows of exploita- GUARANTEEING A HIGH LEVEL OF tion. The expected result will be a greater incitation PROTECTION FOR AUTHORS’ RIGHTS for industry professionals to take up renegotiation. Improving distribution and promotion is also a vital Defending authors’ rights is a and to clarify clear commitments challenge for the performing arts. Although we cre- fight. For this reason, during the strengthening transparency. ate a lot in France, we still distribute too little. “Assises du Cinema” and during Opaque contracts are a curse that examination of the draft bill re- harms authors’ rights. We were garding freedom of creation, the also obliged to do a certain amount SACD defended the adoption of of convincing and educating with COMMITTING TO AN OPEN measures increasing transparency members of parliament during CULTURAL POLICY, GUARANTOR of accounts. We even obtained as- examination of the draft bill on the OF THE PUBLIC INTEREST surances that these measures, “Digital Republic” in order to pre- which were restricted at first only vent author’s rights losing ground. A lot of people talk about artistic education, but SACD to the cinema, would be extended In Europe, the SACD, in conjunc- acts upon it, namely by giving our strong and continued to relations between authors and tion with the SAA and the European support to the initiative we launched in 2012 called “Un producers in the entire domain Coalitions for Cultural Diversity, we artiste à l’ecole” (“An artist in School”). Another prior- of audiovisual creation. We be- followed the exchanges with the ity project for us is gender parity. The 5th edition of the gan negotiations with producer European Commission during the brochure Où sont les femmes? (Where are the Women?) representatives in order to de- preparatory phase of the reform once again demonstrates the ongoing discrimination fine production contracts better project on authors’ rights. and the need for this campaign to be continued.

summer 2017 • LE MAGAZINE • SACD 19 RENDEZVOUS

AVIGNON FESTIVAL

Où sont les ogres ? Unwanted Memories of Sarajevo Pierre-Yves Chapalain Dorothée Munyaneza & Dans les ruines d’Athènes Jade Herbulot et Julie Bertin A woman lives alone with her daughter, This choreographer originally from Rwanda Hannah. Hannah doesn’t come out of her takes on the story of women victims of rape. Memories of Sarajevo is meant to be a historical room. Drawn by strange desires that upset Rape like a weapon of mass destruction still fresco where the voices of those people her and drive others away, she only has eyes used in conflict zones today. Rapes from under siege call out. Trawling through library for someone she has never seen but who which are born children traumatised by their archive and witness testimony, and immersing understands her like a sister: Angelica. They lineage and ostracised because of the taboo themselves in this basin-shaped city, the two chat together online night and day. Hannah’s surrounding their birth. To write these tales, co-directors, Julie Bertin and Jade Herbulot mother consults a doctor friend: are they sure Dorothée Munyaneza went to meet these attempt to answer this question: How to that Hannah is not chatting with some artificial rejected mothers, these wounded women, and embrace this history, which is not really ours, by intelligence programme? She needs to react, always asked them the same question: Do you turning it into a story we could tell? get out, have fun. In the end they meet in the accept yourself? On stage sits the façade of a building. In the countryside, in the flesh, and the two teenagers The choreographer is accompanied by street below, residents pass by. Above them, share the secrets of their particular nature... improvising musician Alain Mahé, musician international and European leaders meet but Author and director Pierre-Yves Chapalain Holland Andrews, and British plastic artist never agree on a solution. Memories of Sarajevo mixes dream, magic, and virtual reality to Bruce Clarke. This production received the and In the ruins of Athens are the last two explore the emerging instincts of two young support of the SACD Theatre Fund and the chapters of the tetralogy Europe mon amour girls. SACD Stage Music Fund. (Europe, My Love) by the Birgit Ensemble, the This production received the support of the Chartreuse de Villeneuve-lez-Avignon, company formed by the two co-directors. This SACD Theatre Fund. 7 - 13 July (except the 10th) at 6 p.m. production received the support of the SACD Chapelle des Pénitents Blancs. Theatre Fund and the SACD Stage Music Fund. 6 - 11 July (except the 10th) at 11 a.m. and 3 p.m. Gymnase Paul Giéra. 9 - 15 July (except the 12th) at 5 p.m.

20 SACD • LE MAGAZINE • summer 2017 RENDEZVOUS

avignon off

july

Josiane Pinson

PSYcause(s) 2 Le fils La Tortue de Gauguin Josiane Pinson David Gauchard et Marine Bachelot-Nguyen Luc Amoros

“She” is always psyching people out. The mother is a pharmacist. Her sons Starting from a rumour according to which, Always very professional, but on the edge have grown up. Her life goes on without during one of his trips to the Marquesas of an existential breakdown! And the more incident, until an encounter with some Islands in French Polynesia, Paul Gauguin she fixes up the subconscious minds of her traditional Catholics, whose talk draws her had the idea to paint right onto the shell of patients, the more her own minds screams in. Through a desire to fit in, and because a living turtle stranded on the beach, the out for help... After Psycause(s), performed of her social standing, she starts to attend Compagnie Lucamoros presents a remark- over 500 times, Psycause(s) 2 invites you mass more diligently, protests against so- able show: nestled inside a large scaffolding, back to take another dive into the depths called blasphemous performances, and gets 8 artists undertake with music and painting of the female psyche, with a dose of black involved in anti-abortion and anti-marriage the task of creating, before your very eyes, humour but also generosity. equality groups. She flourishes within this a monumental polyptych, with the hope of This production received the support of the spirit of activism and tries to rope her friends inspiring you with a singular vision of art SACD Comedy Fund. and children into what she sees as the most and of painting in particular. This produc- Le petit chien Theatre. exciting adventure of her life. This production tion received the support of the SACD Stage 6 - 30 July (except the 10th, 17th and 24th) at 7:05 p.m. received the support of the SACD Stage Music Music Fund. Fund. Festival Villeneuve en Scène, Theatre d’image, La Manufacture. Clos de l’Abbaye, Villeneuve-lez-Avignon. 6 - 26 July (except the 12th and 19th) at 1:10 p.m. 11 - 22 July (except the 14th and 19th) at 10 p.m.

All of these productions received the support of the SACD Theatre, Stage Music, and Comedy Funds. summer 2017 • LE MAGAZINE • SACD 21 CULTURAL ACTIVITIES

SACD Funding Programs

The SACD uses funds collected via the Private Copying Scheme to operate funding programs to support cultural actions all year round.

COMEDY / ONE-MAN-SHOW FUND Comedy is supported and encouraged by the SACD’s community of authors. The SACD launched our Comedy / One-man-show Fund in 2009, intended to support authors from the first stage of creation to guide them right through the development of their production. This unique type of fund brings appreciation for comedy authors and writers for the one-man-show format. Through this support awarded to producers, the grant encourages the emergence of new talent, and supports established authors and promotion and distribution of their shows.

Application period: from 15 September to 15 October 2017

Apply online through the SACD and Association Beaumarchais-SACD funding portal: http://soutiens.beaumarchais.sacd.fr.

Authors’ magazine SACD N°178 • Spring 2017 11 bis, rue Ballu - 75442 Paris cedex 09 Delegated Board Members: [email protected] Stéphanie Aubin (dance) Responsible Editor: Tél. : 01 40 23 44 55 Frédéric Michelet (street arts) Pascal Rogard Stéphane Piera (interactive creation) Board of directors Éric Rondeaux (animation) Chief Editor: 2017-2018 Alain Sachs (staging) Catherine Vincent President: Jérôme Thomas (circus) Jacques Fansten Catherine Tullat (radio) Editorial coordination - redaction: Caroline Collard First vice-president: Board Members: Denise Chalem Marion Aubert, Brigitte Bladou, Sophie Graphic design: Deschamps, Luc Dionne, Louis Dunoyer Dimaj Studio Vice-presidents: de Segonzac, Graciane Finzi, Laurent Brigitte Buc (theatre) Heynemann, Caroline Huppert, Pascal Printed by Escourbiac (Graulhet) Gérard Krawczyk (cinema) Lainé, Christine Laurent, Christine Miller, Laurent Lévy (television) Blandine Pélissier, Inès Rabadàn, Jean- Cover photo: Marie-Pierre Thomas (television) Philippe Robin, Dominique Sampiero, Le Goff & Gabarra Catherine Verhelst (music) Alain Stern et Laurent Tirard.

22 SACD • LE MAGAZINE • summer 2017

RICARD_Simple_comme_PORTRAIT_210x270mm.indd 2 07/06/2017 15:11 RICARD_Simple_comme_PORTRAIT_210x270mm.indd 2 07/06/2017 15:11 FIGHTING f or CREATORS www.sacd.fr

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