EMOTIONS beyond BORDERS IN THE BEGINNING WAS A DREAM Puy du Fou was born out of a dream in 1978: the majestic ruins of the cast- le were perfect for projecting a great show of History, of human passions, of great struggles, great ideals. Since then, Puy du Fou has relentlessly pursued a thousand and one ways of making this dream come true, forever in Vendée in France, today also in Spain, tomorrow around the world. Puy du Fou, internationally acclaimed and honoured with a host of awar- ds, a huge hit with spectators who have made it one of the world's leading tourist destinations, opens up its artistic model to other cultures, other me- mories, other legends, other heroes and heroines, forever embracing the same desire to move, excite, transmit. Puy du Fou wishes, more than anything else, to keep the flame of this original dream alive in each of its 3,087 Talents (Puy du Fou France and Puy du Fou España) who take part in this adventure, this commitment each of its 4,300 volunteers known as "Puyfolais" who embody the enthu- siasm sparked by this adventure, and each of its 2.3 million visitors every year who, whatever their age, perpetuate the passion of History and enter- tainment. Philippe de Villiers during the first Cinéscénie rehearsals in 1978 FROM HISTORY, THROUGH ART WE CONJURE UP THE LEGEND ENCOUNTER WITH NICOLAS DE VILLIERS PRESIDENT AND ARTISTIC DIRECTOR OF PUY DU FOU Nicolas de Villiers, when and how did you become a director? questions to decide if we're going to create the show or not. In any case, Even though Puy du Fou was my childhood playground, it was when I we only reason from the point of view of the spectator to whom we wish to turned 18 that I started getting involved in the "Cinéscénie" stage pro- transmit an emotion. And the director is nothing more than the first specta- duction as an assistant. In 2003, I was given the opportunity to be in tor. Above all else, the show has to have a soul. So, we could say that it beco- charge of "Les Vikings" show. That's when I became aware of my inte- mes a person, with its visible and invisible parts. And then emotion springs rest in stagecraft, quite naturally and gradually. First of all, I learned the forth from the intimate dialogue which the work initiates with the spectator. ropes of shows: the strength of the script, the sense of rhythm, the lyric spirit, the emotion which emerges at the moment desired… These intui- Is Puy du Fou not on a quest to "make a show out of everything", tive realities don't respond to mathematical logic, they need to become a including the walkways visitors stroll along and even its ho- sequence of instinctive evidences in their own right, like the spontaneous tels? sudden appearance of images we perceive in our mind. In my opinion, Puy du Fou is a whole, a total show. You enter it like you would go off on a producing a show means letting these images guide you, like an objec- trip. The succession of surprises which punctuate the visitor's stay set the tive to be reached. And to achieve these, you have to start off by knowing tempo for this great show. And the first of all surprises is the one that nature how to share them with the actors, the technicians, the creators who offers us. The century-old oaks and the winding pathways, the luxuriant work with the director, who thereinafter only coordinates the talents. greenery and the picturesque vales, everything is an opportunity for won- derment. The walkways twist lovingly through this nature which human Is the director's role in Puy du Fou the same as in theatre? hands should only touch with trepidation. Because in Puy du Fou, nature Jouvet said: "Theatre is the verb". As such, Puy du Fou borrows from reigns supreme and our architecture curls around its curves, without ever theatre, so production has shared motivations. Yet, we can't reason in the jostling it or compelling it. It's humans who adapt to nature and not the same way as in theatre whenever we direct 43 actors for "Dernier Panache" other way around. As such, our "Le Grand Siècle" Hotel is for example built or 2,800 actors on the "Cinéscénie" stage. At Puy du Fou, we design our around the line of century-old trees which form its backbone. Our ho- stages and show venues to fit the script and its production. Unlike theatre, tels and our restaurants must, in fact, extend the show. You choose the which is obliged to subject the play acted out century you wish to eat in and sleep in. Pe- to the physical constraints of a venue, we fine- rhaps our visitors aren't aware of the fact that tune the tool to the artistic intention. And the we're all actually grown-up children and we size of our shows far exceeds those of theatre: have the same dreams as they do. We ima- for example, the Grand Carrousel scene First of all, I learned the ropes gined out Cité Nocturne from our childlike presented in "Mousquetaire de Richelieu" intuitions: a Gallo-Roman villa, a fortress, a extends over an opening of 70 metres. And of shows: the strength of the script, mini Versailles… From our shows through to the Théâtre des Géants exceeds 10,000 m2. the sense of rhythm, the lyric spirit, our hotels, we've created all the places we've I'd also add that theatre art is but one of the dreamt of sleeping in, eating in, escaping to. facets of our creations. Because when Puy the emotion du Fou tells its tales, it blends together se- What are Puy du Fou's key projects for veral arts: theatre, cinema, choreographed tomorrow? ballet, musical concert, painting, architec- ture, etc. The harmonious combination Oh, there are a lot and they're all really exci- of these various disciplines requires the creative process to respect spe- ting. They all share the same vocation: to tell stories inspired by History cial methodology which I imagined. This consists in particular in crea- with a capital "H". It'll be the shape these stories take on that'll be different. ting the show in 3D, like a real animated film, in which, months before- Whatever the shape, whatever the means for narrating our Epic, everything hand, I can position the actors, the sets and the machinery, the special has to spark emotion. Thanks to our international artistic experience, we've effects, and all the show's ingredients. And, even though the location been able to confirm a feeling that's been decisive: Puy du Fou invented a of the future show hasn't been built yet, I can still share my precise vi- universal model which transcends cultures and civilizations. And, this is sion of the show with all the teams working on creating it. By using this why this model can take hold just as well in France, in the Netherlands, in method, I can manage the creation of several projects at the same time Spain, in China and in other far-distant cultures tomorrow. After France and make sure they're all infused with Puy du Fou's artistic signature. and Spain, we intend to open two other Puy du Fou in the world by 2030. At the same time, we're going to enhance the training we propose to our future Well, while we're on the subject, what exactly is the collective artists, technicians and other talents who will take over from the present generation one day. We are actively pursuing the assimilation of Puy du signature of Puy du Fou shows? Fou in a healthy and balanced relationship with nature; green energy, wa- A Puy du Fou show is the bond between a script - the substance - and ter management, short-circuit supply, the educational transmission of good stagecraft - the style, intent. The challenge is, therefore, to harmonize habits, are all key subjects at the heart of our strategy. Last but not least, substance and style to whisk the spectator off into the tale we wish to tell we're currently studying all the avenues open to us to conquer new realms Nicolas de Villiers them. If the story requires us to bring the visitor on-board with us in the of artistic expression tomorrow. As regards invention, Puy du Fou banks action, then we choose immersive stagecraft, like in "Le Mystère de La on permanent creative stimulation, across all professions involved in this li- President and Artistic Direc- Pérouse". If the script requires us to let the visitor become captivated then ving work. This stimulation gives rise to the legend which diffuses emotion. tor of Puy du Fou join us in the tale, we'll go for a grandstand, like in "Le Secret de la Lance". The script may also mean changing the sets whilst the visitor remains seated, as is the case in "Dernier Panache". But the challenge is forever the same, irrespective of the show: what have we got to say? It's the script; what have we got to show? It's the production. We need to have an answer to both FROM THE MONT DES ALOUETTES TO A THE MONTES DE TOLEDO EMOTIONS AND THRILLS TO SHARE WITH THE FAMILY AFTER THE SUCCESS OF "EL SUEÑO DE TOLEDO", NIGHT-TIME SHOW LAUNCHED IN 2019, Ñ PUY DU FOU ILLUSTRATES ITS ARTISTIC MODEL'S UNIVERSALITY AND ASSERTS ITS AMBITION TO DEVELOP INTERNATIONALLY The Tagus has carved out a spectacular amphitheatre of brown earth in the Montes de Toledo.