City theatres and theatre companies. Decisive actors for the democratic development of the performing arts in France[Théâtres de ville et compagnies théâtrales. Des acteurs décisifs pour le développement démocratique des arts de la scène en France]

This text is a new edition of two articles written in 1999. Among other things, it allows to ponder about questions that have already been strongly addressed and yet remained unresolved at the end of the past century, as well as on their permanence or their particular variation one or two decades later. The document proposes a double model of understanding about the functioning of city theatres on the one hand and, on the other hand, professional theatre companies in France at the end of the past century. The approach is based on a small number of in-depth case studies that are though contrasted enough to allow a first rise in generality. Beyond the singularity of each situation, a comparative analysis inductively reveals a set of recurring features and that is the backbone of the proposed models. The latter make it possible to assess any other case of the same type, either by proximity or difference in comparison to the recurring traits mentioned. Some of these elements could evolve or be deepened by taking a larger sample into account. The first article focuses on city theatres, which were not labelled at the time by the Ministry of Culture. It is based on three case studies with 1997 or 1998 as reference year. These theatres, either located in medium-sized towns or on the outskirts of city centres, provide a delicate mediation function at the crossroads of at least three worlds in tension : the local populations, the public authorities and the artistic teams. Their particular artistic project is based on a constant triangle of show distribution, cultural action and creative help. These projects are differentiated in particular according to the way in which the following double question is treated : the taking into account of the expressions specific to their local populations and the explanations about the dimensions at work in the artistic processes. The second article deals with professional theatre companies of low or medium reputation. It is based on three studies with 1996 as reference year. These organisations that are true associative enterprises are built around an artistic project which is itself based on theatrical aesthetics, including a type of relationship to the audiences. Between the search for permanence of action and the need to have a great flexibility, the theatre companies develop a plurality of activities which are to be constantly put in relation with the partners they manage to mobilize and the networks to which they belong. The financial dynamic that is always delicate is then to be first understood as a result of the social game in which these organisations manage to position themselves.