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  • 71st Festival d'Avignon
    • Monday 22 May at 19:30
    • Université d'Avignon et des Pays de Vaucluse
  • Olivier Py will present the program of the 71st edition on Monday 22 May at 7:30 pm at the Université d'Avignon et des Pays de Vaucluse. The meeting will take place in the amphitheater AT02.

    Address: entrance 74, rue Louis Pasteur - free admission, reservation recommended at public@festival-avignon.com

  • 71st Festival d'Avignon
    • July 6-26, 2017
    • Avignon, France
  • Press conference

  • The programme of the 71st Festival d'Avignon has been unveiled on March 22 and 23, 2017. Amongst 50 show in 21 days, 43 are 2017 productions, and 37 artists come for the first time.

    Video of the programme

  • Encounter at LaFabricA
    • Tuesday April 4th, 2017 at 19:30
    • La FabricA
  • Watch Radhouane El Meddeb, at the FabricA on April 4th, on his new production Face à la mer, pour que les larmes deviennent des éclats de rire, which will be presented within the 71st edition of the Festival d'Avgnon.


  • Encounter at LaFabricA
    • Monday, February 27, 2017
    • La FabricA
  • Encounter with the Birgit Ensemble

  • Watch the encounter and the interview with the Birgit Ensemble, at the FabricA on February 27, on their two productions Memories of Sarajevo and Dans les ruines d'Athènes, which will be presented within the 71st edition of the Festival d'Avgnon.

    Read more

  • Encounter at LaFabricA
    • Tuesday, January 24, 2017
    • La FabricA
  • Encounter with Serge Aimé Coulibaly

  • Watch an interview and the video of the encounter with Serge Aimé Coulibaly about Kalakuta Republik, which will be part of the programme of the 71st Festival d'Avignon.


  • Watch an interview and the video of the encounter with Caroline Guiela Nguyen about SAIGON, which will be part of the programme of the 71st Festival d'Avignon.

    read more

  • Encounter at LaFabricA
    • Tuesday, November 22
    • La FabricA
  • Encounter with Robin Renucci

  • Watch an interview and the video of the encounter with Robin Renucci about L'Enfance à l'oeuvre As part of the programme of the 71st Festival d'Avignon.


  • Festival d'Avignon
  • E-shop

  • You can buy all year round the exclusive merchandise of Festival d'Avignon: posters, T-shirts and other objects to offer oneself or to be offered. This products are also available, from September to June at the Festival office in the Cloître Saint-Louis in Avignon and, in July, at the Festival shop, place de l'Horloge.

  • Festival d'Avignon 1947-2014
  • Festival d'Avignon archives

  • The archives of the Festival d'Avignon including 68 passed editions are available online: that is more than 3.600 events available under the heading "Festival d'Avignon / Archive" or thanks to our search engine in the top right-hand corner.
    visit our archives

  • online
  • Festival-avignon.tv

  • After the Festval (re)discover all the events online : excertps of the shows, worskhops of thought, dialogues artists-audience, reports by the Jeunes critiques en Avignon, as well as The Damned and Karamazov in full versions. 
    Go to the Festival web-TV :




If a work of art can tell the truth, it is because it isn't tangible, or material, or verifiable, or realistic, or exact, or true, or certified, or rational. Because proof wears out the truth, reality disfigures the real, and meaning is nothing more than a hope. Works of art tell the truth, and when we are hungry for the truth, when it seems that all political perspectives have become too outrageously realistic to be honest, works of art become the only truth that we can bear.

It is true that only verified truths can be seen as genuine truths. But what does verified mean? It means that we've traveled along an often arid road to gather in a common hope. Truths are not verified with numbers, but with an unspeakable echo they find within ourselves, with a shared hope. But being the majority isn't enough to restore truth, contrary to what demagogues and other salesmen might say. Far from it, this hunger for the truth can only be real if it is proud to be in the minority. Yes, one must accept being in the minority for love of the Truth.

Times are at the very least dire; we are either overwhelmed by our impotence or guilty of indifference. What alchemy within this inner torment could make us believe that art is the answer? How can we find the strength to still believe in beauty when it seems complicit with the forces of disaster? And yet, there comes a time when we can no longer shy away from what it asks of us. The man who has experienced that sense of wonder in art at least once will never tire of it. And he is unlikely to want to keep that joy to himself like a jealous lover or like a man guarding a shameful treasure; no, he will want to share it.

Times are too dire to give up on hope, to turn art into a mere ornament, and for the beautiful to be distinct from the good. One could theoretically imagine a splendour that would not care for its contemporaries, but could not turn it into theatre in the deepest sense of the word, for theatre, though some may not like it, is always political.

Political doesn't mean partisan, secular, or ideological, since the very act of opening this great outdoors theatre is a political act in and of itself, even if the work thus unfolded were only about dreams of love or a desire for clouds...

Always changing, clouds inspire us, they look neither serious nor substantial, yet their tireless beauty forces us to strive to be better. The dizzying immortality of the stars may overwhelm us, but clouds won't. They won't have the bad taste to survive us, at least. And why would the real always be hard, stiff, dense, rough, immutable, and heavy? Why can't what's most real and true be what's also most fleeting, temporary, indescribable, moving, and fragile? Why couldn't the real be like us, mortal, wandering, uncertain? You don't build the future with stones, but with men. You don't build hope with steel and concrete, but with words. Foam, wind, complicity, tears of wonder, and bursts of laughter are just as real as foundations and arms. We learn of architecture through the clouds, their political engagement gives us hope.

The Festival d'Avignon is a truth with a face and a body, that of its audience, to whom we owe everything. The spectator is a creature of engagement, open, looking towards the unknown, and patient; he doesn't tell art what it should say, he doesn't presume what is or isn't beautiful, he listens to the vital emotional clamour within himself. If he is unruly, it's in the name of fraternity, if he is excessive, it's in the name of liberty, if he is demanding, it's in the name of equality.

Yes, the implications of cultural democracy are so high that they won't leave those peddlers of a standardised future alone, those instigators of imaginary conflicts, those cynical and predatory pessimists. Like the clouds, the marvelous clouds, we're only passing through and gathering in the hopes of finding a greater truth.

Olivier Py