Ladies, Gentlemen and the rest of the world © Christophe Raynaud de Lage / Festival d'Avignon
Pure present, Olivier Py © Christophe Raynaud de Lage / Festival d'Avignon
A Lad's word, Nadjette Boughalem © Christophe Raynaud de Lage / Festival d'Avignon
Antigone, Olivier Py © Christophe Raynaud de Lage / Festival d'Avignon
We'll have everything, Christiane Taubira et Anne-Laure Liégeois © Christophe Raynaud de Lage
The Parisians, Olivier Py © Christophe Raynaud de Lage
The Sky, the Night and the Glorious Stone © Christophe Raynaud de Lage
At heart, Thuerry Thieû Niang / Festival d'Avignon
Prometheous Bound, Olivier Py / Festival d'Avignon
King Lear © Christophe Raynaud de Lage / Festival d'Avignon
Hacia la alegria © Christophe Raynaud de Lage / Festival d'Avignon
Le Prince de Hombourg © Christophe Raynaud de Lage / Festival d'Avignon
Orlando ou l'Impatience © Christophe Raynaud de Lage / Festival d'Avignon
La Jeune Fille, le Diable et le Moulin © Christophe Raynaud de Lage / Festival d'Avignon
Othello, Variation pour trois acteurs © Christophe Raynaud de Lage / Festival d'Avignon
Le sorelle Macaluso © Christophe Raynaud de Lage / Festival d'Avignon
Solitaritate © Christophe Raynaud de Lage / Festival d'Avignon
For each edition the Festival invites about fifty performances. The operating and hosting expenses of some productions are covered. Support for fundraising from co-producers, local, national and foreign authorities is provided too. The performances invited come from the five continents, teams are international and the Festival d'Avignon production service is committed to work in an intercultural context all year long during the preparation and the hosting.
The Festival d'Avignon is above all a festival of creation which represents more than two third of the programming.
It emerges that the number of performances carried by French teams and those carried by European and non-European teams are equal. In 2015, 50% of the performances originated from foreign countries and were presented, as for theatre, in the original language with French surtitles. The audience is quite used to this specificity that is part of the Festival DNA for more than 20 years. The demand for discovery and immersion in languages and cultures is also a characteristic of the Festival and its audience. The programming and production teams of the Festival ensure the quality of the translation and surtitles, often especially ordered for Avignon.
Before being presented in July, some projects are welcomed for several weeks residency at the FabricA of the Festival d'Avignon since 2014.
Under Olivier Py direction, the Festival d'Avignon emphasizes on creation for the young audience and itinerant performances that are the challenges of tomorrow.
- Each year, the Chapelle des Pénitents Blancs in Avignon has become the young audience place.
It is a highly symbolic place, right in the heart of the city, because of its history and also easy to access for families
- During the three weeks of the Festival, three creations for an audience aged 7 to 77 succeed each other.
Itinerant theatre with a light set-up can take place outdoors in venues which are not conventional ones in the first place (squares, gymnasiums, halls, prisons, yards...). This type of theatre contributes to the three kilometres decentralisation, a fortunate expression to show the Festival is also on the roads, gets out of the walls and thanks to a network of partners and involved villages, can settle next to an audience to conquer. Each edition offers a new creation and organises a tour in about fifteen neighbouring municipalities.
Regularly the participation of non-professional extras is requested by directors and choreographers, which generates an active involvement of the inhabitants of Avignon and very rich artistic encounters.
In addition to more than fifty performances, the programme includes several readings and concerts co-presented or co-organised within partnerships, as well as exhibitions especially produced for the festival-goers.
The Avignon Festival plays the role of executive producer for some of the artists invited. The Festival is responsible for sourcing the financial and technical requirements of those productions. It also employs the artists and stage crews, builds the decors in its workshops in Avignon and takes care of the casting of the show in France and abroad outside the Festival time-period.
- Love Triumphant, written and directed by Olivier Py (2019)
- The Odyssey, by Homer, created by Blandine Savetier (2019)
- Friendship, by Irène Bonnaud (2019)
- Macbeth philosopher, by William Shakespeare, directed by Olivier Py and Enzo Verdet with the Centre pénitentiaire Avignon-Le Pontet (2019)
- Pure present, written and directed by Olivier Py (2018)
- Ladies, Gentlemen and the rest of the world, by David Bobée (2018)
- Antigone, by Sophocle, directed by Olivier Py with the Centre pénitentiaire Avignon-Le Pontet (2018)
- A Lad's Word, by Nadjette Boughalem with the Maison Pour Tous Champfleury (2018)
- The Parisians, written and directed by Olivier Py (2017)
- Hamlet, by William Shakespeare, directed by Olivier Py with the Centre pénitentiaire Avignon-Le Pontet (2017)
- We'll have everything, by Christiane Taubira and Anne-Laure Liégeois (2017)
- Prometheus Bound, by Aeschylus, French text and direction Olivier Py (2016)
- Straight to the Heart, choreography Thierry Thieû Niang (2016)
- The Sky, the Night and the glorious Stone, conception La Piccola Familia (2016)
- King Lear, by William Shakespeare, translation and direction Olivier Py (2015)
- Le Prince de Hombourg, by Heinrich von Kleist, direction Giorgio Barberio Corsetti (2014)
- Orlando ou l'Impatience, text and direction Olivier Py (2014)
- La Jeune Fille, le Diable et le Moulin, after the tales of the Brothers Grimm, text and direction Olivier Py (2014)
- Cour d'honneur, direction Jérôme Bel (2013)
- Par les villages, text Peter Handke, direction Stanislas Nordey (2013)
- Plage ultime, direction Séverine Chavrier (2012)
- Au moins j'aurai laissé un beau cadavre, after William Shakespeare, direction Vincent Macaigne (2011)
- Mademoiselle Julie, by August Strindberg, direction Frédéric Fisbach (2011)
- My Secret Garden, text Falk Richter and Stanislas Nordey (2010)
- La Tragédie du roi Richard II, by William Shakespeare, direction Jean-Baptiste Sastre (2010)
- Papperlapapp, direction Christoph Marthaler and Anna Viebrock (2010)
- Angelo, tyran de Padoue, by Victor Hugo, direction Christophe Honoré (2009)
- La Guerre des fils de lumière contre les fils des ténèbres, direction Amos Gitai (2009)
- Partage de Midi, by Paul Claudel, direction Gaël Baron, Nicolas Bouchaud, Charlotte Clamens, Valérie Dréville and Jean-François Sivadier (2008)
- Le Silence des communistes, by Vittorio Foa, Miriam Mafai and Alfredo Reichlin, direction Jean-Pierre Vincent (2007)
- Cruda, vuelta y vuelta, al punto, chamuscada, direction Rodrigo García (2007)
- Paso Doble, direction Miquel Barceló and Josef Nadj (2006)
A european project managed by the Théâtre National de Bruxelles and supported by the Folkteatern Göteborg (Sweden), the Teatro de La Abadia (Madrid-Spain), the Teatro Stabile di Napoli (Italy), the Odéon-Théâtre de l'Europe (Paris-France), the Teatrul National Radu Stanca (Sibiu-Romania), the Festival d'Avignon (France), Villes en scènes / Cities on stage (VESCOS 2011-2016) offers to artists and European structures to reflect about the issue of living together in the world major cities of through theatrical creations, installation and workshops.
- Tigern, by Giania Carbunariu, directed by Sofia Jupither (2016)
- Hacia la alegría, written and directed by Olivier Py (2015)
- Dire ce qu'on ne pense pas dans des langues qu'on ne parle pas, written by Bernardo Carvalho, directed by Antônio Araújo (2014)
- Le sorelle Macaluso, written and directed by Emma Dante (2014)
- Solitaritate, written and directed by Gianina Carbunariu (2014)