From May 27 to June 4, eight theaters in the capital will be showcasing performances from around the world.
In 2024, several directors of Parisian theaters (such as La Villette, les Plateaux sauvages, or la Bastille) came together to create the Paris Globe, an international artistic festival (theater, dance, performance…). Joined by their counterparts from the Maison des Métallos, le Carreau du Temple, or le Silvia Monfort, they are present for the second edition which will take place this year from May 27 to June 4. “At the origin of the project, we took advantage of the Cultural Olympiads to create a biennial,” recalls Adrien de Van at the head of the Paris-Villette theater. “There is a demand from the public. We wanted to encourage the discovery of underground artists from five continents. There are events, but for artists who are already recognized in their own country.”
“We want to share the shows and share the venues so that the public can move from one to the other,” adds Mathieu Touzé, the head of the Théâtre 14. “If we were to program international shows alone, we would be on the margins; coming together allows us to gain visibility,” assures Claire Dupont, the director of the Bastille theater, the only one receiving state aid. On the menu are nine “punchy”, “unruly and unique” works that correspond to our 200 to 300 seat theaters,” adds Claire Dupont.
They are presented in Paris for the first time. Theater lovers should not miss “Le Sacre du Printemps”, freely adapted from Stravinsky’s ballet by the Italian company Dewey (from May 28 to 30 at the Silvia Monfort) or “The Last Play in Gaza” by Israeli playwright Einat Weizman (on June 2 and 3 at the Théâtre 14).
“Everything is allowed, we can step off the beaten path,” rejoices Sandrina Martins, who is in charge of the Carreau du Temple venue. However, two plays are prohibited for under 18s: “Historia do Olho” (The Story of the Eye) based on Georges Bataille’s novel, directed by Brazilian Janaina Leite who questions the relationship between theater and pornography (on 28 and 29 May at the Carreau du Temple). And “Spy girls” by Estonian Magda Szpecht. Inspired by real events, it tells the story of hackers who gain the trust of Russian soldiers to obtain information for the Ukrainian army (on 29 and 30 May at the Théâtre 13).
“We have constructive exchanges, a common sensitivity,” insists Alice Vivier, appointed to the Maison des Métallos direction in 2024. Unity is strength for these performing arts enthusiasts eager to attract new generations, but not only. Finally, a budget of 300,000 euros, 90% of which comes from the City of Paris, facilitates a “global synergy”. “We manage to maintain affordable prices especially for young people,” recalls Sandrina Martins.
For information and reservations, visit parisglobe.fr.
