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Amandine Vachez
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From July 4 to 25, 2026 will be held there 80th edition of the event! An anniversary which gives the opportunity to return, in a few lines, to thehistory of the Avignon festival (Vaucluse). Because if he is now a unmissable eventwhere tomorrow’s programs are played out in concert halls, the concept had to be launched. The editorial team looks back on some key stages of this event, which went from “art week” to festival international que l’on connaît.
From “art week” to a popular artistic event
If you are a fan of theater or live performance, you know that a lot of things are happening in Avignon. The festival enlivens the city of the Popes in July: the opportunity to discover what is most modern in the creation of live shows. It also nourishes the territory throughout the year, having become a a true artistic laboratory.
But what do you know about its history? If it is impossible to be exhaustive or to cite all the prestigious names linked to the institution (the history of the festival does so in detail), here is a overview of the main lines of its evolution.
In 1947, the first version of the event was launched by the actor, author and director Jean Vilar. Invited to present one of his pieces at an exhibition of contemporary paintings and sculptures, he made another proposal: to present three pieces in creation. Thus was born the « semaine d’art » in this town in Vaucluse, in what is commonly called “cultural desert”.
Until 1963, the festival experienced a first period of development. Jean Vilar sets up a annual meeting : a troupe of actors comes every July to present pieces. The idea is to make theater accessible outside of big cities. The proposal attracts a growing audience. Talented young people performed in the City of the Popes, notably Jeanne Moreau and Gérard Philipe, already famous on screen when he joined the team in 1951.
The festival then becomes the spearhead of the French theater revival. Noting the enthusiasm surrounding the meeting, the State is watching for what is swarming in Avignon. It allowed the festival to become, in the 1950s, the core of the National Popular Theaterunder the direction of its creator. The event grows and memorable pieces are performed.
Jean Vilar is keen to renew the proposal and invites in the 1960s to new directorsopens stage spaces et integrates other disciplines (danse, cinéma, théâtre musical).Â
From revolt to international influence
In 1968, « la wander from the révolte étudiante reached the festival and challenged its founding father,” recounts the Festival. In 1971, Jean Vilar disappeared and Paul Puaux, witness and actor in the adventure, took up the torch. He created the Maison Jean-Vilar and the festival gained its management independence.
Over the course of changing directions, another aesthetic asserts itself, leaving more room for new creation. An international center for research, creation and animation opens its doors and artists are welcomed in residence, in parallel with the organization of exhibitions, concerts, meetings… A festival “off”allowing companies from all over France to perform, was also created.
THE 1980s and 1990s will make the festival shine on an international levelwhile keeping the promotion of French creation in mind.
A turning point will take place in 2003: the festival is canceled by strike movements which are affecting live performance in France. Crisis caused by the modification of the unemployment benefit rules for intermittent workers, weakening their social protection.
Inventing the event with artists, a new turning point
The following year, a duo took the reins of the festival: Hortense Archambault and Vincent Baudriller placed the meeting between artistic creation and a large audience at the heart of the approach. invent the festival with the artistsand the link with the territory is strengthened at the same time as that with Europe. The festival also supports artistic teams in the financial and technical arrangements of creations.
In 2013, Olivier Py joined the management. First artist in this position since Jean Vilar, he will propose programming that resembles itreconnecting with the importance of mission de service public historically linked to the project.
Several new features have been put in place, including the “decentralization of 3 km” for greater accessibility, “thought workshops” and a “theater soap opera” every lunchtime. The FabricA, a place of residence and rehearsal created in 2013, becomes a structuring facility of the institution.
Always innovate to stay in the present… and the future!
The festival opened up over this period to innovative formats, linked to the digital revolution. In 2020, the event that could not be held took place new programming, broadcast on TV and online.Â
Since 2022, Tigao Rodrigues has taken over the management of the festival. The artist advocates a theater “desiring to create bridges between peoples and cultures” carries an innovative projectwhere there is a dialogue between creative excellence, accessibility, environmental and societal approach… A vision focused on the future. See you in July 2026 to see what awaits you soon in theaters in France!
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