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The Christian Bérard Auditorium

1977

Théâtre de l'Athénée Louis Jouvet 

Financing for the Christian Bérard Auditorium, created in 1977 by Pierre Bergé with the collaboration of decorator Jacques Grange 

The Athénée Theater had disappeared in the 19th Century, at a time when it had been touted as a rival to the Opéra Garnier. It is an important example of the neo-Baroque style fashionable around 1900. Having escaped the zoning policies that reshaped the neighborhood, it became a unique locale in the theater world. In 1976, a rehearsal room and a costume storage space existed above the foyer. 

Pierre Bergé decided to turn them into a small 91-seat theater which would operate simultaneously with the main auditorium. 

Jauge : 91 places.
Plateau : 5,31 m d'ouverture, 3,74 m de profondeur.
Hauteur cadre  : 3,36 m.
Cage de scène sans cintre.
Hauteur sous gril face : 4,36 m.
Hauteur sous gril lointain : 3,70 m.

Festival d'Automne (Autumn Festival)

1978

Various projects since 1978 

Created in 1972 by Michel Guy, Paris's Autumn Festival is devoted to contemporary arts. It is becoming one of the most important festivals of its kind in Europe. 

The Yves Saint Laurent company began supporting the festival in 1978. The support has taken the form of direct financing for the festivals, as well as aid for stage productions (1989 : “une femme douce” directed by Robert Wilson, 1995 : “Mikhail Baryshnikov and the White Oak Dance Project”, 1997 : “La maladie de la mort” directed by Robert Wilson, 1999 : “Le pavillon aux pivoines”...) and exhibits (Anselm Kiffer at the Chapelle de la Salpétrière in 2000, Jenny Holzer in 2001...). 

Pierre Bergé supported all of the Michel Foucault program in the 33rd Autumn Festival.

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Watermill

1992

Regular support for this theatrical studies center created in the US by Robert Wilson 

The Watermill Center was founded by Robert Wilson in 1992 as an international facility for new work in the arts, conceived to foster communication and innovation. 

The Center has developed major work for the world’s stages and museums, and begun introducing a new generation of young artists in Wilson’s distinctive methods. 

The Watermill Center is designed by Richard Gluckman, Robert Wilson, and an international team of architects and architectural students. 

The Center will house workshops, residencies, and educational programs, and it will operate as a study Center for Tribal Arts, as part of the Watermill Collection, which focuses on aesthetic and formal themes in world art. In addition, besides the Robert Wilson Archive, a collection of papers, films, and artifacts documenting the activities of Wilson and his collaborators the Center will show works from other artists, including a major permanent collection by Paul Thek. 

Watermill Center Board of Advisors: Giorgio Armani, Pierre Bergé, Christophe de Menil, Christoph Eschenbach, Betty Freeman, Philip Glass, Donna Karan, Thomas Krens, Annie Leibowitz, Gérard Mortier, Jessye Norman, Maren Otto, Michael Otto, Claude Pompidou, Lou Reed, Isabella Rossellini, Richard Serra, Cindy Sherman, Susan Sontag, Tom Waits, Richard von Weizaecker

Médée (Euripide)

2000

Festival d'Avignon.

Mise en scène : Jacques Lassalle.
Interprétation : Isabelle Huppert, Anne Benoit, Jean-Quentin Châtelain, Jean-Philippe Puymartin, Emmanuelle Riva, Pascal Tokatlian et les enfants.

"Tout nous portait, Yves Saint Laurent et moi-même, à accompagner cette Médée. D'abord Avignon. Ville-Théâtre irremplaçable. Le souvenir de Jean Vilar qui collabora avec Yves Saint Laurent aux "Chants de Maldoror" (Lautréamont, Constant, Petit). Comment pourrais-je oublier que j'ai inauguré la salle Christian Bérard au théâtre de l'Athénée Louis Jouvet avec Jacques Lassalle ? Demandé à Isabelle Huppert d'être à l'Opéra Bastille la Jeanne au bûcher d'Arthur Honegger dans la mise en scène de Claude Régy sous la direction de Myung Whun Chung ? Sans parler d'Emmanuelle Riva et de Jean-Philippe Puymartin qui ont partagé avec moi sous ma direction de belles émotions. 
Et puis il y a Médée. Médée la magicienne. Je sais déjà que Jacques Lassalle saura l'habiter du génie d'Isabelle Huppert. La Tunique au poison qui annonce Shakespeare laisse planer son ombre immense sur la tragédie d'Euripide. Dans le char de Médée, mené par Lassalle, nous nous préparons à quitter Avignon pour Athènes. Le voyage sera rude. Le vol de la Toison d'Or, le meurtre des enfants, celui de Créon et de nombreux autres nous accompagneront. Tragédie moderne qui ressemble à ce fait divers qui avait fasciné Marguerite Duras puisque Médée ne peut être que "sublime, forcément sublime". "
Pierre Bergé

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L'École des Femmes (Molière)

2001

Théâtre de l'Athénée Louis Jouvet 
Support for the play by Molière. 

Director Jacques Lassalle in tribute to Louis Jouvet and Christian Bérard. With Philippe Bianco, Monique Brun, Eric Hamm, Franck Molinaro, Olivier Perrier, Caroline Piette, Pascal Rénéric and Eric Herson-Macarel (10 to 17 November) and François Macherey (18 to 27 November) 

Pierre Bergé ran the Athénée Louis Jouvet Theater from 1977 to 1985. 

October 2001: To mark its season in tribute to Louis Jouvet, the Athénée Theater offered Jacques Lassalle the opportunity to direct The School for Wives with the following restriction: he had to use the same mythical set design created by Christian Bérard for the production directed by Louis Jouvet in 1936. The result has been hailed as a masterpiece of sensitivity and elegance. 

From December 2001 to December 2003, the play went on tour in France, Switzerland, Italy and Tunisia. Young women reacted strongly to the themes of the play at a time when the public debate concerning Muslim veils and equal opportunity between women and men was heating up. The Athénée has decided to revive this doubly legendary production to sensitize young spectators about this social questions.

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La Fontaine's Fables (Les Fables de La Fontaine)

2004

Comédie Française

Director, set design, lighting Robert Wilson
with Christine Fersen, Gérard Giroudon, Cécile Brune, Eric Génovèse, Christian Blanc, Florence Viala, Céline Samie, Laurent Stocker, Nicolas Lormeau, Christian Gonon, Julie Sicard, Madeleine Marion, Bakary Sangaré, Audrey Bonnet et Charles Chemin
Original score Michael Galasso
Costumes Moidele Bickel
Dramatic composition Ellen Hammer Masks Kuno Schlegelmilch

Pierre Bergé and Yves Saint Laurent have unconditionally supported the creative work of Robert Wilson since the 1970s.



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