1er juillet 1972
Théâtre national de l'Est parisien
La Colline - Théâtre national
France. Théâtre national de la Colline (Paris ; 1972-....)
L’origine d’un théâtre national dans l’est parisien
À l’origine troupe d’amateurs (1951), la Guilde de Ménilmontant conduite par Guy Rétoré acquiert progressivement une reconnaissance institutionnelle. Devenue troupe permanente en 1960 puis centre dramatique national en 1966 subventionnée par le ministère des affaires culturelles, la Guilde prend le nom de Théâtre de l’Est parisien en s’installant dans l’ancienne salle du Zénith – cinéma music hall de 1911 situé rue Malte-Brun. Les locaux achetés et réhabilités par le ministère des affaires culturelles, alors dirigé par André Malraux, deviennent une maison de la culture comprenant le Centre dramatique national qui dispose déjà d’un solide ancrage local.
Le 17 novembre 1971, le ministre des Affaires culturelles Jacques Duhamel écrit : « Le TEP c’était jusqu’ici une démarche, un esprit, une troupe, un public. C’est maintenant une institution. » En effet, par décret en date du 31 mai 1972, la maison de la culture parisienne devient en même temps que le centre dramatique de l’Est un théâtre national. Ils sont respectivement connus sous les noms de Théâtre de l’Est parisien et Théâtre national de Strasbourg.
Du Théâtre national de l’Est parisien (TNEP) au Théâtre national de la Colline
Organisation générale
À partir du 1er juillet 1972, le TEP devient donc un établissement public à caractère industriel et commercial (EPIC) placé sous la tutelle du ministère de la Culture. Le directeur ainsi que le comptable sont donc des employés de droit public, à l’inverse des personnels administratifs, artistiques et techniques qui restent soumis à des contrats privés. Le directeur a de nombreuses prérogatives. Il est responsable de la programmation artistique de la saison et en assure l’exécution. Il dirige également l’organisation générale et le fonctionnement des services d’exploitation, engage et révoque le personnel artistique, administratif et technique, prépare le budget, engage les dépenses et assure en son nom la signature des contrats et marchés. Il en a la responsabilité juridique. Sa nomination court pour une durée de trois ans renouvelable.
Une commission consultative d’exploitation se réunit également au moins deux fois par an sous la présidence du directeur du TEP. Elle est composée de trois représentants du personnel du TEP (un pour chaque catégorie : artistique, cadre, administratif et technique), trois personnalités qualifiées désignées par arrêté du ministère des Affaires culturelles. Le contrôleur financier dispose, quant à lui, d’une voix consultative. La commission donne son avis sur le fonctionnement général de l’établissement sur demande du ministère des Affaires culturelles ou du directeur.
Le TEP devenu Théâtre national de la Colline en 1987 est toujours régi par le décret du 31 mai 1972 modifié. Un conseil d’administration remplace la commission consultative et un administrateur est associé au directeur du théâtre (décret du 24 janvier 2002). Le conseil d’administration demeure sous la présidence du directeur auquel sont adjoints deux membres de droit du ministère de la Culture (le directeur de la direction du Théâtre et des Spectacles et celui de la direction de l’administration générale). En plus des représentants du personnel et des « personnalités qualifiées » s’ajoute un représentant de l’inspection de la création et de l’enseignement artistique. Ils sont tous nommés pour trois ans renouvelables sauf les membres de droit. Les missions de l’administrateur sont clairement définies par le décret du 7 novembre 2012 (article 87). Sous l’autorité du directeur, il récupère davantage de prérogatives administratives et financières. Par le décret du 22 octobre 2015 (article 5), le mandat du directeur est porté de 3 ans à 5 ans renouvelable deux fois par périodes de trois ans.
Création artistique
Sur le plan artistique, le TEP a « pour objet la présentation d’œuvres théâtrales appartenant au répertoire classique et moderne, français et étranger, ainsi que la création d’œuvres nouvelles enrichissant ce répertoire. » Outre la création, le théâtre a la mission de mener une action culturelle marquée pour rendre accessibles les « valeurs culturelles, transmises par le théâtre » au « public le plus large et le plus diversifié, appartenant à toutes catégories sociales de la population. » De fait, le théâtre s’ouvre à d’autres formes de théâtres comme les marionnettes et le mime, les ballets, les spectacles poétiques mais aussi le théâtre pour enfants. Il se diffuse aussi en dehors des murs du théâtre lors de tournées, d’animations de quartier et de participations à des festivals notamment celui d’Avignon. D’autres manifestations complètent la création théâtrale comme des ateliers de chansons, jazz et concerts de musique, des activités cinématographiques, des animations vidéo et des expositions.
En juillet 1972, Guy Rétoré prend la tête du TEP en tant que chef de troupe. En 1974, le ministère envisage cependant de ne pas prolonger Guy Rétoré à la tête de la structure et de le remplacer par une co-direction formée de Pierre Laville et Marcel Maréchal. Grâce au soutien du public, il est maintenu et poursuit son œuvre jusqu’en 1987. Lui succèdent Jorge Lavelli (1987-1996), Alain Françon (1996-2010), Stéphane Braunschweig (2010-2016) et depuis 2016 Wadji Mouawad. Chacun a marqué de son empreinte le répertoire du théâtre. À l’instar du Théâtre national populaire (TNP) de Jean Vilar, la troupe de Guy Rétoré s’incarne dans des comédiens comme Arlette Téphany dans le rôle de Jenny des lupanars de L’Opéra de quat’sous. Outre Arlette Téphany, Jacques Alric, Victor Garrivier, Pierre Santini, Anne Doat, Gérard Desarthe qui fut notamment un étrange et inquiétant Lorenzaccio, participent aux belles heures du TEP. Jorge Lavelli propose des œuvres exclusivement contemporaines. Il inaugure la nouvelle architecture du théâtre par une mise en scène du texte de Gabriel García Lorca, Le public, dont le titre est repris pour la revue du théâtre. Alain Françon étend le répertoire aux auteurs du XXe siècle dans le but d’une mise en perspective de la dramaturgie littéraire et théâtrale de la fin du XIXe siècle au début du XXIe siècle. Stéphane Braunschweig poursuit dans la voie de ses prédécesseurs tout en ouvrant le théâtre à de nouvelles écritures scéniques. Il est également à l’initiative de la nouvelle identité graphique du théâtre qui met en avant le terme « Colline » : La Colline – théâtre national. Wadji Mouawad met, quant à lui, en avant quatre axes fondamentaux dans la création artistique de la Colline : l'écriture et la création, la diversité, la jeunesse et le territoire.
« La Colline » : un projet architectural
Dès 1976, la décision est prise de détruire l’ancien Zénith pour reconstruire un nouveau théâtre sur place. Dès 1983, les travaux commencent, menés par l'équipe Fabre-Perrotet-Cattani. C’est l’ouverture d’une période de changement puisque Guy Rétoré quitte ses fonctions de directeur du théâtre pour aller s’installer au 159 avenue Gambetta, XXe arrondissement (ancienne salle de répétition). Il conserve le nom de Théâtre de l’Est parisien mais redevient structure de production et de diffusion subventionnée par l’État. L’établissement, inauguré le 7 janvier 1988 par le ministre de la Culture et de la Communication François Léotard, prend alors le nom actuel de Théâtre national de la Colline (décret du 10 novembre 1987). Il abrite désormais deux salles : une salle de type amphithéâtre de plus de 650 places appelée Grand théâtre et une salle entièrement modulable d’environ 200 places, Petit théâtre, superposée au Grand théâtre.
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