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| Syndicat national des critiques de théâtre, musique et danse | |
|---|---|
| Name | Syndicat national des critiques de théâtre, musique et danse |
| Formation | 20th century |
| Type | Professional association |
| Headquarters | Paris |
| Region served | France |
| Language | French |
Syndicat national des critiques de théâtre, musique et danse is a French professional association for critics working in theatre, classical music, and dance. The organization gathers practitioners from major cultural institutions across France, engages with festivals, and positions itself within networks linking critics to newspapers, broadcasting organizations, and cultural policy bodies. Its membership and pronouncements have intersected with debates involving prominent venues, critics, directors, and performers.
The association emerged in the 20th century amid interactions between critics active at outlets such as Le Monde, Le Figaro, Libération, L'Humanité, and cultural magazines like Télérama and Les Inrockuptibles. Early phases involved exchanges with institutions including Comédie-Française, Opéra National de Paris, Théâtre National Populaire, Festival d'Avignon, and provincial houses such as Théâtre du Châtelet and Théâtre de la Ville. During the postwar period the group confronted issues raised by personalities like Jean Vilar, Sacha Guitry, Pina Bausch, Serge Lifar, and later figures including Peter Brook, Ariane Mnouchkine, and Robert Wilson. The organization adapted through technological shifts tied to Radio France, France Télévisions, and the rise of online platforms represented by outlets like Mediapart and Rue89.
The association's governance reflects structures found in bodies such as Syndicat National des Journalistes, Centre National du Théâtre, and Ministère de la Culture. Its membership traditionally comprises critics affiliated with newspapers and magazines—examples include writers from Le Monde diplomatique, Les Nouvelles Littéraires, Elle, and specialty journals like Diapason and ResMusica—as well as critics working for broadcasters such as France Inter and France Culture. It maintains links with international organizations like International Federation of Journalists and festival juries at events such as Festival de Cannes (cinema crossover), Edinburgh Festival Fringe, and Salzburg Festival. Credentialing and voting procedures echo practices in institutions like Académie Française and unions such as CGT and CFDT.
Activities include press accreditation practices at venues including Palais Garnier, Opéra Bastille, and major festivals like Festival d'Avignon and Festival d'Automne à Paris. The association has been involved in juried awards and recognitions comparable to Molière Award, Prix de Rome, Grand Prix du Disque, and collaborates with prizes given by organizations similar to SACD and SACEM. It organizes panels and colloquia with participants from Conservatoire de Paris, École nationale supérieure des arts et techniques du théâtre (ENSATT), and academic researchers from universities such as Sorbonne University and Université Paris Nanterre. Training sessions have drawn figures from École du Louvre, Collège de France, and media organizations like Agence France-Presse.
The association exerts influence through collective statements that intersect with debates involving institutions such as Comédie-Française, Opéra de Lyon, and media groups including Groupe Rossel and Lagardère. Critics have weighed in on productions by directors like Luc Bondy, Olivier Py, Thomas Ostermeier, and choreographers like Maurice Béjart and Angelin Preljocaj. Its stances have attracted critique from artists, managers, and commentators in outlets such as Le Figaro Madame, Nouvel Observateur, and La Croix, with controversies touching on cultural policy decisions by the Ministère de la Culture and funding bodies such as Centre national du cinéma et de l'image animée and regional cultural councils. Debates have echoed larger disputes involving press ethics seen in cases around Patrick Modiano, Jean-Marie Le Pen controversies, and digital-age disputes involving platforms like Twitter and Facebook.
Notable members have included critics who published in Le Monde, Le Figaro, Libération, Les Echos, L'Express, Slate, The Guardian (French correspondents), and specialty periodicals such as Cahiers du Cinéma, Revue d'Histoire du Théâtre, and Connaissance des Arts. Individual figures associated with the wider milieu include critics and historians connected to names like Stéphane Mallarmé (influence lineage), André Breton (surrealist criticism), Roland Barthes (theory), Jacques Rivette (criticism and filmmaking), Serge Daney, and contemporary writers appearing in Libération and Télérama.
The association issues collective statements, position papers, and open letters circulating in media such as Le Monde, Libération, and specialist journals like Diapason and ResMusica. It has published manifestos and reports analogous to those from Association Française des Orchestres and cultural think tanks similar to Fondation pour la Recherche Stratégique or Institut Français. These publications address programming at institutions like Opéra Comique, staffing at conservatories related to Conservatoire de Lyon, and festival policies at Fête de l'Humanité and Printemps Musical.
Category:French cultural organizations