Concert halls Paris 6th 75006

The presentation of European plays in their original language, with French surtitles, is one of the original features of this magnificent 780-seat hall, which is also largely devoted to the French classical repertoire and creation. Punctuated by jolts linked to the historical events that have marked Paris, the existence of the Odeon has been quite eventful. Inaugurated in 1782 by Marie-Antoinette, the hall was built for the Théâtre-Français troupe - architects Marie-Joseph Peyre and Charles de Wailly. It backs onto the Luxembourg Gardens. The Marriage of Figaro, by Beaumarchais, was created there. The Odéon was closed in 1793 for uncivilization and became a place for political gatherings during the Terror.

Returning to show business, the Théâtre-Français changed its name to Odéon in 1796. During the Revolution of 1830, the Place de l'Odéon was a rallying point for the insurgents. The end of the 19th century was marked in particular by the performances of actresses Sarah Bernhardt and Réjane, as well as by the success of L'Arlésienne, by Alphonse Daudet and Georges Bizet in 1885. The beginning of the following century gave the Second Théâtre-Français two important directors, André Antoine and Firmin Gémier, personalities who greatly influenced the development of dramatic art in our country.

A new change came in 1959 with the arrival of Jean-Louis Barrault at the head of the establishment. In the company of Roger Blin, he mounted pieces by Claudel, Beckett, Ionesco, Duras, Sarraute... In 1965, a ceiling painted by André Masson was delivered. May 1968 arrives and the occupation of the theatre by students in revolt. When it reopens, the theatre is given a new status, that of an experimental and test centre. The Odeon then hosts various shows including those of the Theatre of Nations. In 1971, it became the national theatre and was to focus on "creation and research to promote the progress of national and world theatrical aesthetics. Patrice Chéreau and Antoine Vitez work there, as well as Giorgio Strehler, director of the Théâtre de l'Europe, a structure which is joined to the Odéon National Theatre in 1983. Definitively autonomous in 1990, it is directed by Lluís Pasqual, then by Georges Lavaudant from 1996. After three years of work during which the Odéon was decentralised to the Berthier workshops in the 17th arrondissement, the theatre opened again in 2006. In the meantime, the institution has been assigned these workshops as a second site. The current director is Stéphane Braunschweig. The Odéon, according to his ideal, now aims to be "a theatre open to the world and to the crossroads of generations".

Behind a façade of old stone with a patina of time and adorned with a sign in gold letters is a precious establishment: The Christine Cinema Club, formerly known as the Christine and Christine 21 Action. Since 1973, two arthouse cinemas have been welcoming lovers of the 7th Art and cult films. The Louis XIV period entrance door is the symbol of this cinema made of finesse and passion. The programme gives pride of place to classics from all over the world, particularly American and European. Festivals and debates are regularly held there, as at the Ecole Cinema Club, these two cinemas being part of the same entity, the Paris Cinema Club.

Le Lucernaire was founded in 1968 by actors, authors and directors Christian Le Guillochet and Luce Berthommé, and in 1984 was awarded the label of "Centre National d'Art et Essai". Great artists such as Laurent Terzieff and Daniel Emilfork, as well as young companies, have created or revisited contemporary and classic texts here. There are two auditoriums, one "black", the other "red". Le Lucernaire also has three Art et Essai cinemas and a gallery dedicated to young photographers.

After several months of renovation, this neighborhood cinema in the turbulent history reopened its doors in May 2011, for a new start. Opened in the heart of the New Wave (1969) in the restructured premises of a former cabaret, this unique room has 208 seats and everything has been renovated to offer better quality, comfort and hospitality for conferences and conferences. Stylish design, star night blue seats, very original lustre next to the window… Saint-Germain-des-Prés intends to revitalize its programming (clearly oriented art and trial) and refidéliser a clientele to compete with the competition of the two multisalles cinemas at the Carrefour de l'Odéon. In this mission, the financial support of writer Bernard-Henri Lévy will not be too much. 

A neighborhood cinema, part of the independent Dulac network, far from the big machines you see everywhere. The programming is meticulous, the staff are cinephiles - in short, a veritable refuge for lovers of arthouse films. In fact, what was once a power station was sponsored by Jacques Tati when it was converted into a cinema in 1962. For many years, the Arlequin was the emblematic cinema of Left Bank Paris. The cinema doesn't stop at screenings: it also offers debates, events and exhibitions.

This is an institution marked by a charismatic personality: Roger Diamantis. This madman of the 7 ^th Art sacrificed his life for films, which opened in 1971 a cinema in place of a hotel. Two rooms were available, one of which was devoted to one film for two years: " La Salamander "by Alain Tanner. Result: 300 000 entries. Roger Diamantis died in 2010 as a film publisher and has always supported experimental film and film films. Cavalier, Godard, Kusturika, Jarmush… all had the right to programming. Today, the Saint-André des Arts has 3 rooms, always refuses the unlimited pass, and welcomes the first of its quality.

This cultural area, consisting of a theatre and a gallery, has been installed since 1977 in a residence dating back to 1602. It was a place of habitation, commerce and deposit. A printer was finally established there. The team of L'Raging, a satirical newspaper in May 1968, worked there. The site then underwent a restoration in the 1970 s. Activities are shared on three levels, which are rented for all kinds of events. Situated in vaulted cellars, the Théâtre theatre welcomes its public in two rooms with a capacity of and seats. He features theatrical shows and one man shows.

A top place in the history of the Parisian theatre, this room has depended on the Comédie-Française since the 1990 s. In 1913, the theatre of the Old Colombier opened its doors in the old Athenaeum Saint-Germain under Jacques Copeau's leadership. A theorist, director and actor, he leads a troupe that is resolutely determined to renovate drama, in an ascetic spirit - no spaces - opposed to the «cowardice of mercantile theatre». To be part of Louis Jouvet, Charles Dullin, Valentine Tessier… The classics and contemporary authors - Claudel, Gide… - are here. The company Pitoëff and Jean Tedesco took the lead in 1924. The Pitoëff create many memorable shows. In 1944, the camera was mounted in camera by Jean-Paul Sartre in a staged by Raymond Rouleau. As you can see, the Old Colombier is one of the places of cultural renewal that cristallise after the war in Saint-Germain-des-Prés. And that continues! Classified Historic monument in 1978, it was bought by the State in 1986. After staying closed for many years, Old Colombier flies Again in 1993. It became the second theatre of the Comédie-Française, which plays works mainly from the contemporary repertoire. The room was renovated by the architect Bernard Kohn. With three hundred places, it gives the spectators the impression that they are under the hull of a vessel overthrown by the shape of its wooden structure.