Within French subsidised performing arts institutions, productions involving non-professional contributors have been gaining traction over the last decade. The trend is spearheaded both by artists, seeking to increase their interactions with society, and by public authorities, preoccupied with people-participation. The recent acceleration of this trend notwithstanding, participatory productions have long been a peripheral phenomenon in French institutions, keen to differentiate their work from socio-cultural approaches. This Element investigates the current rise in participatory creation, examining the motivations underpinning it and charting the artistic processes and forms it produces. The aim is to explore the realities of the presumed democratic reinforcement attached to participation, placing particular emphasis on the nature and scope of the democratising modes in play both on and off stage, and discussing how they interact with the prevailing conventions and value systems of French public theatre.

Within French subsidised performing arts institutions, productions involving non-professional contributors have been gaining traction over the last decade. The trend is spearheaded both by artists, seeking to increase their interactions with society, and by public authorities, preoccupied with people-participation. The recent acceleration of this trend notwithstanding, participatory productions have long been a peripheral phenomenon in French institutions, keen to differentiate their work from socio-cultural approaches. This Element investigates the current rise in participatory creation, examining the motivations underpinning it and charting the artistic processes and forms it produces. The aim is to explore the realities of the presumed democratic reinforcement attached to participation, placing particular emphasis on the nature and scope of the democratising modes in play both on and off stage, and discussing how they interact with the prevailing conventions and value systems of French public theatre.