Roman Theatre and Art and History Museum

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Press release
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The Roman Theatre in Antiquity
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Orange 1900, the ‘Belle Epoque’: the era of the acting profession’s
‘great names’
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Orange 75: The French Woodstock
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The Chorégies: Roberto Alagna invites you to the opera
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The Magician behind the Ghosts of the Theatre
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Promoting our heritage, by Bruno Monnier
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Documentary resources
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Partners of the Ghosts of the Theatre
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The Roman Theatre of Orange
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Practical information
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Get ready for a fairytale journey through time!
The Ghosts of the Theatre show is a fascinating, psychedelic dream world, filled with nostalgia and
lyricism: it will take your breath away! From 3 April 2009 this spectacular show invites you to take
part in a fairytale journey through time. In this UNESCO world heritage listed site, the characters,
some world-famous, others less well-known, who have trodden the boards here will be brought back
to life thanks to the magic of multimedia.
The ghosts will transport you to those crucial moments that have punctuated the twenty centuries
that the Roman Theatre has stood here. The journey takes place in four grottos located beneath the
tiered seats of the theatre. Your odyssey begins in classical times with a mime show, one of the
Romans’ favourite kinds of theatre spectacle. After a great leap across the centuries, the stage is
buzzing once more with the sounds of the Belle Epoque, as you marvel at the magnificent Madeleine
Roch or the majestic Mounet-Sully. As you reach the seventies there’s a surprise in store: Orange 75,
known as “the French Woodstock”. As you reach the final stop on the tour, Roberto Alagna is there
to welcome you to the world of the Choir and Lyric Opera Festivals of Orange.
The name of the principal organiser for this journey is Bruno Cohen. He is the set-designer and
director, a renowned specialist in virtual theatre and spectacular stage design. In this voyage, to bring
history alive, he brings together the praxinoscope, video projection and musical excerpts.
This historical journey is presented in a playful, interactive way. The grottos are transformed into
stage sets in front of which the spectators form the audience for small performances. The
praxinoscope brings the characters to life, and the display of projected images includes drawings,
engravings and archive photographs. Sound archives enliven the grottos. The combination of effects
makes it possible to recreate the atmosphere that is specific to each historical period.
This journey through the memories of the Roman Theatre is of obvious educational value. It means
that even the youngest spectators can grasp something of the history of this magical place in a fun
and yet scientific way. The “Ghosts of the Theatre” multimedia spectacle is a unique and ambitious
project for promoting an historic building. It fits perfectly into the mission to which Culturespaces,
which manages the Roman Theatre of Orange, has made its priority: bringing to every kind of
audience this extraordinary treasure of heritage. In this way, the multimedia show supports the site’s
already rich and well-organised facilities in terms of accessibility (the museum, exhibitions,
audioguides, educational workshop sessions and treasure hunts).
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Your time-travel itinerary
The theatre in Ancient Roman times
The first cave gives you a glimpse of the theatre during the Roman era. The Théâtre Antique in
Orange is Europe's best-preserved theatre and one of the most beautiful surviving legacies of
Imperial Rome. Despite its good condition, it remained difficult to imagine what the theatre would
have been like during that era, how the actors would have looked and sounded, what the decor
would have been like, and so on. But now, thanks to the wonders of optical theatre, you can
experience that atmosphere for yourself! In this short play, a classic of the Roman age, two men –
one crafty and cunning, the other slow and simple - fight for the hand of a fair maiden. The four
virtual characters who star in it dance, argue and even call out to you!
Orange 1900, the Belle Epoque at the time of Sarah Bernhardt
The second cave, Orange 1900, plunges you into the theatre during the Belle Epoque. Photographs
taken at the time are brought to life by performers filmed in colour and wearing period costumes,
much in the same way as silent films at the dawn of cinema. In the background, operatic snippets
intermingle with speeches made by famous French actors of yesteryear on the theatre's stage,
including Albert Lambert, Paul Mounet, Mounet-Sully and Madeleine Roch.
Orange 75 - Orange at its most psychedelic!
In 1975, the Théâtre Antique made its debut into the world of rock music when it hosted a threeday concert featuring some of the biggest rock acts of the 1970s, from Jess Roden to the Climax
Blues Band via Procol Harum and Tangerine Dream. This cave takes you back to Orange's "rock and
folk" years, where you can take a seat in a mixing studio, and listen to snippets from memorable
concerts. You can also experience the buzz of being part of a 10,000-strong crowd in a psychedelic
pop atmosphere epitomising the Seventies.
The Chorégies d’Orange
The Chorégies d’Orange opera festival is the oldest in Europe, and has been an integral part of the
French cultural calendar ever since 1869. The use of the theatre to stage lyrical and musical
performances became prevalent in 1971, with the creation of the "Nouvelles Chorégies", which met
with immediate and overwhelming success. It was therefore only natural that the fourth cave be
dedicated to this major opera festival, one of the Théâtre Antique's flagship events, with its biggest
star, Roberto Alagna, as host. Thanks to the miracle of optical theatre, the tenor and his double
appear in the middle of the cave and treat you to some of the greatest arias ever sung at the
theatre, including Carmen, Les contes d’Hoffmann and La Bohème.
You are ready to travel through the history of this bewitching place.
Let yourself be guided by the Ghosts of the Theatre,
through these four stopovers in time!
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The theatre occupied a central place in the city and in
the life of its inhabitants, who spent a great deal of their
spare time there.
For the Roman authorities the
theatre was a means by which Latin culture could be
spread through the populace of the colonies, but it was
also a means of keeping their minds off political
concerns.
The shows were a true form of
entertainment, lasting all day. The Romans were not
enamoured of Greek tragedy and preferred a lighter
repertory such as mime shows, pantomimes and farces.
The Roman Theatre of Orange is the best preserved in
Europe and one of the finest relics of Imperial Rome.
Despite its fine state of preservation, it is still difficult to
imagine what the theatre might have been like at that
period. What of the actors, the costumes, and the
scenery that surrounded them?
And so the first grotto helps you to discover these things. You will first go behind the scenes to watch
a rehearsal and will then see a performance on stage of one of the classic playlets from the theatre of
antiquity. Two men – one clever, one stupid – argue over the favours of a beautiful woman. The
virtual actors dance, lament, mime, confront each other, and try to enlist you on their side - before
they take their bows and disappear.
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After the fall of the Roman Empire in the West, fifteen
hundred years were to go by before the Roman Theatre
would once again become, in 1869, a location for
theatrical performances. These were organised under the
name of ‘Roman Festivals’ and, for the reopening
ceremony, a cantata called Les Triomphateurs was
performed, celebrating the glories of the Romans as well
as Joseph, an opera by Méhul. It was an instant success.
The gigantic proportions of the theatre, the fact that it
had, unbelievably, managed to conserve the rear wall of its stage and its amazing acoustics all
delighted audiences. In 1902, performances began to be known as Chorégies (Choir festivals) and
became an annual event. All the great names of the French stage came here to perform the classic
repertoire.
The second grotto, Orange 1900, immerses you in the atmosphere of
the theatre at the turn of the 20th century. Superimposed colour images
of actors filmed in period dress bring the photos of this era to life in the
style of silent films from the earliest days of the cinema. You are invited
to stroll through the streets of Orange in the 1900s, where couples in
the costume of the Belle Epoque meet, greet each other and lead you to
the theatre.
The great tragedians, their voices magnified by the Roman Theatre’s
majestic walls, are there to welcome you to the grotto. Mounet-Sully,
Mounet, Albert Lambert, Madeleine Roch and Madame Segond Weber
stand before your very eyes.
With the Roman Theatre providing an ideal backdrop for the epic heroes
that they played, the actors performed the greatest roles in the
repertoire of tragedy. It was on the stage of Orange that Mounet-Sully had his greatest triumphs, in
particular his interpretation of Sophocles’ Œdipus the King. In 1902 Madame Second-Weber, playing
alongside the two brothers, Mounet-Sully and Mounet, took the role of the Phœnician Antigone, in a
tragedy adapted from Euripides by Georges Rivouet.
This display uses photos of the town of Orange and of ladies in sumptuous outfits crowded into the
theatre’s auditorium to provide a portrait of an era.
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Woodstock hit the headlines in 1969. Six years later, the rock and folk phenomenon hit Orange. This
is the least known episode in the history of this venue and yet the Roman Theatre of Orange
welcomed around ten thousand very special festival-goers, of a very different kind from those that
attended the Chorégies.
“Orange 75”, that August, was one of the stops on the “Startruckin’ Tour”, a major Europe-wide tour
organised by Miles Copeland.
Over three days, rock’s greatest stars appeared on the stage of the Roman Theatre. The entire British
scene were there: Jess Roden; Fairport Convention, the first to bring together folk and rock; the hard
rock group, Bad Company; Dr Feelgood; Procol Harum with their progressive rock; Ginger Baker; the
Mahavishnu Orchestra, with their legendary guitarist John McLaughlin; John Martyn; and the Climax
Blues Band, whose two greatest hits were “Couldn't Get It Right” and “I Love You”. John Cale, who
became famous partly as a member of the American rock group, the Velvet Underground, trashed
the stage. Tangerine Dream, a German group who were forerunners in the field of electronic music,
and Nico, who accompanied Lou Reed on Velvet Underground’s first album, were also part of the
tour.
Comparing Orange 75 with Woodstock, Paris Match wrote: “Times have indeed changed! Rock music
has even got into buildings constructed by our Roman ancestors. In fact, since their time, no better
auditoriums have been built.”
That was how the Roman Theatre became one of the great international venues for rock concerts. In
the years that followed and throughout the 1980s, some of the best-known French and foreign
groups took the stage here: Bijou, Téléphone, Frank Zappa, The Cure, The Police, Dire Straits, Tina
Turner and Bryan Adams, to name but a few.
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This third grotto, then takes you back to the folk rock years and immerses you in a very psychedelic
seventies atmosphere. You take your seat in a mixing studio. You are in the midst of a crowd
swarming around the ticket-booths or on the tiered seats amongst 10,000 spectators. Clips from the
major concerts that took place on the stage of the Roman Theatre are projected onto the screen.
In 1975 the songwriter and guitarist, Frank Zappa, sang to a sell-out audience. In 1978 Téléphone was
the biggest-selling group in France. In Orange, Jean-Louis Aubert bellowed the words of “Vaudou (est
toujours debout…)”. Ganafoul, another French hard rock group, appeared at the Roman Theatre in
that same year. You can dance to “Saturday Night”, their first album. The slender silhouette of Elvis
Costello appears, chanting the much-celebrated “Pump It Up”. This is 1979. The concert ends in 1981
with a solo by Mark Knopfler, the virtuoso guitarist of Dire Straits.
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The Chorégies are Europe’s oldest festival and one of the biggest cultural events in France. Until
1969, spoken theatre alternated with the staging of musical works, operas and symphonies. In that
year Jean Vilar founded the Avignon Festival and the theatre was given all the scope that it needed in
the nearby Papal Seat. The lyric and musical side of the Roman Theatre thus became dominant. In
1971, the “New Chorégies” were founded and were an immediate success. They attracted some of
the greatest opera stars: Barbara Hendrix, Plácido Domingo, Montserrat Caballé, and so on. Major
operatic works such as Tosca, Aïda and Carmen were staged in sumptuous productions and, year
after year, thrilled audiences from all parts of the world.
It was obvious therefore that the fourth grotto should be dedicated to this great festival of operatic
art, a highlight of the Roman Theatre’s history. And it was a matter of course too that we should
involve one of the stars that have received top billing here: Roberto Alagna.
Using the techniques of the praxinoscope, the
tenor and his double appear in the middle of the
alcove. This enables you to hear once more some
of the great lyric arias being sung in the Roman
Theatre.
Then the grotto is filled with the full, warm voice
of the mezzo-soprano, Béatrice Uria-Monzon. She
played the gipsy in Bizet’s Carmen in the 1998
session of the Chorégies. An excerpt from
Offenbach’s Tales from Hoffmann which opened the festival in 2000 is then presented. The soprano
Natalie Dessay, in the role of Olympia, sings surrounded by giant dolls that the producer, Jérôme
Savary, has placed on stage. Aïda is on the programme for 2001: the chorus and ballet of Verdi’s
celebrated opera stand before you.
Roberto Alagna appears on the screen, this time
accompanied not by his comic double, but by
Angela Gheorghiu. The couple play the parts of the
tragic hero and heroine, Rodolfo and Mimi, from La
Bohème. The staging of Puccini’s masterpiece,
produced by Nicolas Joël and directed by Jesús
López-Cobos, was one of the great operatic events
of the summer of 2005. In the following year, under
its newly restored stage roof, the Roman Theatre
hosted a production of Donizetti’s Lucia di
Lammermoor. This time the starring role is taken by the soprano Patrizia Ciofi.
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Once more Alagna and his double appear before you. They bicker and Alagna is left by himself. “So,
he’s disappeared, has he?” the tenor asks himself in a fatalistic tone. “The ghosts have gone and the
artists too. It’s just like this great theatre: every evening, through the magic of the performance, it
comes to life and sparkles when the Chorégies begin, and then, at the end, it quietly falls dark once
more!”
The Orange Chorégies will once again be welcoming Roberto Alagna for the 2009 Festival. On the 1st
and 4th of August, Roberta Alagna will play Turiddu alongside Béatrice Uria-Monzon (Santuzza) in
Mascagni’s Cavalleria Rusticana. He will play Canio in Leoncavallo’s I Pagliacci, under the musical
direction of Georges Prêtre, with the French National Orchestra and the Regional Opera Choirs.
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Bruno Cohen
has produced the multimedia tour that is being presented in the grottos of
Orange’s Roman Theatre. He collaborated with the Sim & Sam agency, which was responsible for the
audiovisual production of the show.
“Ghosts of the Theatre” forms part of Bruno Cohen’s experimental work. His work in museums and
stage design uses a mixture of artistic resources, bringing together actors and virtual images.
Bruno Cohen is a multitalented designer. He has worked as a stage designer, producer and director
and, for about twenty years now, has been responsible for numerous theatrical and video creations
and stage designs. Among his creations were the sequence of images at the lower citadel in Verdun,
Lully’s opera Perseus at the Ambronay Festival, and “Nuits de Strass” in Strasbourg. He has also
produced many exhibitions, including those at the Musée de l’Homme, the Muséum National
d’Histoire Naturelle, the Cité des Sciences et de l’Industrie in Paris, at the Manoir de Réaumur, at the
Cité de l’Or, at the Vauban Docks in Le Havre, at the Rodolphe Potash Mine in the Alsace
Ecomuseum and at the Musée Électropolis in Mulhouse.
His work forms part of the great tradition of visual art in France. He has created more than fifty
virtual theatres for museums and live spectacles by bringing together new digital technologies and
scenic arts. Bruno Cohen has designed “Imaginary Dialogues”, a virtual theatre for Year of the
Jacques Callot in Nancy, “Swish 02”, twelve virtual theatres in Bienne for the Swiss National
Exhibition, and a Workshop at the Centre for Contemporary and Digital Writing in Mons (Belgium),
among other things.
For the 2005 “Off” festival in Avignon he created “des-illusions 1”, a mixed media show, bringing
together dance, theatre, virtual images and music at the Théâtre de la Manufacture.
Bruno Cohen is currently working on a stage design based on Chagall’s stained-glass window in
Sarrebourg and preparing an exhibition-spectacle at the Rochefort Royal Rope-Works.
Bruno Cohen
Project-leader and Stage Designer
12, rond-point Lepois - 54 000 Nancy
bruno_cohen@orange.fr
Sim & Sam
The Sim & Sam Agency, directed by Marc Mamane, was responsible for the audiovisual production of
“Ghosts of the Theatre”.
10, rue du Plâtre, 75004 Paris
Tél/Fax 01 56 24 17 12
simetsam@simetsam.com
www.simetsam.com
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You founded Culturespaces in 1991. It was a new concept. In what ways was it different
from what had gone before?
At that time, heritage was essentially seen as evidence of our history. To me it seemed important
that it should also become a means by which our culture was transmitted. With that in mind, I
developed a number of principles that were new at the time:
“The Visitor First”: making the visitor, and not just the idea of conservation, central to the
aims of a historic monument or a museum. The most recent law on museums, in fact,
adopted this same principle for itself a few years later.
Opening museums every day and all year round.
“A visit should be enjoyable”: making a cultural visit an enjoyable moment, available to all
and not just to an elite.
“Good management of a monument or a museum is the best form of conservation”.
Running a deficit or needing grants are not tragedies. Better management can free up
financial resources and support for restoration of our heritage.
These last two points are, gradually, getting through to the authorities.
What was it in your career that led you to set up such an organisation?
I was always fascinated by both history and history of art. Alongside my university courses (in Political
Science, Law and Commerce) I set up a concession company working with Versailles and providing
individual and group transport between the Château, the Trianons and Marie-Antoinette’s ‘Hamlet’.
That was what gave me the chance to see, from the inside, the lack of interest in cultural
establishments aside from the conservation aspect.
After spending some time with the Department of Culture, I founded Culturespaces with the aim of
bringing into this sector a new way of looking at promotion, entertainment, temporary exhibitions,
communication and management of all the services, with the exception of conservation.
You might think that the Roman Theatre of Orange in itself would naturally be a major
cultural attraction. Is that really so?
It is a major historical building but a tour doesn’t take very long and just looking at it won’t really give
you a proper grasp of its history or of the role of the theatre in Roman Gaul.
Since management of the Roman Theatre and the Museum of Art and History in Orange
were entrusted to you in 2002, what developments have you carried out?
We’ve created a new reception area designed by Yves Taralon, a guided tour with an audioguide,
which visitors say is fascinating, a film using pictures to tell the history of the Theatre down the
centuries, a ‘cave-dweller’ restaurant and a bookshop. The Museum is also being gradually
refurbished and regularly plays host to exhibitions.
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What effects have your efforts had?
We’ve had more visitors (an increase of 20%), and can now offer a richer cultural experience to suit
all tastes, and a longer tour that encourages visitors to spend half a day in Orange rather than just an
hour.
With your multimedia show “Ghosts of the Theatre” you are living up to your aim of
making the site accessible to a wide audience. How are you able to do that in other ways?
We’re also doing that by means of an audioguide that is provided free for every visitor, a booklet of
games given to every child, a special rate for families and an adult rate that is still very reasonable.
What are you expecting from this project?
With “Ghosts of the Theatre”, I want to introduce an emotional dimension into a visit to the building
by using highly sophisticated multimedia resources. The aim is to appeal to a wide audience, more
particularly to young people so that they do not lose touch with their heritage and so that they can
gain as much interest and enjoyment from a visit as they do from their recreation facilities. And lastly
it will enhance the content of the visit, adding to this major site in the list of UNESCO World Heritage
sites.
Whose idea was this project?
It was a team effort. Working with the Head of Visitor Services and the Theatre Director, we defined
the framework and the themes for the project. Then Bruno Cohen dreamed up and wrote the scenes
and turned them into reality.
How long did it take to set it up?
The project took over a year’s work because of the major historical and iconographic research and
the technical development.
The town of Orange played an important role in bringing “The Ghosts of the Theatre” to fruition
because it financed the project to the tune of 160,000 euros.
It’s an ambitious project. In what respects is it unique?
It features Roberto Alagna, one of the world’s best-known opera singers, who has often sung in
Orange and agreed to film one of the scenes without charge.
It also makes use of astounding multimedia techniques. It represents a new way of telling the story of
a historical monument to everyone. Culturespaces is always at the forefront when it comes to
promoting our heritage and making it interesting for everyone!
Bruno Monnier
Président-directeur général, Culturespaces
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INA (Institut National de l’Audiovisuel)
INA is the world’s leading centre for audiovisual archives and Europe’s first digital archive bank. The
Institute stores, digitises and communicates the archives of French radio and television, in other
words more than 70 years’ worth of sound and audiovisual programmes. The 3 million hours that
have been preserved constitute an exceptional source of archive material for production,
boradcasting and editing, but also for research and education. The INA fund has made it possible to
bring together a large number of excerpts from Orange Rock concerts and from the Chorégies.
www.ina.fr
Association des Chorégies d’Orange
Since 1971, the Association has been organising one of France’s unmissable
cultural events: the “Chorégies d’Orange”.
www.choregies.asso.fr
Philippe Abel, photographer
Philippe Abel is a photographer working in Orange, like his father and grandfather before him. His
grandfather set up business in Orange in 1924. His photographs are a real memory bank of the past
and made it possible to recreate the atmosphere of the Belle Epoque in the second grotto.
www.philippe-abel.com
We would also like to mention all the other photographers in Orange who were involved in the
project.
The Orange Museum
Facing the Roman Theatre and the ruins of the temple, the Orange Municipal Museum was set up in
1933 in what had been a 17th century private town house. It includes a section devoted to GalloRoman history and another to the history of the town of Orange. Many of the archive images were
found in its collections.
www.theatre-antique.com
Jacques Lasnier and Bernard Veysselier
Jacques Lasnier is a show producer and was the organiser of Orange 78, 79 and 86.
Bernard Veysselier is an enthusiast about this period and runs a website on Orange 75:
http://pagesperso-orange.fr/orange75/
Their archives for the rock period were extremely valuable in the creation of the project.
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References and bibliographical sources
DUPONT, Florence. L¹acteur roi : Le théâtre à Rome. Les Belles Lettres, 2003
PANDOLFI, Vito. Origines du spectacle. Théâtre antique. Comédie médiévale et Renaissance.
Marabout Université, 1964
DURUSSEL, Viviane. Le théâtre à Rome. Université de Neuchâtel, 2001.
PAVIS, Patrice. Dictionnaire du Théâtre. Dunod, 1997
SALLE, Bernard. Histoire du Théâtre. Librairie Théâtrale, 1990
GARELLI, Marie-Hélène. « La pantomime entre danse et drame : le geste et l¹écriture »,
Cahiers du Gita 14, 2001, p. 229- 247
GARELLI, Marie-Hélène ; DUMONT, Jean-Christian. Le Théâtre à Rome. Le livre de poche, 1998
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Designated a World Heritage Site by UNESCO in 1981, the Roman Theatre of Orange bears
witness to the grandeur of the Roman Empire in the West. The Theatre of Orange is the only
Roman theatre to have been preserved in Europe, and there are only two others in the rest of the
Roman Empire: one at Aspendos in Turkey, the other at Bosra in Syria. The Roman Theatre of Orange
is a unique historical site.
The building was constructed against the Saint Eutrope hill, using a technique borrowed from the
Greeks. In fact, the Romans had two methods of constructing this type of building: they either
constructed enormous walls to support the terraces or they used the natural lie of the land. This was
what they decided to do at Arausio, as the terraces, called the cavea, are directly supported by the
Saint Eutrope hill, with infrastructures intended to even out any ground irregularities.
The Theatre is used during the Roman period with a lots of shows. Gradually the shows went into
decline. The theatre became a place of perdition. In 391, Christianity was proclaimed the official
religion of the Empire. The Church fought against paganism and deviance and therefore ordered that
the Theatre be closed. In the 4th century, the Western Roman Empire collapsed. In 412, the Theatre
was attacked by the Visigoths, who pillaged the town. They tore down the Emperor’s statue, burnt
the roof over the stage, destroyed the terraces to make them into sarcophagi and dismantled the
marble and mosaics. During the Middle Age, the Theatre fell into disrepair, although its superb wall
remained standing. The barbarian invasions were followed by pillaging, the stone, marble and
mosaics from the monument were reused in other private and public buildings. In the Middle Ages,
the Theatre became a defensive post and a sentry box was built within its walls.
Orange, governed by protestant princes, found itself at the centre of the wars of religion. To avoid
being massacred, some of the population fled the town and took refuge behind the big theatre wall.
Sometime later, peace was restored and the inhabitants found space limited within the city walls, so
within the Theatre, against the stage wall and on the terraces, building work began on humble
dwellings, which multiplied and ended up forming an actual district with a road across it. Abandoned
for centuries, the Roman Theatre of Orange has been used for its original purpose since the 19th
century, to the delight of the public. In 1825, Prosper Mérimée (1803-1870), who was then Director
of Historic Monuments, started a vast programme of renovation. In 1902, the events regularly
organised took the name of Chorégies. They now took place every year. A succession of celebrities
took centre stage. 1971 marked the start of the New Chorégies. The greatest opera singers have
performed in front of the famous stage wall: Barbara Hendrix, Placido Domingo and more recently
Roberto Alagna and Angela Gheorghiu. Sumptuous productions of the great works, such as La Tosca
by Puccini, Aïda by Verdi and Carmen by Bizet, are performed each year to the delight of audiences
from across the world.
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Roman Theatre and
Art and History Museum
Free for children under 7 years of age
Offers for families
1 child free for every 3 paying visitors (adults
or children) in the same family
Groups
Group visits are subject to reservation. Adult
groups (over 20 persons): 5,90 € per person.
School groups (over 20 pupils): 4,10 € per
pupil.
Rue Madeleine Roch - 84100 Orange
Tel.: + 33 4 90 51 17 60
Fax: + 33 4 90 51 74 70
E-mail: message@theatre-antique.com
www.theatre-antique.com
Opening Times
Open 365 days a year
November to February: 9.30 a.m – 4.30 p.m
March, October: 9.30 a.m – 5.30 p.m
April, May, September: 9 a.m – 6 p.m
June, July, August: 9 a.m – 7 p.m
These opening times may be modified on
evenings when there are rehearsals or
shows.
There is no additional charge for a visit
to “Ghosts of the Theatre”.
Location, parking, access
The Theatre is located in the centre of
Orange, 5 min from the A7 motorway and
half an hour from Avignon.
Access is via:
- the A7 and A9 motorways, Orange centre
exit and follow signs
- main road 7, Orange centre exit and follow
signs
For coaches: free car park 800m away
Rates
(Theater and Museum)
Individual
Full rate: 7,90 €
Concessions: 5,90 € (students, disabled,
unemployed)
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