Dominique Jambon Director of the French Cultural Center Country: France

Biography of Dominique Jambon

Dominique Jambon is the director of the French Cultural Center in Moscow. He has a deep passion for theater and believes that he cannot imagine his life without it. In fact, he once said that he would even run away from his own funeral to watch a play. Dominique is particularly interested in the theater scene in Russia and admires the cultural events happening in the country.

As the director of the French Cultural Center, Dominique has been extremely busy this year. 2010 has been declared the Year of Russia-France, and the center has been responsible for organizing tours and creating programs. Dominique is no stranger to managing such demanding projects, as he previously served as the director of a theater for twenty years.

The role of the French Cultural Center has changed over the years, especially with the ease of travel and the ability for Russians to simply buy tickets and fly to Paris to watch a play. Dominique acknowledges that the situation is now different from when the center first opened in Moscow in 1992. However, he believes that it is crucial to stay up-to-date with the cultural exchange between Russia and France. The center must constantly evolve, find new ideas, and stay interesting to continue attracting attention.

In terms of French actors performing in Russian theaters, Dominique explains that the situation is very different in France. There are often barriers between cinema, theater, and television, making it difficult for actors to work simultaneously in all three. Many French actors decline offers to perform in theaters because they are paid less compared to films. However, Dominique mentions that they are working on bringing Isabelle Huppert's recent production in Paris to Moscow.

When it comes to the audience's attitude toward theater and artists, Dominique notices a difference between Russia and France. He recalls a time when he invited Russian theater directors Lev Dodin and Pyotr Fomenko to France and was amazed at the standing ovation they received. He wanted to invite the actors to the theater's bar to interact with the audience, but his Russian wife told him that the actors couldn't simply sit in the cafeteria with the public because they were actors. This reflects the respect and enthusiasm that Russian audiences have for artists, which Dominique admires. In France, this level of enthusiasm might be lacking.

Regarding Russian theater tours in France, Dominique clarifies that it is mainly French people who attend these performances, rather than Russians living in France. The French are highly interested in Russian theater and are now discovering a new generation of Russian theater artists, including Ivan Vyrypaev and Vladimir Pankov. Dominique notes that the French are particularly curious about contemporary Russia and are actively seeking new Russian playwrights whose plays can be staged in French theaters.

Dominique himself is a frequent theatergoer in Moscow. He cannot imagine his life without theater and expresses his admiration for the Russian theater scene. He enjoys watching classical productions as well as discovering younger artists, even though it is not always easy. Dominique believes that Russian theater is truly one of the best in the world, as someone who watches a wide range of performances in Europe. He mentions that European artists envy Russian actors who have the opportunity to work in theater ensembles. He also admires the fact that Russian theaters are often full, which is a dream for many French theaters.

When asked about the relationship between theaters funded by the government and their obligation to fulfill state orders, Dominique explains that in France, there is a concept of "theater in the service of society." These theaters receive government subsidies, which paradoxically guarantees their artistic freedom. Artists in these theaters are free to pursue their artistic vision while receiving support from the authorities. Dominique acknowledges that there is a certain contradiction in this arrangement, but believes that it allows artists to have the audacity to ask for funding and maintain their freedom.

Finally, Dominique agrees that culture can play a significant role in combating the growing issue of racism in major cities like Paris and Moscow. He believes that to achieve results, it is essential to work with the public. Not just the theater-attending audience, but also those who do not typically go to the theater. Dominique recognizes the difficulty in reaching out to these individuals but considers it necessary to fight against racism, which has engulfed many megacities worldwide.