Jeu de Paume Theater / Aix en Provence

ARTIST'S LODGES

The Jeu de Paume has 6 dressing rooms, equipped with showers, mirrors and racks: two collective and four individual. Here the dressing rooms are not named after artists, but after the children of the theatre's staff at the time of the 1998 renovation.

Bust of Molière

TICKET BOX

The Jeu de Paume ticket office is only open on the evenings of performances.For more information, please visit the website: [https://www.lestheatres.net/fr/1590-comment-reserver](https://www.lestheatres.net/fr/1590-comment-reserver)

EXECUTIVE OFFICE

© Photography Bertrand Bonnaud / Provence 3D

The Paradis was called the Poulailler at the time: nets stretched along the ceiling prevented the people placed there from throwing projectiles onto the stage (eggs, tomatoes, etc.) when they were not satisfied with the show. Thus arranged, this place was unmistakably reminiscent of a hen cage.

THE TOP OF THE DOME

© Photography Bertrand Bonnaud / Provence 3D

GARDEN SIDE

Before the French Revolution, we spoke of the King's side and the Queen's side. Traditionally in the theatre, the King's side is the side where the hero enters the stage and the Queen's side is the side of danger, threats and the traitor.

THE ITALIAN THEATRE

A theatre in the Italian style is distinguished from other theatres by certain characteristics: - the room is shaped like a horseshoe - the galleries are superimposed around the parterre - the stage was tilted so that everyone could see the scenery It is generally said about the Italian theatres that the aim was to see and especially to be seen. The person in the audience also has the feeling of being in the middle of the conversation. In France, the first Italian-style theatre was built in 1637 in Paris on the orders of Richelieu. It was the hall of the Palais Royal.

THE COUPOLE

The dome, a spherical and oval ceiling, serves both aesthetic and technical purposes: it allows the voice and sounds to be diffused throughout the room. Its decoration, designed by Louis Gautier and listed in the supplementary inventory of historical monuments since 1981, makes extensive reference to music and theatre: masks, painted lyres, bouquets of sculpted instruments and medallions bearing the names of great composers such as Mozart, Beethoven and Berlioz can be seen...To discover more about the dome, come and visit the theatre during the Heritage Days or by appointment by calling 04 42 99 12 00 if you are a group of at least 10 people.

The son

by Florian Zeller Director: Ladislas Chollat Photography Lisa Lesourd

ORCHESTRA PIT

The orchestra pit, located under the first four rows of the parterre, is where the musicians of the orchestra are installed during the performances. It is a Mozartian pit and can accommodate up to 36 musicians, but it is rarely used at the Jeu de Paume, which only occasionally hosts musical ensembles.Photograph by Patrick Berger

Hugo at the bistro

Text and direction by Jacques Weber © Photographie Kim Weber

PENDRILLON

Black velvet curtain hung on either side of the stage to hide the backstage area or frame the set.

SUB-PREFECT'S LODGE

More decorated than the others, the two boxes at the front of the stage with the basket were by custom, in all the Italian-style halls, reserved for the king and queen, as these are the boxes where everyone can see them. This box was reserved for the king. Now it is the box allocated to the sub-prefect.

ADELAIDE ROOM

Multipurpose room: Kitchen and dining room where employees and actors can come to eat, but also meeting room for the teams.

- 2000: Reopening of the Théâtre du Jeu de Paume, under the direction of Dominique Bluzet, after 15 months of major work at a cost of 5 million euros. One of the first objectives of this renovation was to improve safety, comfort and visibility for the audience, but also the working conditions of the artists and the technical nature of the shows.

DRESSER'S ROOM

There is always a bottle of vodka in the room to allow the dresser who comes to prepare the costumes to loosen and refresh them. Indeed, some costumes are fragile and voluminous. They require both maintenance before each performance, but also regular alterations, taking great care. Dresser's tip: to refresh a garment, mix one part vodka with three parts water and spray the fabric. Once dry, it will smell fresh.

The Misanthrope

by Molière Director: Alain Françon © Photography Michel Corbou

While the vast majority of theatres have a monumental entrance, adorned with a balcony, columns and sculptures, the Jeu de Paume stands out for the great discretion of its façade, which gives no hint of the charms and riches hidden inside.

[Going down under the stage](https://my.matterport.com/show/?m=1p7ziYWj1Xw&sr=-.03,-.94&ss=470)

There is often a clause in artists' contracts asking them not to take the lift, to avoid getting stuck in it if it breaks down.

VIRTUAL TOUR 3D

Welcome to the virtual tour of the Théâtre du Jeu de Paume, created by Provence 3D.Discover the Theatre in all its nooks and crannies: visit the stage, the technical walkways, the grill, the artists' foyer, the dressing rooms or even the underside of the stage and all those places usually closed to the public.You can even take a close look at the elliptical dome and the painting of the musical genius, thanks to the gigapixel photos directly available in the menu on the right.Curious visitors who want to learn more about the architecture or the life of the theatre can click on the hundred or so tooltips along the way.

PROSCENIUM

The size of the stage can be increased by installing a proscenium, which condemns the first two rows of seats in the parterre.

DESCENT OF THE CHANDELIER

© Photography Héloïse Schneider -Dautrey

Arlequin, polished by love

by Marivaux Director: Thomas Jolly © Photography Nicolas Joubard

Walkways on the garden side: This side is narrower because of the boom control systems, also known as "counterweight chimneys".

THE PARTERRE

Also called the Orchestra in some theatres. The Parterre had no seats and a dirt floor. Reserved for the poorer classes who attended the show standing up.

Amphitryon

by Molière Director: Stéphanie Tesson © Photography Pascal Gély

[Exit from the lodge](https://my.matterport.com/show/?m=1p7ziYWj1Xw&sr=-.27,-1.26&ss=226)

UNDERSIDE OF THE STAGE

The underside of the stage is the space below the surface of the stage floor, which is necessary to manoeuvre the scenery. All the boards of the stage are removable, which allows actors or set elements to appear quickly from the underside of the stage. At the Théâtre du Jeu de Paume, the undersides are also used to store technical elements (or to take a nap in the quiet during break times!)

THE STAGE CURTAIN

In place of the classic red curtain, the Théâtre du Jeu de Paume has installed a proscenium curtain painted by the artist Gérard Traquandi. This monumental work of art, measuring 7 by 10 metres, is an invitation to travel for all spectators while waiting for the performance.There is a second curtain, called the iron curtain, which separates the stage from the auditorium, to prevent the spread of any potential fire.

SALT BOX

The Salt Box is the box office where tickets are issued before the show. In the days of the corsets, salt was kept here to revive indisposed women. It is also the place where the doctor on duty left his briefcase.

GRILL

The ceiling of the stage is made up of a wire mesh where all the pulleys and cables that support the poles are positioned.

The hall of the Jeu de Paume Theater

© Photography Camille Moirenc

Edmond

Written and directed by Alexis Michalik © Photography by Alejandro Guerrero

You can take a closer look at the dome by clicking on the "gigapixel photographs" tab in the menu!

[Return to the room](https://my.matterport.com/show/?m=1p7ziYWj1Xw&sr=1.67,-1.56&ss=406)

The Jeu de Paume is a theatre with 493 seats: 228 in the parterre, 116 in the corbeille, 86 in the balcony and 63 in the paradise.

CAMERA

This camera is essential. It films what is happening on stage live. The image is transmitted to the actors' lounge so that the artists can see where the show is at and when they should return to the stage.

The occupation

by Annie Ernaux Directed by Pierre Pradinas © Photography by Marion Stalens

Walkways on the courtyard side: On this side all the projectors are connected.

OPHELIO LODGE

© Photography Bertrand Bonnaud / Provence 3D

WELCOME BOOKLET

This booklet is distributed to the artists to welcome them. Some companies play several days in a row at the theatre and need to know the area quickly to fill their time between rehearsals and performances.

PERCHE

A metal tube used to hang scenery, canvases, friezes, pendulums, spotlights, etc. The poles are called "counterbalanced" because they are connected to a counterweight system. They can be operated manually or electrically. Manual poles can support up to 200kg. All the poles are part of the hanger machinery.

The end of the red man

by Svetlana Alexievitch Director: Emmanuel Meirieu © Photography Nicolas Martinez

BUBBLES BAR

On performance evenings, the audience can buy refreshments here. There are various drinks on offer and champagne, of course!

THE SCENIC DIMENSIONS

- Height under grill: 14m - Stage frame: 8m wide x 7m high - Stage: 11m deep x 12m wide

[Climbing the gangways](https://my.matterport.com/show/?m=1p7ziYWj1Xw&sr=.01,-.9&ss=518)

The gold and straw

by Pierre Barillet and Jean-Pierre Grédy Director: Jeanne Herry © Photography Raphaël Arnaud

RED

There are 7 different reds in the room, ranging from orange to garnet.  Can you spot them all?

The theatre of the Jeu de Paume

© Photography by Camille Moirenc

The Marriage of Figaro

by Beaumarchais Director: Agnès Régolo © Photographie Raphaël Arnaud

WIRE BOTTLE

In the past, in order to fight fires, it was customary to hang buckets of water over the stage with ropes in case an accident occurred. Saying the word 'rope' at an inappropriate time would result in a disastrous flood, hence the superstitious ban on saying the word on stage.This forbidden word is called "the fatal". It condemns the person who uttered it to offer an aperitif to all those who heard it! However, as the scenery was handled by a system of ropes borrowed from sailors, the word "guinde" is now used.

STANDARD

- Entrance for teams and artists - Access to the theatre is via two different streets that are not on the same level. Here you have the impression of being on the ground floor but you are actually on the first floor!

STAGE MANAGEMENT BOX

This is the key area for the smooth running of any performance. It is here that the sound and light engineers set up during the show and ensure that the sound effects and lighting effects they send on stage are properly coordinated, thanks to the notes they make during rehearsals on a document called a "conduct". They are in contact with a third stage manager, the stage manager, who is backstage. He or she is responsible for the stage and the sets

LIGHTING

Until the beginning of the 19th century, all theatres were lit from beginning to end by multiple girandoles and chandeliers equipped with candles. It was not until the advent of gas lighting around 1820 and the flexibility of its regulation that the halls were plunged into almost total darkness, highlighting much more elaborate, graduated and coloured stage lighting. Complete darkness could only be achieved with electricity, allowing the audience's full attention to be focused on the stage and the work.For the record, the duration of an act at the time was about twenty minutes, the life of a candle.

[Return to the stage](https://my.matterport.com/show/?m=1p7ziYWj1Xw&sr=3.11,-.01&ss=411)

THE GENIUS OF MUSIC

Painting by Louis Gautier, installed in 1888 along with the rest of the ceiling.You can take a closer look at the painting by clicking on the "gigapixel photographs" tab in the menu!

PENDRILLON

Black velvet curtain hung on either side of the stage to hide the backstage area or frame the set.

Zoom

by Gilles Granouillet Director: Marie Provence © Photographie Raphaël Arnaud

Loudspeaker: Sound feedback of what is happening on stage. There is a video feedback in the artists' foyer.

BATHTUB

These boxes, straddling the stage and the audience, are called bathtubs because of their protruding, rounded shape.

BALCONY BOXES

Balcony and basket boxes. Occupied in the past by the wealthy, the boxes were generally rented out on a yearly basis.In those days, spectators came to spend the day in the theatre, ate there and were very noisy: the opposite of today's codes. The boxes were equipped with shutters that the spectators could close when they wanted a little more privacy.

The Child Hidden in the Inkwell

Written and directed by Joël Jouanneau © Photography Raphaël Arnaud

MAYOR'S LODGE

More decorated than the others, the two boxes at the front of the stage with the basket were by custom, in all the Italian-style halls, reserved for the king and queen, as these are the boxes where one can be seen by all. This box was reserved for the queen. Now it is the Mayor's box.[Click here](https://my.matterport.com/show/?m=1p7ziYWj1Xw&sr=-3.12,-.18&ss=121) to enter the lodge!

AT THE GRAND JEU DE PAUME ROYAL, 1660

The game of paume is a very old sport, which consists of exchanging a leather ball over a net. It is the ancestor of tennis, which is played with a glove and was reserved for the nobility. It is said to have been a Royal Jeu de Paume because Louis XIV himself came to play there in 1660. At first it was a simple gymnasium.In the 17th century, the travelling theatre groups became increasingly successful, performing outdoors. As there was no theatre built in Aix, and to avoid the risks associated with bad weather and to gain in acoustic quality, the troupes began to use the Jeu de Paume. For many years, they alternated palm games and farces here.

THE TOP OF THE DOME

It is from this small room that the chandelier is lowered (by crank!) to change and dust the 24 lamps. A technician at the top with the crank, another one who follows the wire and one at the bottom who controls the descent.© Photograph by Héloïse Schneider-Dautrey

The Sorbonne is the name that was given in the past to the painters' workshop and to the workshops for the creation of sets. Today it is used to store technical equipment (projectors, set elements, etc.). It is directly connected to the stage thanks to the freight lift, also known as the set basket, which allows the technicians to bring down to the stage the elements necessary for the show and to store those that will not be used.

COURT SIDE

The room is divided in two by the centre with the even-numbered seats in the garden on one side and the odd-numbered seats in the courtyard on the other. Cour and Jardin are terms used in the theatre to allow the director and actors to know clearly which part of the stage they are talking about, regardless of where they are located. These words come from a habit developed at the Comédie-Française: at the time when the troupe performed in the Salle des Machines in the Tuileries Gardens, the room actually faced the courtyard of the building on one side and the garden on the other.

CINTERS

The upper part of the stage, not visible to the audience, consisting of poles, wires and catwalks from which the scenery disappears or appears.

[Exit the control room](https://my.matterport.com/show/?m=1p7ziYWj1Xw&sr=-.03,-.2&ss=246)

Welcome to the Jeu de Paume theatre!

We are here on the site of a royal Jeu de Paume, the first stone of which was laid in 1640.In 1757, the Marquis de la Barben, consul of the city of Aix-en-Provence and an architecture enthusiast, decided to turn it into a theatre and embarked on monumental works. However, he ran out of money to finish the work and had to abandon some of his projects: a façade with a balcony and the creation of a square in front of the building.

FLOWERS

In the 19th century, actors signed one-off contracts, sometimes renewed daily or weekly. Managers waited until the end of the performance to tell the performers whether or not they were going to keep them, by giving them flowers. Dismissal was expressed in carnations, the cheapest flower bouquet of the time. Conversely, a more expensive bouquet of roses was placed in the dressing rooms of actresses whose contracts were renewed.

PASSERELS

Stagehands need to walk along the side walls of the stage house to operate certain effects and check that all the poles are working.

- 1757: The Marquis de la Barben begins work on the theatre, which leaves it unadorned inside and out due to a lack of money. - 1886: The City, owner of the theatre, takes over the work and adds the decorations imagined by the Marquis, notably on the boxes, the stage frame and the elliptical dome of the ceiling.

The most precious of goods

by Jean-Claude Grumberg Director: Charles Tordjman © Photography Antoine de Saint-Phalle

FRISES

Black velvet curtain, like a pendrillon, but horizontally to hide the set, the hangers and the poles.

Sound and video feedback to follow the performance from the foyer.

HIDDEN OBJECTS GAME

[Click here](https://media.joomeo.com/large/60c213187357b.jpg) to find out more about the objects!

THE BAR

Located on the first floor, it is accessible before the performance. The bar is used for corporate functions, opening night parties and workshops. Spectators can also have a drink at the bubble bar in the theatre lobby.

BASKET WITH DECORATION

This lift allows the set elements to be moved from the fume cupboard, a storage room, to the stage.

[Enter the control room](https://my.matterport.com/show/?m=1p7ziYWj1Xw&sr=-1.89,1.49&ss=231)

The first floor is called the basket. This is where the wealthier classes lived. The name "Corbeille" is due to the large necklines of the ladies of the time, which looked like fruit baskets when viewed from the upper floor.

Duck with orange

by William Douglas-Home Director: Nicolas Briançon © Photography Jean-Claude Hermaize

CONTROL WIRES

Wires connected to the poles that work as counterweights.

ARTISTS' HOME

The foyer is a friendly and comfortable place where artists can relax before, after and during the performance.

THE COUPOLE

For a long time, the discharges from oil lamps and gas lighting and the smoke from cigars and pipes hid the decorations of the elliptical dome. During the renovation of the theatre in 1998, in order to gain access to the smallest nooks and crannies, the workers simply used toothbrushes and cotton swabs to clean the dome.

THE SCENE

To access the scene, [click here](https://my.matterport.com/show/?m=1p7ziYWj1Xw&sr=3.13,-.01&ss=411)

BREAD

A cast iron load used as a counterweight. The bread has a slot and a recess for nesting on the carriage, which is used to counterbalance a pole.

Let yourself be transported by the self-guided virtual tour by clicking on the play button ► at the bottom left.

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