Recognising theatre's usefulness in nation-building and identity formation, most European countries maintain a national theatre. France is unusual in having been the first European country to acquire a national theatre, and in having a plurality of national theatres. Although the Comédie-Française (est. 1680) is still regarded by many French people (not to mention foreigners) as the site of France's theatrical nationhood, it is currently one of five - or possibly seven - French national theatres. Each of them occupies a niche fashioned by the interaction of history, political agendas, and the artistic agendas of their directors. The paper examines the proliferation and re-configuration of France's national theatres since 1968, and the changing national priorities that they reflect.

David Whitton

Professor of French Theatre (DELC).

Research interests include theatre practices (especially theory and practice of directing), theatre cultures and theatre history. Publications include Stage directors in modern French, critical studies of plays by Molière, and a comparative study of Don Juan in performance. He has also published comparative and trans-cultural production studies of Chekhov, Ionesco and British Asian performance culture. He is currently co-authoring the Cambridge History of Theatre in France.