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The development of cultural projects issued by city policy leads executives of subsidised cultural institutions and artists to take charge of the concepts linking artistic creation with social dimension. In live performances more particularly, projects are carried out to meet the demands of the politics toward stage directors and cultural executives to contribute to “the reinforcement of social cohesion” as counterpart to subsidies, thus inducing a definite downward curve in the axes of the cultural democratisation policy defended so far. But artists and cultural executives hijack these projects to suit their own thought process and bring them back from the social or political sphere to the artistic sphere. The achievement of these projects does not, therefore, reflect a convergence of points of view but rather the respective vested interests of politicians and artists, each having afterwards very different ways of legitimating.