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After Jean Vilar and Bertolt Brecht, after the phase of decentralisation which began in France with the reunifying enthusiasm of the post-war period, in particular in the theatre, the question now to be asked is whether we still wish to defend a conception of art whereby we regard it as one of the most powerful instruments of transformation our civilisation has at its disposal, and not as a type of activity cut off from our actual existence, belonging to a special field which is the prerogative of connaisseurs, and which is carried out within the framework of a market.