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The Bussang Theatre as a performance event or system has inspired many theatre historians but not from the point of view of a cultural history of theatre technique. The reconstitution of the origins of this cultural high spot enables the roles of the spectator and technical objects, including the body, to be included in the theatrical description of an event. It adds, in general, to a better understanding of the use of history as a means of an event’s cultural qualification. In a context of the decentralization and development of a local culture market, it attests to the interest of a sociological-anthropology of performance to understand better the stakes of certain contemporary cultural choices.