Harold David, Director of Avignon Off, at SIPAM

From managing literary programs in Paris to leading stages in provincial France, Harold David has always lived at the crossroads of words and performance. After years at the Maison des Écrivains et de la Littérature and directing the Théâtre de Die, he turned to Avignon, where he co-ran permanent theatres and championed independent productions. Today, as Co-Chairman of AF&C, the organization behind the Festival Off d’Avignon, and a jury member at the Sibiu International Performing Arts Market (SIPAM), Harold David is shaping the future of festivals in an era of both promise and uncertainty.

You’ve built connections with colleagues all over the world, many of whom have become friends. What does this sense of global community mean to you, especially in the current context?

Harold David: We meet each other in different parts of the world at festivals like this one, and it’s become clear to me that we are part of a human community concerned about where the world is heading. Everyone faces difficulties, economic and social, and particularly now, in these chaotic times, it’s crucial to be connected through shared values and ideas. Festivals offer audiences and professionals alike a special experience. When an art form is dedicated to connecting people and places, it becomes the start of intercultural dialogue.

You mentioned financial concerns. Is funding a significant problem for festivals today?

Harold David: Definitely. And it’s not only for festivals. For example, in France, there’s less and less money for festivals and culture overall. We’re just one part of a larger ecosystem that’s affected.

Harold David: In France, we have a specific situation. We still have a cultural funding model that’s quite exceptional. Historically, the state, regions, cities, and local communities invested heavily in culture. France also has a unique system that supports artists financially during periods when they’re not working on stage. This model still exists but is increasingly under attack because there’s less money everywhere, and the state can’t support culture as much as before.

For the first time, some regions and local departments have completely stopped funding culture. That never happened before. Right now, our biggest challenge isn’t so much financing festival operations but finding ways to help shows tour. Festival venues have less money to buy shows, even though the number of productions keeps growing each year.

That sounds paradoxical. More shows, but less touring?

Harold David: Exactly. Take the Festival of Avignon Off, for example. This year, we have 1,781 shows over three weeks, 100 more than last year. Each year, the numbers rise. It might seem like a sign of good health, but it’s actually the opposite. It shows that so many productions are desperate to tour and come to Avignon hoping to meet buyers and programmers. In reality, only a few of those 1,700-plus shows will secure enough tour dates to recoup their investment in participating.

In France, a company always has to plan for two or three future productions while presenting their current one. If artists can’t project two years or more into the future, it becomes a big problem for sustainable development.

Beyond economics, do you see cultural funding as a political issue?

Harold David: Absolutely. Supporting culture is ultimately a political choice, not merely an economic one. Unfortunately, culture is often among the first budgets cut when money is tight. It’s seen as non-essential, but history shows us that a world without culture quickly descends into chaos, war, and misunderstanding between nations and communities. Civilization and the human spirit diminish without culture.

As professionals, we’re all fighting against this possible “end of the world.” We’re like little soldiers, defending what we can, staying connected, and remembering where we come from and where we want to go, even when the winds blow strongly against us.

Let’s talk about the audience at Avignon Off. How many international visitors attend?

Harold David: Most of our audience is still French. I oversee international development, and we’re working to change the festival’s image. Historically, Avignon was a French-language theatre festival, and many foreign audiences don’t yet realize there are about 100 shows accessible without knowing French. We’ve been working for three years to transform Avignon Off into an international festival.

That said, change takes time. We sell between 1.2 and 1.5 million tickets each year, which shows the scale of the festival.

How about younger artists? Do they have opportunities at Avignon Off?

Harold David: Yes, absolutely. Avignon Off is an open-access festival. Even if nobody knows you, and you’ve never presented your show anywhere, you can come and perform. Of course, there’s a cost to participate, but there’s no central artistic selection committee.

Many young artists and companies come straight out of art schools or universities, and Avignon becomes their first professional experience. For the past three years, I’ve developed a special program to help students from all over the world participate. This year, we’re working with Sibiu University, and some Romanian students will be joining us.

Looking ahead, what do you see as the biggest challenge for the festival industry in the next five years?

Harold David: Survival. In France, we’re undergoing a deep shift in how the cultural model functions. Not all festivals will survive this transition. Some simply won’t be able to adapt, either because they lack capacity or because their operating models are incompatible with new ways of working and producing.

Interestingly, we don’t have a problem attracting audiences, quite the opposite. Since COVID, audiences are eager to return. Our problem lies in producing festivals amid rising costs, for salaries, energy, equipment, everything. The financial balance has shifted, forcing us to cut back on artistic projects to cover operational expenses.

Are international festivals facing other challenges beyond financial ones?

Harold David: Yes, geopolitics has become a significant obstacle. For example, we recently saw a company from Israel face problems due to the geopolitical situation. It’s becoming harder to move shows across continents or even to present certain topics in places like the United States. Programmers face growing political pressure over which shows they can present.

At Avignon Off, we’re independent, so we can program what we want. But for many venues linked to cities or public authorities, censorship, or at least significant pressure, is increasing.

Another massive challenge is ecological responsibility. We haven’t yet found a solution to the carbon footprint of international touring. We want to maintain international dialogue and collaboration, but meeting face-to-face often requires flying, which contributes to climate change.

Are you experimenting with any solutions?

Harold David: Yes. At Avignon, we’ve started initiatives to reduce our carbon footprint. For example, for the past two years, we’ve developed a system to transport production materials by train rather than trucks. It significantly reduces emissions. Out of 1,400 companies, 100 are already participating. Our goal is for half the companies to use this system within five years.

Still, there’s no perfect solution. If I want to see shows in Australia, I can’t go by boat or train, I have to fly. So the best we can do right now is try to offset our emissions and look for smarter ways of working.

How was your experience as a jury member at the pitch project here at SIPAM?

Harold David: It’s always a great experience. I did it last year and loved it. You discover shows you’d never have heard about otherwise. Reviewing selections and deciding which projects to support for pitching is incredibly interesting.

Is there something specific you look for from companies pitching their projects?

Harold David: I was surprised that some companies still want to tour with very large casts. Given the economic situation, we kept asking ourselves: Who can afford to buy these big shows now? Touring with large ensembles is increasingly unfeasible financially, and only a few venues can host them.

I also heard from one presenter whose show plays regularly in Timișoara, inviting people to come see it there instead of touring. But from an ecological point of view, having audiences travel might not be better than touring the show itself. So there’s no easy answer.

Finally, the theme of FITS this year is “Thank You.” Who or what are you most thankful for?

Harold David: I’m thankful for life itself. Of course, I could mention my parents, without them, I wouldn’t be here. But overall, I’m grateful simply to be alive and to have the opportunity to live. I don’t have idols or iconic figures who give meaning to my life, and I don’t believe in God, so I wouldn’t say I’m thankful to a higher power. Even though being human is sometimes a tough job, it’s still an interesting one.