By inventing concept-révolutionnaire-of Sanatoria of Bligny in the first days of the XXth century, the founders-sponsors and the scholars-doctors at the origin of its glorious history(story) implemented what the historians of medicine will hold(retain) under the name of "Méthode Bligny".
So, against what was then practised, he(it) was considered that to take into account the psyche and the morale of the sick of tuberculosis was also important as to try to treat their body, in a time(period) when disease was not cured.
The doctors of Bligny included into the therapeutic process of time(period) the whole compulsory series of activities cultural and artistic afin d’ ʺentretenir an optimistic and joyful spirit ʺ: of theatre, singing(song), painting(paint), photography, dance and music, and all kinds of cultural and play activities.
Results(Profits) d’ a medical point of view did not fail to be felt and the old beards of the academy(regional education authority) quickly ceased laughing and.
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Between both wars, «method Bligny(course book Bligny)» in summer adopted(accepted) by almost all of the sanatoria of France, transforming radically life and future of the long-term residents of sanatoria, whatever their social status is. It is Bligny still that invented concept of «project of outing(exit)» while traditionally they have never gone out of a sanatorium, if it is not the owing feet.
So, from the opening of the sanatoria of Bligny, with encouragement and financing of direction(management), the residents (they were not called ʺpatients ʺ) got down to fabricate shows of all kinds, in complete autarky.
They made everything: suits(costumes), decorations(sets), direction(fabrication) (they spoke rather about ʺrégie ʺ in time(period)); they trained(formed) teams, were distributed functions(offices) - artistic and technical - repeated, learnt, played the comedy, sang, played music, drew posters and printed notebooks, and several periods in year were devoted to big(great) parties(holidays) where our artists occurred in the rooms of shows of Bligny, in front of their public of tubercular, during concerts, during operettas, during plays, during ballets, or even during operas of very good behaviour.
It was the heroic period which lasted up to the construction of the theatre of Bligny in 1934.
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The second period which lasted of Wednesday, September 19th, 1934, day the unveiling till the end of the Second World War can be qualified as ’"apotheosis" ʺ.
Indeed, the famous doctor Louis Guinard, first doctor-director of the Œuvres of the Popular Sanatoria of Paris on the hill of Bligny had managed to persuade the sponsors that had come the time(weather) to put at the disposal of the artists-residents of the average professionals to give more strength to the medical ʺrédemption ʺ which lived the sick of tuberculosis across their artistic activities.
There still Bligny was precursory and it changed completely the situation.
Shows took a holding(dress) that it will be never possible to tax amateurism again. The exceptional technical ways(means) which the artists of Bligny had, gave to their productions a never equalled scale and the sponsors - skilfully sensitized by Bligny-wanted to make their contribution, multiplying ways(means) the made available by the creation of rooms(parts,plays) of theatres, of recitals of singings(songs) and other operettas.
So, the builder(manufacturer) of pianos Pleyel offered in 1930 a Big(Great) piano - Concert worth 6000 francs in the Sanatoria of Bligny - a considerable(significant) sum in time(period). The instruments of the orchestra(band) (today every missing persons) were offered by the factors(mailmen) of the most famous instruments, while the companies of records(disks) gave regularly their last publishing(editions) to sanatoria and while the discotheque(record collection) of the Theatre of Bligny contained hundreds of titles(securities) (some were found during historic researches(searches) bound(connected) to the celebration of 80 years of theatre in 2014), not to mention the film archive(theatre).
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At the end of the Second World War, the residents and the staff of the sanatoria of Bligny made build and offered to the director of time(period) Urbain Guinard (the son of big(great) Louis) a precise reproduction of theatre such as he was in 1945.
This model is kept(preserved) in one of the passageways of theatre in its glass piece of furniture of time(period).
This anecdote allows to become aware well of importance that the Theatre of Bligny for these people dressed(took on), and how much this factory with show had served in the salutary impact strength of these expanding(carrier) people of an incurable disease.
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After the Second World War, the remedial treatments(processings) of disease - that they have waited for centuries - finally arrived and the Sanatoria of Bligny could open on the outside(exterior).
He(It) is that the famous professor Georges Canetti of the Institute Pasteur (the co-inventor of the remedial trithérapies of tuberculosis) had a called brother Jacques. Jacques Canetti was the director of Three Baudets in Pigalle in the fifties.
It was also the brilliant producer who knew how to find(take out of the nest) young become mythical artists as Jacques Brel, George Brassens or Juliet Gréco, to speak only about those. Jean-Louis Barrault, Bourvil, Christmas-Christmas, Jacques Brel, Maurice Bacquet, Jean Nohain, Fernandel, Georges Brassens, Louis de Funès, Jean Poiret, Michel Serrault, Pierre Dac. But also Jean Amadou, Pierre-Jean Vaillard, Raymond Soupleix, Jean Breton, Anne - Marie Carrière... They all came to Bligny in their early stages.
Their producer had cleverly managed to make them include that« if Bligny laughs, Paris will laugh. If Bligny likes(loves), Paris would like(love)». And they just did not come by philanthropy to distract(entertain) sick. No, they came with their authors and their team to test their device(plan) before confronting the fangs(hooks) of Paris: validate their artistic choices(selections), try their stage tricks(clevernesses), prove laughter; sometimes correct their texts or the order of their songs; grind their sketches, reinforce the cohesion of their orchestra(band).
There still, Bligny played its historic role of factory of shows.
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And then the sick of tuberculosis recovered from now on and sanatoria became depopulated for the first time in France for more than one thousand five hundred years. Bligny began(affected) the slow transformation(processing) in non-specialised hospital, and in 1971, the Theatre of Bligny closed film show after ultimate one.
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Become clearance where stacked up in bulk all rebus of the hospital, he(it) sank into oversight(forgetting), leaving the foam covered facade to raise itself(draw itself up) as a silent blames at the heart of the new Health centre of Bligny.
The alert thrown(launched) by a local elected representative, then the ambition of the presidency(chair) of the Association of the Health centre of Bligny, and the financial support of the partner municipalities, the department will be needed, the region and of the state so that finally, after two working years pulling(entailing) a complete rehabilitation of the inside of the building(ship), the theatre of Bligny opens again its doors in September, 2004.
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In 2004, the presidency(chair) of the Association of the Health centre of Bligny allowed the foundation of the Association of the Theatre of Bligny which is from now on the developer of theatre, and the strategical choice (and history) made to confide(entrust) the direction(management) of the theatre of Bligny to an artist rather than to an administrator.
It was first François Chaffin in 2004, playwright and movie director with the Company of the Liar; then Nicolas Hocquenghem since 2009: actor and movie director with the Theatre company of the City(Estate).
This choice(selection) allowed the continuity of the glorious history(story) of the theatre of Bligny as factory of shows, in spite of the reduction of ways(means). Indeed, these creators are not only going to produce their own creations.
They welcomed artists in residence, who created their shows there for theatre, dance and the music, reinventing an art to make, installing(settling) the best possible conditions in order to allows to the artists to create with complete freedom; perpetuating so the tradition instituted on the hill of Bligny at the very beginning by the XXth century.
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And now?
[STOP_TRANSLATION]La confirmation et le soutien des l’institutions locales, départementales, régionales et nationales à la perpétuation de cet élan historique permet au théâtre de Bligny -exception culturelle en Essonne rurale- de confirmer sa vocation de lieu de résidence d’artistes en création, pour le théâtre, la danse, la musique, le cirque et les toutes formes novatrices de spectacles multimédias ; de renforcer ses moyens et la qualité de son soutien aux artistes, sans perdre sa vocation seconde de diffusion pour le public des patients de l’hôpital et des habitants des villages de la campagne avoisinante.
L’élan généreux qui a permis de récolter 11057€ entre décembre 2015 et mars 2016 à l’occasion d’une opération de financement participatif de rénovation de la cage de scène sur la plateforme de crowdfunding Ulule.FR montre bien l’attachement du public à "son" théâtre.
En continuité d’une aventure artistique et culturelle de fabrication et de diffusion de spectacle de plus de 115 ans.