SUPPORT US PROGRAMMING TO BOOK PRACTICAL INFORMATION MENU HISTORICAL THE ROND-POINT IN A FEW DATES 1838 - 1894 THE PANORAMA The concept of panorama germinated in 1789 in the head of the Irish miniaturist painter Robert Barker. Legend has it that when he was imprisoned for debt, he noticed the singular effect of the light falling vertically on the walls of his dungeon. He then imagines a rotunda where canvases stretched along the walls would be lit by a glass roof. In the center, a platform would welcome visitors who would thus have the illusion of being at the heart of a vast landscape. There is a less romantic version of this invention. The painter would have tried several times to stretch paintings of large dimensions without being able to remedy the problems linked to the installation and the lighting of these canvases. Finally in 1792, he succeeded in exhibiting a first, immense painting with a 360-degree view of London: a painting "without limits". Sir Josua Reynolds even interrupts his breakfast to go and contemplate this wonder. The panorama (from the Greek pan - all - and horama - the sight -) was born. Its first rotunda, built in London, was an immediate success. Seven years later, two rotundas were erected on Boulevard Montmartre, followed in 1807 by that of the Capucines. Napoleon I ordered, for the propaganda of the empire, the construction of eight rotundas in order to display the panoramas of his great battles. The events of 1812 interrupt this project and it was not until 1838 that the architect J.-J. Hittorf was commissioned by Louis-Philippe to create a rotunda at the intersection of the Champs-Elysées and the avenue d'Antin. (av. Franklin D. Roosevelt). Inaugurated in 1839 with Les Incendies de Moscow followed by The Battle of Eylau and The Battle of the Pyramids, the Hittorf rotunda was destroyed during the Universal Exhibition of 1855 to make way for the Panorama National, built by Davioud, who today houses the Rond-Point. The Capture of Sébastopol and The Battle of Solferino will be exhibited there. 1894 - 1980 THE ICE PALACE In 1894, with panoramas tending to go out of fashion, the Rotunda of the National Panorama became the Ice Palace. In fact, all over Europe, in Brussels, Vienna, London, the growing popularity of ice rinks is forcing cities to build new buildings. People come to dance on the ice, meet their friends over a chocolate, listen to music. The Panorama lends itself to this reconversion. Its rotunda is hollowed out, a café, a promenade and a stage for the orchestra are installed around the 850 square meter track. During the Belle Époque, the Palais des Glaces was one of the most fashionable monuments in Paris and spends the 20th century at the cost of a few improvements. But at the dawn of the 1980s, the fashion for skating rinks was also losing steam. The monument, however, continues its journey through time. 1981 - 1991 LA COMPAGNIE RENAUD-BARRAULT Since its creation in 1948, the Renaud-Barrault company has occupied seven Parisian theaters including the Marigny Theater, the Odéon, the Sarah-Bernhardt Theater and the former Orsay station converted into a theater. The project to install a 19th century museum in Orsay requires a final move that brings it back to 200 meters from its first theater, Le Marigny. The Renaud-Barrault Company therefore transported its theater to the other bank of the Seine, with its wooden marquee, its large hall with 900 seats and its small hall with 180 seats. The Rotunda is completely emptied and redeveloped by architects Biro and Fernier. The Théâtre du Rond-Point opened its doors in March 1981 with a show by Jean-Louis Barrault, L'amour de l'Amour , based on texts by Apuleius, La Fontaine, From 1981 to 1991 the Théâtre du Rond-Point will focus on presenting contemporary works (Marguerite Duras, Nathalie Sarraute, Samuel Beckett, Yukio Mishima ...) as well as traditional shows from the Far East (Ramayana from Thailand, Javanese opera, Tibetan music and dances ...). 1991 - 1994 THE HOUSE OF WORLD CULTURES In 1991 the Ministry of Culture entrusted the Rond-Point to an association chaired by Robert Abirached, appointed Chérif Khaznadar as director of the theater on January 1, 1992 and had renovation and development work carried out. The architect Jean-Michel Wilmotte designs a project which, while respecting the initial architecture and the spirit of the theater created by Jean-Louis Barrault and Madeleine Renaud, has two objectives: to open the space to the outside and to put the 'emphasis on its multidisciplinary dimension while preserving the main lines of the building. The program includes the fitting out of a vast entrance hall and that of an exhibition hall visible from the street, the creation of a bookstore and the new layout of the restaurant. The Rond-Point / Théâtre Renaud-Barrault then hosted the Experimental Academy of Theaters, directed by Michelle Kokosowski and hosted part of the programming of the Maison des Cultures du Monde and the Festival d'Automne in Paris. 1995 - 2000 THE COMPANY MARCEL MARÉCHAL On January 1, 1995, Marcel Maréchal took charge of the Théâtre du Rond-Point. Under his leadership, the large room was completely remodeled and redecorated by Bernard Guillaumot and Alain Batifoulier. It took the name of Salle Renaud-Barrault and now has 760 seats. The small room becomes Salle Jean Vauthier, the exhibition room Galerie Audiberti. Marcel Maréchal's artistic project: to make the theater of our time heard in this prestigious place. This is how the first season opens with Paul Claudel's Trilogy ( L'Otage , Le Pain dur , Le Père humilié ) and continues with Quoat-Quoat by Jacques Audiberti. In 96-97, seven shows were presented, among whichWaiting for Godot by Samuel Beckett and the creation of Jacques Prévert's masterpiece: Les enfants du paradis . And, in 98, Dreaming maybe , by Jean-Claude Grumberg, in a production by Jean-Michel Ribes. 2000 - 2001 INTERIM OF PHILIPPE BUQUET After the departure of Marcel Maréchal, the provisional management of the Rond-Point was entrusted to Philippe Buquet pending new management. 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