The 80th edition of the Festival d’Avignon has officially etched its name in history, driven by an exceptional artistic lineup and a vibrant cross-cultural dialogue. Among its defining elements this year, the Korean presence commanded international attention. Far from an isolated appearance, it brought together a dynamic collective of Korean artists—featuring actress Lee Hye-young in a reading of Han Kang's profound text, Jaha Koo presenting his acclaimed trilogy, Kyoung-sung Lee exploring Jeju's historical echoes, and creators like Lee Jin-yeop and choreographer Heo Seong-im masterfully bridging tradition and modernity.
This milestone gathering highlights the deepening cultural ties between France and Korea. Attracting curious, open-minded audiences and sparking intense interest among industry professionals, the Korean performances firmly asserted their place within the European cultural landscape. This overarching vision reflects the philosophy of Festival Director Tiago Rodrigues, who champions international openness, artistic diversity, and the free circulation of ideas.
To explore this vision and the profound impact of cultural diplomacy, an exclusive interview was conducted via videoconference with Tiago Rodrigues on July 31, 2026.
Jason Edwards: How would you define the vision of the Festival d’Avignon 2026 and what you wished to convey to the public this year?
Tiago Rodrigues: “The 2026 Festival d’Avignon marked its 80th edition, and this year, the objective was to reinforce essential dimensions that have always defined the festival's history, as well as its present. We wanted to offer programming that reflects the immense diversity of aesthetics in the performing arts—both in France and across the globe—and demonstrate artists' capacity to raise questions that fascinate, inspire, or sometimes unsettle us. One of the major themes of this edition was precisely questioning: how art provides us with spaces to debate the world.
Another fundamental pillar was the invited language, which highlights the importance of languages in cultural exchanges, in the life of societies, and throughout the festival's history. Each year, a different language is honored to affirm the festival's international vision. In 2026, we invited the Korean language to spotlight the diversity and quality of Korean performing arts, which stand out for their ability to speak about the recent history of the Republic of Korea while harmoniously connecting tradition and innovation. This marriage between tradition and modernity is deeply present in Korean theater and dance, and it left a profound mark on this edition.”
Another fundamental pillar was the invited language, which highlights the importance of languages in cultural exchanges, in the life of societies, and throughout the festival's history. Each year, a different language is honored to affirm the festival's international vision. In 2026, we invited the Korean language to spotlight the diversity and quality of Korean performing arts, which stand out for their ability to speak about the recent history of the Republic of Korea while harmoniously connecting tradition and innovation. This marriage between tradition and modernity is deeply present in Korean theater and dance, and it left a profound mark on this edition.”
What were the major artistic directions you wished to highlight in this edition?
Tiago Rodrigues: “Theater traditionally remains at the heart of the Festival d’Avignon, and we wanted to present a snapshot of the global theatrical scene. This involved productions that stage or adapt major classical texts—such as those by Eugene O’Neill or Henrik Ibsen—as well as theater with a strong connection to contemporary writing, featuring today's playwrights, current texts, or novel adaptations.
We also presented a more visual theater where text is not central, but where themes dominate, notably through a strong presence of documentary theater. Korean artists played an essential role in this dimension, with Jaha Koo's three productions and Kyoung-sung Lee's work, which showcased the power of documentary theater in the Republic of Korea.
Lee Jaram also presented an adaptation of Tolstoy through the aesthetic of pansori, perfectly illustrating this dialogue between tradition and innovation. Dance also held an important place, particularly with Silence, a collaboration between musician Lucian Tunes and choreographer Mathilde Monnier, which marked the opening of the festival.
Finally, we opened the festival further to circus arts, a discipline that hasn't always had much room in Avignon. This year, two circus shows were programmed, including one in the Cour d'Honneur of the Palais des Papes—a first in 80 editions.”
We also presented a more visual theater where text is not central, but where themes dominate, notably through a strong presence of documentary theater. Korean artists played an essential role in this dimension, with Jaha Koo's three productions and Kyoung-sung Lee's work, which showcased the power of documentary theater in the Republic of Korea.
Lee Jaram also presented an adaptation of Tolstoy through the aesthetic of pansori, perfectly illustrating this dialogue between tradition and innovation. Dance also held an important place, particularly with Silence, a collaboration between musician Lucian Tunes and choreographer Mathilde Monnier, which marked the opening of the festival.
Finally, we opened the festival further to circus arts, a discipline that hasn't always had much room in Avignon. This year, two circus shows were programmed, including one in the Cour d'Honneur of the Palais des Papes—a first in 80 editions.”
© Christophe Raynaud de Lage / Festival d’Avignon
The Festival d’Avignon is a global event. How do you perceive the evolution of international cultural exchanges, particularly with Asia and Korea?
Tiago Rodrigues: “We live in a world where national policies and geostrategic tensions sometimes make international cooperation more difficult. That is precisely why we insist on deepening our international programming. We believe this expands the public's horizons, allowing them to access other aesthetics, other worldviews, and other artistic practices. It deeply enriches the spectator experience—spectators who, moreover, warmly applauded this programming.
In parallel, this openness strengthens the capacity for cooperation among countries, cultural diplomacy, and mutual understanding among peoples. The Festival d’Avignon plays an important role in building connections across different nations and continents.
Inviting the Korean language is a strong signal of openness toward Asia and a desire to strengthen collaborations. We are thrilled that the Festival d’Avignon has been invited to the Spoleto Festival in Seoul, where several projects created in Avignon over recent years will be presented, along with a reading of Han Kang's novel Impossible Farewells, directed by Julie Deliquet and performed by Lee Yu-lee and Isabelle Huppert. This reading, created this summer at the Cour d'Honneur in Avignon, met with tremendous success from both audiences and critics.”
In parallel, this openness strengthens the capacity for cooperation among countries, cultural diplomacy, and mutual understanding among peoples. The Festival d’Avignon plays an important role in building connections across different nations and continents.
Inviting the Korean language is a strong signal of openness toward Asia and a desire to strengthen collaborations. We are thrilled that the Festival d’Avignon has been invited to the Spoleto Festival in Seoul, where several projects created in Avignon over recent years will be presented, along with a reading of Han Kang's novel Impossible Farewells, directed by Julie Deliquet and performed by Lee Yu-lee and Isabelle Huppert. This reading, created this summer at the Cour d'Honneur in Avignon, met with tremendous success from both audiences and critics.”
What role does the festival play today in the dialogue between artists and society?
Tiago Rodrigues: “The Festival d’Avignon plays an essential role in affirming that artistic creation is not something that happens on the margins of society, but rather at the very core of citizenship. The programming is accompanied by debates, public gatherings, youth encounters, and societal discussions linked directly to the performances.
Experiencing a show prepares the public to engage in broader debates on the major phenomena of our time. Participating in the Festival d’Avignon means both living an artistic adventure and taking part in a collective reflection on how we live together, and how the world organizes—and disorganizes—itself. Every edition demonstrates the deep connection between artists and the world, and everything society stands to gain from contact with artistic creation.”
Experiencing a show prepares the public to engage in broader debates on the major phenomena of our time. Participating in the Festival d’Avignon means both living an artistic adventure and taking part in a collective reflection on how we live together, and how the world organizes—and disorganizes—itself. Every edition demonstrates the deep connection between artists and the world, and everything society stands to gain from contact with artistic creation.”
What was the most powerful or symbolic moment of this edition for you?
Tiago Rodrigues: “It is very difficult to choose a single moment, because the festival is filled with emotion from start to finish. But one moment touched me particularly: the beginning of Lee Jaram's performance Snow, Snow, Snow, performed in Korean. Within minutes, this exceptional artist managed to engage the audience, who started producing storm sounds and becoming active participants in the show.
What struck me was that the Korean language—though unfamiliar to the majority of the audience—became a bridge enabling everyone to step into another person's shoes. In just a few minutes, a thousand people were able to imagine what it means to live speaking Korean, to live in Korea, and to understand the world through a different lens. It was a moment of extraordinary artistic and human power.”
What struck me was that the Korean language—though unfamiliar to the majority of the audience—became a bridge enabling everyone to step into another person's shoes. In just a few minutes, a thousand people were able to imagine what it means to live speaking Korean, to live in Korea, and to understand the world through a different lens. It was a moment of extraordinary artistic and human power.”
What message would you like to address to the international audience following the Festival d’Avignon today?
Tiago Rodrigues: “I would like to tell the international audience that the Festival d’Avignon is a place where everyone can feel at home. Even though it takes place in France and holds an important place in French cultural life, it is deeply oriented toward the world. The festival communicates in multiple languages, most performances are surtitled in English, and our staff is accustomed to welcoming spectators from every continent.
In July, Avignon becomes a global capital of theater. Regardless of language or origin, everyone is welcome. Today, international audiences represent about 15% of our spectators, and that number continues to grow. The festival is a sanctuary of celebration, hospitality, and openness, where all cultures can discover artistic creation in total freedom.”
In July, Avignon becomes a global capital of theater. Regardless of language or origin, everyone is welcome. Today, international audiences represent about 15% of our spectators, and that number continues to grow. The festival is a sanctuary of celebration, hospitality, and openness, where all cultures can discover artistic creation in total freedom.”