Piccolo Teatro

It's the case in France.

That's why Piccolo di Milano, it's a Teatro d'Europa.

But Odeon in Paris, it's also a Teatro d'Europa.

And I think it's interesting to notice, especially in this year, we're almost celebrating the 80 years of Piccolo di Milano, but also the 80 years of Festival d'Avignon, for instance, that that period of 47, 48, 49 was extremely important on one hand for the beginning of adventures, but also for a perception of cultural policy in several countries that was an idea of cultural policy for the country and for the European project.

And I think somehow in several countries we lost this concept of public service attached to culture, but also in the continent, we lost this notion that one of the pillars, fundamental keys of the European project, it's cultural diversity and the ability to work not only across borders, but also in the border of being polyglots, of being multilingual, of being transnational, of being bilingual, trilingual, of being a continent of crossroads where cultures mix and where the great spaces of national culture are spaces of meeting of many nations.

So this is something I think it's quite important today to remember that our democracies in the place of culture in our democracies is strongly shaped on this idea of public service and across Europe connection.