It was a month ago: on social networks arose the # metoothéâtre movement. A collective of personalities and theater professionals signed ins Release a forum calling for “The liberation of speech” and to “The urgency of the acts”. And, on October 16, a first rally to denounce gender-based and sexual violence in this sector was organized in Paris, close to the Ministry of Culture. That day, in the middle of the demonstrators, two young women held a stand to publicize the psychological and legal listening cell dedicated to live and recorded performance professionals. On the leaflets, a telephone number, 01-87-20-30-90.
Invited to the morning of France Inter, two days after the demonstration, Roselyne Bachelot argued that the fight against sexual and gender-based violence was “One of the priorities of the Ministry of Culture”, but did not mention this professional cell, however, financed in large part by the Rue de Valois. This oversight made unions and collectives leap. The minister finally made up for it, on November 4, on the set of “C à vous” on France 5: “Among the # metoothéâtre proposals, some have already been implemented, such as the Audiens listening platform”.
“Fear of being toasted”
Launched in June 2020 at the initiative of the Federation of Performing Arts, Music, Audiovisual and Cinema Companies (Fesac) with the support of social partners, this victim support unit, led by Audiens (social protection group for the world of culture), has received around 120 calls since its creation, half of which concerns live performance. “The #metoothéâtre movement did not lead to an explosion of testimonies, but that does not surprise us, explains Carla Ballivian, head of the cell. In this environment where professional relations are very important, where everything is known, there is a fear of speaking for fear of being “gate”, not to find work. The issue of reputation and stigma is at the heart of the problem. There is a gap between collective reality and individual reality. “
Most of the calls relate to incidents of gender-based or sexual violence that date back more than a year or two. “The media context stirred memories, freed the floor. Some people, aware that what they experienced was not normal, decide to take the plunge and call. “ Often, Carla Ballivian notes, “The victims are in guilt, blame themselves for having accepted a drink after a rehearsal, for having let things go without setting limits”. What dominates in the testimonies is a feeling of control, of a relationship of subordination, reinforced by a precarious economic situation. “Being on an intermittent show is completely different than being on a permanent contract in a company, where, when the working day is over, you go home, sums up Carla Ballivian. In the entertainment industry, rehearsals, performances, tours often have an after. “
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