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The suburbs of Mons where the new Manège theatre now stands have the charm of garrison towns. Although the former cavalry training ring still survives, the theatre has been grafted onto another arena. Pierre Hebbelinck and Pierre de Wit intervention in this century-old building was guided by two principles: its interior vitality, that is to say the integration of dynamic theatre machinery to serve the policy of Daniel Cordova, the theatre's artistic director, and its attention to the potential development of the surrounding district, by reintroducing this disused arena into the continuity of history.

The photographer Marie-Noëlle Dailly has captured in images this "great inclined prism, a wide expanse of glass with black joints, some kind of trenchant corner, pointing into space, an upturned, clear, identifiable form, an object which can be immediately interpreted, but nevertheless endowed with a certain depth and ambiguity," as François Chaslin writes. The playwright Jean Louvet honoured us with a guided visit of the location and introduced us to the host, Daniel Cordova, who discusses the relationships between architecture and the theatre, whilst Bernard Baines evokes the various projects which were submitted to the jury for this architecture competition. Jean-Didier Bergilez offers us the quintessence of an interview with the architects and Xavier Canonne describes the in situ intervention of the photographers Christine
Felten and Véronique Massinger.

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The suburbs of Mons where the new Manège theatre now stands have the charm of garrison towns. Although the former cavalry training ring still survives, the theatre has been grafted onto another arena. Pierre Hebbelinck and Pierre de Wit intervention in this century-old building was guided by two principles: its interior vitality, that is to say the integration of dynamic theatre machinery to serve the policy of Daniel Cordova, the theatre's artistic director, and its attention to the potential development of the surrounding district, by reintroducing this disused arena into the continuity of history.

The photographer Marie-Noëlle Dailly has captured in images this "great inclined prism, a wide expanse of glass with black joints, some kind of trenchant corner, pointing into space, an upturned, clear, identifiable form, an object which can be immediately interpreted, but nevertheless endowed with a certain depth and ambiguity," as François Chaslin writes. The playwright Jean Louvet honoured us with a guided visit of the location and introduced us to the host, Daniel Cordova, who discusses the relationships between architecture and the theatre, whilst Bernard Baines evokes the various projects which were submitted to the jury for this architecture competition. Jean-Didier Bergilez offers us the quintessence of an interview with the architects and Xavier Canonne describes the in situ intervention of the photographers Christine
Felten and Véronique Massinger.

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