The theatre remains open in the possibility of an atmosphere required, the atmosphere of a place, an environment, produced by the gestures and the words, the environment of a voice which resounds. The theatre as a place becomes the monument of theatrical gestures, of an experiment suitable for art, creation. Two visions of the theatre, two quite distinct trajectories in their procession, intertwined, crossing and separating in the same optics, the optics of a transfer of energy under the themes of a theatrical performance, of a play. First of all, the experience of a pedestrian, of a car driver, leaving a reality which is his, his everyday life, begins with the arrival on the site. Now like a visitor, he marks his entry in a new universe. Without the boundaries of the two worlds not being established with the limit of a facade, a porch and pavement, asphalt of a parking, one must be integrated into the other in a transitional progression. Consequently, the entry in the theatre remains unique in the transition from an urban place, outside, to an internal place of creation. Lobby................... The lobby, without being to imposing, reflects the ambiance that first defines a place. It consists in a space of transition, just like a cut between the external one and the internal. Whereas the spectator discovers the space of creation, whereas he walks in the envelope, in the container, he becomes a witness of an experience registered and impregnated in the place and even defined by the space. The lobby, including all the facilities and the services for the reception of the public, then reflects only in one look the values of the theatre particular to this type of creation. The integration of projected images envelope then the visitor of an atmosphere favourable with the subsequent experience, the play. Atrium................... The trajectory of the visitor, becoming a witness and a pawn of an experiment, of a particular environment which separates him from a routine, from the everyday life, continues through the atrium. The lobby opens then on the second space of transition in the trajectory leading to the generating experience. The sonority of the place, the echo of the voices in the atrium, bring the imaginary to soak with the environment wanted by the creators. While the visitor quietly becomes listener, one activates his directions and at the same time, releases him from his daily thoughts and brings him to a predisposition favorable to the rhythm that will follow. The atrium becomes the core of the various tangents of the theatre. Thus the various functions are crossing and marking the atmosphere particular to the type of theatre. At the same time, a festive and tragic ambiance impregnates the space. The visitor can venture in various places and explore the space for a better understanding of the dynamics of the theatre, bringing him to a better receptivity of the performance. The versatility of the space, of the atrium, allows the introduction of a multitude of stimuli: exhibitions, play, workshops of creation accessible to the public. The visitor finds himself in an overflowing universe of stimuli, supporting his new perception of an accessible theatre, of a place drew from the reaction of the public. Since this type of theatre needs to be in constant creation, constant evolution, it brings to a close relation between the perception of the visitors, their reaction, in order to push more the limits of an accessible theatre and in constant experimentation. The atrium becomes a space of transit in the integration of all the spheres of activity of the theatre. Workshops................... The workshops, which are partly opened to the public, interpose between the space of life and the space of performance of the theatre and form part of the second trajectory, the artists’ trajectory. The fact that the artists live in the space supports a constant creation and an appropriation of the space. The place dictates creation, just like a mould. However this mould adapts to the various shapes of theatre. The space of creation must then be interchangeable and modular not to limit the exploration. The workshops become places of transition between the everyday life of the artists and the final performance, the concretization of a long process of creation. They generate a feeling of play and even more accessible because of the the proximity from spaces of life. They are integrated into the daily routine of the artists and the creators, just like a crossing point. Place of performance.............. Also, the spaces of performance are becoming elements of continuity in terms of places of play and exploration. However, they constitute also a common place of achievement for the two trajectories, both for the actors and the public. These spaces need to be changeable and adapted to the various productions. Internal outside................... In the heart of a downtown area animated by many festivals, the theatre has a dimension suitable for the versatibility of art. An external place, a space of performance in the open air allows an other opening and transforms the trajectory of the pedestrians into spectators. Places of subsistence for the artists........... The theatre need to provide many spaces for anything that can support the financial well-being of a theatre in addition to subscriptions and individual tickets sales which is of vital importance to the stability of the institution. (A coffee shop, a library, a restaurant, a daycare for children…) Living space................... A considerable portion of the program must be allowed to the living space of the artists in the expression of a dwelling practical and adapted to the needs of each individual.