De lumière, a performance piece exploring the world of bullfighting, delves into a practice marked by controversy, the heritage of fathers and the land, the permanence of tradition, and the gap between elitist and popular cultures. Created by Jean-Baptiste Tur and David Ayala, the work combines their personal stories with a documentary-style approach that engages with apprentices and young bullfighters today. The performance blends theater, music, and cinema, creating a scintillating and multifaceted experience that invites reflection on complex themes. The piece opens with a scene that evokes the aftermath of a festival, with a trio arriving at a rented studio or garage to rehearse. The setting is described as a space filled with objects, trinkets, bottles, trophies, books, paperwork, instruments, and appliances, reflecting the clutter and uncertainty of the creative process. The scenography, designed by Cécile Marc, symbolizes the split and complexity of the creative endeavor, as well as the accumulation of layers and sources. Jean-Baptiste Tur approaches the topic of bullfighting, a divisive and controversial subject, through the lens of an artist rather than a moral or ethical judgment. He draws upon his Occitan roots and collaborates with actor David Ayala, whose family history is intertwined with the subject. Tur uses the work of Azilys Tanneau as a neutral author to weave their stories together, blurring the lines between fiction and documentary. The performance includes interviews with young bullfighting apprentices, aiming to question the ritual and tradition of bullfighting rather than rehabilitate it. The show includes a film made for the occasion, which features testimonials from young individuals such as Pablo, Nino, Anna, and Charles, who express their connection to bullfighting. The performance seeks to open up to the unknown, accepting what does not justify or explain itself, challenging received ideas and positions. The stage design is described as an ochre earth that contaminates the space, symbolizing the connection to the land and the cultural divisions that shape the narrative. The performance explores themes of escape and return to the native land, as well as the shame of being provincial and the complexities of cultural identity. The show is marked by a simplicity of speech, stripped of make-up and flourish. David Ayala is described as a grounded and inhabiting presence on stage, his cavernous voice evoking memories and emotions. The musical atmosphere is crafted by Thomas Delpérié (guitar and electronic percussion) and Pierre Borel (brass and drums), blending free jazz and Spanish rhythm guitar into a powerful hybrid genre. The performance draws on memories of youth, the intensity of the férias (bullfighting festivals), and the human face-to-face encounter with the animal. Bullfighting is framed as an art of self-endangerment and the death of the other, a tragedy that invites reflection on risk, danger, and death. Jean-Baptiste Tur challenges the audience to confront the mystery of such practices, without seeking answers but rather inciting questions that resonate deeply. The piece concludes with a band setting fire to the stage, extending the gesture beyond the performance, and leaving behind the traces of footsteps in the sand as evidence of the ephemeral but essential experience. The production credits include Azilys Tanneau as the text author, Jean-Baptiste Tur as the concept and stage director, and David Ayala as the performer. Musicians Thomas Delpérié and Pierre Borel contribute to the musical elements, while Laura Domenge, Tomas Cerqueira, and others contribute to the visual elements. The scenography is by Cécile Marc, and the production is by Le Grand Cerf Bleu, with support from various cultural institutions and organizations. The performance was seen in June 2025 at Hangar Théâtre, Montpellier, as part of the Printemps des Comédiens, and is scheduled to run from 1 to 11 October 2026 at the Theatre du Rond-Point in Paris.