Antoine Perraud

Antoine Perraud a travaillé de 1986 à 2016 à France Culture, produisant notamment l’émission “Tire ta langue” à partir de 1991 (avec une interruption de 2006 à 2009 consacrée à “Jeux d'archives”). Il est l’auteur de documentaires historiques et littéraires: “Une vie, une œuvre” (Jacques Bainville, Confucius…), “Le Bon Plaisir” (Bronislaw Geremek, Pierre Combescot…), “Mitterrand pris aux mots”, ainsi que de séries d’été: 18 heures sur Elias Canetti, 10 heures sur Charles de Gaulle, 5 heures sur la télévision française de 1944 à 1964… Par ailleurs et de surcroît, il a régulièrement participé à l'émission que Laure Adler confia en 2004 à Élisabeth Lévy (avant que David Kessler ne l'en dessaisît en 2006) : “Le Premier Pouvoir”.

De 1987 à 2006, Antoine Perraud a été critique et grand reporter à Télérama, où il s'accomplit en introduisant le terme « bobo » (inventé par David Brooks) dans notre idiome en 2000, comme l’atteste la dernière édition du Grand Robert de la langue française

Diplômé du CFJ (Centre de formation des journalistes) en 1983, Antoine Perraud a régulièrement pris du champ : deux ans au Korea Herald (Séoul), DESS de correspondant de presse en pays anglophones, fondation “Journalistes en Europe”, préparation (aussi vaine qu'éphémère !) à l’agrégation d’histoire.

En 2007, il a publié La Barbarie journalistique (Flammarion), qui analyse, à partir des affaires Alègre, d’Outreau et de la prétendue agression du RER D, comment le droit de savoir peut céder le pas à la frénésie de dénoncer.

Membre du comité de lecture de la revue Médium (directeur: Régis Debray) depuis 2005, Antoine Perraud contribue depuis 2006 au supplément littéraire du quotidien La Croix. Fin 2007, il a rejoint Mediapart.

Publie, en octobre 2020, un pamphlet documenté : Le Capitalisme réel, ou la preuve par le virus (Éd. La Découverte).

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Ses Derniers articles

  • The overseas artist who captured the essence of a long-vanished rural France


    Artist Nicolas Rubió spent his childhood and early adulthood in France when he and his family were refugees from Franco's Spain. Later he emigrated to Argentina, but the memories of his time in deepest rural France have continued to serve as an inspiration for his paintings, which bring to life an era that has now disappeared. An assuming but impressive documentary on the man and his art is now doing a tour of France. Antoine Perraud reports.


  • Death of Pierre Mauroy – the conscience of French socialism

    Vidéo dans l'article. Vidéo dans l'article.

    Pierre Mauroy, who has died aged 84 after battling lung cancer, became in 1981 the first socialist prime minister under France's Fifth Republic. For many the man with working class roots from the north of the country epitomised both a deeply-felt and a pragmatic form of socialism. Mediapart's Antoine Perraud assesses the life of a politician who oversaw radical reforms in one of the most eventful periods of modern French politics.

  • Jérôme Savary, the man who brought joyous hullabaloo to French theatre


    The death was announced this week of celebrated French theatre director and actor Jérôme Savary (pictured), who was aged 70. One of the most influential stage directors of post-war France, Savary, who was born in Argentina, is credited with having widened the popular appeal of theatre, notably with the colourful and hilarious performances of his Grand Magic Circus company. In his latter life, he headed the prestigious Théâtre national de Chaillot and the Opéra-Comique. Here, Mediapart’s cultural affairs writer Antoine Perraud pays his own tribute to a prolific icon of French theatre.

  • What future for France’s House of History?


    Plans for a Maison d'histoire de France were unveiled by former French president Nicolas Sarkozy to a storm of protests, including criticism from many historians. Opponents feared that a museum focussed squarely on France's history would become a political vehicle as Sarkozy sought to use the issue of “national identity” in France to boost his appeal with the voters. But now that the museum's chief supporter has gone, the project appears to have gained in respectability among its former detractors. Antoine Perraud wonders what lies ahead for this once deeply controversial museum.

  • Songtime in Paris


    Paris is arguably the most sung about city in the world and now, for the first time in its history, an exhibition in sound and picture has been dedicated to the hundreds of songs and ballads about the capital reaching all the way back to the 16th century. Illustrating the enduring crush of generations of musicians for Paname, the popular nickname for Paris recurrent in 20th-century songs, the show is mirrored on an internet site that offers a virtual singing tour of the capital. Antoine Perraud reports.

  • De Gaulle's vision of Europe, relayed by Fischer, lies slaughtered by sharks


    Amid the spectre of the euro collapsing as the debt crisis deepens, the words of General Charles de Gaulle, one of the original protagonists of pan-European cooperation, have a prophetic ring. "Do we, or do we not, want the Common Market to be supplemented by a political organisation without which economic construction will ultimately decline?" he asked in 1962. Antoine Perraud argues that it is time to rediscover de Gaulle's vision of a Europe united by political action and not finance, a vision that was paradoxically later championed not by the General's so-called political heirs in France, but by German Green Joschka Fischer.

  • The history of a red thread that linked blacks and Jews


    In her recently-published book Causes communes (Common causes), French social anthropologist Nicole Lapierre traces the extraordinary stories of 20th-century blacks and Jews who made the causes of other peoples their own. "Running through their stories is the red thread of the communist ideal of a society stripped of inequalities and racism, on which a great many Jews and many blacks had pinned their hopes," writes Lapierre. Antoine Perraud reviews the work and presents selected portraits of those who braved danger and opprobrium by fighting for the rights of others.

  • French writer Tereska Torrès, unlikely icon of lesbian pulp fiction, dies aged 92

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    French writer Tereska Torrès (pictured), best-known in the English-speaking world for her novel Women’s Barracks, has died in Paris at the age of 92, her family and friends announced on Monday. Torrès, whose death occurred on September 20th, was the author of 14 books, the first written when she was just 17 years-old, many of them translated into English by her second husband, the late US writer and journalist Meyer Levin. Born in Paris as Tereska Szwarc to Jewish Polish artist parents, Torrès fled to London in 1940 to escape the German occupation of France, where she enrolled in the Free French Forces and married a French Resistance fighter, Georges Torrès, who was killed in battle in 1944. Perhaps the strangest chapter in her eventful life was how her book about her experiences as a woman soldier in wartime London, Women’s Barracks, became a bestseller and a pillar of lesbian pulp fiction. Last year, Torrès produced a new version in French, when Antoine Perraud interviewed her about her multiple lives and extraordinary relationships, which we republish here.

  • The writing's on the wall for the election debate ahead


    The French presidential elections are now less than a year away, and official campaigning will begin in earnest this autumn. A slightly tongue-in-cheek Antoine Perraud, proving that a journalist is never at rest even while travelling the Paris Metro, sees a message behind the station ads that points to the tone of the political debate ahead.

  • Anything but civil: Vichy's servants of persecution

    The painful history of the Vichy administration's collaboration with the Nazi occupation continues to fascinate even the younger generation of French historians. In a recently-published book, Laurent Joly, 34, details how France's public servants became the tools of the persecution and deportation of French Jews, divided into two separate administratiive bodies that were major cogs in the process of the Holocaust. He talks here to Antoine Perraud about those who formed a monstrous machine.