Since 2008, the 360° Network, stimulated by Philippe Bachman, has set itself the task of creating and producing shows in circular artistic venues. More than ten years after the beginning of the experiment, we offer to draw up a first assessment. When theatre owners constantly seek to transform their halls, has this model based on fixed technical constraints – which is a bet – reach the expected success ? After questioning the progressive exhaustion of the experience, we will establish that above all the programming seems to favor non-dramatic genres. Among the theatrical creations that have nevertheless been staged, we will demonstrate the strong impact that the device can have from the point of view of creators and spectators when significant resources are allocated to it. Thus, we will see that far from being devoid of a dramatic repertoire, the Network now faces a crucial generic choice.