Following the approach of valuation studies, the paper questions the ability of stage practices in situ to create recognized value according to three axes. First, the aesthetic logic of action and valuation enhances the artistic and technical qualities of live shows. Traditionally, French professional experts are considering the performances out of theatres as second-ranked activities. Nevertheless, we can see a limited shift in their mental representations with the institutional recognition of street arts as a way to renew the relationships between the artists, the spaces and their audiences since the 1990s. Second, civic logic is defining the general interest in arts through cultural democratisation. To perform shows out of the theatres is a way to directly concern the local population. Nevertheless, the performances can attract more the usual theatregoers than the local neophytes in arts. The project of cultural democracy is oriented toward more horizontal cooperation between professional artistic skills and the local participants’ cultural references. It offers an opportunity to revisit the relationships with the environment. The sociodemographic composition of the audience is more popular but is usually specific to these performances with amateurs. Third, heritage value depends on the memorial power of heritage objects. Therefore, it can amplify the aesthetical value of performances in historical spaces. Opposite, heritage sites are programming live shows to attract visitors and enhance their brand.