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Théâtralité Et Intimité Dans Le Cinéma De Ventura Pons Maëlle

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Théâtralité Et Intimité Dans Le Cinéma De Ventura Pons Maëlle ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en UNIVERSITAT AUTONÒMA DE BARCELONA Escola de Doctorat de la Universitat Autònoma de Barcelona Doctorat en Teoria de la Literatura i Literatura Comparada UNIVERSITE LUMIÈRE LYON 2 École Doctorale Lettres, LanGues, LinGuistique & Arts Département Sciences humaines et humanités Études ibériques et méditerranéennes-EspaGnol Spécialité : Espagnol, Catalan Théâtralité et intimité dans le cinéma de Ventura Pons par Maëlle PARRAS THÈSE EN COTUTELLE Pour obtenir le Grade de Docteur de l’Universitat Autonòma de Barcelona et de l’Université de Lumière Lyon 2 Directeurs de thèse : Monsieur le Professeur Jean-Claude Seguin – Madame Meri Torras Présentée et soutenue le 22/06/ 2019. Jury composé de : Jean-Paul Aubert (Professeur des universités (Catedrático) Université Nice Sophia Antipolis), José Luis Castro de Paz (Professeur des universités (Catedrático) Universidad de SantiaGo de Compostela), Sonia Kerfa (Professeure des universités Université (Catedrática) Université Grenoble Alpes), Philippe Merlo- Morat (Professeur des universités (Catedrático) Université Lumière Lyon 2), Manuel Palacio (Professeur des universités (Catedrático) Universidad Carlos III), Michèle Soriano (Professeure des universités (Catedrática) Université Toulouse Jean-Jaurès). En présence de : Jean-Claude SeGuin (Professeur des universités (Catedrático) Université Lumière Lyon 2) – Meri Torras (Maîtresse de conférence (Profesora Titular) Universidad autónoma de Barcelona) À Mauricette Parras RESUMÉ Auteur d’une production prolifique de trente-cinq films entre 1978 et 2018 en pleine expansion, Ventura Pons est l’un de ces autodidactes espagnols qui s’est saisi de l’appareil cinématographique pour proposer un nouveau rapport au réel au cours de la Transition démocratique espagnole, période déterminante dans la phase de reconstruction non seulement du pays mais plus spécifiquement pour la rénovation du cinéma catalan. Repéré dès son premier long métrage par le festival de Cannes en 1978 dans la catégorie « Un certain regard » pour sa poétique subversive qui rompt les codes conventionnels de la représentation, il n’a que d’obsession de réaliser un cinéma déformé au détriment du succès d’un point de vue commercial. Notre recherche porte sur l’ensemble de la filmographie du réalisateur dont le fil conducteur s’articule sur deux orientations majeures que sont : la théâtralité et l’intimité. À la marge des pratiques esthétiques dominantes, Ventura Pons a su imposer son écriture de lumière en ne cessant de jouer avec la polysémie de ces deux termes. À l’image de sa carrière artistique en ayant été préalablement metteur en scène dans l’univers théâtral, il se sert de son expérience passée en plaçant le signe théâtral au cœur de sa grammaire cinématographique. À travers une démarche intermédiale, nous nous attacherons à dévoiler les mécanismes déployés par le cinéaste pour se saisir de la puissance de l’effet théâtral. Nous verrons que cette conception dissonante est doublée d’une fascination du réalisateur pour la représentation du territoire le plus intérieur en donnant à voir un corps dénué de tout artifice. Mots-clés : Ventura Pons, cinéma espagnol, cinéma catalan, théâtralité, intimité, intermédialité, transgression, corps. RESUMEN Autor de una producción prolífica de treinta y cinco películas entre 1978 et 2018 en plena expansión, Ventura Pons es uno de los autodidactas españoles que se apoderó del aparato cinematográfico para proponer una nueva relación con lo real durante la transición democrática española, periodo decisivo en la fase de reconstrucción no sólo del país sino más concretamente de la renovación del cine catalán. Reconocido desde su primer largometraje en el Festival de Cine de Cannes en 1978 en la categoría « Un certain regard » por su poética subversiva que rompe con los códigos convencionales de representación, se centra en hacer hacer un cine distorsionado en detrimento del éxito desde un punto de vista comercial. Nuestra investigación se focaliza en la filmografía completa del director, cuyo hilo conductor se articula sobre dos orientaciones principales que son la teatralidad y la intimidad. Al margen de las prácticas estéticas dominantes, Ventura Pons ha logrado imponer una escritura de la luz propia jugando con la polisemia de estos dos términos. Al igual que su carrera artística como director en el mundo del teatro, utiliza su experiencia pasada colocando el signo teatral en el centro de su gramática cinematográfica. A través de un enfoque intermedio, nos esforzaremos por revelar los mecanismos desplegados por el cineasta para aprovechar el poder del efecto teatral. Veremos que esta concepción disonante se combina con la fascinación del director de cine por la representación del territorio más íntimo dejando ver un cuerpo sin artificios. Palabras clave : Ventura Pons, cine español, cine catalán, teatralidad, intimidad, intermedialidad, transgresión, cuerpo. ABSTRACT Prolific author of thirty-five films during his expansion period between 1978 and 2018, Ventura Pons is one of those self-taught Spaniards who fully used the cinematographic machinery to propose a new relationship with reality during the Spanish democratic transition Era, which was a crucial period for the country's reconstruction in general as well as more specifically for the renewal of Catalan cinema. Since his first authored movie was selected in the 1978 Cannes Film Festival in the category « Un certain regard », he stood out with his subversive poetics that breaks the conventional codes of representation, he was mainly driven by the obsession to create a distorted cinema to the detriment of commercial success. Our research focuses on the whole director's filmography, which is mainly based on two major themes: theatricality and intimacy. On the fringes of the dominant aesthetic practices, Ventura Pons was able to impose his writing of light by playing with the polysemy of these two terms. Similar to his artistic career, having previously been a play director in the theater world, he uses his past experience by highlighting the theatrical sign at the heart of his cinematographic grammar. Using an intermedial approach, we will focus on unveiling the mechanisms deployed by the filmmaker to make the most of the power of the theatrical effect. We will see that this dissonant conception is coupled with the filmmaker’s fascination for the representation of the innermost territory by allowing to see a body devoid of any artifice. Keywords : Spanish cinema, Catalan cinema, theatricality, intimacy, intermediality, transgression, body. AVANT-PROPOS Par souci de clarté, nous avons fait le choix de respecter les normes typographiques définies par la langue française tout au long de cette étude. Il convient de préciser que les citations mentionnées figurent dans le texte dans leur version originale. Pour les références bibliographiques, nous avons privilégié le système numérique. Chaque exposant renvoie à la ressource positionnée selon l’ordre d’apparition dans le texte. Pour faciliter la lecture, un index situé dans les dernières pages de cette recherche rassemble par ordre alphabétique une liste indicative des noms des artistes et théoriciens évoqués et des films mentionnés. Nous avons pris soin d’accompagner notre recherche d’une bibliographie qui regroupe les ressources utilisées pour la rédaction de ce travail. REMERCIEMENTS Je tiens à remercier dans un premier temps mes deux directeurs de thèse, Madame Meri Torras et Monsieur le Professeur Jean-Claude Seguin qui ont fait preuve de patience et de réconfort tout au long de ce travail. J’adresse aussi mes remerciements à Ventura Pons pour m’avoir reçue et pour les projets à venir, la région Rhône-Alpes Auvergne qui m’a offert l’opportunité de séjourner une année à Barcelone grâce à l’obtention de la bourse Doc’Explora. Je désire aussi exprimer ma reconnaissance à Yannick Vallet, directeur de l’Institut français de Barcelone pour son accueil et accord donné pour investir cette prestigieuse institution, à Domingo García Canedo et à Juana Gil Fernández directeurs successifs de l’Institut Cervantes de Lyon pour leur soutien et aide. J’adresse mes remerciements aux membres du jury qui ont accepté d’évaluer cette thèse. Enfin, ce travail n’aurait jamais abouti sans l’aide inconditionnée de ma famille, mes amis et collègues de l’Université Lumière Lyon 2 et de l’Universitat Autòma de Barcelona. INTRODUCTION L’autre manière de concevoir la culture espagnole en empruntant le chemin du septième art a été l’élément déclencheur d’une révélation qui s’est imposée d’elle-même. La découverte de la complexité de la notion d’image ou plutôt d’images plurielles a suscité une curiosité démesurée qui a atteint son sommet lors du premier contact établi au cours d’un colloque tenu en 2010 à l’Université Lumière Lyon 2 intitulé Travestir au Siècle d’Or et aux XXe-XXIe siècles : regards transgénériques et transhistoriques. La projection liminaire
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