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École Des Hautes Études En Sciences Sociales Signes D'ouverture École des Hautes Études en Sciences Sociales Ecole doctorale de l’EHESS Laboratoire d'anthropologie sociale Doctorat Discipline : Anthropologie sociale et ethnologie SCHMITT PIERRE Signes d'ouverture Contributions à une anthropologie des pratiques artistiques en langue des signes Thèse dirigée par: Brigitte Derlon Date de soutenance : le 14 décembre 2020 Rapporteurs 1 Cécile Leguy, Université Sorbonne Nouvelle 2 Luca Greco, Université de Lorraine Jury 1 Cécile Leguy, Université Sorbonne Nouvelle 2 Luca Greco, Université de Lorraine 3 Andrea Benvenuto, EHESS 4 Marion Blondel, CNRS, Paris 8 (UMR 7023) 5 Mike Gulliver, Université de Bristol À Denise, Marc et Chuck. — 3 — Résumé Ces contributions à une anthropologie des pratiques artistiques en langue des signes s'articulent autour d'une réflexion associant processus de création, œuvres et publics. L'étude des mises en scènes de la langue des signes, au théâtre, au cinéma, à la télévision, ou en ligne, nécessite la construction d'un modèle sémiotique qui ne sépare pas les locuteurs et les langues en amont de l'analyse. Je fournis ainsi un certain nombre de repères concernant les études linguistiques sur les langues des signes et les "gesture studies" afin d'éclairer les renouvellements épistémologiques et méthodologiques dans l'étude de communication humaine. De la langue à la culture, je reviens également sur l'étude des sourds comme groupe culturel et linguistique par les Deaf studies dans la mesure où si de nombreux travaux qui en relèvent sont connus en France, rares sont les publications qui interrogent ce champ en tant que tel. L'exposé de leurs relations avec les disability studies et de certains positionnements vis-à-vis de la catégorie du « handicap » constituent une autre contribution nécessaire afin de mieux comprendre les cadres contemporains au sein desquels les pratiques artistiques en langue des signes se développent et se diffusent. Les textes théoriques contribuant à une institutionnalisation des pratiques artistiques en langue des signes sont aussi très rares. C'est pourquoi je me suis livré à l'exégèse des « nouvelles directions et définitions » proposées par Dorothy Miles et Louie Fant en 1976, dans le contexte américain de professionnalisation du « théâtre sourd » au sein du National Theatre of the Deaf. Je présente ensuite ce dernier et l'évolution de ses créations afin de rendre compte de son influence sur les débuts de l'International Visual Theatre en France. Et si c'est par le théâtre que les pratiques artistiques en langue des signes ont été professionnalisées et sont entrées dans l'espace public, la popularité actuelle du « chansigne » m'a conduit à m'interroger sur l'identité de ses praticien-ne-s et la diversité de ses formes. L'étude des créations audiovisuelles qui y sont liées offrait une étude de cas pour appliquer une analyse multimodale tenant compte des langues mises en scène, de l'identité et des compétences des artistes, des intentions artistiques et des publics visés. Enfin, au sein d'un monde de l'art signant, l'étude de festivals comme contexte de réception m'a permis de documenter la manière dont l'évolution des inter-actions entre sourds et entendants par le partage de la langue des signes contribuent à l'émergence d'une « communauté signante ». Mots-clefs : Anthropologie linguistique, études sourdes, ethnographie, pratiques artistiques, performance studies, disability studies. — 4 — Abstract These contributions to an anthropology of artistic practices in sign language associate thoughts on creative processes, works of art and audiences. Studying sign language « mises en scènes », in theater, in movies, on television, or online, requires a semiotic model that does not separate speakers and languages before undertaking analysis. I thus provide some insight on gesture studies and linguistic studies on signs in order to shed light on current epistemological and methodological issues in the study of human communication. From language to culture, I will also address the description of deaf people as a cultural and linguistic group by Deaf studies. Deaf studies are known in France but French works interrogating their very existence as a field are rare. Presenting the relationship between Deaf studies and disability studies will be another necessary step toward understanding the contemporary frameworks within which artistic practices in sign language are developing and spreading. Theoretical texts contributing to the institutionalization of artistic practices in sign language are also rare. This is why I dedicated myself to a thorough investigation of the “new directions and definitions” suggested by Dorothy Miles and Louie Fant in 1976, in the context of professionalization of “deaf theater” within the National Theater of the Deaf. I then present the NTD and the evolution of its creations to highlight its influence on the beginnings of the International Visual Theater in France. While artistic practices in sign language have been professionalized and entered public space through theatre, current popularity of « singing in sign language » has led me to question its practitioners' identities and the diversity of its forms. The study of sign language music videos has offered a case study to apply a multimodal analysis, taking into account staged languages, artists' identities and skills, artistic intentions and targeted audiences. Finally, within a signing art world, the study of festivals as reception context allowed me to document how evolutions of deaf/hearing interactions through the sharing of sign language contribute to the emergence of a “signing community”. Keywords : Linguistic anthropology, Deaf studies, ethnography, artistic practices, performance studies, disability studies — 5 — Remerciements Je tiens à remercier Brigitte Derlon, Kailyn Aaron-Lozano, Hatice Aksen, Jean-Loup Amselle, Luce Aubry, Talia Bachir-Loopuyt, Anne Bamberg, Catherine Barral, Sébastien Baud, Diane Bedoin, Cynthia Benoit, Andrea Benvenuto, Fabrice Bertin, Marion Blondel, Dennis Blitz, Suzy Bossard, Leïla Boutora, Sylvain Brétéché, Yann Cantin, Cécile Canut, Sylvain Caschelin, Nadège Chabloz, Julie Chateauvert, Agnès Clerc-Renaud, Irina Costache, Marie Coutant, Christian Cuxac, Patrice Dalle, Sophie Dalle, Jean Dagron, Yves Delaporte, Jennifer K. Dick, Jean-Pierre Dormois, Alessandro Duranti, Nicolas Elias, Ruth Erickson, Gabriel Facal, Stéphanie Feyne, Julie Giabiconi, Guillaume Fernandez, Michele Friedner, Edith Gaillard, Brigitte Garcia, Michael Gaultois, Shane Gilchrist, Alice Goffman, Charles Goodwin, Marjorie Goodwin, Stephanie Graff, Line Grenier, Gilles Grienenberger, Philippe Gruca, Mike Gulliver, Linda Haapajärvi, Mélanie Hamm, Bronwyn Haslam, John Haviland, Jérôme Hergueux, Hervé Hudebine, Hélène Hugounenq, Sara Iglesias, Alexis Karacostas, Sylvain Kerbouc'h, Austin Kocher, Joanna Kusiak, Annelies Kusters, Philippe Lacour, Anna Langenbruch, Elise Lantz, Françoise Le Borgne Uguen, Véronique Leduc, Lynda Lelièvre, Amandine Le Maire, Elise Leroy, Dan Levitt, Fanny Limousin, Ceil Lucas, Fanny Macé, Laurence Meurant, Rezenet Moges, Denis Monnerie, Bill Moody, Cristina Moya, Elena Pizzuto, Miriam Prieto, Jean- François Ravaud, Julien Rentz, Annie Risler, Nicole Roux, Richard Sabria, Marie-Anne Sallandre, Richard Schechner, Olivier Schetrit, Philippe Schlenker, Florent Schmitt, Sandrine Schwartz, Stephanie Schwerter, William Sherlaw, Patrick Tenoudji, Soline Vennetier, Alain Vilbrod, Isabelle Ville, Whitney Walton, Erin Wilkinson, Gesa Zur Nieden, ainsi que Daniel Abbou, Katia Abbou, Victor Abbou, Jean-Yves Augros, Alain Bacci, Danièle Baly, Colombe Barsacq, Djenebou Bathily, Matthias Berger, Alexandre Bernhardt, Levent Beskardes, Vincent Bexiga-Aubin, Anne-Marie Bisaro, Carlos Carreras, Igor Casas, Jacky Chabbey, Marie-José Chabbey, Mathilde Chabbey, Nicolas Cheucle, Noémie Churlet, Maud Colin, Martin Cros, Jules Dameron, Sirim Durmaz, Patrick Gache, Tyrone Giordano, Mathias-Henri Glenard, Christine Grandin, Maati El Hachimi, Isabelle Florido-Monnier, Didier Flory, Anthony Guyon, Sandrine Herman, Sherry Hicks, Evelyne Koenig, Julia Koenig, Tommy Korn, DJ Kurs, Delphine Labes, Emmanuelle Laborit, Marie Lamothe, Michel Lamothe, Lucie Lataste, Lilian Lefranc, Anne- Christine Legris, Bernard Le Maire, Thumette Léon, Karine Liennel, Sylvain Lioté-Stasse, David Lobry, Laurène Loctin, Annie Mako, Alexandra Masbou, Ipek Mehlum, André Minguy, Laetitita Morvan, Camille Nicollini, Colin O'Brien-Lux, Guylaine Paris, Ralph Robbins, Yoann Robert, Delphine Saint Raymond, Adamo Sayad, Anna Schumacher, Negin Singh, Pauline Stroesser, Sylvanie Tendron, Christophe Touchais, Laëtitia Tual, Catherine Vella, Laurent Valo, Hocine Zergaoui, Mustafa Zergaoui et l'ensemble de mes old friends from youngs years. — 6 — Table des matières Remerciements..................................................................................................................6 Introduction....................................................................................................................13 « Qui sont les sourds ? »........................................................................................18 Des théories de la culture.......................................................................................22 Sourds et sourds.....................................................................................................24 Le réveil Sourd.......................................................................................................27 Rencontrer les sourds.............................................................................................29
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