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Le Corps Malléable, Une Révolution Symbolique Le corps malléable, une révolution symbolique : transformations esthétiques et sociales du corps en France et en Allemagne, de 1900 à la fin de l’entre-deux guerres Julien Segol To cite this version: Julien Segol. Le corps malléable, une révolution symbolique : transformations esthétiques et sociales du corps en France et en Allemagne, de 1900 à la fin de l’entre-deux guerres. Sociologie. Université Sorbonne Paris Cité, 2017. Français. NNT : 2017USPCC298. tel-02303228 HAL Id: tel-02303228 https://tel.archives-ouvertes.fr/tel-02303228 Submitted on 2 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Thèse de doctorat de l’Université Sorbonne Paris Cité Préparée à l’Université Paris Diderot Ecole doctorale 131 - Histoire et sémiologie du texte et de l'image CERI-LAC Le corps malléable : une révolution symbolique Transformations esthétiques et sociales du corps en France et en Allemagne, de 1900 à la fin de l’entre- deux guerres Par Julien SEGOL Thèse de doctorat. Dirigée par Martin Kaltenecker Présentée et soutenue publiquement à Paris Diderot-Paris 7 le 6.XII.2017 1 Présidente du jury : Moindrot, Isabelle, Professeur d’Études théâtrales, Université de Paris 8 Rapporteurs : Frangne, Pierre-Henry, Professeur des universités, Université de Rennes 2 Lacombe Hervé, Professeur des universités, Université de Rennes 2 Examinatrice : Grossman, Evelyne, Professeur des universités, Université de Paris Diderot-Paris 7 Directeur de thèse : Kaltenecker Martin, Maître de conférences HDR, Université de Paris Diderot- Paris 7 Co-directrice de thèse : Baxmann, Inge, Professeur des universités, Universität Leipzig [Insérer le logo correspondant à la licence choisie] 2 Le corps malléable : une révolution symbolique. Le sens symbolique du corps, autour de 1900, change : son inscription sociale collective et sa valeur pour l’individu se transforment. On assiste dans les premières décennies du vingtième siècle à l’érosion d’un monde d’hier devant les audaces de pionniers réformateurs de la vie et des avant- gardes artistiques (danseurs, chorégraphes, metteurs en scène), qui repoussent les limites de ce que peut un corps – non seulement les normes de la morale, du bienséant, mais aussi l’inédit, lié à la possibilité de techniques nouvelles. Comment, dès lors, se traduit l’évolution du sens du corps ? A quoi ressemble le corps moderne par rapport à celui du dix-neuvième siècle – dans les façons d’être, mais aussi les façons d’être affecté et de s’exprimer ? Quelle incidence, enfin, a le changement de sens du corps sur la façon de concevoir le rapport à son propre corps comme à celui d’autrui ? Deux tendances sous-tendent le principe de malléabilité dans le bouleversement des formes de vie et des stratégies d’individuation de la société moderne, par-delà leurs disparités : la première correspond à une transposition de la pensée fonctionnaliste et de la fétichisation capitaliste de l’objet sur le corps, alors que la seconde cherche, au contraire, à ressaisir le corps sous l’aspect de la vie organique pour articuler matière et esprit dans une perspective vitaliste, davantage unitaire. Notre enquête suit le développement de ces deux tendances pour montrer comment elles s’articulent dans les deux sphères sociale et esthétique jusque dans l’entre deux-guerres. Mots clefs : modernité, corps, société, danse, opéra, styles, formes de vie, esthétique, arts, histoire des idées The malleable body : a symbolic revolution. Around 1900 the symbolic meaning of the body around 1900 changes : its collective social meaning, as Well as its individual value, evolve. During the first decades of the 20th century, the 3 world of yesterday erodes While daring reformers of life and avant-garde artists (dancers, choreographers, stage directors) try to push the limits of what a body can – not only the moral norms, of the decorous, but also the unprecedented of new possibilities brought by new technologies. What does this evolution of the meaning of the body result into? What does the modern body look like, as opposed to the 19th century – in the Ways of being, of feeling and expressing oneself? HoW does that change affect the Way of perceiving the body, the other’s and mine? Two tendencies underlie the principle of malleability in this upheaval of the forms of life and of the strategies of individualization Within modern society, beyond their disparities: on the one hand, a transposition of the functionalist thought and fetish for the object induced by capitalism onto the body; on the other, an opposite tendency to take hold of the body as an organic living form, as an attempt to articulate matter and spirit in a more unitary and vitalist perspective. We Will follow the development of both these tendencies and show how they develop within the social and aesthetic spheres until the end of the interWar period. KeyWords: modernity, body, society, dance, opera, styles, forms of life, aesthetics, arts, history of ideas 4 To K. it’s been a long way. 5 Remerciements Je tiens en tout premier lieu à remercier chaleureusement mon directeur de thèse, Martin Kaltenecker et ma co-directrice, Inge Baxmann, grâce auxquels cette recherche a pu éclore, stimulée par leurs travaux ; se développer, accompagnée par leur critique bienveillance et leur présence indéfectible ; prendre corps, enfin, dans l’assurance qu’elle avait une place à trouver. Je suis extrêmement reconnaissant au Centre Marc Bloch de m’avoir offert la chance de réaliser ce travail dans les meilleures conditions. L’accueil ouvert et généreux que j’y ai reçu, ainsi que la qualité de l’accompagnement scientifique dont j’ai bénéficié, en particulier auprès de Patrice Veit, sont pour beaucoup dans l’aboutissement de cette thèse. À mes infatigables relecteurs, Agnès, Kunal, Maël, Arnaud, Léa, Marie-Eve, Emilie, Laurent, Tania, Anna et Xavier, qui ont aussi accompagné et nourri à leur façon le développement de ce travail, je dis ici ma reconnaissance et mon amitié. À mes parents, et à ma famille, enfin, qui m’ont toujours soutenu, encouragé, aidé, j’exprime ma profonde et affectueuse gratitude. 6 Table des matières Remerciements .................................................................................................................. 6 Table des matières ............................................................................................................. 7 Table des illustrations ...................................................................................................... 10 Introduction ..................................................................................................................... 12 Le corps comme catégorie sociale ............................................................................................... 16 Corps en scènes et scènes du corps : du social à l’esthétique .................................................... 19 Première partie : Les scènes du corps. Physiologie des rapports sociaux. ......................... 25 Chapitre 1 : Scènes sociales du corps. Sortir de l’ère du soupçon. .............................................. 26 I - Haines du corps : « Il faut faire intervenir son moi le moins possible. » ............................... 29 1. L’effacement du corps anatomique .................................................................................................... 32 2. La présentation de soi sous réserve : « le moi encombre » ................................................................ 40 II – « La vie menace de devenir publique » : les nouvelles formes de la présentation de soi. .. 47 1. « La grande mue » : dévoiler le corps anatomique ............................................................................. 49 2. Valeurs d’hier, gestes d’aujourd’hui : une société en mouvement ..................................................... 54 3. Les métamorphoses par le sport ......................................................................................................... 60 4. « Les jeunes filles ont bien changé ! » ................................................................................................. 65 Chapitre 2 : Le corps à l’épreuve de la rationalisation. ............................................................... 76 I - La rationalisation au principe de la vie moderne .................................................................... 79 1. Désenchantement du monde : la raison en procès ............................................................................ 80 2. Corps, individu, société : repenser le lien social ................................................................................. 83 II – Corps et capitalisme : le plus beau des objets ...................................................................... 88 1. Société et sensorialité : la vie moderne comme intensification de la vie nerveuse ........................... 89 2. Rationalisation des rapports sociaux : monétarisation de l’économie et recul de la vie publique ..... 94 3. Extension de la logique de rationalisation : la valorisation du corps comme capital .........................
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