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Angela Daiana Langone Molière Et Le Théâtre Arabe Mimesis

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Angela Daiana Langone Molière Et Le Théâtre Arabe Mimesis Angela Daiana Langone Molière et le théâtre arabe Mimesis Romanische Literaturen der Welt Herausgegeben von Ottmar Ette Band 62 Angela Daiana Langone Molière et le théâtre arabe Réception moliéresque et identités nationales arabes Università degli Studi di Cagliari – Dipartimento di Filologia, Letteratura, Linguistica – Pubblicazione realizzata con il contributo dei fondi CAR ex-60%. ISBN 978-3-11-044234-2 e-ISBN (PDF) 978-3-11-043684-6 e-ISBN (EPUB) 978-3-11-043445-3 ISSN 0178-7489 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2016 Walter de Gruyter GmbH, Berlin/Boston Druck und Bindung: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Table des matières Avant-propos � IX Systèmes de transcription de l’arabe � XI Transcription de l’arabe classique � XI Transcription de l’arabe dialectal � XII 1 Introduction � 1 1.1 Un Molière arabe � 1 1.2 Le cadre théorique � 9 1.3 Le théâtre arabe et l’évolution de la pensée nationale � 11 1.4 La structure de la recherche � 14 2 Sortir de la stagnation � 21 2.1 La première expérience dramaturgique du monde arabe � 21 2.2 L’expérience de Mārūn Naqqāš � 25 2.2.1 La biographie � 25 2.2.2 La troupe de Mārūn Naqqāš � 28 2.2.3 Le lieu de la représentation � 30 2.2.4 La terminologie théâtrale � 32 2.3 La pièce al-Baḫīl � 36 2.3.1 Les didascalies et la structuration du texte � 36 2.3.2 Les personnages � 37 2.3.3 La trame � 42 2.3.4 L’exposition, l’orchestre et le genre � 45 2.3.5 Quel/s hypotexte/s? � 49 2.3.6 Le dénouement � 56 2.3.7 Le procédé de naturalisation � 59 2.3.8 La langue employée dans la pièce � 61 2.3.9 L’Avare, le thème littéraire � 64 2.3.10 L’Avare pour Mārūn Naqqāš � 67 2.4 Prise de conscience et négociation � 71 2.5 De l’or européen coulé à la manière arabe � 78 3 Se défendre de l’autre et se construire soi-même � 83 3.1 La naissance du théâtre arabe moderne en Egypte � 83 3.2 Structure et aspects linguistiques de Mūlyīr Miṣr wa-mā yuqāsīhi � 85 VI � Table des matières 3.2.1 Les personnages � 87 3.2.2 La terminologie théâtrale � 89 3.2.3 Les difficultés à gérer une troupe: obstacles et ennemis � 92 3.3 Les difficultés à gérer un mouvement de libération nationale � 101 3.4 Pars pro toto: les ennemis du théâtre pour les ennemis de la nation � 111 4 L’identité et la synthèse culturelle � 119 4.1 Le théâtre de l’Egypte à la Tunisie � 119 4.2 Le modèle ‘Molière’ � 122 4.3 La pièce al-Mārīšāl � 125 4.3.1 Titre et structure � 128 4.3.2 Les personnages et la vie sociale � 128 4.3.3 Le cadre spatio-temporel � 134 4.3.4 Vie matérielle � 135 4.3.5 La langue � 137 4.3.6 Culture religieuse � 140 4.3.7 Le dénouement � 142 4.3.8 L’ambiance � 144 5 Entre tradition et innovation � 153 5.1 Les prodromes du théâtre au Maroc � 153 5.2 Le modèle ‘Molière’ au Maroc � 155 5.3 Le modèle ‘Molière’ pour Taïeb Saddiki � 157 5.4 Taïeb Saddiki récupère la tradition autochtone � 160 5.5 Saddiki retourne à Molière: Molière ou «Pour l’amour de l’humanité» � 165 5.5.1 La préface � 168 5.5.2 Les personnages � 169 5.5.3 Le prologue � 170 5.5.4 Le traitement des clichés sur Molière � 171 5.5.4.1 Molière l’ennemi des dévots et des médecins � 171 5.5.4.2 Molière satiriste � 172 5.5.4.3 Molière l’homme libre � 173 5.5.4.4 Molière mort sur scène � 174 5.5.5 Un exemple de pastiche ou de capriccio? � 174 5.5.6 Le cadre spatio-temporel � 176 5.5.7 Le message: Molière, remède contre l’intolérance � 178 Table des matières � VII 5.5.8 Le titre et la structure de la pièce � 184 5.5.9 La question de la langue � 186 6 Conclusions � 193 7 Annexes. al-Baḫīl de Mārūn Naqqāš � 201 7.1 Traduction de la Muqaddima (‘Préface’) d’Arzat Lubnān � 201 7.1.1 Abrégé de biographie de Mārūn Naqqāš � 204 7.1.2 Le discours lu par Mārūn Naqqāš à l’occasion de la présentation de la première pièce au mois de février 1848 � 205 7.1.3 A propos du discours sur les théâtres et les pièces et la manière de les représenter devant le public � 208 7.1.4 Note � 210 7.1.5 Note finale � 212 7.2 Traduction d’al-Baḫīl de Mārūn Naqqāš � 212 7.2.1 Les noms des personnages � 212 7.2.2 Acte I � 213 7.2.3 Acte II � 219 7.2.4 Acte III � 225 7.2.5 Acte IV � 230 7.2.6 Acte V � 236 8 Annexes. Mūlyīr Miṣr wa-mā yuqāsīhi de Ya‘qūb Ṣannū‘ � 245 8.1 Préface � 245 8.2 Noms des personnages de la pièce � 245 8.3 Acte I � 246 8.4 Acte II � 253 9 Annexes. Le Maréchal de Noureddine Kasbaoui � 261 9.1 Acte I � 261 9.2 Acte II � 282 9.3 Acte III � 302 Bibliographie � 317 Index des noms � 329 Avant-propos Ce travail propose une réflexion sur la réception d’un modèle littéraire européen dans le théâtre arabe moderne et contemporain, à travers l’étude des processus de négociation opérés par certains dramaturges provenant du Proche Orient et de l’Afrique du Nord. Il s’insère, par conséquent, aussi bien dans le domaine scientifique de la littérature comparée que, plus en particulier, dans les études arabes. La recherche bibliographique a été menée dans plusieurs institutions et no- tamment à la Maktaba al-Waṭaniyya de Tunis (Bibliothèque Nationale Tuni- sienne, BNT), à l’Istituto per l’Oriente C.A. Nallino de Rome, au PISAI de Rome, à la Bibliothèque Labronica de Livourne et à la Bibliothèque Cantonale de Fri- bourg (CH). Cet essai interdisciplinaire est le résultat d’un long parcours de recherche qui a pu être réalisé grâce à la contribution précieuse de plusieurs experts, col- lègues et amis qui m’ont encouragée et soutenue. Je tiens à remercier en parti- culier Thomas Hunkeler (Université de Fribourg, CH), pour avoir accepté de diriger la thèse de doctorat dont cet ouvrage est issu, pour ses conseils, sa ri- gueur et sa disponibilité. Je remercie également Olivier Durand (Sapienza Uni- versité de Rome), guide constant, pour la générosité et les enseignements impé- rissables. Qu’il voie dans ce travail l’expression de ma profonde reconnaissance. Je tiens à remercier Ignazio Putzu, Directeur du Département de Philologie, Littérature et Linguistique à l’Université de Cagliari, qui m’a soutenue dans le projet de publication de ce travail. J’adresse encore ma gratitude pour les con- seils précieux et le soutien humain et professionnel à Giuliano Mion (Université de Chieti-Pescara), Marie-Aimée Germanos (Inalco, Paris), Wasim Dahmash (Université de Cagliari), Biancamaria Scarcia Amoretti (Sapienza Université de Rome), Claude Bourqui (Université de Fribourg), Michel Viegnes (Université de Fribourg), Benoît Challand (Université de New York), Riccardo Contini («L’Orientale», Naples), Francesco Zappa (Université Aix-Marseille), Michel Faragalla, Gisella Kohn, S.E. Tajeddine Baddou (ancien ambassadeur du Royaume du Maroc à Rome) et, enfin, Taïeb Saddiki que j’ai eu le plaisir de rencontrer à Casablanca. Il va sans dire que je suis la seule responsable de ce travail et que toutes les fautes qui pourraient y subsister ne sont imputables qu’à moi-même. Je dédie ma recherche à ma petite équipe dont je suis fière: à mon mari Giu- liano et à notre fille Carolina. Systèmes de transcription de l’arabe Transcription de l’arabe classique Graphème Nom arabe du graphème API Transcription employée ’ [alif [ʔ’ ا bā’ [b] b ب tā’ [t] t ت ṯā’ [θ] ṯ ث ǧīm [ʤ] ǧ ج ḥā’ [ħ] ḥ ح ḫā’ [χ] ḫ خ dāl [d] d د ḏāl [ð] ḏ ذ rā’ [r] r ر zāy [z] z ز sīn [s] s س šīn [ʃ] š ش ṣād [sˤ] ṣ ص ḍād [dˤ] ḍ ض ṭā’ [tˤ] ṭ ط ẓā’ [ðˤ] ẓ ظ ‛ [ayn [ʕ‛ ع ġayn [ʁ] ġ غ fā’ [f] f ف qāf [q] q ق kāf [k] k ك lām [l] l ل mīm [m] m م nūn [n] n ن hā’ [h] h wāw [w] w و yā’ [j] y ي Le vocalisme de l’arabe classique se compose de: ā, ī, ū; a, i, u. XII � Systèmes de transcription de l’arabe Transcription de l’arabe dialectal Segments du consonantisme: ’, b, t, ṯ, ǧ, ž, ḥ, ḫ, d, ḏ, r, ṛ, z, s, š, ṣ, ḍ, ṭ, ẓ, ḍ, ‘, ġ, f, q, k, l, m, n, h, w, y. Segments du vocalisme: ā, ē, ī, ō, ū; a, i u, ə. 1 Introduction Nous aurons à cœur d’offrir le visage de la France le plus beau et le plus durable qui soit: celui de Molière. Ainsi se resserrent entre les hommes l’amitié et la compréhension Jean Vilar, 16 mai 1953 6 [_ Y 60X3 ZWO7 160[ R *? O 63 \G )4_ 7P3 ) ^ _ b_ b * / ^T *@O Taïeb Saddiki, 1997 1.1 Un Molière arabe Aucun pays n’est resté indifférent au génie de Molière, ses pièces ne cessant d’être traduites, adaptées et jouées de par le monde.
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