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Adaptations Cinématographiques D' "Alice Au Pays Des

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Adaptations Cinématographiques D' Adaptations cinématographiques d’Alice au pays des merveilles et de De l’autre côté du miroir de Lewis Carroll Analyse des transécritures de Walt Disney, Jan Švankmajer et Tim Burton Mémoire Gabrielle Germain Maîtrise en littérature et arts de la scène et de l’écran Maître ès arts (M.A.) Québec, Canada © Gabrielle Germain, 2014 Résumé Adaptations cinématographiques d’Alice au pays des merveilles et De lřautre côté du miroir de Lewis Carroll: Analyse des transécritures de Walt Disney, Jan Švankmajer et Tim Burton observe comment trois versions cinématographiques différentes, provenant dřun même texte source, peuvent être singulières les unes par rapport aux autres. Le but de ce mémoire est dřanalyser les transécritures de Walt Disney (1951), de Jan Švankmajer (1989) et de Tim Burton (2010) autant dans les changements narratifs que dans les ajouts faits par les réalisateurs qui personnalisent lřadaptation. Pour ce faire, nous nous appuierons sur la notion dřidée de Deleuze. Chacune des analyses est divisée selon: les idées de roman et de cinéma qui se « rencontrent », les ajouts et modifications des idées de roman, ainsi que les idées ayant été rejetés par lřadaptateur-cinéaste. III Summary Adaptations cinématographiques d’Alice au pays des merveilles et De lřautre côté du miroir de Lewis Carroll: Analyse des transécritures de Walt Disney, Jan Švankmajer et Tim Burton observes how three different cinematographical versions, of the same source text, are singular from one another. The goal of this essay is to analyze the adaptations of Walt Disney (1951), Jan Švankmajer (1989) and Tim Burton (2010) from the narrative choices to what directors added in order to personalize the adaptation. To do so, we rely on Deleuzeřs notion of ideas. Every analyze is being divided by: the meeting of the novelřs ideas and the filmřs ideas, by ideas that have been added or modified, and by ideas that were eliminated by the adaptor-filmmaker. V Table des matières Résumé III Summary V Table des matières VII Introduction 1 Alice in Wonderland, Walt Disney, 1951 21 Alice, Jan Švankmajer, 1989 65 Alice in Wonderland, Tim Burton, 2010 101 Conclusion 153 Annexe 1 163 Annexe 2 189 Annexe 3 193 Médiagraphie 203 VII Je tiens à remercier ma famille ainsi que Jonathan pour m’avoir soutenue tout au long de mes recherches et de mon écriture. Je veux aussi remercier mon directeur de maîtrise, Jean-Pierre Sirois-Trahan, qui a su m’aiguiller et m’encadrer quand j’en ai eu besoin. IX Introduction En 1865, paraît pour la première fois Alice au pays des merveilles de Charles Lutwidge Dodgson, alias Lewis Carroll. De l’autre côté du miroir, lui, est publié en 1872. Dès lors, il ne sřagit plus seulement dřune version rédigée de lřhistoire racontée à la petite Alice Liddell pendant lřété 1862; vient se joindre à lřœuvre, voire la dédoubler, une série dřimages dessinées par John Tenniel. Les contes de Carroll sont un réservoir de personnages excentriques littéraires et illustrés, de jeux de mots et dřaccumulation de nonsenses1, dans lesquels chaque lecteur peut puiser, peu importe son âge. Comme le dit Stephanie Lovett Stoffel, « [s]i nombre de lecteurs ont tendance à confondre Alice et le Miroir, cřest peut-être à cause des nombreuses adaptations, notamment filmées, dont ces contes ont fait lřobjet2. » Les deux histoires se mélangent, non seulement parce que les écrits de Carroll forment un tout, mais aussi parce que les adaptations, dès 19033 au cinéma, sont très nombreuses. Mais pourquoi adapter la même œuvre de départ plusieurs fois? Et comment ces différentes versions peuvent-elles être uniques bien que provenant du même texte-source? Bien que ces diverses adaptations cinématographiques des aventures dřAlice soient nombreuses, elles ne semblent pas retenir autant lřattention des critiques que la vie de Charles Lutwidge Dodgson et sa littérature. Beaucoup de travaux ont été écrits autant sur Carroll que sur ses contes. Certains ouvrages sur lřécrivain et son corpus abordent sa vie, la contextualisation de lřécriture de ses œuvres, les rumeurs de pédophilie sur lřauteur, son génie et son originalité. Tout cela crée un décalage entre ses contes (populaires auprès des lecteurs) et sa vie. Pour certains auteurs, il est surtout question de lřhumour nonsensique et de la psychologie qui se dégage dřAlice in Wonderland et de Through the Looking-Glass. 1 Selon le Dictionnaire de l’Académie française en ligne, neuvième édition : Non-sens (n. m.) […] Par référence au nonsense anglais, manière de jouer sur les mots qui vise, à partir dřeffets tirés de leur sonorité, à remettre en cause la signification ou la logique du langage. L’œuvre de Lewis Carroll joue sur le non-sens. http://atilf.atilf.fr/dendien/scripts/generic/cherche.exe?15;s=3994109115;; [consulté en ligne le 28 avril 2014]. 2 Stephanie Lovett Stoffel, Lewis Carroll au pays des merveilles, Paris, Gallimard, 1997, p. 96. 3 Version de Cecil M. Hepworth et Percy Stow, de 8 à 10 minutes. Lřouvrage Alice au pays des merveilles structures logiques et représentations du désir4 sřattarde plus particulièrement, comme son titre lřindique, à la structure logique, et donc mathématique, du texte littéraire. Quant à la partie sur la représentation du désir, elle est plus discrète et participe tout simplement à compléter et alléger lřouvrage. Les livres Lewis Carroll dans l’imaginaire français : la nouvelle Alice5 et Lewis Carroll de l’autre côté de la logique6 retracent, comme beaucoup dřautres, lřhistoire de la création des aventures dřAlice et analysent dřinnombrables facettes des textes de Lewis Carroll de façon littéraire. Lřouvrage Lewis Carroll et les mythologies de l’enfance7 est un recueil de textes portant sur divers aspects de la vie de lřauteur. Y est discutée, en partie, la tendance pédophile de lřécrivain. Ils parlent dřAlice au pays des merveilles comme dřun témoignage particulier de lř« amour » de Carroll pour les petites filles. Plusieurs critiques littéraires de ces textes, dits pour enfants, parsèment lřouvrage. Les travaux de monsieur Jean Gattégno, Lewis Carroll : une vie d’Alice à Zénon D’Élée8, parlent de lřexistence personnelle de lřauteur, allant de sa naissance à sa vie adulte dřécrivain. L’univers de Lewis Carroll9, lui, aborde le lien étroit entre la vie de Carroll et de ses œuvres. Sa vie personnelle est, ici, beaucoup moins présente que dans le premier livre cité du même auteur, lřaccent étant mis sur les textes de lřécrivain. Lřouvrage Lewis Carroll au pays des merveilles10, de Stephanie Lovett Stoffel, présente un panorama très rapide de la vie et des œuvres de lřécrivain anglais, joint à de multiples photos et illustrations. Les ouvrages trouvés sur ce sujet sont surtout des analyses littéraires ou des biographies portant sur Lewis Carroll/Charles Lutwidge Dodgson. Du point de vue cinématographique, trouver autre chose que des comptes rendus appréciatifs, sur les diverses versions parues sur les écrans, est chose ardue. 4 Henri Laporte, Alice au pays des merveilles : structures logiques et représentations du désir, Paris, Mame, 1973, 103 p. 5 Marie-Hélène Inglin-Routisseau, Lewis Carroll dans l’imaginaire français : la nouvelle Alice, Paris, LřHarmattan, 2006, 359 p. 6 Sophie Marret, Lewis Carroll : de l’autre côté de la logique, Rennes, Presses universitaires de Rennes, 1995, 255 p. 7 Lawrence Gasquet, Sophie Marret et Pascale Renaud-Grosbras (dir.), Lewis Carroll et les mythologies de l’enfance, Rennes, PUR (coll. « Interférences »), 2003, 220 p. 8 Jean Gattégno, Lewis Carroll : une vie d’Alice à Zénon D’Élée, Paris, Seuil, 1974, 311 p. 9 Jean Gattégno, L’Univers de Lewis Carroll, J. Corti, Paris, 1990, 394 p. 10 Stephanie Lovett Stoffel, Lewis Carroll au pays des merveilles, op. cit., 160 p. 2 Le but de notre mémoire est donc dřanalyser différentes transécritures11 cinématographiques des célèbres contes Alice in Wonderland et Through the Looking- Glass : Alice in Wonderland de Walt Disney (1951)12, Alice de Jan Švankmajer (1989)13 et Alice in Wonderland de Tim Burton (2010)14. Ce choix nřest pas anodin puisque la dernière adaptation puise dans les deux premières, Tim Burton ayant dřailleurs commencé sa carrière chez Disney. Bien quřil ait été découvert par la compagnie, il sřy sentait étranger. Ses films ne correspondaient en rien à lřesthétique Disney et ils étaient perçus comme trop obscurs pour les enfants, par son esthétique, mais aussi par ses thématiques. En général, les films de Burton se rapprochent davantage du conte traditionnel que les adaptations disneyennes ne peuvent le faire. Malgré ces différences, il met souvent en scène des contes et des films grand public comme Disney. Sa version dřAlice fût produite par Disney. Quant à lřinfluence du travail de Švankmajer sur Burton, ce dernier est souvent décrit comme un auteur contrebandier, cřest-à-dire quřil fait entrer en contrebande des références plus obscures et expérimentales dans son cinéma grand public, jouant à la frontière entre underground et mainstream. Le cinéma du Tchèque est le contraire dřun cinéma hollywoodien, mais il influence le cinéma de Burton. Švankmajer a subi non seulement la censure du parti communiste, mais aussi lřinterdiction de filmer pendant six ans. Ses œuvres sont, en grande majorité, politiques, en plus de faire partie dřun courant « marginal » au cinéma : le surréalisme. Il utilise, aussi, la technique dřanimation en stop- motion dans la plupart de ses films; Burton lřa aussi fait à quelques reprises. Ce dernier évolue toujours entre la bizarrerie de Švankmajer et le film à portée grand public de Disney. 11 Le terme transécriture est beaucoup plus large que celui dřadaptation qui limite lřanalyse dans son rapport dřun texte de départ à son texte (film) dřarrivée. Nous utilisons ici le terme transécriture afin de sortir de cette connotation, plutôt péjorative, dřune redevance du texte dit « second » à son texte « dřorigine ». Le terme transécriture peut sřappliquer autant au cinéma (du texte-source au film et, inversement, du film au texte dans le cas dřun film qui subit une « novellisation ») quřaux autres arts (la bande dessinée, la musique, la peinture).
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