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Universite D'aix-Marseille UNIVERSITE D’AIX-MARSEILLE ECOLE DOCTORALE 355 Institut de recherches et d’études des mondes arabes et musulmans IREMAM (UMR 7310) Thèse présentée pour obtenir le grade universitaire de docteur Discipline : Mondes arabes, musulmans et sémitiques Simon DUBOIS De la marge au centre, de Syrie en exil : itinéraires d’un jeune théâtre syrien Soutenue le 04/11/2019 devant le jury : Frédéric Lagrange Sorbonne Université Rapporteur Pénélope Larzillière CEPED-IRD Rapporteur Sophie Bava LPED-IRD Examinateur Franck Mermier IRIS-CNRS Examinateur Catherine Miller IREMAM-CNRS Examinateur Richard Jacquemond IREMAM-Aix-Marseille Université Directeur de thèse Numéro national de thèse/suffixe local : 2 Résumé Cette thèse a pour objet d’étude la production dramatique syrienne depuis le déclenchement du printemps syrien il y a huit ans, à la mi-mars 2011. En prenant pour objet la trajectoire d’une jeune génération de professionnels du théâtre, elle vise à mettre en évidence les dynamiques de la création scénique et à appréhender plus largement la nouvelle condition de la production artistique syrienne contemporaine. Depuis la révolte populaire, cette production a connu un ensemble de transformations qui reflètent un contexte politique et social en constante évolution. Deux axes jouent un rôle catalyseur : le mouvement contestataire qui ébranle un champ artistique très structuré autour de l’État et de ses institutions ; l’exil, généralisé à tous les niveaux de la société, qui disloque complètement l’ancrage territorial de l’art syrien. L’objectivation de la création contemporaine syrienne requiert alors une approche en plusieurs dimensions capable d’appréhender dans le temps et l’espace les mutations de la scène artistique. Pour cela, les trajectoires de ces jeunes praticiens du théâtre agissent comme un révélateur. Au gré des déplacements géographiques, cette génération, confinée jusqu’alors aux marges du champ artistique national syrien, a atteint une position centrale dans la production dramatique en exil. En identifiant les développements récents et en cours de ce milieu, cette recherche examine les recompositions d’une scène artistique après son éclatement politique et géographique, et contribue ainsi à écrire l’histoire culturelle syrienne depuis le début du XXIe siècle. 3 Abstract The purpose of this thesis is to study Syrian theatre creation since the beginning of the Syrian uprising eight years ago, in mid-March 2011. By focusing on the trajectory of a young generation of theatre professionals, it aims to highlight the dynamics of stage creation and gain a broader understanding of the new condition of contemporary Syrian artistic production. Since the popular revolt, this artistic production has undergone a series of transformations that reflect a constantly changing political and social context. Two axes have had a catalytic effect: the protest movement, which is shaking up an artistic field highly structured around the State and its institutions; and exile, widespread at all levels of society, which is completely dislocating the territorial anchoring of Syrian art. As such, the objectification of contemporary Syrian creation requires a multidimensional approach capable of capturing changes in time and space in the artistic scene. To this end, the trajectory of these young theatre artists is very indicative. As geographical shifts have taken place, this generation, previously confined to the margins of the Syrian national artistic field, has reached a central position in theatre production in exile. By identifying recent and ongoing developments in this field, this research examines the reshaping of an artistic scene after its political and geographical fragmentation, in this way contributing to the narrative of Syrian cultural history since the beginning of the 21st century. 4 Remerciements Ce travail n’aurait jamais vu le jour sans le soutien indéfectible de Richard Jacquemond. De la constitution de l’objet de recherche à l’écriture en passant par la réalisation de mon enquête, les conseils stratégiques et les encouragements subtils de Richard m’ont permis de mener à terme un projet qui me tenait à cœur. Cette recherche s’appuie sur mon immersion dans les milieux de la culture syrienne entre 2009 et 2011. Reem Helou en est la principale artisane. Je suis particulièrement redevable à Ayham Abu Shaqra qui n’a cessé de répondre à mes interrogations quels que soient l’heure ou le jour ! À Abdullah Al Kafri et Waël Kaddour pour m’avoir introduit dans le milieu artistique en exil. Je remercie immensément tous les artistes syriens et acteurs de la culture qui sont les protagonistes de cette thèse et dont beaucoup sont désormais des amis. Les étapes de ce travail n’ont pu être franchies que grâce aux soutiens amicaux et professionnels que j’ai reçus. En premier lieu de l’IREMAM, à Aix-en-Provence, et son équipe où j’ai effectué mes premiers pas de doctorant. L’IFPO Beyrouth et Myriam Catusse, la directrice des études contemporaines en 2015, qui m’ont accueilli durant la première phase de mon enquête. Je tiens à remercier aussi Vanessa Guéno, Nawar Bulbul et leurs enfants pour leur accueil à Amman ; les amis de Bayt Arnaud à Beyrouth. À Marseille, la rencontre avec Khadija Fadhel est primordiale dans la conduite des enquêtes européennes. Je suis redevable aux Bancs Publics, structure organisatrice du festival des Rencontres à l’échelle, et à leur directrice Julie Kretzschmar pour m’avoir ouvert les portes des coulisses ; à Maëlle Dubois et Manolis Ulbricht qui m’ont réceptionné et orienté à Berlin ; Raafat Al Zakout et sa compagne Christin qui m’ont aidé à saisir certains tenants de la situation berlinoise ; Adriana Santos Muñoz ma meilleure source. Les amis qui m’ont accompagné durant l’étape d’analyse et de rédaction de la thèse : Séverine Gabry-Thienpont ; Juliette Cuz Grisolia ; les Cocottes du Forum ; la famille Tailhades-Alali ; Si-si la famille ; Jonathan, Lolita et leurs enfants ; Léo Fourn ; François Burgat. Un immense merci à ma famille qui m’a soutenu, mes frères, ma grand-mère pour ses relectures. Une pensée spéciale pour mes parents qui m’ont transmis leur amour du monde arabe. 5 6 Note sur la translittération La translittération employée respecte la norme Arabica. Toutefois, certaines voyelles prononcées en dialecte syrien seront ajoutées. Les noms propres seront écrits en translittération une première fois dans les encarts biographiques puis en graphie vulgaire si elle est couramment utilisée. La hamza en début de mot n’est pas transcrite. L’article est toujours transcrit sous la forme al- (ou l- s’il suit un mot terminé par une voyelle) sans tenir compte de l’assimilation (lettres solaires). Les diphtongues sont transcrites aw et ay. ع ʿ ء ’ غ ġ ب b ف f ت t ق q ث ṯ ك k ج ǧ ل l ح ḥ م m خ ḫ ن n د d ه h ذ ḏ و w/ū ر r ي y/ī ز z ا ى ā س s َ a ش š َ u ص ṣ َ i ض ḍ ط ṭ ظ ẓ 7 8 Au peuple syrien et à sa lutte contre la dictature, À Mounzer Kam Nakache (1935-2019), ami, peintre et sculpteur, 9 10 Introduction 11 12 Le 15 mars 2011, la Syrie entrait de plain-pied dans les printemps arabes. Au-delà de l’aspect politique immédiatement visible avec des manifestations massives dès les premières semaines, une expression artistique en appui à la contestation apparait très rapidement. S’il s’agit dans un premier temps d’outils de mobilisation comme les pancartes, les chants, les graffitis, etc., cette création s’émancipe de son aspect utile et devient rapidement libellée « art de la révolution ». Le dépassement d’une censure externe et interne, que les activistes syriens ont traduit par « la chute du mur de la peur », semble encourager ce type de création, d’autant plus qu’elle s’inscrit dans une intensification de la lutte politique. Les expressions de la rue syrienne attirent l’attention du monde, elles sont partie prenante de la mobilisation mais également de la répression qui est déployée. Certaines figures de la révolution qui participent de la construction d’une identité de lutte en devenant des référents communs aux manifestants, sont liées à l’expression artistique de la contestation. Ainsi, dans la martyrologie d’une première phase pacifiste du soulèvement deux noms reviennent sans cesse. Ali Ferzat (ʿAlī Firzāt, né en 1951), caricaturiste opposé au régime se fait casser les mains par ses sbires1. Plus problématique, le chanteur de rue Ibrahim Qashoush (Ibrāhīm Qāšūš, présumé né en 1977) connu pour avoir chanté à Hama l’emblématique « Dégage Bachar » est retrouvé mort, les cordes vocales arrachées en juillet 20112. La controverse autour de sa véritable identité connait un rebondissement en 2016 lorsqu’un autre chanteur de Hama déclare avoir inventé cette figure martyre et prétend être le chanteur derrière les vidéos et chansons attribuées à Qashoush. Une deuxième figure de chanteur émerge en la personne de ʿAbd al-Bāsiṭ al-Sārūt (né en 1992), ancien gardien de buts d’une équipe de football de Homs. Il conduit plusieurs manifestations à Homs et produit plusieurs chansons3. L’évolution de son parcours d’un engagement pacifiste vers le basculement dans la lutte armée et au final l’engagement dans des factions combattantes islamistes en fait un archétype de l’évolution de la situation syrienne. Son histoire fait l’objet d’un film, Return to Homs, réalisé par Talal Derki (Ṭalāl Dayrkī, né en 1 Sallon, Hélène, « Les coups de crayon d’Ali Ferzat contre le régime syrien » [en ligne], Le Monde, 25 février 2013, disponible à l’adresse : https://www.lemonde.fr/proche-orient/article/2013/02/25/la-liberte-pour-la-syrie- sous-le-trait-d-ali-ferzat_1838327_3218.html. 2 Dubois, Simon, « Les chants se révoltent », in Burgat, François (éd.), Pas de printemps pour la Syrie.
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