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L'industrie Du Spectacle D'humour Francophone Du Québec

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L'industrie Du Spectacle D'humour Francophone Du Québec UNIVERSITÉ DU QUÉBEC INSTITUT NATIONAL DE LA RECHERCHE SCIENTIFIQUE CENTRE – URBANISATION CULTURE SOCIÉTÉ L’INDUSTRIE DU SPECTACLE D’HUMOUR FRANCOPHONE DU QUÉBEC CONTEMPORAIN : INDUSTRIE CULTURELLE ET TERRITORIALITÉ Par Christelle PARÉ Maître ès arts (M.A.) Thèse présentée pour obtenir le grade de Philosophiae doctor, Ph.D. Doctorat en études urbaines Programme offert conjointement par l’INRS et l’UQAM Décembre 2015 © Christelle PARÉ, 2015 Cette thèse intitulée L’INDUSTRIE DE L’HUMOUR FRANCOPHONE DU SPECTACLE D’HUMOUR DU QUÉBEC CONTEMPORAIN : INDUSTRIE CULTURELLE ET TERRITORIALITÉ et présentée par Christelle PARÉ a été évaluée par un jury composé de Mme Damaris ROSE, présidente, INRS-UCS M. Christian POIRIER, directeur de thèse, INRS-UCS Mme Annick GERMAIN, examinateur interne, INRS-UCS M. Marc MÉNARD, examinateur externe, Université du Québec à Montréal Mme Lucie JOUBERT, examinateur externe, Université d’Ottawa Pour Alain, Béatrice et Mamie iv RÉSUMÉ Alors que l’industrie de l’humour de scène francophone au Québec, connue sous l’appellation one-man show ou one-woman show, remporte la palme devant les autres industries culturelles québécoises en ce qui concerne la popularité et la diffusion de ses œuvres, aucune recherche n’a jusqu’à maintenant tenté d’en comprendre le fonctionnement, les relations de pouvoir, les stratégies, les discours et d’en identifier les acteurs. Si plusieurs études portant sur l’humour de scène dans le monde anglo-saxon sont publiées depuis les années 1970, on ne retrouve pas un engouement scientifique équivalent concernant les réalités de l’humour francophone québécois. Ainsi, la thèse contribue à une théorisation plus large des industries culturelles en incluant un nouveau domaine, celui de l’humour, et en tenant compte de l’importance de la variable territoriale dans le développement de cette industrie. Si les industries culturelles sont, d’ordre général, un phénomène ancré dans le milieu urbain, voire métropolitain, notre recherche révèle les rôles actifs que peuvent jouer les acteurs de différentes régions du large territoire québécois, non seulement dans le cadre de sa diffusion, mais aussi dans son développement économique et créatif. Aussi, la thèse contribue à l’enrichissement des Humor Studies en offrant le portrait d’une industrie de l’humour de scène différent des modèles anglo-saxons étudiés jusqu’à présent. Quelle est la place de l’humour au sein des industries culturelles ? Quelles sont les dynamiques à l’œuvre entre les acteurs du milieu ? Comment cette industrie est-elle construite discursivement par ses protagonistes ? Notre hypothèse générale est que la tension inscrite au cœur même des industries culturelles, à savoir entre création et commerce, existe aussi à travers les multiples scènes et vecteurs de l’humour. Notre objectif est de saisir cette tension par le biais de ses diverses manifestations, afin d’en connaître ses modes d’expression et ses impacts territoriaux. Nous dressons non seulement le portrait de l’industrie du spectacle d’humour contemporaine du Québec, en donnant la parole à toutes les catégories d’acteurs (créateurs, agents, gérants, producteurs et diffuseurs), mais nous évaluons aussi le rôle de la territorialité dans le développement de l’industrie du spectacle d’humour au Québec. Le cadre conceptuel est construit à l’aide de la notion de chaîne de production du texte culturel (Hesmondhalgh 2007), des étapes et acteurs qui la composent (Ménard 2004 ; Hesmondhalgh 2007), et fait appel à la notion d’institutionnalisation du territoire culturel (Harvey et Fortin 1995). Nous avons recours à une méthode compréhensive (revue de la littérature et recherche documentaire), et à l’analyse du discours de 40 entretiens semi-dirigés conduits auprès de 43 v répondants. L’approche globale de la thèse, à la fois sociologique, économique et territoriale, permet de mettre en lumière plusieurs angles d’un pilier économique de la culture québécoise qui, malgré son omniprésence sur l’ensemble des tribunes médiatiques, demeure un milieu plutôt mystérieux pour les non-initiés. Mots-clés : industries culturelles ; territoire ; humour ; stand-up comedy ; Québec ; géographie culturelle ; économie politique ; Cultural Studies ; Humor Studies ; méthodes qualitatives. vi ABSTRACT While the industry of Francophone stage humour in Quebec, better known as the one-man show or one woman show, takes the cake in front of the other Quebec cultural industries regarding the popularity and distribution of its works, until now no research has tried to understand how it works, the power relations, the strategies, the discourses and to identify the players. If several studies on stage humour in the Anglo-Saxon world have been published since the 1970s, we do not find an equivalent scientific enthusiasm concerning the realities of Quebec Francophone humour. Thus, the thesis contributes to a broader theory of cultural industries by including a new field, that of humour, and by taking into account the importance of the territorial variable in the development of this industry. If the cultural industries are, in general, a phenomenon rooted in the urban or metropolitan environment, our investigation reveals the active roles that can be played by the actors from different regions of the wide Quebec territory, not only as part of its distribution, but also in its economic and creative development. Also, the thesis contributes to the enrichment of Humor Studies by offering a portrait of different stage humour industry of Anglo-Saxon studies up to now. What is the role of humour in the cultural industries? What are the dynamics at work between local stakeholders? How is this industry built discursively by its protagonists? Our general assumption is that the tension placed at the heart of the cultural industries, namely between creation and commerce, also exists through the multiple scenes and vectors of humour. Our goal is to capture this tension through its various manifestations in order to know their modes of expression and its territorial impacts. We prepare not only the portrait of the contemporary humour industry in Quebec, giving voice to all the categories of actors (comedians, writers, agents, managers, producers, theatre managers and festival organisers), but we also assess the role of territoriality in the development of the humour industry in Quebec. The conceptual framework is built with the help of the notion of the chain of production of cultural text (Hesmondhalgh 2007), the stages and actors that compose it (Ménard 2004 ; Hesmondhalgh 2007), and calls on the concept of institutionalization of cultural territory (Harvey and Fortin 1995). We use a comprehensive method (literature review and document research) and discourse analysis of 40 semi-structured interviews conducted with 43 respondants. The overall approach of the thesis, which is sociological, economical and territorial, allows us to enlighten several angles vii of an economic pillar of the Quebec culture which, despite its omnipresence across all the media platforms, remains a rather mysterious environment for the uninitiated. Keywords : Cultural industries ; territory ; humour ; stand-up comedy ; Quebec ; cultural geography ; political economy ; Cultural Studies ; Humour Studies ; qualitative methods. viii REMERCIEMENTS Je tiens tout d’abord à remercier mon directeur de thèse, Monsieur Christian Poirier, pour son soutien à multiples déclinaisons au cours des dernières années. J’ai toujours eu droit à une évaluation franche et à des encouragements bien ciblés. Un gros merci ! Merci également aux membres de mon jury qui se sont montrés intéressés et constructifs, ouverts et compréhensifs, tout en relevant la barre du défi et de l’amour de la recherche. Je remercie également le Conseil de recherches en sciences humaines du Canada, ainsi que l’INRS-UCS et le réseau Villes Régions Monde pour leur soutien financier. J’aimerais également souligner la « cohorte de rêves » : Bochra Manai, Alexandre Maltais, Sophie Leblanc-Van Neste, Sandrine Jean et Taika Baillargeon. Merci à ma sœur, Sophie Paré, pour les superbes cartes et pour avoir embarqué dans mon délire sur le monde de l’humour francophone au Québec. Merci à mes répondants pour votre collaboration. Ces années de recherches ont également apporté leur lot de nouvelles amitiés dans le monde scientifique. Merci à vous tous pour vos encouragements et conseils : Denise Helly, Diane Saint- Pierre, Claudine Audet, Emmanuel Négrier, Jessica Milner-Davis, Will Noonan, Sharon Lockyer, Jason Luckerhoff, Jacques Lemieux, Jonathan Roberge, Synda Mourani, Julie Dufort, François Brouard, Robert Aird, Lilian Marques, Martin Têtu, Stéphane Labbé et tous les membres de l’Observatoire de l’humour. Un merci tout particulier pour Louise « Loulou » Richer et Francine Dubois. Merci énormément aux membres de ma famille d’avoir cru en moi et m’avoir soutenu tout au long de ce marathon, pour votre aide précieuse et votre amour : Claudette Bélanger, Sophie Paré, Simon C. Tétreault, Claude Paré, Hélène Tremblay, Patricia Mainguy, Jean-Pierre Mainguy, Éric Mainguy, et France Bélanger. Finalement, il n’y a pas de mot assez fort pour exprimer ma reconnaissance et mon amour à mes plus grandes sources d’énergie et d’inspiration, Alain et Béatrice. Alain… merci. Je t’aime. Béa, Maman a fini son travail. On peut aller jouer maintenant. ix x TABLE DES MATIÈRES Liste des tableaux .................................................................................................................. xix Liste des figures .....................................................................................................................
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