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12 Né Dans Une Famille Ouvrière À Cork En 1953, Theo Dorgan Est L 12 Né dans une famille ouvrière à Cork en 1953, Theo Dorgan est l’aîné de quinze enfants. Diplômé de University College Cork (UCC) en 1974, il appartient à la génération de poètes qui sont venus à l’université à un moment clé dans l’histoire socio-économique de l’Irlande. Après de longues années d’isolement et de censure, le pays s’ouvrait au monde notamment dans les domaines de la politique, de l’économie et de la culture. La réforme du système d’éducation entreprise par Donogh * Phrase utilisée O’Malley en 1967 permit pour la première fois l’accès gratuit à l’enseignement secon- au Marché de la daire à tout enfant irlandais. Couplée à la mise en place d’un système de bourses, poésie à Paris en juin 2013 par la formation universitaire fut alors à la portée d’une part de la population bien plus Paula Meehan, diversifiée. Ces étudiants, les « O’Malley’s Children »*, ont pu bénéficier également qui occupe actuellement des changements de mœurs liés au développement d’une culture mondiale de la la chaire de jeunesse. Ils ont profité aussi de la dissémination de la culture grâce notamment au poésie en livre de poche et ont ressenti les ondes de choc provoquées par les protestations des Irlande (Ireland Professor of années soixante qui traversaient le monde de Paris à Berkeley en passant par Derry et Poetry). Belfast. En somme, la génération de Theo Dorgan a goûté à une liberté économique et intellectuelle sans pareille dans l’histoire de l’Irlande. À University College Cork, Theo Dorgan fit des études de philosophie et de littérature anglaise. Il bénéficia du soutien des poètes Seán Lucy et John Montague, professeurs au sein du département d’anglais. Ces figures tutélaires ont encouragé les ambitions poétiques de Dorgan et de ses camarades, Thomas McCarthy, Maurice Riordan, Gregory O’Donoghue ou encore Seán Dunne. En tant qu’ancien élève de la section gaélophone du lycée The North Monastery, Dorgan connaissait de près les travaux des poètes gaélophones et il a même pu rencontrer Michael Davitt, rédacteur en chef de la revue Innti, Poesie-Dorgan.indd 12 12/05/14 19:33 13 venu jusque dans l’enceinte du lycée afin de rallier les troupes. Cette rencontre fut décisive pour Dorgan qui comprit alors que la langue gaélique appartenait au peuple et non aux institutions. Dorgan publia un poème en gaélique dans un numéro de la revue mais décida par la suite de continuer à écrire en anglais. Néanmoins son engagement avec et pour la langue gaélique reste entier. Il se manifeste notam- ment dans les projets de traduction et de promotion de littérature gaélophone, comme An Leabhar Mór: The Great Book of Gaelic. Theo Dorgan entreprit un Master of Arts en littérature anglaise, tout en étant responsable de la pro- motion littéraire au sein du Triskel Arts Centre. À ses débuts, il mena de front une carrière d’administra- teur au Triskel Arts Centre et son travail d’écrivain et de réalisateur/animateur. Il fut directeur de Poetry Ireland / Éigse Éireann (fondation irlandaise pour la poésie) et membre du Arts Council of Ireland/An Chomhairle Ealaíon. Passionné de voile, il publia deux récits de ses voyages sur les océans du monde. Élu membre de Aosdána en 1999, il se consacre aujourd’hui entièrement à son écriture. Son ouvrage le plus récent est le roman Making Way publié chez New Island Books en 2012. Il a publié les recueils de poésie suivants : The Ordinary House of Love (Galway, Salmon Poetry, 1991) ; Rosa Mundi (Salmon Poetry, 1995) ; Sappho’s Daughter (Dublin, Wave Train Press 1998). En 2008, Dedalus Press publia What This Earth Cost Us, une réédition des deux premiers recueils de Dorgan aug- mentée de quelques poèmes inédits. Son recueil le plus récent est Greek (Dublin, Dedalus Press, 2010). Songs of Earth and Light, ses versions des poèmes de Barbara Korun, traduits du slovène, fut publié en 2005 (Cork, Southword Editions). Poesie-Dorgan.indd 13 12/05/14 19:33 14 John Montague était si résolu à élargir les connaissances poétiques de ses protégés qu’il invita plu- sieurs poètes célèbres, tels André Frénaud ou encore Hugh MacDiarmid, à l’université dans les années 1970. C’est dans ce cadre que Theo Dorgan fit la connaissance de Robert Graves, lors de la visite de ce dernier à Cork. La poésie de Theo Dorgan est marquée par l’influence gravesienne : amour et chagrin, mythe et histoire s’y côtoient. Son attrait pour la Grèce remonte sans doute à cette rencontre. Dorgan y séjourne une partie de l’année, et les poèmes de son recueil Greek portent les traces des légendes et du paysage grecs. Cependant, dans d’autres poèmes, le paysage grec et le paysage irlandais s’interpé- nètrent. C’est le cas dans le poème intitulé « Begin, Begin Again » [Commence, recommence] (Greek, p. 12), où la Grèce et l’Irlande, plus spécifiquement la province méridionale du Munster, se mêlent pour devenir un seul paysage de l’âme. C’est ainsi que Dorgan souligne la structure mythique commune à toute culture : The white city of childhood that is everywhere the same. This one life that is everywhere the deep-indented same. (Greek, p. 16) La blanche cité de l’enfance est partout la même. Cette vie partout percée de cette même indentation. Dorgan est aussi un poète de la ville, natif du quartier populaire de Blackpool, il l’immortalisa dans le poème « A Nocturne for Blackpool ». Nombre de ses poèmes se situent dans des lieux clés de l’espace urbain, comme le café où le poète s’installe pour observer et raconter la vie qui l’entoure. Le poème « Morning in the Cafeneion » est typique du genre : il place le poète dans la position de l’observateur, installé au milieu de la cité mais toujours à l’écart. Il rend compte des tribulations de la communauté, Poesie-Dorgan.indd 14 12/05/14 19:33 15 témoigne de la naissance des sentiments amoureux, tout en se cachant derrière la couverture protectrice de son livre. Theo Dorgan est un être engagé, une voix qui porte dans la sphère publique, et sa poésie témoigne de cet engagement. Il prolonge ainsi une tradition de la poésie irlandaise, incarnée par un poète comme Patrick Galvin (1927-2011). Il se sert de la forme poétique populaire de la ballade, utilisée comme réponse immédiate et collective à un événement politique. Le poème « Kilmainham Gaol, Dublin, Easter 1991 », avec ses vers longs et son refrain, illustre le désir de Dorgan de reprendre l’espace public pour le peuple. La figure centrale de ce poème est celle du socialiste révolutionnaire James Connolly dont la bannière de son « Citizen Army » flotte sur le poème. La chanson évoquée dans ce poème est « The Ballad of James Connolly » que l’on doit à Patrick Galvin. Le dernier vers, « I say this as calmly and as lovingly as I can », est répété comme un refrain tout au long du poème, créant ainsi un sentiment d’unité et facilitant la mémorisation du poème, ce qui était la fonction du refrain dans la ballade à ses origines. Avec ce poème, Dorgan a amplifié la spectrographie de la poésie de l’Insurrection de 1916. L’intérêt de Theo Dorgan pour d’autres formes artistiques se constate dans plusieurs projets réalisés en collaboration. Ses lectures de poésie se font souvent en musique, avec la harpiste Helen Davies et la chanteuse Pádraigín Ní Uallacháin, par exemple. Il fut le moteur de l’ambitieuse entreprise The Great Book / Leabhar Mór na hÉireann, qui mobilisa l’énergie créative de poètes et d’artistes sur cet objectif commun et dont l’aboutissement fut un ouvrage acquis récemment par UCC. Le livre, d’une grande beauté, allie la forme poétique à l’art visuel pour constituer un produit unique. Son long poème « Sapho’s Daughter » fut mis en musique par le compositeur Colm Mac an Iomaire et présenté par Poesie-Dorgan.indd 15 12/05/14 19:33 16 Olwen Fouéré lors des festivités qui marquèrent la Présidence irlandaise de la Communauté européenne en 2013. Theo Dorgan est également un traducteur accompli. À ce titre, il dirigea les ateliers européens de la poésie European Poetry translation workshops et les volumes qui parurent à la suite de ces rencontres. L’influence de la poésie européenne tout comme les liens qu’il établit avec d’autres traditions poétiques sont également perceptibles dans des poèmes tels que « To Gennadi Uranov in the Coming Times », où la figure d’Anna Akhmatova hante le poème. Comme beaucoup de poètes de sa génération, Dorgan chercha des modèles poétiques à l’extérieur de l’espace confiné de l’Irlande et du monde anglophone. La traduction lui permet un dialogue avec d’autres traditions littéraires. Il a lui même traduit depuis le gaélique et le français, deux langues qu’il maîtrise parfaitement. En collaboration avec la poète slo- vène Barbara Korun, il participa également au Cork Translation Project en 2005, qui cherchait à faire connaître en Irlande les poètes d’Europe de l’Est. Les poèmes dans ce cahier ont été choisis par Theo Dorgan et lus par le poète lui-même dans le cadre des lectures de poésie bilingue organisées à la Sorbonne Nouvelle. Ces rencontres cherchent à promouvoir la poésie contemporaine grâce à des séries de lectures qui ont lieu en Sorbonne, faisant résonner ainsi la voix du poète dans l’enceinte de l’université. Chaque poète choisit une sélection de poèmes à lire, ou à réciter, à voix haute. Les poèmes sont par la suite traduits par les enseignants-tra- ducteurs.
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