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Le Corps Qui Pense, L'esprit Qui Danse Le Corps qui pense, l’esprit qui danse - l’acteur dans sa quête de l’unité perdue Sirlei Alaniz To cite this version: Sirlei Alaniz. Le Corps qui pense, l’esprit qui danse - l’acteur dans sa quête de l’unité perdue. Musique, musicologie et arts de la scène. Université de la Sorbonne nouvelle - Paris III, 2014. Français. NNT : 2014PA030082. tel-02118634 HAL Id: tel-02118634 https://tel.archives-ouvertes.fr/tel-02118634 Submitted on 3 May 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITE DE LA SORBONNE NOUVELLE PARIS III ECOLE DOCTORALE 267 ‐ ARTS ET MEDIAS UFR D'ETUDES THEATRALES DOCTORAT Sirlei Alaniz Leela Alaniz Le Corps qui pense, l’esprit qui danse – l’acteur dans sa quête de l’unité perdue Thèse dirigée par Monsieur Georges BANU Présentée et soutenue publiquement le 13 octobre 2014 Université la Sorbonne Nouvelle Paris Devant un jury composé de: Monsieur Georges BANU (Professeur émérite Université Sorbonne Nouvelle Paris 3) Madame Monique BORI (Professeur émérite Université Sorbonne Nouvelle Paris 3) Madame Katia LEGERET (Professeur Université Paris 8 Saint-Denis) Monsieur Jean-François DUSIGNE (Professeur Université Paris 8 Saint-Denis) Monsieur Gilberto ICLE (Professeur Universidade Federal do Rio Grande do Sul, Brésil) Monsieur Serge TROUDE (Expert extérieur – Président de l’Institut Gurdjieff, Paris) Le Corps qui pense, l’esprit qui danse – l’acteur dans sa quête de l’unité perdue Leela Alaniz RÉSUMÉ Cette étude aborde le thème de la quête de vérité menée par l’acteur. Partant du « paradoxe de l’acteur » qui met en lumière la tension qui se joue entre Forme et Spontanéité, ainsi que sa difficulté à être simultanément artiste et œuvre d’art. Or une recherche comparative sur le théâtre Occidental/Oriental, et d’autres sources telles que les pensées de Georges Gurdjieff et de François Delsarte nous ont conduit à considérer le travail du comédien d’un point de vue trinitaire, en prenant en compte les trois éléments essentiels que sont son corps, son émotion et son esprit. La quête de vérité que mène l’acteur tout au long de sa vie doit s’enraciner dans une compréhension de sa propre nature trinitaire et d’un éventuel manque d’harmonie qui peut résulter dans des comportements automatiques et stéréotypés. Cette vision nous a servi de base pour mener une étude de la pensée de certains grands réformateurs du théâtre du XXe siècle. Ainsi, les méthodes de Jerzy Grotowski et d’Etienne Decroux sont analysées à partir des approches de l’organicité et de l'artificialité selon la perspective de Grotowski. Notre but est de trouver une possible complémentarité entre les travaux de ces deux investigateurs, dans la quête de l’équilibre du trinôme corps- émotion-esprit. Finalement, l’acteur doit cultiver simultanément ses trois centres pour unifier le créateur, l’artisan et la matière de son œuvre, et retrouver ainsi sa vraie Présence sur scène. SUMMARY This study begins with the actor’s quest for truth. Starting from the « actor’s paradox » which shines light on the tension that plays between Form and Spontaneity, and the difficulty of being simultaneously artist and work of art. A comparative research of Occidental/Oriental theatre, and other sources such as the thoughts of George Gurdjieff and François Delsarte led us to consider the work of the actor from the point of Trinitarian view, taking into account the three essential elements that are his body, his emotion and his mind. The quest for the truth that drives the actor has to begin with the comprehension of his own nature of this human trinity; before the understanding of its fragmentation, that is, the lack of harmony that can exist between these three principle functions and the danger of falling into automatic and stereotypic behaviors and reactions. This study allows us to observe the thought of certain great theatre reformers of the 20th century. Therefore, methods of Jerzy Grotowski and Etienne Decroux are analyzed using approaches of organicity and artificiality from the perspective of Grotowski. Our objective is to find a possible complementarity between the works of these two researchers in the quest for balance of the trinity body/emotion/intellect. Finally, the actor must simultaneously cultivate the three centers in order to unify the creator, the artisan and the matter of his work, and find his true presence on stage. 2 Le Corps qui pense, l’esprit qui danse – l’acteur dans sa quête de l’unité perdue Leela Alaniz INTRODUCTION ……………………………………………………………………. 6 Les Chercheurs de Vérité CHAPITRE 1 L’ACTEUR – DE LA MACHINE À L’OBJET D’ART …………………………….. 20 1.1 L’Homme / l’acteur – Le paradoxe d’être l’artiste et l’œuvre d’art à la fois …. 20 1.2 L’Homme machine ou l’impossibilité de créer – l’approche gurdjiévienne …... 25 1.2.1 Le corps – véhicule et empêchement ......................................................... 34 1.2.2 La voiture hippomobile ………………………………………………….. 43 1.2.3 L’Identification…………………………………………………………… 49 1.2.4 Le fonctionnement des centres – Intellectuel – émotionnel – moteur ……61 1.3 L'Homme, OBJET de l’Art – l’approche delsartienne …………………………..67 1.3.1 François Delsarte – du chant au geste et vice-versa ………………………71 1.3.2 Triade ou Trinité - de la tri-unité vers l’unité ……………………………..84 1.3.3 Le principe de trinité delsartienne – Lumière et énigme…………………..89 1.3.4 Les trinités de la trinité corporelle ………………………………………...99 1.3.5 Le jeu des forces et le point d’équilibre …………………………………103 CHAPITRE 2 L’ACTEUR – DIFFERENTES APPROCHES SUR LA RELATION CORPS- EMOTION- ESPRIT …………………………………………………………………………………124 2.1 De l’Émotion aux actions physiques – Une Vérité unilatérale ………………….125 2.2 Des Actions physiques à l’émotion – Où est l’émotion ? ……………………….139 2.3 L‘Intelligence et l’imagination – Corps suggéré ? Cœur évoqué ?........................151 2.3.1 Des héritages confidentiels…………………………………………………166 2.3.2 De la nécessité d’un entraînement régulier et méthodique chez l’acteur …169 2.4 Héritages – des disciples et des traitres ………………………………………185 2.5 Le « Nouvel acteur » – la lutte contre le cabotinage …………………………193 2.6 L’art de l’acteur – « où est son pied-à-terre ? » ………………………………204 3 Le Corps qui pense, l’esprit qui danse – l’acteur dans sa quête de l’unité perdue Leela Alaniz CHAPITRE 3 L'ACTEUR ENTRE L'ORGANICITÉ ET L'ARTIFICIALITÉ …………………….217 3.1 Approche organique du travail de l’acteur ……………………………………….220 3.1.1 La Réappropriation de l'instinct …………………………………………….226 L’essence dans la perspective de l’acteur 3.1.2 La Qualité dans la verticalité ……………………………………………….242 3.1.3 L'Artificialité de l'organicité – la tension créative entre les opposés ………247 3.2 Approche artificielle du travail de l’acteur ………………………………………253 3.2.1 Le mime corporel d'Etienne Decroux et la perspective grotowskienne d'artificialité……………………………………………………………………….255 Bref regard sur le parcours de Decroux en relation à une possible influence du théâtre traditionnel asiatique Zeami et Decroux 3.2.2. Les points principaux qui caractérisent l’approche artificielle, vus par la perspective de Grotowski ………………………………………………………… 269 a – La Recherche de l’expressivité ……………………………………..270 b – La Transmission de père en fils ……………………………………284 c – La Prédominance des codes et de positions ………………………..298 d – L’Absence d’engagement émotionnel ……………………………...319 3.2.3. L’Organicité de l’artificialité du mime corporel – la vie toujours renouvelée………………………………………………………………………….325 a – La Notion de Dynamo-rythme ……………………………………..330 b – La Notion de Contrepoids ………………………………………….354 3.3 Présence/Absence – Le Maître intérieur ou la quête de l’équilibre parfait……….360 3.3.1 Présence scénique x présence ordinaire …………………………………...363 3.3.2 Présence/Absence……………………………………………………………………..374 CONCLUSION………………………………………………………………………….395 BIBLIOGRAPHIE …………………………………………………………………… 402 ANNEXES ………………………………………………………………………………413 4 Le Corps qui pense, l’esprit qui danse – l’acteur dans sa quête de l’unité perdue Leela Alaniz REMERCIEMENTS À l’heure de conclure ce travail, mes pensées se tournent vers tous ceux qui m’ont soutenue et encouragée pendant ces années. J’adresse tout d’abord ma profonde gratitude à mon directeur de recherche, Professeur Georges Banu qui m’a accordé sa confiance en acceptant de suivre patiemment mon processus de recherche. Je suis heureuse et fière qu’il ait accepté de diriger cette thèse. Je tiens à exprimer mes remerciements à Thomas Leabhart, mon professeur en Californie, qui m’a transmis l’art qu’il avait lui-même appris d’Etienne Decroux à Paris. Je suis infiniment reconnaissante de son encouragement depuis le premier jour de cours jusqu’à maintenant. Mes remerciements s’étendent à Sally Leabhart pour ses nombreux enseignements de travail corporel qu’elle transmet toujours avec un regard bienveillant. Je remercie du fond de mon cœur Diana Trujillo, la personne qui m’a accompagnée dans le processus de corrections de cette thèse, nécessitant de mieux comprendre les multiples nuances de la langue française. Je voudrais également remercier mon frère et camarade Won Kim, nous nous avons mis dans ce voyage pour toujours transformer « l’ordinaire en extraordinaire ». Merci pour me donner des coups de pied quand je perds mes forces. Je veux exprimer ma gratitude à Evania Reichert et Sergio Veleda pour leur soutien sans faille, non seulement pour l’accomplissement de ce travail, mais pour leur support d’une vie ; à Caiano Veleda pour les très beaux dessins et sa générosité. Cette thèse n’est pas seulement le fruit de mes efforts: il n’y aurait pas de résultat sans les rencontres qui se sont fait dans ce parcours.
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