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L'art Théâtral Dans La Littérature Sur La Vie Urbaine Sous Les Song Du Nord

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L'art Théâtral Dans La Littérature Sur La Vie Urbaine Sous Les Song Du Nord L’art théâtral dans la littérature sur la vie urbaine sous les Song du Nord (960-1127) Yangyang Zhu To cite this version: Yangyang Zhu. L’art théâtral dans la littérature sur la vie urbaine sous les Song du Nord (960-1127). Littératures. 2018. dumas-01960608 HAL Id: dumas-01960608 https://dumas.ccsd.cnrs.fr/dumas-01960608 Submitted on 19 Dec 2018 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. Année universitaire : 2017 – 2018 L’ART THÉÂTRAL DANS LA LITTÉRATURE SUR LA VIE URBAINE SOUS LES SONG DU NORD (960 – 1127) Sous la direction de : Stéphane FEUILLAS Master 2 LLCER Études chinoises Parcours recherche Yangyang ZHU Figure 1 REMERCIEMENT Je remercie mon directeur de recherche Stéphane Feuillas, dont les encouragements bienveillants, m’ont soutenue pendant deux ans. Je tiens également à remercier deux de mes camarades de classe, Léana Tardivo et Laura Boyer, qui m’ont beaucoup aidé et soutenu dans la rédaction de mon mémoire tout au long de l’année. Elles ont patiemment relu et corrigé mon mémoire et je leur en suis très reconnaissante. Je remercie également Agnès Sirgant et Régine Pajot pour leurs efforts de relecture et de correction. Enfin, je remercie également mes colocataires qui m’ont aidé à supporter et à m’adapter à la vie parisienne ainsi que mes parents pour leur soutien et amour inconditionnel. Fig.1 – Personnanges du zaju sous les Song, Anonyme, ©Musée du Palais Impérial de Pékin, Pékin. 1 TABLE DES MATIERES REMERCIEMENT ...................................................................................... 1 INTRODUCTION ........................................................................................ 5 PREMIÈRE PARTIE 1 Origine de l’art théâtral dans la Chine ancienne et présentation des sources primaires ............................................................................................... 17 1.1 L’art théâtral primaire dans la Chine ancienne de l’époque préhistorique jusqu’au Xe siècle ............................................................................................................... 17 1.1.1 L’époque de l’Antiquité .............................................................................. 18 1.1.2 Des spectacles destinés aux dieux aux divertissements pour les hommes .. 21 1.1.3 « Fu de la Capitale de l’Ouest » .................................................................. 24 1.1.4 Pièces de théâtre primitives......................................................................... 25 1.1.5 Activités de divertissement dans la vie urbaine après J-C .......................... 25 1.2 La reproduction en papier de la vie urbaine dans la capitale de l’Est au XIIe siècle 28 1.2.1 La Capitale de l’Est : un songe au Royaume de splendeur 東京夢華錄 et l’auteur Meng Yuanlao 孟元老 ........................................................................................ 28 1.2.2 La valeur littéraire de La Capitale de l’Est : un songe au Royaume de splendeur 30 1.2.3 Bianjing – la splendide capitale du passé.................................................... 34 1.3 La réflexion en vers de l’esprit poétique dans une époque rationnelle ....... 38 1.3.1 Le poème chanté – une littérature florissante dans la vie urbaine des Song 38 1.3.2 Liu Yong 柳永 – un poète « oisif » mais doué ........................................... 40 1.3.3 Zhou Bangyan 周邦彥 – un interprète au style gracieux ........................... 44 2 DEUXIÈME PARTIE 2 L’art théâtral dans les quartiers urbains durants la dernière moitié des Song du Nord ............................................................................................... 48 2.1 Le berceau du théâtre sous les Song du Nord – la capitale de l’Est ............ 48 2.1.1 Des lieux principaux de divertissements dans les quartiers de Bianjing .... 49 2.1.2 Diverses occasions de présenter des spectacles .......................................... 53 2.2 « Les arts théâtraux dans les quartiers de divertissements de la capitale 京瓦 伎藝 » 55 2.2.1 Le passage traduit ....................................................................................... 55 2.2.2 Les arts théâtraux dans les quartiers de divertissement de Bianjing ........... 56 2.3 Les spectacles donnés dans les fêtes des Song du Nord – l’exemple de « La fête des Lanternes 元宵 » ................................................................................................... 66 2.3.1 Le passage traduit ....................................................................................... 66 2.3.2 Les acteurs employés par les établissements officiels et les bateleurs dans les quartiers urbains ............................................................................................................... 69 2.3.3 La forme des représentations théâtrales lors de « la Fête des Lanternes » . 76 TROISIÈME PARTIE 3 L’art théâtral dans la poésie chantée sous les Song du Nord ........... 79 3.1 L’art théâtral : l’image prospère de la société ............................................... 79 3.1.1 Les spectacles festifs de la fête des Lanternes ............................................ 80 3.1.2 Le spectacle théâtral et la compétition ludique dans le banquet impérial ... 85 3.2 Le déclin de l’animation avant la décadence de la dynastie des Song du Nord 90 3.2.1 Le faste des spectacles avant la période sombre ......................................... 90 3.2.2 L’effet de l’art théâtral sur la composition poétique ................................... 95 3.3 Les actrices sous la plume des poètes des Song du Nord .............................. 97 3.3.1 Le charme des actrices aux yeux du poète masculin .................................. 98 3 3.3.2 Le sentiment féminin dans la poésie chantée ............................................ 105 CONLUSION ............................................................................................ 109 BIBLIOGRAPHIE .................................................................................... 114 ANNEXE .................................................................................................... 119 CHRONOLOGIE ..................................................................................... 127 4 INTRODUCTION Dès la fin du Xe siècle en Chine, la croissance économique et le développement des villes exercent une influence profonde sur tous les aspects de la société. D’un côté, les Chinois de cette époque profitent de la vie matérielle, de l’autre, ils jouissent au quotidien des innombrables activités culturelles qui sont à leur disposition. Les habitants des villes, et notamment les plus influents, ont un besoin accru en matière de consommation culturelle. Dans le domaine de la culture, l’art théâtral et la littérature au sujet de la vie citadine me semblent les plus remarquables. En ce qui concerne l’art théâtral, la plupart de ses formes succède aux époques précédentes, et il évolue considérablement sous les Song du Nord (960 – 1127), devenant de plus en plus populaire. À mesure qu'il se développe, l'art théâtral se distingue par la multiplication de ses formes, de ses organisations, des sites sur lesquels il est représenté. Afin de subvenir aux besoins des citadins, les premiers spectacles payants apparaissent dans les quartiers urbains. Entre la fin du XIe siècle et le début du XIIe, les classes populaires se mettent à fréquenter les lieux de divertissements dans les grandes villes chinoises. Ainsi, la période peut être considérée comme un tournant dans le théâtre chinois classique, car les loisirs autrefois consommés par l'élite sont désormais également consommés par les couches populaires. Dans la littérature populaire, les compositions au sujet de la vie urbaine sont très appréciées par les citadins pendant les Song du Nord. Ceux-ci, très cultivés, désirent un genre littéraire à leur goût. D’ailleurs, le progrès technologique sur la typographie stimule également la diffusion des imprimés, surtout à partir de la fin des Song du Nord. Les romans, les mélanges, les anecdotes historiques et les pièces de théâtre sont des genres littéraires populaires qu'il n'est pas rare de voir circuler en version papier. Nombre de lettrés, souvent ceux qui ne réussissent pas aux examens officiels, s’adonnent à des compositions littéraires destinées au grand public, autrement dit à une littérature populaire, afin de gagner leur vie. Ils décrivent ce à quoi s’intéressent les citadins pour que leurs œuvres plaisent aux clients, dont la plupart sont des citadins. 5 ➢ Contexte historique de la Chine du Xe au XIIe siècle Aucune question sur la culture et la littérature ne peut être abordée sans prendre en compte le contexte relatif au temps et à l’espace. À l’inverse, toutes les informations concernant ce sujet, surtout en géographie et en histoire, doivent être traitées en détails. Ce mémoire se basant sur l’art théâtral et la littérature populaire des Song du Nord, il est nécessaire d’étudier le contexte historique et social de cette époque. L’urbanisation et la commercialisation sous les Song du Nord Depuis la fin des Tang (618 – 907), les guerres incessantes déchirent le pays et provoquent
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