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Nouvelles Dramaturgies Africaines Francophones Du Chaos

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Nouvelles Dramaturgies Africaines Francophones Du Chaos NOUVELLES DRAMATURGIES AFRICAINES FRANCOPHONES DU CHAOS A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA and UNIVERSITY SORBONNE NOUVELLE PARIS 3 BY SYLVIE NDOME NGILLA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Co-Advisers: Mária Brewer and Sylvie Chalaye December 2014 © Sylvie Ndome Ngilla, 2014 Remerciements Je tiens à exprimer vivement toute ma gratitude à mes deux co-directrices de thèse, Sylvie Chalaye et Mária Minich Brewer, qui avec une infinie patience ont favorisé l’aboutissement de ce projet de recherche. La rigueur de leur analyse et la richesse de nos échanges m’ont constamment poussée à aller plus loin et affiner les directions de mon travail. Leurs précieux conseils tout au long de ces années continuent de m’accompagner. Je remercie également tous les autres membres de mon comité en France et aux Etats- Unis pour leur enthousiasme et leurs remarques avisées. J’adresse aussi mes remerciements à tous les dramaturges africains. Continuez à nous faire rêver ! Enfin, un grand merci du cœur à toute ma famille et surtout à ma mère qui sait toujours trouver les mots pour me remettre sur pied. i Dédicace À ma mère, ii Abstract A new type of African Francophone theater has emerged since the 1990s, which announced a breaking point within the African literary landscape. This generation of contemporary writers from the African diaspora engages with notions of fragmentation, displacement, and instability that suggest a reconfiguration of chaos in Francophone African literary production since the Independences. The history of African literatures since 1960, when a large majority of former African colonies became independent, is marked by the theme of chaos with significant differences. Indeed, between 1960 and 1970, writers of the « disenchantment » denounce social and political chaos in Africa following the emergence of new dictatorships in the post- independence period. African theatrical aesthetics by the end of the 1970s and through the 1980s, on the contrary, work on an exit out of the African chaos from the perspective of revalorization, providing modern contextualizations for African myths and traditions. Since the early 1990s a rupture is established within new African theater that creates a performative space of « chaos- monde », which manifests the hybrid reality of the African diaspora at local and global levels. By reading across theatrical works by this generation that include Caya Makélé (Congo), Koffi Kwahulé (Ivory Coast), Marcel Zang (Cameroon), José Pliya (Benin), Kossi Efoui (Togo), and Dieudonné Niangouna (Congo), I shed light on the new techniques and aesthetics of an energetic chaos. A close examination of these new settings of chaos allows for a better understanding of the diasporic nature and transnational perspective from contemporary African theater. Keywords : African Theater, Chaos, Fragmentation, Diaspora, Hybrid Identity Résumé L’émergence de nouvelles dramaturgies africaines francophones depuis les années 1990 annonce un bouleversement dans le paysage littéraire africain. Cette génération d’écrivains contemporains de la diaspora africaine convoquent les notions de fragmentation, déplacement et instabilité qui suggèrent une reconfiguration du chaos dans la production littéraire africaine francophone depuis les indépendances. L’histoire des littératures africaines depuis l’indépendance en 1960 d’une majorité de pays africains colonisés, est marquée par le thème du chaos avec cependant des différences notables. En effet, entre les années 1960 et 1970, les écrivains du « désenchantement » dénoncent le chaos politique et social de l’Afrique à la suite des nouveaux gouvernements autoritaires de la post-indépendance. Les esthétiques théâtrales négro-africaines de la fin des années 1970 et 1980, élaborent en revanche une sortie du chaos africain à partir d’une revalorisation et contextualisation moderne des traditions et mythes africains. Les années 1990 marquent une rupture puisque les nouvelles écritures théâtrales africaines mettent en forme l’espace performatif d’un « chaos-monde » qui témoigne des réalités hybrides de la diaspora africaine à l’échelle locale et globale. Une lecture croisée des œuvres théâtrales de cette génération dont font partie Caya Makhélé (Congo), Koffi Kwahulé (Côte d’Ivoire), Marcel Zang (Cameroun), José Pliya (Bénin), Kossi Efoui (Togo), et Dieudonné Niangouna (Congo) permet de mettre en lumière les nouvelles approches techniques et esthétiques d’un chaos énergétique. L’étude détaillée de ces nouvelles mises en forme du chaos engage la compréhension de l’enjeu diasporique et la perspective transnationale dans les dramaturgies contemporaines africaines. Mots clés : dramaturgie africaine, chaos, fragmentation, diaspora, identité hybride iii TABLE DES MATIERES TABLE DES MATIERES ......................................................................................................................... IV INTRODUCTION ........................................................................................................................................ 1 PREMIERE PARTIE - DRAMATURGIES DU COSMOS : REPENSER LE CHAOS .................... 20 CHAPITRE I: RETOUR SUR LES IMAGINAIRES D ’A FRIQUE ET D ’O CCIDENT .................................................. 22 Ecritures du « chaos du réel » ......................................................................................................................... 22 Mythes d’origine ................................................................................................................................................... 33 Mythes de création .............................................................................................................................................. 46 CHAPITRE II: OUVERTURE ET RUPTURE : LE CHAOS EN DISCONTINUITE ..................................................... 56 Rhétoriques du centre ou la peur du désordre ....................................................................................... 56 La guerre ou le champ expérimental du chaos ...................................................................................... 63 Dramaturgies de la catastrophe ................................................................................................................... 74 DEUXIÈME PARTIE - DRAMATURGIES DE L’ECLATEMENT .................................................... 79 CHAPITRE I : FRAGMENTATION DE L ’ESPACE ................................................................................................... 81 Ruptures dans le paysage théâtral africain après les indépendances......................................... 81 Non-repères et espaces fractals ..................................................................................................................... 90 Lieux des déjections ............................................................................................................................................. 99 Constructions rhizomatiques ....................................................................................................................... 103 CHAPITRE II : FRAGMENTATION DU TEMPS................................................................................................... 108 Écritures du k.-o ................................................................................................................................................. 108 Non-linéarité et chaos des rêves ................................................................................................................ 117 Répétition et circularité : Transformation en cours ......................................................................... 120 CHAPITRE III – STRUCTURES RYTHMIQUES DU DISJOINT ............................................................................ 128 « Trouer le discours » par les accumulations ....................................................................................... 128 Dialogue de la crise et crise du monologue ........................................................................................... 133 Choralité et influences musicales............................................................................................................... 141 Improvisation et pratiques de l’imprévisible ....................................................................................... 147 iv TROISIEME PARTIE - DRAMATURGIES DES FRONTIERES .................................................... 157 CHAPITRE I : HORS DES LIMITES ET FIGURES D ’ENVOL ................................................................................ 161 « Alors qu’est-ce qui nous reste à nous les contemporains 2000 ? » ......................................... 162 Folie et corps qui déraillent .......................................................................................................................... 167 Théâtres schizophoniques ............................................................................................................................. 180 CHAPITRE II – JEUX ET ENJEUX POSTCOLONIAUX DES IDENTITES DU CHAOS ........................................... 193 Les masques de l’africanité ........................................................................................................................... 193 Désordre et inachèvement ............................................................................................................................ 203 Mises en perspective
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