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Le Jeu Du Clown Dans La Colombie Contemporaine

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Le Jeu Du Clown Dans La Colombie Contemporaine Le jeu du clown dans la Colombie contemporaine : la renaissance du clown, un acteur social et politique et le rire du spectateur de résistance et de liberté Ana Milena Velasquez Angel To cite this version: Ana Milena Velasquez Angel. Le jeu du clown dans la Colombie contemporaine : la renaissance du clown, un acteur social et politique et le rire du spectateur de résistance et de liberté. Musique, musicologie et arts de la scène. Université de la Sorbonne nouvelle - Paris III, 2013. Français. NNT : 2013PA030005. tel-01335051 HAL Id: tel-01335051 https://tel.archives-ouvertes.fr/tel-01335051 Submitted on 21 Jun 2016 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 SORBONNE NOUVELLE - PARIS 3 ED 267 ARTS & MEDIAS ETUDES THEATRALES Thèse de doctorat : Théâtre et arts du spectacle VELASQUEZ ANGEL Ana-Milena LE JEU DU CLOWN DANS LA COLOMBIE CONTEMPORAINE LA RENAISSANCE DU CLOWN, UN ACTEUR SOCIAL ET POLITIQUE LE RIRE DU SPECTATEUR UNE FORME DE RESISTANCE ET DE LIBERTE Thèse dirigée par Christinne Hamon-Sirejols Soutenue le 11 janvier 2013 Jury : Mme. Christine HAMON-SIREJOLS Professeur émérite, Université Sorbonne Nouvelle-Paris 3. M. Jean-Louis BESSON, Professeur, Université Paris Ouest Nanterre. M. Philippe GOUDARD, Professeur, Université Paul Valéry Montpellier 3. M. Stephen LAUNAY, Université Paris Est, Directeur de recherches à IHEAL. M. Jean Bernard BONANGE, Docteur en Sciences de l’éducation, Association Bataclown et CRCC. 1 RESUME LE JEU DU CLOWN DANS LA COLOMBIE CONTEMPORAINE : LA RENAISSANCE DU CLOWN UN ACTEUR SOCIAL ET POLITIQUE ET LE RIRE DU SPECTATEUR UNE FORME DE RESISTANCE ET DE LIBERTE Le jeu du clown dans la Colombie contemporaine est en voie de développement. Bien que la figure du clown n’ait jamais cessé d’exister dans la société, quelles que fussent ses formes à travers l’histoire, on assiste à la renaissance de l’art du clown dans notre pays depuis ces dix dernières années. L’art du clown devient une possibilité de revalorisation du langage comique et poétique de l’artiste dans la société colombienne actuelle, conférant à l’acteur clown un rôle social et politique et permettant au spectateur de vivre une forme de résistance et de libération de sa réalité quotidienne violente. La mise en perspective historique du cirque comme langage artistique moderne permet de comprendre comment le clown va se constituer et se développer tout au long des XIXe et XXe siècles jusqu’à devenir un art autonome avec son incursion dans le théâtre et les écoles de formation théâtrale. Cette démarche vise à donner les fondements théoriques de la naissance et de l’évolution du cirque et du clown dans le cirque depuis l’époque de l’Amérique préhispanique jusqu’à la Colombie contemporaine. La perspective historique remarque que, bien avant l’arrivée des clowns dans les cirques modernes après le XVIIIe siècle, on peut constater l’existence de personnages comiques et clownesques dans la culture précolombienne et pendant la période de la colonisation. L’histoire des fêtes populaires de l’Amérique latine, les personnages itinérants et comiques vont se développer parallèlement aux formes spectaculaires religieuses de l’idéologie espagnole. Les cirques européens et américains arriveront dans une atmosphère de résistance et, plus tard, d’indépendance et commencera à s’écrire l’histoire du cirque en Amérique latine. Le modèle économique latino-américain, la récente industrie culturelle et le manque d’écoles de formation du cirque marqueront l’évolution du cirque comme institution sociale, cherchant à travers la discipline et ses techniques à former des jeunes et enfants en situation de violence. D’autre part, le théâtre subira des divisions entre la tradition et l’apparition d’idéologies modernes sur la formation de l’acteur jusqu’à la consolidation de la méthode artistique de création collective. Le clown du cirque traditionnel deviendra une sorte de stéréotype avec les duos clownesques à la télévision, les clowns dans la rue, les restaurants, et les mendiants habillés en clowns. Cette étude aborde les éléments sémiotiques de la figure des nouveaux clowns en tant qu’art autonome impulsé par la pédagogie du français Jacques Lecoq diffusée dans le monde entier, avec une incidence importante en Amérique latine, où elle rencontre la création collective basée sur l’improvisation. Cette pédagogie arrive à travers les festivals internationaux du théâtre où artistes et public accèdent au panorama de l’art du clown dans le monde, au travers de stages et de spectacles. Rénovant ainsi le phénomène de marginalisation du clown par un changement de statut artistique et social. La pratique enracinée de la création collective, le travail du collectif et l’implication du théâtre dans les transformations sociales et politiques du pays, rencontre le langage des nouveaux clowns, pour donner forme à des créations clownesques collectives tout à fait solides et originales. Nous nous concentrons sur la fonction qu’exercent les clowns contemporains au présent de la société colombienne résultant d’une vaste période de crises marquée par des affrontements et des vagues successives de violence. L’humour comme trait particulier de la culture devenant 2 une forme incontestable d’affronter une réalité douloureuse rencontre le clown que par le rire permettra de récupérer la valeur sacrée du chaman, bobo, bouffons et fous de l’histoire. Ainsi nous reconnaissons l’incursion du langage du clown sur plusieurs terrains (l’hôpital, l’humanitaire et le social) pour admettre que le spectateur vive une forme de libération par la communication établie avec le clown dans le rire. Dans plusieurs exemples de troupes et des clowns colombiens contemporains, cette étude analyse l’aspect politique du clown dans son acte de communication libre qui s’installe dans le convivio, concept développé par le théoricien argentin Jorge Dubatti, et ses actes de résistance à partir de la poelitique du clown, notion développée par Jean Bernard Bonange, directeur du Bataclown et fondateur de la clownanalyse en France. MOTS CLES : clown, Colombie, rire, politique, résistance, acteurs sociaux 3 ABSTRACT CLOWN ACTING IN CONTEMPORARY COLOMBIA : THE CLOWN´S REBIRTH AS A SOCIAL AND POLITICAL ACTOR AND THE SPECTATOR’S LAUGH, A FORM OF RESISTANCE AND FREEDOM Clown acting in contemporary Colombia is developing. Even though the figure of clowns has always being present in society, regardless of its forms through history, we are now witnessing the rebirth of the art of clowning in Colombia in the last decade. The art of clowning becomes an enhancement possibility of comic and poetic language of the artist in the current Colombian society, conferring the clown actor a social and political role, and allowing the spectator to live a form of resistance and freedom from their daily violent reality. The historical perspective of the circus as modern artistic language allows understanding how the clown is built up and developed through the XIX and XX centuries until the point of becoming an independent art with its foray into theater and theater schools. This perspective aims to provide the theoretical foundations of the birth and evolution of the circus and the clown in the circus since the time of pre-Hispanic America until contemporary Colombia. The historical perspective points out that the existence of comic and clownesque characters in the Pre-Columbian culture and during the colonization era can be recorded even before the clowns’ arrival to the modern circus after the XVIII century. The history of Latin America popular celebrations and the itinerant and comic characters are developed at the same time as the spectacular religious forms of the Spanish ideology. The European and American circuses arrived amid an atmosphere of resistance and, later, of independence. The history of the circus in Latin America begins to be written. The Latin American economic model, the recent cultural industry and the lack of schools for circus training mark the circus evolution as a social institution which, through its discipline and techniques, looks to form young people and children that are in violence situations. On the other hand, the theater is subjected to divisions between tradition and the emergence of modern ideologies on actor’s training until the consolidation of the artistic method of collective creation. The traditional circus clown becomes a kind of stereotype with the clownesque duos on T.V., the clowns in the streets and restaurants, and the beggars dressed up as clowns. This study approaches the semiotic elements of the new clowns’ figure as an independent art encouraged by French Jacques Lecoq’s pedagogy, spread all around the world with an important impact in Latin America, where this pedagogy meets the collective creation based on improvisation. It arrives through international theater festivals, where artists and spectators have access to the panorama of the clown art around the world, by means of courses and shows renewing the clown’s marginalization phenomenon through an artistic and social status change. The established practice of collective creation, the collective work and the involvement of theater in social and political transformation of the country, meet the language of the new clowns to give shape to absolutely strong and original collective clownesque creations. 4 We will focus on the function performed by the contemporary clowns in the current Colombian society resulting from a large period of crisis marked by confrontations and successive waves of violence. Humor, as a particular feature of the culture and becoming an unquestionable way of facing a painful reality, meets the clown, who makes possible to recover the sacred value of the shaman, bobo, buffoons and mad characters of history.
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