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Les Fonctions Du Rire Dans La Comédie Des Monty Python

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Les Fonctions Du Rire Dans La Comédie Des Monty Python UNIVERSITÉ DU QUÉBEC À MONTRÉAL LES FONCTIONS DU RIRE DANS LA COMÉDIE DES MONTY PYTHON MÉMOlRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN COMMUNICATION PAR SIMON LEROUX JUIN 2013 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques · Avertlssenient La diffusion de ce mémoire se fait dans le~ respect des droits de son auteur, qui a signé le formulaire Autorisation cie repitiduire. at da diffuser un travail de recherche de cycles sup~rleurs (SDU-522- Rév.01-2006). Cette autorlsatlon .stipule que <<conformément ·à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de . publication ~e ta totalité ou d'une partie importante de [son] travail dfit recherche pour ·des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des .· copies de. [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entrainent pas une renonciation de [la] part [de l'auteur) à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur) conserve la liberté de diffuser et de commercialiser ou non ce travail dont [ill possède un exemplaire ..» REMERCIEMENTS Cette recherche n'est pas le fruit des efforts d' un seul homme. Plusieurs personnes ont perm1s la réalisation de cette analyse et j 'aimerais profiter de cet espace pour les remercier. Pour rn 'avoir transmis leur amour des Monty Python, je remercie Frédérick De Kinder et Dany F. Tremblay, partenaires dans le crime. Pour leur générosité et pour leur havre de paix si gentiment prêté, je remercie Pierre et Louise Gagnon. Pour rn 'avoir encouragé tout au long du processus, je remercie Rosanne Pellerin et Denis Leroux, ma famille. Pour rn ' avoir ouvert des portes d' analyses et rn ' avoir accompagné sans stress dans cette aventure, je remercie Charles Perraton, mon directeur de mémoire. Finalement, pour rn ' avoir à la fois corrigé, enduré et soutenu dans les épreuves, toujours avec le plus beau des sourires, je remercie Marie-Philippe Gagnon-Hamelin, mon amour et ma muse. TABLE DES MA TI ÈRES RÉSUMÉ... .... .... ............. .. .. .. ... .... .. .... .. .... ... .... .... ...... .. ................ ... ... v INTRODUCTION ... ......... ............... ...... .... .............. ...... .. ... .... .. .... ...... .... CHAPITRE I ET MAINTENANT QUELQUE CHOSE DE COMPLÈTEMENT DIFFÉRENT : DÉFINITIONS ET LITTÉRATURE.. .... .. ............. .......... .... .... .... .. .... ... .. ....... Il 1. 1 Qui sont les Monty Python ? . .. Il 1.1.1 Court historique de la création du groupe . .... Il 1.1.2 Contexte historique. ... ...... .... .... ...... ... ..... ...... .... .. .. ..... .. ....... ... 13 1.1.3 Réalisation et médiums uti 1i sés .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 15 1.1.4 Spécificité pythonesque . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ... 16 1.2 Définitions des concepts .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 18 1.2.1 Lerire ... .... .. ... ... ........... ... .. .. .. .... .. ....... ....... .. .. ........... .. .. ..... 18 1.2. 2 Le gag . 20 1.2.3 L' absurde ...... .. .. .. .... .. .. .... .. .. .. .... .... .. ... .. .. .. .. .... .. .. .... ... ........ 22 1.2.4 Comédie, parodie, pastiche et satire . ... 23 1.2.5 La mise en abyme ...... ... .... .. .... .. ..... ... .. .. .. .. .... .. ....... ....... ... ...... 27 1.2.6 La distanciation . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 28 1.2.7 Le surréalisme ..................... .. .... .. .......... .. ......................... .. ... 30 1.3 Trois outils indispensables . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 3 1 1.3 .1 Sémio-pragmatique et institutions................................. ...... ... .. .... 32 1.3.2 L'énonciation cinématographique.. .. ..... ... ... ... ...... .. ................ ..... 36 1. 3.3 Le gag .. ..... .. ...... .. .. .... .. ... .......................... .. ..... ....... .. ..... .. ... 41 CHAPITRE II LE RJRE DANS LE CINÉMA DES MONTY PYTHON.. .. ......... ........ .. ............. 47 2.1 Présentation du corpus...... .... .. .. ..... .. ....... .. .......................................... 47 2.1.1 Monty Python and the Holy Grail. ... ...... .. ............ .... ... ..... .. ... ..... .. 47 lV 2.1 .2 Monty Pyhon 's Life of Brian . 49 2.1.3 Monty Python 's Th e Meaning of Life.. .. .. ..... ....... .. .. ......... ....... .... ... 52 2.2 Les fonctions du rire. ........ ...... ... ..... .... .. ... ... ... ... .. .......... ... .. ............ .. 54 2.2.1 Le rire comme arme.. ......... ..... ... ..... ..... .... ... ........ ......... .... .. ..... 55 2.2.2 Le rire comme bouclier . 60 2.2.3 Le rire comme passage . 65 2.2.4 Le rire comme séduction . .. 69 2.2.5 Le rire comme pardon... .... .. ..... ... ..... ... .. ..... .. ....... ..... ..... ....... .. 72 2.2.6 Le rire comme salaire.. ..... .. .. .. .. .. .... ...... .. .. .. .. .. ....... ... .... ... ..... ... 77 2.2.7 Le rire comme distance . 81 CHAPITRE III LES EFFETS DU RIRE.. ... ................ .. ..... ... ...... .. .... .. ............ ... .... ... .. .... 88 3.1 Le contrôle des Monty Python . .. ......... .. ......... .... .... ........ ......... ........ .. .. 88 3 .1 .1 Le contrôle sur le spectateur .... ... .... ... ..... ... ..... ... ... ... ...... .... ... .... 89 3.1.2 Le contrôle énonciatif. .. ...... ... ........ ... ... .. .... ... ..... ............ .... .. ... 92 3.1.3 Le contrôle sur l'œuvre............... .... .. ..... .. ..... ... .... ..... ... ...... .. ... .. 96 3.1.4 Le contrôle sur le récit.. .... .. ......... .. .. .. ... .... .... .......... ... .... ... .. .... 99 3.1.5 Le contrôle sur les institutions ...... ..... ...... ..... .. ....... .. .... ..... .... ..... .. 102 3.2 Les paradoxes du gag et de la comédie ... .. .. .. ... .. ..... .. .. .. ..... .. ...... ........ ... ... 105 3.2.1 Mordre la main qui les nourrit. ... ......... ... .. .... .... .... ... .... .. ....... .... 105 3.2.2 Questions éthiques ................... ... .. ....... ..... .. ...... ... .... .... ... ...... 109 3.2.3 Le spectacle ........ .. ..... ... ......... .... ........... .... .. ........ ...... ........... 112 CONCLUSION .... ..... .. ... .. .......... ..... .. .. ... ... ........ ... ... ..... .. .. ........ .. ... ..... 116 LISTE DES RÉFÉRENCES . 126 RÉSUMÉ L'impact de l' humour absurde et déjanté proposé par les Monty Python sur le monde de la comédie n'est plus à démontrer. Quarante ans après la formation de la troupe britannique, son humour est toujours actuel et ses héritiers, toujours plus nombreux. Si les influences de la troupe humoristique sur le monde de l' humour sont reconnues, celles qu'elle a eues sur l'univers cinématographique sont plus mitigées. Pourtant, le médium cinématographique, et les outils offerts par la comédie en particulier sont au cœur des préoccupations des Monty Python. Pour ces derniers, le rire n'est pas la finalité de la comédie; il n'est que le début d' une démarche réflexive. Entre leurs mains, le rire devient un moyen plutôt qu ' un aboutissement, il renferme différentes fonctions qui ne demandent qu'à être utilisées. Combinées avec une maîtrise des outils énonciatifs offerts par le médium cinématographique, les fonctions du rire offrent aux Monty Python un contrôle et un pouvoir inestimable à la fois sur leur œuvre et sur le spectateur. Ce contrôle, les Monty Python tentent de s'en servir à bon escient en ouvrant toujours la porte de la réflexion et du questionnement. La réflexion proposée par les Monty Python s'inscrit non seulement dans plusieurs thèmes sociaux et politiques, mais aussi à propos de la forme cinématographique elle-même. L'énonciation et les institutions cinématographiques sont tantôt mises à mal, tantôt utilisées dans le respect des règles. Le dépassement des règles et le détournement des normes font partie de l'arsenal pythonesque, le tout ancré dans une réflexion sur le médium cinématographique. Avec les Monty Python, la comédie et le rire qu'elle déclenche ne sont plus une finalité : ils ne sont que le commencement. MOTS CLÉS : rire, Monty Python, énonciation, distanciation, institution ---- -- - - - INTRODUCTION Humor can be dissected, as a frog can, but the thing dies in the process and the innards are discouraging ta any but the pure scientific mind. E.B. White, 1941. Sorne Remarks on Hum or Plonger au cœur de la comédie et du rire, c'est s'immerger dans un monde paradoxal, aux dualités qui s'entrechoquent. De sa fondation jusqu'à ses ornements, la comédie cinématographique fonctionne par contradictions, par oppositions, par paradoxes. Il n'est pas nécessaire de creuser bien profondément pour constater que la fondation de la comédie, celle par laquelle elle vit et meurt, est constituée par le rire. À la fois source et résultat, le rire est le cœur de la comédie cinématographique, il est sa clé de voûte. Pas de comédie sans rire, pas de rire sans comédie. Le rire devient un passage obligé pour quiconque tente de disséquer le corps de la comédie. Une telle opération ne s'effectue pas sans heurts, évidemment. Par contre, elle possède le net avantage de faire tomber plusieurs présupposés erronés. L' un de ces préjugés coriaces est que le rire soit parfaitement
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