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Les Apports Des Traditions Performatives Et Musicales Iraniennes Au Sein Du Processus De Création De L'acteur

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Les Apports Des Traditions Performatives Et Musicales Iraniennes Au Sein Du Processus De Création De L'acteur Les apports des traditions performatives et musicales iraniennes au sein du processus de création de l’acteur Kaveh Hedayatifar To cite this version: Kaveh Hedayatifar. Les apports des traditions performatives et musicales iraniennes au sein du pro- cessus de création de l’acteur. Art et histoire de l’art. Université Paris-Saclay, 2021. Français. NNT : 2021UPASK002. tel-03279036 HAL Id: tel-03279036 https://tel.archives-ouvertes.fr/tel-03279036 Submitted on 6 Jul 2021 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. Les apports des pratiques performatives et musicales iraniennes au sein du processus de création de l’acteur The achievements of Iranian musical and performative traditions for actor's inventive procedure Thèse de doctorat de l'université Paris-Saclay École doctorale n°629 : Sciences sociales et humanités (SSH) Spécialité de doctorat: musicologie, arts plastiques, arts du spectacle Unité de recherche : Université Paris-Saclay, Univ Evry, SLAM, 91000, Evry Courcouronnes, France Référent : Université d'Évry-Val-d’Essonne Thèse présentée et soutenue à Évry le 4 mars 2021, par KAVEH HEDAYATIFAR Composition du Jury Nathalie GAUTHARD Professeure des Universités Présidente Université ARTOIS Jean-François DUSIGNE Professeur des Universités Rapporteur & Examinateur Université Paris 8 Pierre LONGUENESSE Professeur des Universités Rapporteur & Examinateur Université Paris 3 Brigitte GAUTHIER Professeure des Universités Examinatrice Université Paris-Saclay Yassaman KHAJEHI Maîtresse de Conférences, Examinatrice Université Clermont Auvergne Direction de la thèse Isabelle STARKIER 2021UPASK002 : Maîtresse de Conférences Directrice de thèse Université Paris-Saclay Thèse de de Thèse doctorat NNT 2 Introduction De l’Iran à la France et le retour vers l’Iran En 2003, j’ai entamé presque simultanément ma pratique musicale (apprentissage du setâr), théâtrale (Licence à l’Université Azâd de Téhéran) et l’apprentissage de la langue française. En revanche, il m’aura fallu treize ans pour comprendre comment ces trois pratiques allaient converger vers un projet de recherche-création au sein d’un laboratoire de recherche en France. Quant à la musique, mes premières compositions ont pris forme vers l’année 2007 sous forme de chansons que j’écrivais, composais et interprétais en chantant et jouant du setâr. Pour le théâtre, je suivais mes cours en parallèle à mes expériences dans le domaine du cinéma en tant qu’assistant caméra, puis metteur en scène. Ce qui m’a conduit à réaliser mon premier film court-métrage en 2007. La mise en scène d’une adaptation de la pièce Marat/Sade1(1963) de Peter Weiss, transformant l’espace scénique en un espace de jeu participatif, était mon projet final à l’Université Azâd de Téhéran avant de venir en France en 2011. En France, la préparation de mon mémoire de master I sur « la participation en performance » et de Master II sur « les enjeux dramaturgiques de la vidéo » a été accompagnée par une performance participative à l’Université Grenoble III, « Objet schizophrénique ». En même temps, je continuais la composition musicale et donnais deux concerts à l’Université de Grenoble III. Cependant, ayant envie de poursuivre mes recherches en regroupant mes expérimentations pratiques et mes acquis théoriques dans le cadre d’un projet de recherche-création, je me suis déplacé à Paris où j’ai enfin trouvé un chemin qui me ramène vers l’Iran. Des premiers pas jusqu’à la conception de problématiques En 2015, j’ai eu l’occasion de rencontrer Thomas Richards à l’ARTA, à la Cartoucherie de Vincennes et de participer à la performance de L’Heure fugitive, mise en scène par Thomas Richards et jouée par Cécile Richards. Cette performance narre l’histoire d’une femme à la 1 L’intitulé exact de la pièce est La Persécution et l'Assassinat de Jean-Paul Marat représentés par le groupe théâtral de l'hospice de Charenton sous la direction de Monsieur de Sade. 3 recherche d’une révolution révélatrice de soi-même. Parmi les chants de cette performance, il y avait des chants issus de la tradition bretonne qui me paraissaient très familiers. Par ailleurs, j’ai participé après le spectacle à la séance de présentation de la traduction française du deuxième livre de Thomas Richards (Au cœur d’une pratique). Ces deux événements m’ont orienté vers une découverte de la dernière phase des recherches de Grotowski, nommée « L’art comme véhicule », ainsi que le développement de cette phase dans les travaux de Thomas Richards en tant que collaborateur principal de Jerzy Grotowski, aux côtés de Mario Biagini dans le Workcenter. Ainsi, dans la continuité de cette recherche, j’ai décidé de suivre et de découvrir le travail de Thomas Richards et de Mario Biagini dans le Workcenter . Après la période « Para-théâtrale » (1969-1978), qui selon Leszek Kolodziejczyk avait pour but de rétablir la relation entre les metteurs en scène et les acteurs, et les acteurs et les spectateurs2, Jerzy Grotowski a entamé sa période de « théâtre des sources » (1976-1982) qui suivant Richard Schechner, a été une recherche de la transculturalité et de l’essence3. Dans la dernière phase des expérimentations de Grotowski4 (allant du début des années 80 jusqu’à la fin de sa vie en 1999), que Peter Brook a donc nommé « L’art comme véhicule », les recherches sont focalisées sur les actions organiques reliées aux chants anciens que Grotowski décrit ainsi : « les actions liées à des chants très anciens qui servaient traditionnellement à des fins rituelles et qui peuvent donc avoir un impact direct - pour ainsi dire - sur la tête, le cœur et le corps du doer5, chants qui peuvent permettre le passage d’une énergie vitale à une énergie plus subtile6 ». La quête des chants de tradition, qui selon lui sont enracinés dans l’organicité7, n’a pas pour but la reconstitution d’une cérémonie rituelle, mais celui de trouver les impulsions et les petites actions qui sont les résultats de l’association du corps et du chant. 2 SCHECHNER, Richard, « Introduction to Part II: Paratheatre, 1969-78, Theatre of sources 1976-82 », dans Richard Schechner et Lisa Wolford (dir.) The Grotowski Sourcebook, NewYork, Edition Routledge, 2006[1997], p. 210. 3 ibid., p.213. 4 Dix-sept ans après sa disparition, cette recherche continue encore avec Thomas Richards et Mario Biagini dans The Workcenter of Grotowski and Thomas Richards à Pontedera. 5 Terme anglais utilisé par Jerzy Grotowski qui veut dire « Celui qui fait ». 6 Thibaudat, Jean-Pierre, Grotowski, « Un véhicule du théâtre », dans Richard Schechner et Lisa Wolford (dir.) op. cit.., p.368. [Traduction libre] 7 RICHARDS Thomas, Travailler avec Grotowski sur les actions physiques, (1995), Paris : Actes Sud, 2015, p. 192. 4 Par ailleurs, Grotowski n’était pas le seul à entreprendre cette quête et à jeter ce regard sur les pratiques performatives et rituelles de différents pays non européens. En 1970, Peter Brook et Micheline Rozan ont fondé le « Centre international de recherche théâtrale » à Paris, en conviant les acteurs des quatre coins du monde dans la perspective d’une recherche pratique transculturelle théâtrale. Les membres du centre étaient à la recherche de « ce qui donne sa vraie vie à une forme de culture 8», selon Peter Brook. Il ajoute que : « nous n’étudions pas la culture elle-même, mais ce qu’il y a derrière9 »., l’idée de ce programme était une tentative de prendre du recul vis-à-vis de sa propre culture et ses stéréotypes10. Brook souligne que : Notre première tâche consistait à tenter d’éliminer ces stéréotypes, mais certainement pas à réduire chacun à l’anonymat. Dépouillé de ses maniérismes ethniques, un Japonais devient plus japonais, un Africain plus africain, et on arrive à un point où les formes de comportement ne sont plus prévisibles. Une nouvelle situation émerge, qui permet aux gens de toutes origines de créer ensemble, et ce qu’ils créent a sa couleur propre. Ce n’est pas sans ressembler à ce qui se passe dans un morceau de musique d’orchestre, où chaque son garde son identité et se fond, en même temps, dans une harmonie nouvelle11. Le résultat des deux premières années de ce centre fut Orghast I-II (1971) en Iran et celui des deux suivantes Les conférences des oiseaux dans différents pays. Ces recherches et créations ont aussi ciblé la découverte d’un langage commun dans le monde par le moyen du théâtre. En d’autres mots, on peut traduire le sujet de la recherche comme une quête d’une essence commune à tout le monde. Tout comme Grotowski et Brook, c’est après son voyage en Inde et ses expériences avec Grotowski dans le théâtre laboratoire de Pologne qu’Eugenio Barba a initié Odin Teatret en 1964, ainsi que l’International School of Theatre Anthropology en 1979 pour une recherche sur les aspects culturels et anthropologiques du théâtre dans un esprit multiculturel et international. C’est ainsi qu’un courant théâtral européen se constitue dans les années soixante, composé d’un regard anthropologique et ethnologique sur le théâtre et un retour vers les traditions anciennes et les techniques performatives issues de ces traditions encore peu connues pour les Européens afin de faire l’expérimentation dans un contexte laïque de théâtre contemporain. 8 BROOK, Peter, Points de suspension : 44 ans d’exploration théâtrale 1946-1990, Paris, Seuil, 1992, p.142. 9 ibid.
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