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Charmed Ou L'art Du Recyclage Postmoderne

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Charmed Ou L'art Du Recyclage Postmoderne TV/Series 6 | 2014 Écho et reprise dans les séries télévisées (III) : de la métafiction à la transmédialité Relectures, réécritures, réinventions : Charmed ou l’art du recyclage postmoderne Alexis Pichard Édition électronique URL : http://journals.openedition.org/tvseries/319 DOI : 10.4000/tvseries.319 ISSN : 2266-0909 Éditeur GRIC - Groupe de recherche Identités et Cultures Référence électronique Alexis Pichard, « Relectures, réécritures, réinventions : Charmed ou l’art du recyclage postmoderne », TV/Series [En ligne], 6 | 2014, mis en ligne le 01 décembre 2014, consulté le 10 décembre 2020. URL : http://journals.openedition.org/tvseries/319 ; DOI : https://doi.org/10.4000/tvseries.319 TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. provided by OpenEdition View metadata, citation and similar papers at core.ac.uk CORE brought to you by Relectures, réécritures, réinventions : Charmed ou l‘art du recyclage postmoderne Alexis PIC(ARD Cet article se propose d+étudier l+esthéti,ue postmoderne . travers la série fantasti,ue Charmed. 0n nous reposant sur les travaux du théoricien fran1ais 2érard 2enette, nous envisageons l+une des caractéristi,ues ma4eures des 5uvres postmodernes : l+intertextualité, c+est-.-dire, au sens large, la relation référentielle ,u+entretient un texte 6 avec un texte A. Charmed est bien une série intertextuelle dans la mesure o7 elle recycle des 5uvres passées et foisonne de références et de clins d+5il aux cultures populaire et élitaire. 9a série fait néanmoins un usage original de ces 5uvres antérieures ,ui surgissent au fil des épisodes en les incorporant au sein de la diég:se et en leur conférant un r;le et un sens narratifs. 9a référence est réécrite pour amener un écho, une profondeur supplémentaire. Au-del. de ce recyclage intertextuel, Charmed proc:de aussi de sa propre réécriture et mobilise une autre figure clé de l+esthéti,ue postmoderne ,ue 2érard 2enette définit également : le palimpseste. Par son recours récurrent aux sauts dans le temps et aux fins alternatives, la série se présente comme une 5uvre ,ui expérimente des trames narratives, se rature et se réécrit. 0n dernier lieu, nous nous intéressons au rapport ambigu ,ue Charmed entretient avec l+influence, autrement dit les 5uvres ,ui l+ont précédée. 0n partant du concept d+< anxiety of influence = théorisé par le criti,ue américain (arold 6loom, ,ui 4oue sur l+idée ,ue l+influence est une source d+angoisse mais aussi une source ardemment recherchée (polysémie du terme < anxiety = en anglais), nous montrons ,ue la série propose une résolution dialecti,ue . cette tension : elle semble arguer du fait ,ue l+acceptation de l+origine permet . terme de faire na@tre l+originalité. (ear now the words of the witches, Ahe secrets we hid in the night. Ahe oldest of gods are invoked here, Ahe great work of magic is sought. In this night and in this hour, I call upon the ancient powers. 6ring your power to we sisters three, Ce want the power, give us the power. Phoebe (alliwell (DSomething Cicca Ahis Cay Comes,E 1.01) ette formule inaugurale prononcée par Phoebe (alliwell dans le premier épisode de Charmed (Ahe C6, 1998-2006) place la C ,uestion de la filiation et de l+influence au c5ur de la série. 9a 4eune femme invo,ue, sans le savoir, les pouvoirs ancestraux et, avec eux, tout un héritage intertextuel ,ui va donner cette saveur particuli:rement ludi,ue . Charmed. 9e titre de la série lui-mFme sugg:re cette influence du passé : Charmed, soit < charmé =, < ensorcelé = en fran1ais. Un sort a été 4eté et l+on peut d:s lors se demander ,ui en est la cible. S+agit-il des s5urs (alliwell ,ue les prophéties nomment les < Charmed Ones =, puissantes enchanteresses attendues de tout temps, ou bien des spectateurs ,ue la série va ensorceler I moins ,ue l+ob4et du charme ne soit la série elle-mFme. TV/Series #6, décembre 2014 / December 2014 86 http://revuetvseries.wix.com/tvseries ISS 2266-0909 9a formule magi,ue prononcée par Phoebe prend alors une dimension métafictionnelle car elle peut Ftre entendue comme le manifeste de la série : . peine née, celle-ci affirme son identité. 9e vers < in this night and in this hour = semble faire allusion au moment de la diffusion, impression renforcée par la présence de deux pronoms démonstratifs (< this =), ,ui ancrent la diég:se dans une situation d+énonciation partagée, et par le fait ,u+un épisode dure une heure. Cette identité sera fa1onnée par les dieux et pouvoirs anciens ,ui sont convo,ués. 9e couplet final est en cela intéressant puis,u+il démontre l+aspect revendi,ué de cette exhortation. 9es s5urs seront, en effet, investies de tout un héritage culturel, par un pouvoir intertextuel consenti ,ui va accompagner leurs aventures. D:s ses premiers instants, Charmed se présente comme la série de la reprise et du recyclage et s+ancre dans la mouvance postmoderne cathodi,ue typi,ue de son épo,ue, aux c;tés d+autres séries telles ,ue Buffy the Vampire Slayer (Ahe C6, 1997-2003) ou Xena, Warrior Princess (Syndication, 1995-2001). Ces séries datant des années 1990 sont caractérisées par leur usage détourné et amusé de la culture aussi bien populaire ,u+élitaire, phénom:ne ,ui est constitutif de l+esthéti,ue postmoderne1. Ainsi, pendant huit années, Charmed n+a eu de cesse de réinventer son héritage culturel, le,uel lui a souvent servi de moteur narratif. 9+intertextualité est cependant ici plus complexe et ne se limite pas au simple recyclage. 0n effet, la série propose une dynami,ue originale ,ui vise progressivement . se détacher de l+influence initiale pour fa1onner son propre héritage. 9e recyclage postmoderne servirait alors . poser les fondations d+un nouveau cycle ,ue Charmed tente de transmettre lors de son ultime épisode. C+est précisément cette dynami,ue ,ue nous nous proposons d+étudier au cours de cet article. Apr:s avoir démontré ,ue Charmed est une 5uvre o7 foisonnent les références intertextuelles ,ui sont néanmoins recyclées de telle sorte ,u+elles participent pleinement de la narration, nous analyserons la dimension palimpseste de la série, c+est- .-dire la mani:re dont elle se réécrit elle-mFme, rature ou efface certaines histoires ou bien certains personnages. 0nfin, ces résurgences du passé intertextuel, de mFme ,ue cette idée de palimpseste, trouvent pour symbole le manoir (alliwell ,ui officie comme le temple de toutes ces transformations. C+est un lieu hanté par le passé au sein du,uel l+hypotexte N aussi bien le texte référence ,ue la couche inférieure du palimpseste N prend vie, s+incarne, se répand et représente une menace ,ue la série tente d+annihiler. 1 < Buffy: The Vampire Slayer, Xena: Warrior Princess, Dar Angel and Charmed (O) combined fantastic spectacle with a knowing recycling of plots and fragment from the media past. (O) Since the 1990s, the intertextuality, recycling and self-referentiality of the postmodern form have also passed into the AP mainstream =, in Marc O+Day, < Postmodernism and Aelevision =, in Stuart Sim (ed.), The Routledge Companion to Postmodernism, ew Rork, Routledge, Second edition, 2005, p. 103-110. TV/Series #6, décembre 2014 / December 2014 87 http://revuetvseries.wix.com/tvseries ISS 2266-0909 1. Charmed, série hybride sous influence 9a série créée par Constance M. 6urge se présente donc de prime abord comme un condensé ludi,ue d+influences multiples. Silms, livres, 4eux vidéo, bandes dessinées, les s5urs (alliwell évoluent dans un maelstrTm de références ,u+elles réinventent au gré de leurs aventures magi,ues. Cette intertextualité est revendi,uée d:s le titre des épisodes. Substrat herméneuti,ue de l+intrigue, le titre proc:de de la mise en relation d+une référence culturelle et d+un élément de la diég:se et est ainsi doublement référentiel. Ainsi, l+épisode < Comb Raider2= (4.21) pastiche le titre du 4eu vidéo Tomb Raider ,ui suit les aventures de l+archéologue 9ara Croft. Ce détournement drolati,ue tient au fait ,ue, dans l+épisode, la diaboli,ue Prophétesse tente l+impossible pour s+emparer du f5tus démonia,ue de Phoebe dans le but de régner sur le monde souterrain. 9a corrélation entre le titre et l+intrigue op:re aussi dans < Save Private 9eo = (4.17) ,ui fait référence . la fres,ue guerri:re de Steven Spielberg, Save Private Ryan (1998). 0n effet, l+épisode relate le passé méconnu de 9éo, l+ange gardien des s5urs (alliwell, ,ui servit d+infirmier et périt . 2uadalcanal en 1942. Il est . présent tra,ué par ses anciens compagnons d+armes devenus fant;mes en ,uFte de vengeance. 9e film de Spielberg se déroule également pendant la seconde guerre mondiale mais suit le débar,uement de ormandie de 1944 et la recherche du soldat Uames Srancis Ryan. 0nfin, dernier exemple, < Ahe Importance of 6eing Phoebe = (5.11) ,ui renvoie . la pi:ce The Importance of Being Earnest (1898) d+Oscar Cilde. 9+épisode met en sc:ne une démone avide de pouvoir ,ui va prendre l+apparence de Phoebe aupr:s de ses s5urs dans le but de les mener . leur perte. Cette duplicité identitaire n+est pas sans rappeler le 4eu des dandys complices de la pi:ce de Cilde, Uack Corthing et Algernon Moncrieff, ,ui empruntent tous deux le nom d+0arnest (Constant en fran1ais) et s+inventent une vie parall:le afin d+échapper aux bienséances de la société victorienne3. Si Charmed s+approprie de grandes références culturelles . un niveau préliminaire, elle présente également de nombreux recyclages formels. Ainsi, sa nature généri,ue est-elle mise .
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