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Tunisian Theater at the Turn of the Century: "Hammering the Same Nail" in Jalila Baccar and Fadhel Jaïbi's Theater Rafika Zahrouni Washington University in St

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Tunisian Theater at the Turn of the Century: Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 3-11-2014 Tunisian Theater at the Turn of the Century: "Hammering the Same Nail" in Jalila Baccar and Fadhel Jaïbi's Theater Rafika Zahrouni Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Zahrouni, Rafika, "Tunisian Theater at the Turn of the Century: "Hammering the Same Nail" in Jalila Baccar and Fadhel Jaïbi's Theater" (2014). All Theses and Dissertations (ETDs). 1274. https://openscholarship.wustl.edu/etd/1274 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Program in Comparative Literature Dissertation Examination Committee: Nancy Berg, Chair Robert Hegel Robert Henke Pascal Ifri Lynne Tatlock Tunisian Theater at the Turn of the Century: “Hammering the Same Nail” in Jalila Baccar and Fadhel Jaïbi’s Theater by Rafika Zahrouni A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2014 St. Louis, Missouri Copyright by Rafika Zahrouni © 2014 Table of Contents Acknowledgments ………………………………………………………………….……….. iii Introduction: From Edison Theater in St. Louis to the New Theater of Tunis ….................... 1 Chapter 1: Background of Tunisian Theater History ……………………………….…......... 17 Chapter 2: The Development of the New Theater ………………………………………….. 58 Chapter 3: From Silence to Madness, from Madness to Speech: The Psychiatric Institution as Metaphor …………………………………………………………………………………. 89 Chapter 4: Staging Political and Cultural Repression: Khamsūn and Les Amoureux du Café Désert in Retrospect ……………………………………………………………………...… 142 Chapter 5: Repetition and Difference in Jalila Baccar and Fadhel Jaïbi’s Theater ….….….. 210 Conclusion: Theater of Protest in Tunisia and North Africa ……………………………..… 257 Appendices ……………………………………………………….……...………………… 271 Bibliography…...………………………………………………………………………....….. 305 ii Acknowledgments In writing this dissertation, I have been continuously aware of the many people to whom I am indebted. Special thanks to my advisor Nancy Berg, scholar in Modern Hebrew and Arabic Literatures, who believed in this project from its early stages and who not only accredited intellectual importance to my work, but also provided me with critical and insightful comments every time she reviewed my progress. Without her unflagging support, I would not have been able to finish. From Dr. Berg, I learned how to apply the core principles of research to writing. I would also like to thank Professors Lynne Tatlock and Robert Hegel for improving my dissertation as well as supporting me throughout my graduate studies in Comparative Literature. My thanks to Professor Robert Henke. His help, especially during the early stages of developing this thesis, was invaluable—as were his witty remarks! I am indebted to Professor Pascal Ifri not only for his indispensible input on this project, but also for the opportunity he provided me to be educated in French studies. I was fortunate to receive feedback on my early proposal from prominent scholars in the field of Middle Eastern Studies, Theater Studies, Francophone Studies, and Narratology. Among these Professors are Emma Kafalenos, Chris Stone, Margaret Litvin, Mohamed Salah Omri, Marvin Carlson, Brinda Mehta, and Nouri Gana, who were all so generous with devoting their time to comment on my early, scattered, and vague ideas. I am fortunate to have been able to conduct interviews with both playwright/actress Jalila Baccar and her husband, director Fadhel Jaïbi. Corresponding with Moez Mrabet—professor, actor, Jaïbi mentee, and theater director—allowed me to obtain accurate information every time I was in doubt. I am so thankful to student Kate Wilson, mentee of theater scholar Carlson, who guided my early reading choices. In addition, theater scholar Bud Coleman provided me with excellent insight and comments on my final thoughts about this dissertation. iii My deep gratitude to all members of my family in Tunisia, especially to my mother, Zohra Khelil, and to the memory of my father, Amor Zahrouni, who both stressed the importance of education to such a degree that I consider them my first and best teachers. I learned mainly how to do things with love from my father and how to persevere with courage from my mother. I am especially thankful to my husband, Oreste Ezequiel Salavaggione, and to my son Idris, both of whom have brought much joy and light to my life. Without them, I would not have been able to accomplish this study. Special thanks to all my friends who encouraged me by agreeing to comment on my early drafts and thoughts, including Aroussia Bouslama, Nick Tamarkin, Laurette Reiff, Arline Cravens, and Kaleb Demerew. I would like to thank everyone who contributed to my success at Washington University in St. Louis, including professors and staff. Special thanks to Steve Pijut and to the Writing Centers in both Washington University in St.Louis and the University of Colorado Boulder. Special thanks to all the librarians I encountered, in both the U.S. and Tunisia, who were so supportive of my work. A special thank you to Sarah Hennessey for her policy of helping all students in any way she can to make graduate studies easier. I dedicate this work to the memory of my loving brother, Taoufik, who encouraged me most to fulfill this dream, but who sadly did not live to see its completion. Finally, this dissertation is for all lovers of theater, literature, art, and knowledge tout court. iv Introduction: From Edison Theater in St. Louis to the New Theater of Tunis In April 2008, Ron Himes directed Wole Soyinka’s play The Lion and the Jewel, presented by the Performing Arts Department at Washington University in St. Louis’s Edison Theater.1 An impressive performance of a well-regarded play, the social satire reminded me of the repertoire of the theater couple, Jalila Baccar and Fadhel Jaïbi, the founders of the new theater of Tunisia.2 Any of their plays can be as impressive as The Lion and the Jewel, yet they are far less well-known than the internationally acclaimed Nobel laureate’s. Baccar and Jaïbi have not received similar attention because they approach theater differently. Not only are they not in academia as Soyinka, but they have focused on dramatic composition and theatrical representation based on the dialectic relationship that includes writing and staging, as will be discussed in chapter two. My interest in contemporary Tunisian theater, however, may be traced back far before 2008. Theater was an elective in both my secondary school and college in Tunisia. The experiences of reading plays and going to the theater have also consciously and subconsciously shaped my love for this art. At the Tunis 2004 book fair, my brother-in-law’s friend offered me Jaïbi’s Famīlia (Family, 1997). This generous act gave me a novel reading experience: this play is written in a language that includes Modern Standard Arabic (MSA) and Tunisian dialect. It had a long-lasting impact on me as I had never before encountered my own Tunisian-accented Arabic on the page. I became more interested in exploring the theater of Jaïbi and Baccar after I attended Khamsūn (Fifty) in 2007.3 It was performed in the prestigious Roman theater of Carthage and marked the peak of success in the couple’s career, attracting approximately 9,000 spectators. All of these experiences increased my curiosity about the subject. However, the Soyinka performance was the pivotal event that formed my interest in Tunisian theater. This moment prompted me to think about my home country’s theater. This nostalgic moment brought my attention to a new area of research as I had almost 1 committed to Francophone studies, another area I explored during my studies at Washington University in St. Louis. While my dissertation investigates plays written and directed by Jalila Baccar and Fadhel Jaïbi—a recognized director/actor-playwright pair in contemporary Tunisian theater— it also contributes to the study of theater in North Africa in particular and Arab theater in general. This is the first research that addresses the drama of Baccar and Jaïbi, a partnership that spans almost forty years—arguably the most significant force in North African Theater. My study analyzes the evolution of Familia Productions, discovering how Familia has changed in accordance with the changing political situation, and how political changes have influenced the aesthetics of the theater, and has shifted the style from heavily symbolic to much more direct. The questions tackled in this thesis helped me contextualize the growth of Tunisian theater from historical, social, political, and critical perspectives. This thesis demonstrate how all Familia Productions are political and Brechtian in the sense that these plays force the viewer to react to strangeness and metatheatricality. The method I applied to study Baccar- Jaïbi productions suggests an approach to theater study that is consistent with the tradition of exploring one carefully chosen troupe for its significance. This method is useful to broaden the scope of topics addressed. While most plays
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