Revendication sociale et carnavalesque dans le théâtre acadien
Année :
2010
Auteur(e) :
Volume et numéro :
, 13
Collection :
, 2
Revue :
, International Journal of Francophone Studies
Pages :
, 215-232
Résumé
Les premiers dramaturges acadiens, entre 1875 et 1932, ont tous voulu insister sur le courage, la détermination, la résistance, voire la résilience du peuple acadien à travers l'histoire et annonçaient déjà la naissance, plusieurs décennies plus tard, d'un véritable théâtre de libération en Acadie. Dans les années 1970, l'Acadie, comme son théâtre, participe activement à la vague de remise en question et de revendication qui traverse le monde occidental et l'on assiste à l'émergence d'une nouvelle dramaturgie axée sur la contestation des valeurs traditionnelles et le désir de secouer le joug d'une oppression sociopolitique, économique, culturelle et linguistique qui pèse sur le peuple acadien depuis le retour de la déportation il y a plus de deux siècles. Seront dénoncées en même temps diverses formes d'oppression religieuse, idéologique, sexiste et artistique. Or ce refus global de tout assujettissement s'exprime souvent par le biais du rire et du rabaissement parodique, par la subversion carnavalesque qui traverse, par exemple, l'œuvre d'Antonine Maillet et se manifeste chez d'autres dramaturges acadiens jusqu'à nos jours, tels que Laval Goupil, Claude Renaud, Gracia Couturier, Rino-Morin Rossignol, Herménégilde Chiasson et Mélanie Léger.
Between 1875 and 1932, Acadia's first playwrights all sought to underline the courage, the determination and the resilience of the Acadian people throughout its history, thus heralding the advent, several decades later, of a contemporary Acadian theatre focused on both collective and individual liberation. During the 1970s, Acadia and its playwrights took an active part in the political and social upheaval which was sweeping the Western world. A new kind of theatre emerged which contested traditional values and which focused upon breaking the yoke of a social, political, economic, cultural and linguistic oppression that weighed upon the Acadian people since its return from the Great Deportation more than two centuries earlier. Simultaneously all forms of oppression, religious, ideological, sexist and artistic, were being called into question. It is through laughter, parody and carnivalesque subversion that this rejection of all forms of subservience is variously expressed in the works of Acadia's playwrights such as Antonine Maillet, Laval Goupil, Claude Renaud, Gracia Couturier, Rino-Morin Rossignol, Hermémégilde Chiasson and Mélanie Léger.
Between 1875 and 1932, Acadia's first playwrights all sought to underline the courage, the determination and the resilience of the Acadian people throughout its history, thus heralding the advent, several decades later, of a contemporary Acadian theatre focused on both collective and individual liberation. During the 1970s, Acadia and its playwrights took an active part in the political and social upheaval which was sweeping the Western world. A new kind of theatre emerged which contested traditional values and which focused upon breaking the yoke of a social, political, economic, cultural and linguistic oppression that weighed upon the Acadian people since its return from the Great Deportation more than two centuries earlier. Simultaneously all forms of oppression, religious, ideological, sexist and artistic, were being called into question. It is through laughter, parody and carnivalesque subversion that this rejection of all forms of subservience is variously expressed in the works of Acadia's playwrights such as Antonine Maillet, Laval Goupil, Claude Renaud, Gracia Couturier, Rino-Morin Rossignol, Hermémégilde Chiasson and Mélanie Léger.
Thème :
Acadie
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