{"id":5253,"date":"2024-10-25T09:44:11","date_gmt":"2024-10-25T07:44:11","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=5253"},"modified":"2024-10-25T09:44:11","modified_gmt":"2024-10-25T07:44:11","slug":"aac-je-creation-transmission-et-reception-les-arts-du-spectacle-durant-la-guerre-civile-libanaise-1975-1990","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/aac-je-creation-transmission-et-reception-les-arts-du-spectacle-durant-la-guerre-civile-libanaise-1975-1990\/","title":{"rendered":"AAC JE \u00ab\u00a0Cr\u00e9ation, transmission et r\u00e9ception : les arts du spectacle durant la guerre civile libanaise (1975-1990)\u00a0\u00bb"},"content":{"rendered":"

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Journ\u00e9e d’\u00e9tudes organis\u00e9e par Hala Habache (Universit\u00e9 Paris Cit\u00e9, CERILAC) et Michael Issa El Helou (Universit\u00e9 de Caen, LASLAR) le jeudi 10 avril 2025 \u00e0 l’Universit\u00e9 Paris Cit\u00e9.<\/div>\n<\/div>\n<\/div>\n

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Photogramme du film restaur\u00e9 Le Liban dans la tourmente<\/em> (Jocelyne Saab, 1975).<\/h5>\n

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Appel t\u00e9l\u00e9chargeable<\/a><\/p>\n

R\u00e9sum\u00e9\u00a0<\/h3>\n

Dans le contexte actuel du Liban, et \u00e0 l\u2019occasion du 50\u1d49 anniversaire du d\u00e9clenchement de la guerre civile libanaise, cette journ\u00e9e d\u2019\u00e9tude a pour objectif d’explorer les transformations artistiques engendr\u00e9es par cette p\u00e9riode tumultueuse. Nous proposons de r\u00e9fl\u00e9chir \u00e0 la cr\u00e9ation artistique durant le conflit, ainsi qu’\u00e0 la transmission et la r\u00e9ception des \u0153uvres produites pendant la guerre, en mettant l\u2019accent sur les arts du spectacle \u2013 notamment le th\u00e9\u00e2tre et le cin\u00e9ma.<\/p>\n

Le 13 avril 1975 est une date ancr\u00e9e dans la m\u00e9moire collective, marquant le d\u00e9but de la guerre civile libanaise. Ce conflit, qui s\u2019ach\u00e8ve en 1990, a plong\u00e9 le Liban dans un cycle de violences ayant profond\u00e9ment transform\u00e9 non seulement la soci\u00e9t\u00e9, mais aussi les modalit\u00e9s d\u2019expressions artistiques du pays. De ce fait, cette journ\u00e9e d\u2019\u00e9tude souhaite analyser comment les conditions extr\u00eames propres \u00e0 la guerre ont influenc\u00e9 et fa\u00e7onn\u00e9 la cr\u00e9ation artistique et comment, en retour, ces \u0153uvres ont \u00e9t\u00e9 re\u00e7ues et transmises au-del\u00e0 des fronti\u00e8res temporelles et g\u00e9ographiques, palliant au manque d\u2019une histoire unifi\u00e9e de ce conflit.<\/p>\n

La guerre civile libanaise a surgi \u00e0 un moment o\u00f9 le th\u00e9\u00e2tre et le cin\u00e9ma libanais commen\u00e7aient \u00e0 trouver leur propre voix. Le th\u00e9\u00e2tre, notamment gr\u00e2ce \u00e0 des figures pionni\u00e8res comme Antoine Moultaqa et Mounir Abou Debs, entamait une phase d\u2019ouverture vers l\u2019Europe dans les ann\u00e9es 1960, pr\u00e9sentant des \u0153uvres europ\u00e9ennes et amor\u00e7ant un dialogue entre traditions locales et influences ext\u00e9rieures(1). Cependant, d\u00e8s le d\u00e9but du conflit, cette dynamique s’est modifi\u00e9e : le th\u00e9\u00e2tre de l’absurde, souvent en langue arabe, a pris le dessus, permettant aux dramaturges de s’adresser directement \u00e0 un public traumatis\u00e9 par la guerre, tout en refl\u00e9tant les bouleversements psychologiques et sociaux. Ainsi, cette p\u00e9riode voit la mont\u00e9e en puissance d’un th\u00e9\u00e2tre local aux pr\u00e9occupations et aux sensibilit\u00e9s renouvel\u00e9es, marquant un recul net de l’influence europ\u00e9enne.<\/p>\n

Parall\u00e8lement, le cin\u00e9ma libanais des ann\u00e9es 1960 commen\u00e7ait \u00e0 se lib\u00e9rer du mod\u00e8le \u00e9gyptien, pour interroger plus directement l\u2019identit\u00e9 libanaise \u00e0 travers les films de r\u00e9alisateurs tels que Georges Nasser. La guerre civile eut toutefois un effet d\u00e9vastateur sur la production cin\u00e9matographique : studios d\u00e9truits et infrastructures paralys\u00e9es obligent de nombreux cin\u00e9astes \u00e0 s\u2019exiler(2). Malgr\u00e9 cela, une nouvelle g\u00e9n\u00e9ration de r\u00e9alisateurs tels que Borhane Alaoui\u00e9 (1941 – 2021), Maroun Baghdadi (1950 – 1993), Randa Chahal Sabag (1953 – 2008), Jean Chamoun (1942 – 2017) et Jocelyne Saab (1948 – 2019) a \u00e9merg\u00e9, porteuse d\u2019un cin\u00e9ma du t\u00e9moignage et de la r\u00e9sistance. Leurs \u0153uvres, tourn\u00e9es dans des conditions difficiles, ont capt\u00e9 les r\u00e9alit\u00e9s brutales de la guerre et ont permis \u00e0 la fois de documenter et de questionner la situation du pays, en direct.<\/p>\n

La relation directe du public avec les arts du spectacle, tels que le th\u00e9\u00e2tre et le cin\u00e9ma, constitue ainsi des voies d’acc\u00e8s privil\u00e9gi\u00e9es pour comprendre les cons\u00e9quences de la guerre sur la cr\u00e9ation artistique libanaise, ainsi que sur la mani\u00e8re dont les \u0153uvres produites durant et apr\u00e8s le conflit ont \u00e9t\u00e9 re\u00e7ues, interpr\u00e9t\u00e9es et transmises.<\/p>\n

Les communications s’articuleront autour de deux axes principaux :<\/p>\n

1\/ La cr\u00e9ation artistique durant la guerre<\/p>\n

Le premier axe interroge la cr\u00e9ation artistique durant la guerre civile libanaise. Ce volet vise \u00e0 \u00e9tudier les films et les pi\u00e8ces de th\u00e9\u00e2tre qui ont \u00e9merg\u00e9 malgr\u00e9 \u2014 ou peut-\u00eatre gr\u00e2ce \u00e0 \u2014 l\u2019environnement conflictuel et les conditions de vie pr\u00e9caires. En d\u00e9pit des destructions physiques et du climat de terreur omnipr\u00e9sent, ces \u0153uvres ont \u00e9t\u00e9 des moyens d’expression essentiels pour des artistes qui, souvent, ont vu dans la guerre non seulement une \u00e9preuve \u00e0 surmonter, mais une source d’inspiration et de transformation artistique.<\/p>\n

Dans ce cadre, plusieurs questions se posent, sans pr\u00e9tendre \u00e0 l’exhaustivit\u00e9 :<\/p>\n