La farce tragique – une réécriture de l’absurdité historique des idéologies communistes et du grotesque des dictatures militaires africaines

Authors

  • Diana Nechit Lucian Blaga University of Sibiu, Romania Author

DOI:

https://doi.org/10.37130/y7p1kp64

Keywords:

Matei Vişniec/Matéi Visniec, Sony Labou Tansi, Koffi Kwahulé, world literature, tragic farce, political view

Abstract

Matei Vișniec’s dramaturgy perhaps best illustrates the paradox that absurdity and tragic or grotesque farce most adequately depict the destiny of peoples whose history is marked by defeat, derision, and tragedy. The political situation in certain countries and totalitarian regimes in Eastern Europe and Africa, characterized by genocide and inter-ethnic fighting, can hardly be a source of comedy, but the dramatic stakes of the tragic farce seem best suited to express the absurdity and regression of totalitarian ideologies. The comic turn amazes the viewer by its ability to conform the historical truth. In this article,1 2 I aim to identify not so much an ideological but mostly aesthetic, dramaturgical modus operandi of the tragic farce using a corpus consisting of texts by playwrights Matei Vișniec, Sonya Labou Tansi, and Koffi Kwahulé.

Author Biography

  • Diana Nechit, Lucian Blaga University of Sibiu, Romania

    Diana Nechit is Associate Professor at the Department of Drama and Theatre Studies from the Faculty of Letters and Arts, Lucian Blaga University of Sibiu. She has a PhD in French literature, with a thesis on the theatre of Bernard-Marie Koltès. Her areas of expertise are theatrical studies, the relationship between text and image, contemporary French dramaturgy, and French language for the performing arts. She writes reviews and studies on dramatic literature, theatre, and film, featured in numerous Romanian publications. She has translated contemporary French plays and has already published several texts in anthologies, but also texts to be performed for a Romanian audience.

     

References

Chalaye, S. (1999) « Afrique noire : écritures contemporaines », Théâtre/Public, no. 4.

Dahou, M., (2013) « Les formes d’expression du théâtre noir africain : intercommunication, emprunts et structures langagières », Les Cahiers du GRELCEF, no. 4, La problématique micro-identitaire dans les écritures et expressions francophones.

Faivre, B. (éd.) (1998) La farce, un genre pour aujourd’hui, Centre d’études théâtrales, Université de Louvain.

Foucault, M. (1984) Des espaces autres, Hétérotopies, « Dits et écrits » (conférence au Cercle d’études architecturales, 14 mars 1967), Architecture, Mouvement, Continuité, no. 5.

Ivernel, P. (1998) « Politique, la farce ? », La Farce. Un genre médiéval pour aujourd’hui ? no. 14. Centre d’études théâtrales, Université de Louvain.

Koopmans, J. (1998) « Les modernités de la farce : modernité historique, modernité actuelle », in Faivre, B. (éd.), La farce, un genre pour aujourd’hui, Centre d’études théâtrales, Université de Louvain.

Kwahulé, K. (2006) Brasserie. Paris : Éditions théâtrales.

Labou Tansi, S. (2014) Qui a mangé Madame d’Avoine Bergotha ? Lansman Editeur, Carnières-Morlanwelz.

Vișniec, M. (2012) Procesul comunismului prin teatru. Bucureşti : Humanitas.

Downloads

Published

2023-06-03

Issue

Vol. 26 No. 1 (2023): Matei Vişniec’s Dramaturgy in the Context of Interdisciplinary Artistic Research / Beyond the Human: Theatre, Robots and Social Realities

Section

Articles

How to Cite

Nechit, D. (2023). La farce tragique – une réécriture de l’absurdité historique des idéologies communistes et du grotesque des dictatures militaires africaines. CONCEPT, 26(1), 29-40. https://doi.org/10.37130/y7p1kp64