L’ouverture sur d'autres horizons, scientifiques, géographiques, disciplinaires et culturels est la ligne éditoriale d’Horizons/Théâtre. Un des objectifs de la revue est de décloisonner la recherche théâtrale en s’affranchissant d'un certain européocentrisme qui a longtemps limité les approches théâtrales en les confinant dans des impasses idéologiques et méthodologiques. Pluridisciplinarité, interculturalité, transversalité sont des mots clés que revendique la revue. Favorisant la diversité des expressions, les colonnes d’Horizons/Théâtre sont ouvertes à toute contribution pertinente et originale, émanant aussi bien de chercheur-e-s universitaires, jeunes ou confirmé-e-s, que de praticien-nes ou autres acteur-trice-s de la scène théâtrale, dès lors qu’elle sera susceptible d’enrichir notre connaissance. Même si la langue française est privilégiée, puisque notre revue se destine d'abord à un lectorat francophone, les participations en langues étrangères seront les bienvenues. Bi-annuelle, Horizons/théâtre s’appuie sur une logique thématique : chaque numéro traitera d’une problématique principale, choisie par le comité de rédaction, et consacrée à des questions relatives aux arts du spectacle.
Le conte paraît un genre littéraire impérissable. Il a nourri l’imaginaire des sociétés à traditions orales pendant des millénaires et devient, de nos jours, l’une des disciplines littéraires qui ne cessent de capter l’intérêt des arts de la scène et de l’écran dans les sociétés dites « modernes »....
Ce treizième numéro d’Horizons/Théâtre, consacré aux arts du spectacle en Afrique subsaharienne, est le fruit des travaux qui ont eu lieu lors d’un colloque international organisé dans le cadre de la 23e édition du Festival international du Théâtre universitaire d’Agadir au Maroc en 2018. Cette mani...
The work on Africa theatre seldom emancipates itself from the works of François Victor Equilbecq who at the beginning of the XXth century boasted, in a Eurocentric impulse, of the privilege of having brought theatre to the "natives of Africa". Since then, the idea that African theatre is of European...
It seems clear that the attempt to withdraw the western character of the theater after the birth of the avant-garde tendency of the theater led to a certain opening of the theatrical literature to other cultures and other traditions outside Europe as is the case for Africa. The note finds its legiti...
Could African theater be only political? That is the question that emerges from the history of a discipline that the West has long wanted to establish. Not only as an exclusive property, but also as the blessed fruit of its civilizing mission. However, French-speaking African playwrights will transf...
Ce treizième numéro d’Horizons/Théâtre, consacré aux arts du spectacle en Afrique subsaharienne, est le fruit des travaux qui ont eu lieu lors d’un colloque international organisé dans le cadre de la 23e édition du Festival international du Théâtre universitaire d’Agadir au Maroc en 2018. Cette mani...
The theater occupies a special place in the Ivory Coast literary universe. Indeed, in Ivory Coast, it is by him that was born the Ivory Coast literature. But the specific history of this kind lived in the shade of others. It seems convenient to proceed to a retroactive dumping, that is to call back...
In 2017, a focus on sub-Saharan African creation is brought into attention at the Avignon Festival. The nine shows as well as discussion panels and round tables that were programmed during the festival pave the way for a new polemic to be raised. This article will present and analyze this controvers...
What are the determinants of the deep lethargy in which seems to be plunged, since 1995, the “Ensemble artistique et culturel des Étudiants” (EACE) of the University of Abomey-Calavi ? The objective of this study is to elucidate the causes of the artistic twilight of one of the most famous troupes i...
Cameroon, like the other countries of black French-speaking Africa, has been permanently marked by the iron of colonization. Also, upon gaining independence (1960), in order to exorcise the specter of evil left by the colonists, and to lay the groundwork for the construction of a new society, the dr...
The name mvet refers to a musical instrument and oral literature sung, recited and accompanied by this instrument. Present in Cameroon, Gabon, Equatorial Guinea, Congo and on the island of Sao Tome and Principe, his main epic tells in fiction form, the feats of arms of the Ekang people of the equato...
Hip-hop, a new artistic genre originally imported from America, will allow French marginalized categories, whom been deprived of any artistic representations to enter the closed world of arts. Highly suffering from racial discrimination, North African and African immigrants, who reside in France’s i...
Bertolt Brecht has left his mark on theatre across the Arab world. His rise to prominence on the Arab stage began especially in the 1960s. Adaptations, translations, and rewriting would bring him recognition : understandably opposed by political leaders but embraced by many stage directors who disco...
Kheireddine Lerdjam is a young Algerian director, working between Algeria and France. This life of wandering between two countries, and thus two cultures, plays an important role in the choice of his texts, and in his staging. In Page en construction, a play with which he participated in the Festiva...
The story of the birth and rise of modern Arab theater is inseparable from the political and cultural context of the birth of modern Egypt. She is also associated with the figure of Khedive Ismail. The construction of the theaters, the invitation of the foreign troops as well as the Arabic language...
Translation is a vehicle of knowledge between cultures. By dint of translation, a work of theatre becomes transcultural : transposing from a language-culture to another. Translation is not anymore a mere means but certainly a process wherein which our relationship with the other plays an important r...
In the context of cultural exchanges between Egypt and the West since the 19th century, the new generation of the independent theatre which tried, from the nineties, to produce a new theatre, politically and socially engaged, has been influenced by western aesthetics and forms of political theatre....
My deployment of a Double Critique is an invitation to redeem postcolonial performance history from its interminable oppositional thinking “by shifting the postcolonial subject’s fixation on the Other/ West to an inward interrogation of his political and ideological self-colonization and self-victim...
Tayeb Saddiki (1939-2016) is universally recognized as the giant of Moroccan theater. His theatrical activities consisted in many adaptations of dramas belonging to different traditions, as well as the creation of many productions in both (Moroccan and Standard) Arabic and French. The following page...
Leading figure of the Algerian stage for five decades, Slimane Benaïssa created Rak khouya, ou ana chkoun ? [If you are my brother, then who am I ?] in 1990. A succès de scandale cut short in Algeria, it would be the last play of his Arab repertoire before his exile and the only one that he would tr...
In Le Simoun (1921), L’Insoumise (1922), L’Esclave errante (1923) and Atlas-Hôtel (1931), Henri-René Lenormand, Pierre Frondaie, Henry Kistemaeckers and Armand Salacrou develop their characters, French and Arabic, in Algerian or Moroccan settings. Their representations of colonial North Africa are n...
The influence of the West on Algerian drama is undeniable. However, reducing the latter theatre to a mere adaptation or translation machine would not only be a scientific mistake but also, and above all, an unfair judgment made on this thousand years old theatrical culture. The performing arts are i...
J’aborderai la problématique de la traduction non pas d’un point de vue universitaire et théorique, mais d’une manière pragmatique, dans ma confrontation avec l’écriture. J’ai commencé mon activité théâtrale en Algérie en arabe dialectal. J’exprimais alors une réalité dans la langue où elle était vé...
Kamel Daoud is a child of the Independence of Algeria and this historical process plays a key-function Meursaults Counter-investigation, published in 2014 in France. This “counter-investigation” upon the murder of “Arab” by Meursault, is a pretext to give to Moussa an identity, the unknown victim in...