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.
Dans ce second volume consacré aux arts du spectacle dans l’Afrique subsaharienne, ce sont les expériences et les trajectoires de quelques acteurs majeurs de la scène africaine aussi bien traditionnelle que moderne et contemporaine qui sont étudiées et analysées. Adoptant diverses approches, les con...
“Playing With Arts and Identity in Koffi Kwahulé’s Recent Theatre: Basquiat and Fela Kuti” situates Kwahulé’s theatre within the trajectory of Francophone African theatre that queries notions of identity and politics. It sees Kwahulé’s work as part of a movement that turns away from questions of col...
If the theater is mimesis, show, this form of artistic expression exists in traditional Africa. These arts, which are specific to the different regions and which resemble the theater, are called koteba, mvet, didiga, etc. Playing a social, economic, religious and important political role, these dram...
As an ethnical subgroup of Southeastern Nigeria, Afikpo has a cultural heritage that showcases its rich oral traditions and from where emerge its philosophy, mythology and religiosity. Sociological researches have unveiled the people’s ethnography and treated superficially their oral traditions. For...
From Tractor Conscience to an Abyss, Sony Labou Tansi’s dramatic writing questions the major problems of Africa by highlighting the image of tyrants, their victims and of the catastrophic fate of this continent. This playwright reveals the reverse side and the place of Africa through a symbolism of...
The trickster’s myth, since the famous essay The Trickster : A Study in American Indian Mythology (1958) by Jung, Radin and Kereny, had fed a critical history that overcome by far anthropology and psychoanalysis. Indeed, postcolonial literary studies and political philosophy have taken the subject i...
Étienne Minoungou est un comédien, metteur en scène, dramaturge et entrepreneur culturel africain, basé à Ouagadougou. Après des études de sociologie à l’Université de Ouagadougou et quelques années comme enseignant, il choisit de se consacrer au théâtre. Après avoir été directeur artistique du Théâ...
Dans le numéro 13 d’Horizons/Théâtre, nous avons abordé, dans la première partie du dossier que nous consacrons aux arts du spectacle dans l’Afrique subsaharienne, quelques manifestations spectaculaires puisant leurs racines et s’ancrant dans diverses parties du continent noir. Nous consacrons la de...
This article focuses ont the work of two leading figures in theater and culture in France : Léonora Miano and Eva Doumbia. It takes the play Écrits pour la parole from Léonora Miano, as case studies, in order to describe and analyse how it’s can be taken as an attempt to “habiter la frontière” by tw...
José Pliya's theatrical art is marked by a form of poetic and aesthetic disaffiliation with the existing theater. His dramatic writing thwarts the horizons of expectation because it is marked by the seal of the renewal of dramatic instances. Without rejecting the dramatic form, he reinvents it by en...
The study was carried out from a socio-critical perspective. She goes to decipher the aesthetic of "Didiga" whose theatrical work presents an atypical form. Breaking with classical dramaturgies in Acts and Tables, La Tignasse is nourished by an innovative dramatic lexicon whose quintessence crystall...
Né à Cotonou en 1987, Sèdjro Giovanni Houansou est auteur, metteur en scène et opérateur culturel béninois. Son travail artistique tourne beaucoup autour de la relation entre l’homme (l’humain) et le territoire. En 2016, lauréat de Textes en scènes, il est accueilli en résidence au CNES – La Chartre...
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 »....
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 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...
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...
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...
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...
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...
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...
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...
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...
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...