{"id":2100,"date":"2020-10-12T01:56:41","date_gmt":"2020-10-12T01:56:41","guid":{"rendered":"https:\/\/jazairhope.org\/?p=2100"},"modified":"2020-10-12T01:56:41","modified_gmt":"2020-10-12T01:56:41","slug":"levolution-du-theatre-amazigh-de-la-pratique-populaire-a-la-scene-professionnelle","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/fr\/levolution-du-theatre-amazigh-de-la-pratique-populaire-a-la-scene-professionnelle\/","title":{"rendered":"L’\u00e9volution du th\u00e9\u00e2tre amazigh de la pratique populaire \u00e0 la sc\u00e8ne professionnelle"},"content":{"rendered":"

Publi\u00e9 Le : Mercredi, 07 Octobre 2020 10:58<\/span><\/p>\n

ALGER – L’\u00e9volution du th\u00e9\u00e2tre amazigh depuis la pratique populaire jusqu’\u00e0 la sc\u00e8ne professionnelle actuelle a \u00e9t\u00e9 mise en avant par le dramaturge Mohand Ait Ighil et le formateur et homme de th\u00e9\u00e2tre Abdelaziz Hammachi qui ont anim\u00e9, mardi \u00e0 Alger, une rencontre sur “l’histoire du th\u00e9\u00e2tre amazigh”.<\/h5>\n

Tenue dans le cadre de la manifestation “La rentr\u00e9e culturelle” lanc\u00e9e le 26 septembre dernier par le minist\u00e8re de la Culture et des Arts, cette rencontre a \u00e9t\u00e9 coordonn\u00e9e par le Th\u00e9\u00e2tre r\u00e9gional de Bejaia Abdelmalek-Bouguermouh \u00e0 la Biblioth\u00e8que nationale d’El Hamma, devant un public peu nombreux.<\/p>\n

Les conf\u00e9renciers ont d’entr\u00e9e rappel\u00e9 l”‘aspect inn\u00e9 dans la pratique du th\u00e9\u00e2tre depuis des mill\u00e9naires”, que les “alg\u00e9riens d’expression amazighe ont naturellement adopt\u00e9 dans leur quotidien et leurs rites et f\u00eates populaires”.<\/p>\n

De la “Sebiba” dans le Tassili N’Ajjer, class\u00e9e au patrimoine mondial de l’humanit\u00e9 par l’Unesco en 2015 aux rituels kabyles de\u00a0 “Bouafif”, danse populaire de collecte des \u0153ufs, et “Amghar Ouchekkouf”, un autre bal masqu\u00e9 c\u00e9l\u00e9brant le d\u00e9but du printemps, les f\u00eates populaires s\u00e9culaires, “aux formes para- th\u00e9\u00e2trales”, ont toujours constitu\u00e9 “une source intarissable et un r\u00e9servoir in\u00e9puisable de talents pour le th\u00e9\u00e2tre amazigh”, expliquent-ils.<\/p>\n

Le c\u00e9r\u00e9monial de “Ayrad”, se d\u00e9roule lui aussi dans les normes d’une v\u00e9ritable sc\u00e9nographie, avec des personnages portant des masques, et habill\u00e9s de peaux de b\u00eates, un d\u00e9guisement qui rappellerait la Commedia Dell’arte, a estim\u00e9 Omar Fetmouche, intervenant lors des d\u00e9bats.<\/strong><\/em><\/p><\/blockquote>\n

Abordant la relation avec les universit\u00e9s, les orateurs ont d\u00e9plor\u00e9 l'”absence quasi totale de contacts” pour permettre aux \u00e9tudiants de s'”impr\u00e9gner des diff\u00e9rents ateliers intervenant dans le montage d’une pi\u00e8ce de th\u00e9\u00e2tre”, se limitant, selon eux, juste \u00e0 l'”\u00e9tude du texte et ses aspects linguistiques”.<\/p>\n

\n

<\/h3>\n

Les conf\u00e9renciers ont rappel\u00e9 ensuite, l’apport du travail colossal du dramaturge “Mohia”, Abdellah Mohia de son vrai nom (1950-2004) qui a consacr\u00e9 sa vie \u00e0 adapter des \u0153uvres th\u00e9\u00e2trales universelles \u00e0 la langue et \u00e0 la culture kabyle, \u00e0 l’instar de “Sin Enni” (ces deux-l\u00e0) tir\u00e9e de, “Les \u00e9migr\u00e9s” de Slawomir Mrozek, en plus de la traduction et l’\u00e9criture de textes de chansons.<\/p>\n

Une chronologie des diff\u00e9rentes p\u00e9riodes qui ont marqu\u00e9 l’\u00e9volution du th\u00e9\u00e2tre amazigh ont \u00e9t\u00e9 \u00e9num\u00e9r\u00e9es par Abdelaziz Hammachi soulignant l’apport “consid\u00e9rable” des associations de villages et de quartiers, un “v\u00e9ritable moteur \u00e0 la pratique du 4e art en Tamazight”, selon lui.<\/strong><\/em><\/p><\/blockquote>\n

Le parcours de Abdelmalek Bouguermouh (1946-1989), un autre dramaturge de taille, a \u00e9t\u00e9 \u00e9voqu\u00e9 par Mohand Ait Ighil, en se focalisant sur sa perp\u00e9tuelle volont\u00e9 de mettre son savoir au service des jeunes talents activant dans le mouvement associatif des villages.<\/p>\n

“Bouguermouh \u00e9tait une r\u00e9f\u00e9rence pour tous les pratiquants du 4e Art (…) il avait le souci de donner de l’esth\u00e9tique aux conflits” a-t-il rappel\u00e9, pour souligner le passage du th\u00e9\u00e2tre amazigh “de l’\u00e9tape de la revendication \u00e0 celle de l’esth\u00e9tique”.<\/p>\n

Le cycle de conf\u00e9rences initi\u00e9 par la manifestation “La rentr\u00e9e culturelle” prend fin mercredi avec une rencontre anim\u00e9e par les repr\u00e9sentants du Th\u00e9\u00e2tre r\u00e9gional Kateb-Yacine de Tizi Ouzou.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Publi\u00e9 Le : Mercredi, 07 Octobre 2020 10:58 ALGER – L’\u00e9volution du th\u00e9\u00e2tre amazigh depuis la pratique populaire jusqu’\u00e0 la sc\u00e8ne professionnelle…<\/p>\n","protected":false},"author":70,"featured_media":2101,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[34,39,45],"tags":[],"class_list":["post-2100","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-fr","category-articles-en-vedette","category-derniers-articles"],"yoast_head":"\nL'\u00e9volution du th\u00e9\u00e2tre amazigh de la pratique populaire \u00e0 la sc\u00e8ne professionnelle - AAH.JZR<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jazairhope.org\/fr\/levolution-du-theatre-amazigh-de-la-pratique-populaire-a-la-scene-professionnelle\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L'\u00e9volution du th\u00e9\u00e2tre amazigh de la pratique populaire \u00e0 la sc\u00e8ne professionnelle - 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