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Danse et dissidence : dramaturgie de la résistance dans le théâtre de William Butler Yeats et de Wole Soyinka

Abstract : In the ritualized total theatre of William Butler Yeats and Wole Soyinka, dance – which is both a performance and a recurrent symbol – mediates the playwrights’ philosophical and political questioning. It thus constitutes a critical dissident tool that threatens to destabilize epistemological constructs and socio-political status quo. Far from being reduced to a univocal symbol of national identity in an Irish and Nigerian (post)colonial context where the sense of community is fragile, dance embodies the unstable process of the rebuilding of a metamorphic type of identity which resists categorization. The rebellious dancing bodies of the plays under study reject uniformization since they are located at the crossroads of the human and the divine spheres, the sphere of language and that of the body, of motionlessness and instability, multiplicity and unity. Thus, they form a microcosm which is representative of Yeats’s and Soyinka’s dramaturgical aesthetics. It is a dissident aesthetics that always makes a detour in the staging of a certain vision of Irish and Nigerian identity, resisting the temptation of a totalizing and fixed discourse thanks to this process of distancing – a process inherent in the very etymology of the term “dissidence” (dissidere, dis-sedere: to sit apart). The aim of this work is to identify the various aspects of the dissident discourse formulated by the dancing bodies in the plays of Yeats and Soyinka, two committed playwrights situated at opposite poles (in terms of historical time, culture and geography) but whose plays come to a meeting point as their conception of the dancing body and of identity is, in many ways, similar.
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Inès Bigot. Danse et dissidence : dramaturgie de la résistance dans le théâtre de William Butler Yeats et de Wole Soyinka. Littératures. Université de la Sorbonne nouvelle - Paris III, 2021. Français. ⟨NNT : 2021PA030076⟩. ⟨tel-03663393⟩

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