{"id":376,"date":"2023-02-06T11:01:10","date_gmt":"2023-02-06T10:01:10","guid":{"rendered":"https:\/\/wp.unil.ch\/archas\/?page_id=376"},"modified":"2024-03-30T15:00:03","modified_gmt":"2024-03-30T14:00:03","slug":"2021-2022","status":"publish","type":"page","link":"https:\/\/wp.unil.ch\/archas\/projets\/2021-2022\/","title":{"rendered":"2021-2022"},"content":{"rendered":"\n

Les possibles de la farce romande<\/strong><\/h2>\n\n\n\n

Choix de corpus: les premi\u00e8res \u00ab\u00a0com\u00e9dies\u00a0\u00bb romandes<\/h4>\n\n\n\n
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La deuxi\u00e8me \u00e9dition du s\u00e9minaire au semestre d\u2019automne 2021-2022 a \u00e9t\u00e9 d\u00e9di\u00e9e au genre farcesque<\/strong> et, plus pr\u00e9cis\u00e9ment, au r\u00e9pertoire comique vaudois. Le comique conjugal<\/strong> a jou\u00e9 un r\u00f4le important dans l\u2019\u00e9mergence du th\u00e9\u00e2tre en Romandie puisqu\u2019il est le fil rouge de plusieurs farces jou\u00e9es en pays de Vaud autour de 1500-1520 : de La Pr\u00e9sentation des joyaux<\/em><\/u><\/a>, o\u00f9 un fou trouble de ses sous-entendus salaces la traditionnelle distribution des cadeaux de noces, aux fac\u00e9ties de la Fontaine de Jouvence<\/em><\/u><\/a>, qui montre un vieux mari tenter de retrouver sa jeunesse de s\u00e9ducteur en se faisant grimer par un peintre filou, au grand m\u00e9contentement de son \u00e9pouse.<\/p>\n\n\n\n

La pr\u00e9servation de ces premi\u00e8res \u201ccom\u00e9dies\u201d donn\u00e9es en pays romand<\/strong> est exceptionnelle puisqu\u2019elles ont \u00e9t\u00e9 conserv\u00e9es majoritairement sous la forme des r\u00f4lets (textes de r\u00e9p\u00e9tition) utilis\u00e9s par des acteurs vaudois du XVIe<\/sup> si\u00e8cle et retrouv\u00e9s dans les ann\u00e9es 1920 dans les Archives de l\u2019\u00c9tat de Fribourg<\/u><\/a> (AEF).<\/p>\n\n\n\n

The second edition of the seminar in the autumn semester of 2021-2022 was dedicated to the genre of farce, specifically focusing on the comedic repertoire of the Vaud region. Conjugal comedy played a significant role in the emergence of theater in Romandy, as it is the common theme of several farces performed in the Vaud region around 1500-1520: from \u00ab\u00a0La Pr\u00e9sentation des joyaux,\u00a0\u00bb where a fool disrupts the traditional distribution of wedding gifts with his suggestive remarks, to the antics of \u00ab\u00a0La Fontaine de Jouvence,\u00a0\u00bb which depicts an old husband attempting to regain his youthful seductive prowess by disguising himself with the help of a cunning painter, much to the dismay of his wife.<\/em><\/p>\n\n\n\n

The preservation of these early \u00ab\u00a0comedies\u00a0\u00bb performed in the Romandy region is exceptional, as they were mostly preserved in the form of \u00ab\u00a0r\u00f4lets\u00a0\u00bb (rehearsal texts) used by Vaudois actors in the 16th century and rediscovered in the 1920s in the State Archives of Fribourg (AEF).<\/em><\/p>\n<\/div>

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Question d’interpr\u00e9tation: peut-on rejouer (et rire) aujourd’hui des farces conjugales d\u2019hier ?<\/strong><\/h4>\n\n\n\n

Comment ces pi\u00e8ces \u00e9taient-elles interpr\u00e9t\u00e9es sur les sc\u00e8nes, comment et de quoi faisaient-elles rire, quels publics touchaient-elles ? <\/p>\n\n\n\n

Comment rejouer aujourd\u2019hui ces pi\u00e8ces au comique apparemment surann\u00e9, et s\u2019en divertir, alors que notre sensibilit\u00e9 aux relations entre sexes a radicalement chang\u00e9 ?<\/p>\n\n\n\n

How were these plays interpreted on stage, how and with what did they provoke laughter, and which audiences were they reachi<\/em>ng?<\/p>\n\n\n\n

How do we recreate today these oseemingly outdated comedies, and find amusement in them, when our sensitivity to gender relations has radically changed?<\/em><\/p>\n\n\n\n

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Ces questions \u00e9taient au c\u0153ur du s\u00e9minaire ARCHAS 2021, co-anim\u00e9 par Estelle Doudet et Natalia Wawrzyniak, avec le soutien de l’assistant-\u00e9tudiant Alexis Rime et de l’ing\u00e9nieure p\u00e9dagogique Nadia Spang Bovey et son \u00e9quipe. Cette ann\u00e9e-l\u00e0, ARCHAS a accueilli une Masterclasse de jeu farcesque<\/a> par l\u2019artiste invit\u00e9 Charles Di Meglio <\/strong>(Compagnie Oghma<\/u><\/a>). <\/p>\n\n\n\n

<\/p>\n\n\n\n

Propositions cr\u00e9atives <\/h4>\n\n\n\n

Environ 12 \u00e9tudiant\u00b7es, r\u00e9parti\u00b7es en quatre groupes de travail, ont r\u00e9alis\u00e9 des propositions de mise en sc\u00e8ne des deux pi\u00e8ces, en choisissant un positionnement r\u00e9fl\u00e9chi entre quatre types d’interpr\u00e9tations pour explorer les possibles des farces vaudoises: le reenactment des originaux; l’adaptation; la transposition contemporaine et l\u2019improvisation.<\/p>\n\n\n\n

Reenactment de la <\/strong>Pr\u00e9sentation des Joyau<\/strong><\/em>x<\/h4>\n\n\n\n
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<\/p>\n\n\n\n

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travail comment\u00e9<\/a><\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n
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Adaptation de la <\/strong>Pr\u00e9sentation des Joyaux<\/strong><\/em><\/h4>\n\n\n\n
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<\/p>\n\n\n\n

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travail comment\u00e9<\/a><\/div>\n<\/div>\n<\/div>
\"\"<\/figure><\/div>\n\n\n\n
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Actualisation des ressorts comiques de la <\/strong>Fontaine de Jouvence<\/strong><\/em><\/h4>\n\n\n\n
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<\/p>\n\n\n\n

Pi\u00e8ce radiophonique avec introduction <\/p>\n\n\n\n

Improvisation sur le canevas de la <\/strong>Fontaine de Jouvence<\/strong><\/em><\/h4>\n\n\n\n
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<\/p>\n\n\n\n

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travail comment\u00e9<\/a><\/div>\n<\/div>\n<\/div><\/div>\n<\/div>
\"\"<\/figure><\/div>\n\n\n\n
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Les possibles de la farce romande Choix de corpus: les premi\u00e8res \u00ab\u00a0com\u00e9dies\u00a0\u00bb romandes La deuxi\u00e8me \u00e9dition du s\u00e9minaire au semestre d\u2019automne 2021-2022 a \u00e9t\u00e9 d\u00e9di\u00e9e au genre farcesque et, plus pr\u00e9cis\u00e9ment, au r\u00e9pertoire comique vaudois. Le comique conjugal a jou\u00e9 un r\u00f4le important dans l\u2019\u00e9mergence du th\u00e9\u00e2tre en Romandie puisqu\u2019il est le fil rouge de […]<\/p>\n","protected":false},"author":1002550,"featured_media":210,"parent":249,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"templates\/template-cover.php","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"class_list":["post-376","page","type-page","status-publish","has-post-thumbnail"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/pages\/376","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/users\/1002550"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/comments?post=376"}],"version-history":[{"count":5,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/pages\/376\/revisions"}],"predecessor-version":[{"id":747,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/pages\/376\/revisions\/747"}],"up":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/pages\/249"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/media\/210"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/media?parent=376"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}