{"id":727,"date":"2024-03-30T14:06:10","date_gmt":"2024-03-30T13:06:10","guid":{"rendered":"https:\/\/wp.unil.ch\/archas\/?page_id=727"},"modified":"2024-03-31T12:19:38","modified_gmt":"2024-03-31T10:19:38","slug":"2023-2024","status":"publish","type":"page","link":"https:\/\/wp.unil.ch\/archas\/2023-2024\/","title":{"rendered":"2023-2024"},"content":{"rendered":"\n

Saintes, sorci\u00e8res, monstres. Regarder les corps transgressifs<\/h2>\n\n\n\n
\"Der
Der Ritter vom Turn<\/em>, Basel, 1493<\/figcaption><\/figure>\n\n\n\n
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La quatri\u00e8me saison d\u2019ARCHAS 2023-2024, intitul\u00e9e \u00ab Saintes, sorci\u00e8res, monstres \u00bb, a interrog\u00e9 un ph\u00e9nom\u00e8ne surprenant : l\u2019\u00e9poque o\u00f9 a \u00e9merg\u00e9 la chasse aux sorci\u00e8res<\/strong>, en particulier dans les r\u00e9gions du Valais, de Vaud et de Berne, a aussi vu le succ\u00e8s le succ\u00e8s de pi\u00e8ces dont les h\u00e9ro\u00efnes sont vues par les autres personnages<\/strong><\/strong><\/strong> comme… des sorci\u00e8res<\/strong>. Mais, dans ces pi\u00e8ces, le regard port\u00e9 sur des figures transgressives, loin d’\u00eatre univoque dans sa condamnation, est porteur de d\u00e9bats sur les normes du bon comportement, voire de la saintet\u00e9, comme sur les normes du genre<\/strong>. <\/p>\n\n\n\n

The fourth season of ARCHAS 2023-2024, entitled \u00ab\u00a0Saints, Witches, Monsters,\u00a0\u00bb explored a surprising phenomenon: the era when witch hunts emerged, <\/strong>particularly in the regions of Valais, Vaud, and Bern, also saw the success of plays whose heroines are perceived by other characters as\u2026 witches.<\/strong> However, this perspective on transgressive figures, far from being unequivocally condemning, sparks debates on norms of proper behavior, even on holiness, as well as gender norms.<\/strong><\/em><\/p>\n\n\n\n

L’Atelier 2023-2024 a \u00e9t\u00e9 co-anim\u00e9 par Estelle Doudet et l’assistante-\u00e9tudiante Valentine Cuenot, assist\u00e9es de Nadia Spang Bovey et l’\u00e9quipe des ing\u00e9nieures p\u00e9dagogiques de la Facult\u00e9 des Lettres de l’UNIL. Il a b\u00e9n\u00e9fici\u00e9 des interventions de l’historienne Martine Ostorero, de la chercheuse Susanna Scavello et de l\u2019artiste invit\u00e9e L\u00e9a Katharina Meier<\/u><\/a>.<\/strong><\/p>\n<\/div><\/div>\n\n\n\n

Choix de corpus: les pi\u00e8ces de saintes et de sorci\u00e8res en fran\u00e7ais et en allemand dans la 2e<\/sup> moiti\u00e9 du XVe<\/sup> si\u00e8cle<\/h4>\n\n\n\n

Trois pi\u00e8ces des ann\u00e9es 1460-1480 <\/strong>ont retenu en particulier l\u2019attention : Le Myst\u00e8re de sainte Barbe en cinq journ\u00e9es<\/strong><\/em>, dont un r\u00f4le d\u2019acteur a \u00e9t\u00e9 conserv\u00e9 pour une repr\u00e9sentation en Savoie au XVIe<\/sup> si\u00e8cle ; l’anonyme Si\u00e8ge d\u2019Orl\u00e9ans<\/em><\/strong>, qui met en sc\u00e8ne Jeanne d\u2019Arc ; et une pi\u00e8ce en langue allemande de Dietrich Sternberg<\/strong>, Ein sch\u00f6n Spiel von Frau Jutten<\/em><\/strong>, sur la papesse Jeanne. Des \u00e9pisodes sp\u00e9cifiques de ces trois pi\u00e8ces ont \u00e9t\u00e9 choisis et compar\u00e9s parce qu’ils mettent en sc\u00e8ne des personnages, ennemis ou adjuvants, qui observent, commentent et r\u00e9agissent \u00e9motionnellement aux h\u00e9ro\u00efnes transgressives.<\/p>\n\n\n\n

Pour comprendre leurs contextes de mise en sc\u00e8ne, les participant.es ont \u00e9galement travaill\u00e9 sur plusieurs types de sources de l’\u00e9poque de la chasse aux sorci\u00e8res: archives des premiers proc\u00e8s vaudois <\/strong>conserv\u00e9s aux Archives cantonales vaudoises; trait\u00e9s<\/strong> sur la sorcellerie<\/strong>, en latin et en fran\u00e7ais, comme le Formicarius<\/em> de Nider et Le Champion des dames<\/em> de Martin Le Franc; publications d’actualit\u00e9 \u00e0 propos de scandales li\u00e9s \u00e0 de (fausses) \u00ab\u00a0performances\u00a0\u00bb publiques de saintet\u00e9, comme l’affaire Jetzer \u00e0 Berne au d\u00e9but du XVIe si\u00e8cle.<\/p>\n\n\n\n

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Three plays from the 1460s-1480s have particularly captured attention: \u00ab\u00a0The Mystery of Saint Barbara in Five Days<\/strong>,\u00a0\u00bb with a role for an actor preserved for a performance in Savoy in the 16th century; the anonymous \u00ab\u00a0Siege of Orlean<\/strong>s,\u00a0\u00bb which features Joan of Arc; and a German-language play by Dietrich Sternberg, \u00ab\u00a0Ein sch\u00f6n Spiel von Frau Jutten<\/strong><\/em>\u00ab\u00a0, about Popess Joan. Specific episodes from these three plays were selected and compared because they feature characters, whether adversaries or helpers, who observe, comment on, and emotionally react to the transgressive heroines.<\/em><\/p>\n\n\n\n

To understand their staging contexts, participants also worked with various types of sources from the witch-hunt era: archives of the early Vaud trials <\/strong>preserved at the Vaud Cantonal Archives; treatises on witchcraft<\/strong>, in Latin and French, such as Nider’s \u00ab\u00a0Formicarius\u00a0\u00bb and Martin Le Franc’s \u00ab\u00a0The Champion of Women\u00a0\u00bb; contemporary publications about scandals related to (false) public \u00ab\u00a0performances\u00a0\u00bb of sanctity<\/strong>, such as the Jetzer affair in Bern in the early 16th century.<\/em><\/p>\n\n\n\n

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

Question d’interpr\u00e9tation: la queerness<\/em>, une affaire de regards et d’\u00e9motions?<\/h4>\n\n\n\n

Au tournant du XVe<\/sup> et du XVIe<\/sup> si\u00e8cle, alors que la chasse aux sorciers et aux sorci\u00e8res s\u2019\u00e9tendait lentement en Europe \u00e0 partir du sillon alpin, ont fleuri des fictions dramatiques \u00e0 succ\u00e8s dont les protagonistes transgressent radicalement les normes de genre. On y voit des jeunes filles de bonne famille qui brisent les r\u00e8gles pour affirmer leur foi (Barbe) ; des berg\u00e8res nomm\u00e9es cheffes de guerre (Jeanne d\u2019Arc) ; des femmes qui, gr\u00e2ce \u00e0 un pacte secret avec le d\u00e9mon, deviennent papes (Jutta\/la papesse Jeanne). Spectacles de saintes ? de sorci\u00e8res ? ou les deux ?<\/strong><\/p>\n\n\n\n

Ces pi\u00e8ces ont en effet rarement trait\u00e9 leurs h\u00e9ro\u00efnes transgressives de mani\u00e8re simple. Au contraire, les dispositifs dramaturgiques qu\u2019elles ont exp\u00e9riment\u00e9s ont souvent vis\u00e9 \u00e0 souligner le caract\u00e8re \u2018monstrueux\u2019, c\u2019est-\u00e0-dire hors-norme et spectaculaire (monstrare<\/em>, c\u2019est faire voir), de ces incarnations de la queerness<\/em> <\/strong>en les faisant observer par d\u2019autres personnages qui, tour \u00e0 tour, les ha\u00efssent, les admirent, les condamnent ou les prennent en piti\u00e9. Autant d\u2019\u00e9motions fortes et de jugements complexes que le spectacle, souvent porteur d\u2019une grande violence (tortures, mises \u00e0 mort), transmettait aux publics par le biais de personnages-relais.<\/p>\n\n\n\n

Tr\u00e8s populaires il y a cinq si\u00e8cles, de telles \u0153uvres dramatiques sont aujourd\u2019hui quasiment absentes de nos sc\u00e8nes contemporaines. Sont-elles pour autant elles-m\u00eames devenues des \u2018monstres\u2019 injouables ? Qu\u2019ont-elles \u00e0 nous dire sur le fonctionnement des regards que fait na\u00eetre la transgression ?<\/p>\n\n\n\n

Le but d’ARCHAS 23-24 est d’explorer l\u2019hypoth\u00e8se que les questionnements soulev\u00e9s par les pi\u00e8ces de saintes et\/ou de sorci\u00e8res du XVe<\/sup> si\u00e8cle peuvent croiser ceux du XXIe<\/sup> si\u00e8cle:<\/p>\n\n\n\n

Pourquoi le queer, entendu ici au sens de diff\u00e9rent, de d\u00e9viant, suscite-t-il le regard, l\u2019\u00e9motion, voire la violence ?<\/strong><\/p>\n\n\n\n

Quelles \u00e9motions, quelles interpr\u00e9tations ce qui \u00e9tait transgressif hier peut-il provoquer aujourd\u2019hui ? Quel plaisir peut-on encore prendre (ou pas) \u00e0 ces th\u00e9\u00e2tres de la cruaut\u00e9 ?<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

At the turn of the 15th and 16th centuries, as the witch hunt spread slowly across Europe from the Alpine regions, successful dramatic fictions flourished featuring protagonists who radically transgressed gender norms. These included young girls from respectable families breaking the rules to assert their faith (Barbe); shepherdesses appointed as war leaders (Joan of Arc); and women who, through a secret pact with the devil, became popes (Jutta\/the Pope Joan). Are they spectacles of saints? Witches? Or both?<\/em><\/p>\n\n\n\n

Indeed, these plays rarely depicted their transgressive heroines in a straightforward manner. On the contrary, the dramatic devices they experimented with often aimed to highlight the ‘monstrous’ nature\u2014meaning extraordinary and spectacular (from monstrare, to show)\u2014of these embodiments of queerness by having them observed by other characters who alternately hate them, admire them, condemn them, or pity them. These strong emotions and complex judgments, often accompanied by great violence (torture, executions), were transmitted to audiences through intermediary characters.<\/em><\/p>\n\n\n\n

While such dramatic works were very popular five centuries ago, they are now almost absent from our contemporary stages. Have they themselves become unplayable ‘monsters’? What do they have to tell us about the dynamics of the gaze provoked by transgression?<\/em><\/p>\n\n\n\n

The goal of ARCHAS 23-24 is to explore the hypothesis that the questions raised by the plays of saints and\/or witches from the 15th century may intersect with those of the 21st century:<\/em><\/p>\n\n\n\n

Why does the queer, understood here in terms of difference and deviation, provoke scrutiny, emotion, or even violence<\/strong>?<\/em><\/p>\n\n\n\n

What emotions, what interpretations can what was transgressive yesterday evoke today? What pleasure can still be derived (or not) from these theaters of cruelty?<\/em><\/p>\n\n\n\n

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

Environ 15 \u00e9tudiant\u00b7es ont r\u00e9alis\u00e9 des posts, dessins et courtes performances pendant la visite des archives et les ateliers de lecture des sources. <\/p>\n\n\n\n

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Surtout, quatre propositions de mise en sc\u00e8ne ont \u00e9t\u00e9 r\u00e9alis\u00e9es. Le regard pos\u00e9 sur la queerness <\/em>ayant \u00e9t\u00e9 jug\u00e9 un enjeu capital au XXIe si\u00e8cle, ces cr\u00e9ations ont choisi d’explorer des interpr\u00e9tations fond\u00e9es sur la transposition et l’actualisation<\/strong>. Les r\u00e9ceptions des figures de Barbe, Jeanne et surtout Jutta ont \u00e9t\u00e9 d\u00e9plac\u00e9es dans les domaines du pouvoir politique et m\u00e9diatique (projets Pro-choice <\/em>et Une Sainte Quaternit\u00e9<\/em>), du monde de l’entreprise (projet A la Barbe du patron<\/em>), et de l’univers judiciaire (projet Le Juge noir<\/em>).<\/p>\n\n\n\n

Approximately 15 students created posts, drawings, and short performances during the archive visits and source reading workshops. Above all, four staging proposals were carried out. Given the importance of the gaze on queerness in the 21st century, the 2023 creations chose to explore interpretations based on transposition and updating<\/strong>. Receptions of the figures of Barbe, Jeanne, and especially Jutta have been shifted into the realms of political and media power (Pro-choice and A Holy Quartet projects), the business world (In the Beard of the Boss project), and the judicial universe (The Black Judge project).<\/em><\/p>\n\n\n

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A la barbe du patron<\/em>, h\u00e9ro\u00efne martyre et parcours queer<\/em> en entreprise<\/h4>\n\n\n\n

Adaptation du Myst\u00e8re de Sainte Barbe<\/em>, du Si\u00e8ge d’Orl\u00e9ans<\/em> et de Frau Jutta<\/em> par Victor Blonde, Fanny Cheseaux, Benjamin Gaggini, Julianne Mary, ARCHAS 2023<\/p>\n\n\n\n

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Lire la suite<\/a><\/div>\n<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Le Juge noir<\/em>, race, genre et queerness <\/em>au regard de la justice et des m\u00e9dias<\/h4>\n\n\n\n

Adaptation de Frau Jutta par Mike Mateo Valverde, Amos Dollfus et Matteo Salvadore, ARCHAS 2023<\/p>\n\n\n\n

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Lire la suite<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Saintes, sorci\u00e8res, monstres. Regarder les corps transgressifs La quatri\u00e8me saison d\u2019ARCHAS 2023-2024, intitul\u00e9e \u00ab Saintes, sorci\u00e8res, monstres \u00bb, a interrog\u00e9 un ph\u00e9nom\u00e8ne surprenant : l\u2019\u00e9poque o\u00f9 a \u00e9merg\u00e9 la chasse aux sorci\u00e8res, en particulier dans les r\u00e9gions du Valais, de Vaud et de Berne, a aussi vu le succ\u00e8s le succ\u00e8s de pi\u00e8ces dont les h\u00e9ro\u00efnes sont vues […]<\/p>\n","protected":false},"author":1002089,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"class_list":["post-727","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/pages\/727","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\/1002089"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/comments?post=727"}],"version-history":[{"count":5,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/pages\/727\/revisions"}],"predecessor-version":[{"id":773,"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/pages\/727\/revisions\/773"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/archas\/wp-json\/wp\/v2\/media?parent=727"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}