Les Bérénice de Faustin Linyekula : approche interculturelle et historicité plurielle du répertoire classique

Does the staging of a French neoclassical play necessarily reactivate dominant values, serving only a patrimonial tradition, or might it also occasion a critique of cultural hierarchies and the theatrical canon? This question runs through the two productions that Congolese choreographer Faustin Liny...

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Autor principal:	Sylvaine Guyot
Formato:	article
Lenguaje:	EN FR
Publicado:	Institut du Monde Anglophone 2021
Materias:	Bérénice Racine tragedy Faustin Linyekula repertoire dramatic canon History (General) and history of Europe D French literature - Italian literature - Spanish literature - Portuguese literature PQ1-3999
Acceso en línea:	https://doaj.org/article/69a25a53b626420bb6f7e2602293d450
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id	oai:doaj.org-article:69a25a53b626420bb6f7e2602293d450
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spelling	oai:doaj.org-article:69a25a53b626420bb6f7e2602293d4502021-12-02T10:16:44ZLes Bérénice de Faustin Linyekula : approche interculturelle et historicité plurielle du répertoire classique1634-045010.4000/episteme.13065https://doaj.org/article/69a25a53b626420bb6f7e2602293d4502021-10-01T00:00:00Zhttp://journals.openedition.org/episteme/13065https://doaj.org/toc/1634-0450Does the staging of a French neoclassical play necessarily reactivate dominant values, serving only a patrimonial tradition, or might it also occasion a critique of cultural hierarchies and the theatrical canon? This question runs through the two productions that Congolese choreographer Faustin Linyekula devoted to Bérénice in 2009-2010. In his staging at the Studio-Théâtre, the transcultural and transgendered casting lead to see this tragedy of expulsion and succession through the dual lens of the performance tradition of the Comédie-Française and the violence of colonial history. The following year at the Festival d’Avignon, Linyekula presented an intercultural adaptation, Pour en finir avec Bérénice, which questioned the role of teaching French neoclassical theater within the context colonial linguistic domination, as well as the troubled relationship of colonized subjects to their identity and their heritage. By making bodies “dance” and “scream” in Bérénice, which has long been considered the epitome of the French neoclassicism, Linyekula upends the enduring myth of Racine’s theater as one of language alone. But above all, he turns the play’s subject into an opportunity for militant reflection: the plural historicity of his productions serves to unearth what official historiography has erased, interrogate the dialectic of belonging and foreignness in postcolonial identity, and question the status of classical repertoire as a universal cultural object. Sylvaine GuyotInstitut du Monde AnglophonearticleBéréniceRacinetragedyFaustin Linyekularepertoiredramatic canonHistory (General) and history of EuropeDFrench literature - Italian literature - Spanish literature - Portuguese literaturePQ1-3999ENFREtudes Epistémè, Vol 40 (2021)
institution	DOAJ
collection	DOAJ
language	EN FR
topic	Bérénice Racine tragedy Faustin Linyekula repertoire dramatic canon History (General) and history of Europe D French literature - Italian literature - Spanish literature - Portuguese literature PQ1-3999
spellingShingle	Bérénice Racine tragedy Faustin Linyekula repertoire dramatic canon History (General) and history of Europe D French literature - Italian literature - Spanish literature - Portuguese literature PQ1-3999 Sylvaine Guyot Les Bérénice de Faustin Linyekula : approche interculturelle et historicité plurielle du répertoire classique
description	Does the staging of a French neoclassical play necessarily reactivate dominant values, serving only a patrimonial tradition, or might it also occasion a critique of cultural hierarchies and the theatrical canon? This question runs through the two productions that Congolese choreographer Faustin Linyekula devoted to Bérénice in 2009-2010. In his staging at the Studio-Théâtre, the transcultural and transgendered casting lead to see this tragedy of expulsion and succession through the dual lens of the performance tradition of the Comédie-Française and the violence of colonial history. The following year at the Festival d’Avignon, Linyekula presented an intercultural adaptation, Pour en finir avec Bérénice, which questioned the role of teaching French neoclassical theater within the context colonial linguistic domination, as well as the troubled relationship of colonized subjects to their identity and their heritage. By making bodies “dance” and “scream” in Bérénice, which has long been considered the epitome of the French neoclassicism, Linyekula upends the enduring myth of Racine’s theater as one of language alone. But above all, he turns the play’s subject into an opportunity for militant reflection: the plural historicity of his productions serves to unearth what official historiography has erased, interrogate the dialectic of belonging and foreignness in postcolonial identity, and question the status of classical repertoire as a universal cultural object.
format	article
author	Sylvaine Guyot
author_facet	Sylvaine Guyot
author_sort	Sylvaine Guyot
title	Les Bérénice de Faustin Linyekula : approche interculturelle et historicité plurielle du répertoire classique
title_short	Les Bérénice de Faustin Linyekula : approche interculturelle et historicité plurielle du répertoire classique
title_full	Les Bérénice de Faustin Linyekula : approche interculturelle et historicité plurielle du répertoire classique
title_fullStr	Les Bérénice de Faustin Linyekula : approche interculturelle et historicité plurielle du répertoire classique
title_full_unstemmed	Les Bérénice de Faustin Linyekula : approche interculturelle et historicité plurielle du répertoire classique
title_sort	les bérénice de faustin linyekula : approche interculturelle et historicité plurielle du répertoire classique
publisher	Institut du Monde Anglophone
publishDate	2021
url	https://doaj.org/article/69a25a53b626420bb6f7e2602293d450
work_keys_str_mv	AT sylvaineguyot lesberenicedefaustinlinyekulaapprocheinterculturelleethistoriciteplurielledurepertoireclassique
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Les Bérénice de Faustin Linyekula : approche interculturelle et historicité plurielle du répertoire classique

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