Within ELLIADD, Séwonou Mawugnigan Noussouglo explored the reactivation of theater through ritual.
Séwonou Mawugnigan Noussouglo, chercheur·e au sein de ELLIADD (Université Marie et Louis Pasteur).
Thèse soutenue en 2023 à l'école doctorale École doctorale Lettres, Communication, Langues, Arts (Dijon ; Besançon ; 2017-....).
Référencée dans le réseau ABES/STAR, cette thèse répond aux critères de rigueur de l'enseignement supérieur français.
The thesis of Séwonou Mawugnigan Noussouglo addresses a highly relevant topic: the crisis of theater and the necessity to reinvent this form of art by drawing on its cultural roots. By focusing on the creation of 'Isis - Antigone or the Tragedy of Dispersed Bodies', the author offers a profound reflection on how ritual can serve as a lever to revitalize contemporary theater, particularly in Benin. This interdisciplinary approach, which combines social anthropology and performing arts, opens new perspectives on the representation of dispersed bodies, a particularly poignant theme in the African context, where stories of migration, conflict, and disintegration of communities are omnipresent.
The crisis of theater, as highlighted by iconic figures such as Jean Giraudoux and Peter Brook, lies in a distancing from the sacred origins of this art form. Theater, in its early days, was intrinsically linked to religious and community rituals, serving as a mirror to the concerns and aspirations of societies. By integrating traditional rituals into contemporary theatrical practices, Noussouglo seeks to restore a soul to theater, to bring it out of museums, and to reconnect it with the lives of communities. This approach is all the more crucial in a country like Benin, where oral traditions and ritual practices are still very present but often marginalized by modernity.
This research is not limited to a simple theoretical analysis; it is accompanied by a rigorous methodology that includes concrete theatrical creations. These creations allow for experimentation and evaluation of the impact of rituals on the contemporary stage. For example, by integrating traditional dances, songs, and ancestral narratives, theatrical productions can offer an immersive experience that engages the audience emotionally and intellectually. This raises questions about how these elements can be adapted to reach younger generations, who are often more attracted to modern art forms.
The results of this thesis highlight several key issues: the valorization of dispersed bodies in theatrical representations, the reactivation of traditional rituals, and recommendations for public policies in artistic education. By integrating these elements, theater can become a vector of memory and resilience, offering a new perspective on tragedy and the human condition. In a context where identities are often fragmented, theater can play a crucial role in reconstructing these identities, bringing individuals together around common narratives.
It is crucial to ask how these recommendations can be implemented. What public policies could support this reintegration of rituals into theater? How can cultural institutions collaborate with artists to promote this dynamic? For example, initiatives such as theater festivals that highlight creations inspired by traditional rituals could be an excellent way to raise public awareness and attract the attention of policymakers. Noussouglo's thesis thus opens a necessary debate on the future of theater in West Africa, while emphasizing the importance of rituals in the identity and social construction of communities.
In summary, this research does not merely diagnose a crisis; it proposes concrete and engaging solutions to revitalize theater, reconnecting it to its cultural roots and making it relevant for future generations. By reintegrating rituals into theater, it is not only about preserving cultural heritage but also about creating a space for dialogue and reflection on contemporary issues. Theater, then, can once again become a meeting place where dispersed bodies gather to tell stories that resonate with today's realities while honoring the traditions of the past.
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Sources et accès
Séwonou Mawugnigan Noussouglo. Le rituel comme principe de réactivation de la forme théâtrale à travers la création d'« Isis - Antigone ou la tragédie des corps dispersés ». Musique, musicologie et arts de la scène. Université Bourgogne Franche-Comté, 2023. Français. ⟨NNT : 2023UBFCC026⟩. ⟨tel-05230135⟩