Texte remanié de: Master--Lettres modernes--Picardie. / Bibliogr., p. 147-154.

Yasmina Reza is a contemporary French playwright who is not indifferent to the richness of humor. Her award-winning plays are portfolios of humorous situations that have attracted the attention of crowds composed of the general public and of academics. Reza turns discussions of art, parenting, existentialism, solitude and tragedy into comedies that distill a feminine humor. The public loves it, laughs and applauds. Inspired by Hélène Cixous’s call to laugh as ‘medusas’ (« A feminine text cannot fail to. . . break up the truth with laughter », and « laughs at the very idea of pronouncing the word silence »), I elaborate on the subtle presence of a feminine voice in Reza’s humor. I also consider the fact that Reza has inherited a Jewish humor. The combination of this ancient humor with a feminine voice contributes to Reza’s original imprint upon French theater. Applying selected theories of humor (mainly Bergson and Freud), to the textual analysis of five of her plays, I provide examples of how Reza’s humor transcends the old dichotomies of masculine/feminine and superior/inferior to inscribe a laughter that is particularly feminine. This project is organized in three chapters. The first chapter provides an introduction to the discussion of feminine humor, setting forth Cixous’s, among others, theoretical framework. Selected passages from the play « Art » provide examples of specific strategies of Reza’s feminine humor. The second chapter analyzes passages from the plays Le dieu du carnage and Trois versions de la vie. In the third chapter, the discussion is enlarged to include a short study of Jewish humor and its traces in the plays La traversée de l’hiver and Conversations après un enterrement. The conclusion takes a brief look at how the play L’homme du hazard also contributes to Reza’s feminine manifestation of humor. Reza’s theater is a fun, thought provoking, reenergizing experience that can shed new light on our daily struggles in life and in relationships. Reza’s feminine humor introduces a new way of relating to reality. This project reflects my desire to share this with the readers. Have fun!

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Yasmina Reza, auteur de théâtre français, reconnue dans le monde entier, a reçu les prix les plus prestigieux : trois Molières (FR), un Laurence Olivier Award (GB), deux Tony Award (USA), le Die Welt (All), pour ne citer qu’eux. En France, elle est encore souvent considérée comme un auteur à succès, n’offrant au public qu’une forme de théâtre de boulevard contemporain. L’étude précise des textes dramatiques de Yasmina Reza, de sa langue, de ses personnages et des structures de ses pièces, laisse apparaître sous le masque de la comédie une richesse et une complexité plus profondes. Elle met en scène des personnages bourgeois dont la vie se caractérise par une certaine facilité, tout en levant le voile sur des préoccupations métaphysiques universelles. Il s’agit toujours de la confrontation de l’homme avec le monde ou avec ses semblables. Cette pensée de l’individu inquiet s’accompagne dans la forme d’une réflexion sur le pouvoir de l’art dramatique. La caractérisation bourgeoise de son théâtre est autant un miroir tendu au public qu’un masque qui voile une interrogation permanente sur le sens de la vie et de l’art, dans la continuité du travail de l’avant-garde du milieu du XXe siècle dont elle se révèle être une relève inattendue. / The Famous French playwright Yasmina Reza received some of the most prestigious prices in the world : three Molières (FR), a Laurence Olivier Award (UK), two Tony Award (USA), a Die Welt (DE). Nevertheless, in France she is still considered as merely a successful author, with some kind of new farce to offer. A specific study of Yasmina Reza’s drama, including her language, her characters and the architecture of her plays, brings out other meaningful and complex colors from under the mask of comedy. She stages middle-class characters whose life is quite easy; in the meantime she reveals universal metaphysical issues. It is always about a clash between a person and the world or a person and his kind. This reflection about the anxious being goes on stage with a reconsideration of the power of theater. The middle-class characterization is a mirror for the audience as well as it is a mask that covers a constant questioning about the meaning of life and art, continuing the work of the avant-garde of the middle of the 20th century, of which she appears to be an unexpected new recruit.

Wie werden Schrift und Schreiben in einem der erfolgreichsten Theatertstücke der Theatersaison 2007/2008 repräsentiert? Welche Rolle und Bedeutung wird Ihnen von der Autorin zugewiesen? Der Beitrag verweist darauf, wie verschiedene Schriftarten und Schreibweisen den dramatischen Konflikts gestalten und die Figuren konstituieren.

Yasmina Reza, l’une des dramaturges les plus honorées de la scène internationale, n’hésite pas à faire entrer son art dramatique sur la scène de l’art cinématographique : entre la forme romanesque et la forme dramatique, l’écriture rézienne expérimente également le domaine de l’image. Nous avons souhaité, d’abord, consacrer cette thèse à une étude analytique sur le théâtre rézien et ensuite sur son adaptation au cinéma. À travers ses pièces, Yasmina Reza met en scène des personnages ayant souvent les mêmes obsessions et soucis d’une pièce à l’autre, qui recourent fréquemment au même langage. Entre tragédie et comédie, la dramaturgie de Reza mélange le monologue et le dialogue pour raconter à la fois tout et presque rien. Le temps, l’espace, le décor, souvent simple et neutre, les objets quotidiens, servent à mettre en scène la vie quotidienne dans le théâtre rézien. De ce point de vue les ouvrages de Reza se rapprochent de ceux du cinéaste iranien Kiarostami. Au-delà de la présence des éléments autobiographiques et de la musique dans l’écriture dramatique rézienne, le théâtre de Reza se distingue par un langage spécifique, entre le silence, le non-dit et le récit, entre la conversation et le dialogue. Yasmina Reza déclare s’amuser avec les mises en abyme dans son théâtre, elle expérimente ainsi son premier film en tant que réalisatrice avec Chicas, une adaptation d’Une pièce espagnole qui multiplie les mises en abyme. Yasmina Resa poursuit avec l’écriture d’un scénario, Le pique-nique de Lulu Kreutz, réalisé par Didier Martiny, puis avec l’écriture du scénario de Carnage, d’après sa pièce Le dieu du carnage, en collaboration avec Roman Polanski. Dans cette thèse, nous avons tenté d’étudier l’adaptation des pièces réziennes au cinéma, leurs mises en scène et leurs personnages qui manifestent leurs violence et angoisses face à l’écran. / Yasmina Reza, one of the most honored dramaturge artist internationally, does not hesitate to introduce her dramatic art on the cinematographic scene: in between the Romanesque forme and the dramatic one, the Yasmina Reza also experiments in the pictorial art. In the first instance, we have sought to focus this thesis on an analytic study of the Rezian theater to follow with her work of adaptation to the cinema. In her theatre plays, Yasmina Reza’s characters have often the same obsessions and often use the same language. Between tragedy and comedy, Reza’s dramaturgy weaves with monologue and dialogue to relate about everything and at times almost nothing. Time, space, the setting, often simple and neutral, daily objects, are used to compose the contemporary life in Reza’s plays. From this standpoint, Reza’s theatre plays are echoing with Iranian Kiarostami’s cinema.Beyond the presence of autobiographic elements and references to music in Reza’s plays, her writing is singles out specifically, alternating between silences, the not-said and the narrative, between the conversation and the dialogue. Yasmina Reza affirms enjoying using of mise en abyme in her theatre plays, thus she experiments her first movie as script writer and director of Chicas, an adaptation of Une pièce espagnole which uses many mises en abyme. Yazmina Reza continues writing with the script Le pique-nique de Lulu Kreutz directed by Didier Martiny, then with the writing of the script of Le dieu du carnage, in collaboration with Roman Polanski. In this thesis, we have attempted to study the adaptation of Reza’s plays to the cinema, their dramatization along with their characters who display their violence and anxiety in front of the screen.

Wie werden Schrift und Schreiben in einem der erfolgreichsten Theatertstücke der Theatersaison 2007/2008 repräsentiert? Welche Rolle und Bedeutung wird Ihnen von der Autorin zugewiesen? Der Beitrag verweist darauf, wie verschiedene Schriftarten und Schreibweisen den dramatischen Konflikts gestalten und die Figuren konstituieren.

L’Autorité dissimulée – l’autorité manifeste. L’écriture de la violence chez Yasmina Khadra. (Dissimulated authority – manifest authority. Yasmina Khadra’s representation of violence.)  This study examines the representation of violence in two novels by Algerian author Yasmina Khadra (1955 - ): Les Agneaux du Seigneur (1998) and À quoi rêvent les loups (1999). The narrative techniques employed in these texts and, more directly, the assertions made by the author in interviews and autobiographical works give the impression of a writer aiming to impose on the reader a specific view of the Algerian civil war (1992-1998) while at the same time asserting that the novels are objective representations of the same historical period.   This authoritative position, it is argued, is surprising in the light of two discourses. According to the first, events of extreme violence are fundamentally inexpressible and therefore any work of art dealing with such events must find a way to express this inexpressibility. Secondly, many historians, journalists and writers argue that the civil war in Algeria was particularly ungraspable, and eludes being rendered affirmatively in any work, fictional or not.   The study aims to explain how Yasmina Khadra construes his authority in the fictional texts and via his performance in the media. The concepts of a dissimulated authority and a manifest authority are conceived in order to elucidate the ambiguous discourse created by Khadra in which we find both a need to convince the reader of the legitimacy of his rendering of the violent events and a tendency to explicitly take control of and guide our interpretation of the novels.   The final chapter of the dissertation argues that Khadra’s prolific use of animal vocabulary at once dissimulates and makes manifest the idea of an author wanting to impose certain ideas and ‘truths’ on the reader. In the conclusion it is suggested that the violence of the novels extends beyond the subject matter into Khadra's very approach to writing: that the two novels do not so much reflect the idea of the violence as a creator of chaos, but rather, in browbeating the reader into a passive role, end up imitating the very forcefulness and single-mindedness of violence itself.   The methodological approach of the study consists of a close reading as well as a thorough contextualization of the novels. The classical narratological concepts established by Gérard Genette are used to examine the dominant narrative modes of the stories. In explaining the ways in which Khadra proceeds to persuade the reader of the truth-value of the texts the theory on realistic discourse developed by Philippe Hamon constitutes an important reference.

Based on three novels by the contemporary Algerian novelist Yasmina Khadra, the study discusses didactic and aesthetic features of the literary text. While essentially set in the Arab world, Khadra’s fiction links to western encyclopaedia and journalistic discourse. In relating to this part of the reader’s experience, the novels produce an impression of proximity to the peripheral real, and a sense of responsibility. It is suggested that this interdiscursivity be viewed not as a deviation from literature but as inherent to literary discourse itself; the text comments and constitutes simultaneously. Emphasising the hybridity of literary means and didactical drive, the study proposes that Khadra’s work be labelled “didafiction”.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.