Comment les rôles de femmes sont questionnés au théâtre depuis les révolutions féministes des années 1970 ?

Details

Supervisors

Lemaire, Véronique

Faculty

Faculté de philosophie, arts et lettres

Degree label

Master [120] en arts du spectacle, à finalité spécialisée: pratiques et métiers du théâtre

Abstract

enThe Women's Liberation Movement emerged in the wake of the May 1968 revolts in France. At the same time, new awarenesses were emerging in various parts of the world, eventually reaching all strata of society, be they political, economic or social. The second feminist wave was launched and reached culture too. A women's theater appeared, women's collectives were created, and the theatrical landscape became a place where women dared to speak out and denounce oppression. But during these decades of turmoil, what about women's roles in the theatrical field? The aim of this dissertation is to examine the evolution of women's roles on the theatrical stage at the time of the great feminist revolutions of the 1970s, and during the two decades that followed. To this end, our work is divided into four chapters and built chronologically to take a look at the evolution of dramaturgy and theatrical aesthetics that featured women's characters between the 1970s and 2000. After some background, we'll take a look at women's dramaturgy in the 1970s and 1980s, before focusing on female directors and their influence on the creation of women's roles. Finally, we'll take a look at the theater of the 1990s, drawing parallels with the issues driving the women's theatrical landscape at the start of the 21st century. We will look at the discourses conveyed by women's characters, and the dramaturgical and linguistic methods used to denounce injustice in three plays published between 1976 and 1981. In our second chapter, we will start with "La nef des sorcières", a collective work directed by Luce Guilbeault, before turning to Elfriede Jelinek's "Ce qui arriva après que Nora eut quitté son mari ou Les soutiens des sociétés". Finally, our third chapter will focuss on the contemporary rewriting of myths in the light of Michèle Fabien's play "Jocaste".