Aristotele by William D. Ross

By William D. Ross

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Brecht, au contraire, considère le processus d’identification comme un danger, parce qu’elle annule toute distance critique et suppose la compréhension, et donc l’excuse, alors que le théâtre doit mener à la critique et à la lutte (David, 1995 : 324). Un effet de catharsis existe dans nombre de spectacles – surtout rituels – de par le monde, et la ta‘ziye en est un bon exemple, par sa qualité d’exutoire aux tensions psychosociales. En pleurant la mort de l’imam, combien d’hommes et de femmes n’ont-ils pas exorcisé la douleur de la perte d’un proche, la cruauté de la guerre ou l’injustice du destin ?

Esthétique théâtrale. Textes de Platon à Brecht, édités par J. Scherer, M. Borie et M. de Rougemont, Paris, SEDES, 1982 Green, André, Un œil en trop. Le complexe d’Œdipe dans la tragédie, Paris, Minuit, 1965. ), Théâtre, modes d’approche, Paris/Bruxelles, Méridiens Klincksieck/Labor, 1987. Introduction 47 Helbo, André, Les Mots et les Gestes. Essai sur le théâtre, Lille, Presses universitaires de Lille, 1983. Hubert, Marie-Christine, Les Grandes Théories du théâtre, Paris, Armand Colin, 2001. Kowzan, Tadeusz, Sémiologie du théâtre, Paris, Nathan, 1992.

Israël est un cas à part. Le théâtre n’a jamais vraiment fait partie de la civilisation hébraïque. Le théâtre en hébreu naît à Moscou, en URSS, avec la protection du régime communiste qui soutient les minorités. Il s’installe en Palestine en 1928, de façon tout à fait fortuite, avec l’immigration d’une partie de la troupe Habima, et devient le portedrapeau de la renaissance de la langue et de la culture hébraïques en Palestine. Il y existait pourtant depuis 1889 des troupes amateurs dont le but, au-delà du divertissement, était de diffuser l’hébreu, de construire une identité nationale, et de créer des attaches solides entre les immigrants et le pays.

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