{"id":6655,"date":"2026-02-05T15:22:05","date_gmt":"2026-02-05T14:22:05","guid":{"rendered":"https:\/\/u-paris.fr\/cerilac\/?p=6655"},"modified":"2026-05-13T17:27:25","modified_gmt":"2026-05-13T15:27:25","slug":"soutenance-de-these-yujie-wang-la-blessure-denfance-au-theatre-de-sarah-kane-a-nos-jours-enjeux-dramaturgiques-et-sceniques","status":"publish","type":"post","link":"https:\/\/u-paris.fr\/cerilac\/soutenance-de-these-yujie-wang-la-blessure-denfance-au-theatre-de-sarah-kane-a-nos-jours-enjeux-dramaturgiques-et-sceniques\/","title":{"rendered":"Soutenance de th\u00e8se Yujie Wang – \u00ab La blessure d\u2019enfance au th\u00e9\u00e2tre, de Sarah Kane \u00e0 nos jours : enjeux dramaturgiques et sc\u00e9niques\u00a0\u00bb"},"content":{"rendered":"

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Nous adressons nos f\u00e9licitations \u00e0\u00a0Yujie Wang<\/strong>, qui vous convie \u00e0 sa\u00a0soutenance<\/strong>\u00a0; sa th\u00e8se, r\u00e9alis\u00e9e sous la direction d\u2019Isabelle Barb\u00e9ris, et dont la soutenance aura lieu le\u00a013 f\u00e9vrier \u00e0 9h en salle 105 du B\u00e2timent Olympe de Gouges\u00a0(8 place Paul Ricoeur<\/span><\/strong>, 75013 Paris)<\/span><\/strong>, porte sur le sujet suivant : \u00ab La blessure d\u2019enfance au th\u00e9\u00e2tre, de Sarah Kane \u00e0 nos jours : enjeux dramaturgiques et sc\u00e9niques\u00a0<\/span>\u00bb.<\/p>\n

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R\u00e9sum\u00e9 de th\u00e8se<\/h1>\n

Avec l\u2019incidence du mouvement #MeToo, la lib\u00e9ration sans pr\u00e9c\u00e9dent du discours sur la blessure d\u2019enfance a permis de mettre en lumi\u00e8re un sujet longtemps marginalis\u00e9 dans le domaine dramaturgique, et rel\u00e9gu\u00e9 en arri\u00e8re-plan dans le cadre de la mise en sc\u00e8ne th\u00e9\u00e2trale. Ce sujet, autrefois ignor\u00e9 voire refoul\u00e9, notamment en ce qui concerne les violences subies par les enfants, a peu \u00e0 peu capt\u00e9 l\u2019attention des dramaturges et est devenu un des enjeux majeurs du th\u00e9\u00e2tre contemporain. L\u2019objectif de cette recherche est d\u2019analyser la r\u00e9ponse du th\u00e9\u00e2tre \u00e0 ce nouveau d\u00e9fi de repr\u00e9sentation, en examinant comment le th\u00e9\u00e2tre parvient \u00e0 transmuer la blessure d\u2019enfance d\u2019une exp\u00e9rience intime, tue et internalis\u00e9e, en une r\u00e9alit\u00e9 concr\u00e8te que l\u2019on peut nommer, montrer et partager collectivement. Cette recherche suivra la trajectoire de la blessure d\u2019enfance, d\u2019un sujet intransitif \u00e0 un objet saisissable, structur\u00e9e en trois volets. La premi\u00e8re partie, s\u2019appuyant sur le principe d\u2019historicisation de Bertolt Brecht, retrace l\u2019\u00e9volution historique du th\u00e8me, \u00e9tablissant comment la blessure d\u2019enfance est pass\u00e9e de l\u2019angle mort au c\u0153ur des enjeux dramaturgiques. La deuxi\u00e8me partie se concentre sur la r\u00e9ponse formelle des dramaturges \u00e0 cette \u00e9mergence. Ancr\u00e9e dans la th\u00e9orie de l\u2019\u00ab \u00e9picisation \u00bb du drame de Peter Szondi, elle explore les strat\u00e9gies dramaturgiques et po\u00e9tiques par lesquelles s\u2019objective ce nouveau sujet. Enfin, le troisi\u00e8me volet s\u2019\u00e9l\u00e8ve vers l\u2019aboutissement sc\u00e9nique. S\u2019appuyant sur les th\u00e9ories post-dramatiques de Hans-Thies Lehmann, il montre comment le plateau mat\u00e9rialise la blessure d\u2019enfance en un objet perceptible et collectivement partageable, accomplissant ainsi sa subjectivation et sa transitivit\u00e9. En d\u00e9finitive, cette recherche entend d\u00e9montrer que le processus par lequel la blessure d\u2019enfance passe du \u00ab taire \u00bb au \u00ab dire \u00bb, \u00e0 l\u2019instar du mouvement #MeToo, repr\u00e9sente non seulement une mutation formelle o\u00f9 la dramaturgie de l\u2019action c\u00e8de la place \u00e0 celle de la parole, mais aussi un d\u00e9placement du regard du th\u00e9\u00e2tre. En inscrivant la blessure d\u2019enfance comme matrice tragique contemporaine, le th\u00e9\u00e2tre s\u2019oriente d\u00e9sormais vers l\u2019exploration de la relation du sujet avec lui-m\u00eame, confrontant l\u2019\u00eatre moderne \u00e0 ses propres limites et \u00e0 sa vuln\u00e9rabilit\u00e9 constitutive. Ce tournant engendre un nouveau paradigme dramatique pour penser le collectif, fond\u00e9 sur la vuln\u00e9rabilit\u00e9 partag\u00e9e, mais s\u2019\u00e9loigne de la catharsis traditionnelle, permettant d\u2019esquisser les contours du th\u00e9\u00e2tre de l\u2019avenir : un th\u00e9\u00e2tre de la reconnaissance<\/p>\n

Mots-cl\u00e9s :<\/p>\n

Blessure d\u2019enfance, <\/span>Th\u00e9\u00e2tre contemporain (1995-2024), <\/span>Th\u00e9\u00e2tre postdramatique,\u00a0<\/span>Dramaturgie,\u00a0<\/span>\u00c9picisation,\u00a0<\/span>Mise en sc\u00e8ne, <\/span>Subjectivit\u00e9, <\/span>Transitivit\u00e9<\/span><\/div>\n

Jury de th\u00e8se<\/h1>\n
\u00a0<\/div>\n