Mobilité et Transculturalité des Arts vivants en Afrique du nord :le cas de la Rahva

Abstract

This article questions the practices of the performing arts, based on their mobility within the transcultural dynamic in which the "transfer of cultural and poetic knowledge" of the North African oral tradition operates. Our analysis focuses on the modes of enunciation and representation, referring to certain playwrights, among whom we exceptionally highlight Kateb Yacine, Abdelkader Alloula, or Tayeb Saddeki (in spoken Arabic) and Abdella Mohia (in Kabyle) for the originality of their adaptation and creation works, as well as the "combinatory system of convenience" (Galand-Pernet Paulette, 1998, pp. 159 – 220) from which the applied (or observed) dramaturgy arises during the creation processes. Knowing that conveniences are multiple and are distinguished by the tacit relationships between emitters and receivers of the same linguistic group, we have agreed, from the perspective of a "comparative and partial approach," to engage with their "poetics".in the singular, given the recurring transcultural similarities observed in the dynamics of the Rahva, both in the field of "otherness" and in syncretisms. This work thus enlightens us about the sociopoetic function of the Rahva, the sociological and anthropological conditions of its emergence, its mobility and transcultural dynamics, as well as the syncretic aliases it faces.