{"id":405,"date":"2019-11-14T19:19:08","date_gmt":"2019-11-14T19:19:08","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?p=405"},"modified":"2022-02-05T13:24:06","modified_gmt":"2022-02-05T13:24:06","slug":"contre-le-theatre-politique","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/20\/contre-le-theatre-politique\/","title":{"rendered":"Contre le th\u00e9\u00e2tre politique"},"content":{"rendered":"\n<p class=\"has-text-align-center\"><strong>Essai d\u2019 Olivier Neveux<\/strong><br><strong>314 pp. Paris: La Fabrique<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-right\">par<strong> Selim Lander<\/strong><a href=\"#end\" name=\"back\">*<\/a><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>Je ne cherche pas \u00e0 fourguer de l\u2019espoir&nbsp;: je ne suis pas un dealer.<\/p><cite> \u2013 Heiner M\u00fcller <\/cite><\/blockquote>\n\n\n\n<p>L\u2019auteur a choisi un titre pour le moins d\u00e9routant pour un essai qui s\u2019efforce tout au contraire de sauver le th\u00e9\u00e2tre politique. Il est vrai que l\u2019entreprise s\u2019av\u00e8re ardue s\u2019agissant d\u2019un th\u00e9\u00e2tre se pr\u00e9sentant trop souvent, selon ses dires, sous la forme de \u00ab&nbsp;digests th\u00e9oriques\u2026 avec un d\u00e9calage temporel prononc\u00e9 sur les milieux politiques radicaux, comme en retard de quelques guerres&nbsp;\u00bb (p. 160).<\/p>\n\n\n\n<p>Sans compter que la \u00ab&nbsp;posture&nbsp;\u00bb des tenants\ndudit th\u00e9\u00e2tre peut agacer, qui consiste \u00ab&nbsp;\u00e0 apostropher le monde d\u2019une\nplace \u00e9trange, concern\u00e9e et sur\u00e9lev\u00e9e, le courage exhib\u00e9, et de n\u2019en subir,\npour autant, aucun dommage&nbsp;\u00bb (p. 119).<\/p>\n\n\n\n<p>Olivier Neveux est professeur d\u2019histoire et d\u2019esth\u00e9tique\ndu th\u00e9\u00e2tre \u00e0 l\u2019ENS de Lyon. Il sait donc de quoi il parle quand il dresse le\nconstat de l\u2019\u00e9tat actuel de la sc\u00e8ne fran\u00e7aise \u00e0 l\u2019heure de TINA (<em>there is no alternative<\/em>) et du lancement\nd\u2019un \u00ab&nbsp;Pass Culture&nbsp;\u00bb \u00e0 destination de la jeunesse, qui n\u2019est en\nr\u00e9alit\u00e9 qu\u2019un \u00ab&nbsp;cadeau aux industries culturelles&nbsp;: subvention\nd\u00e9guis\u00e9e, privatisation de l\u2019argent public&nbsp;\u00bb, tout ceci renforc\u00e9 par\nl\u2019inculture des \u00e9lites, un ph\u00e9nom\u00e8ne nouveau appuy\u00e9 sur \u00ab&nbsp;la conviction\naffich\u00e9e qu\u2019\u00eatre cultiv\u00e9 n\u2019est plus un atout&nbsp;\u00bb (p. 51).<\/p>\n\n\n\n<p>Il n\u2019est pas \u00e9tonnant, dans ces conditions, que la\ncommande adress\u00e9e aux gens de th\u00e9\u00e2tre (\u00e0 commencer par les CDN et les sc\u00e8nes\nnationales) par les pouvoirs publics soit essentiellement de nature\nsociale&nbsp;: \u00ab&nbsp;qu\u2019ils soient int\u00e9grateurs, multiculturels&nbsp;; qu\u2019ils\nsuppl\u00e9ent aux familles, aux \u00e9coles&nbsp;; qu\u2019ils soient suppl\u00e9ment d\u2019\u00e2me&nbsp;;\nqu\u2019ils soient l\u2019universalit\u00e9&nbsp;; bref, la R\u00e9publique&nbsp;\u00bb (p. 95).<\/p>\n\n\n\n<p>Un th\u00e9\u00e2tre politique digne de ce nom existe n\u00e9anmoins et O. Neveux l\u2019a rencontr\u00e9 dans certaines pi\u00e8ces dont il donne des exemples dans la troisi\u00e8me partie du livre. \u00c0 ce stade, le lecteur qui n\u2019a pas eu la chance d\u2019assister aux pi\u00e8ces en question (<em>\u00c9tudes<\/em> de Fran\u00e7oise Bloch, <em>D\u00e9cris-Ravage<\/em> d\u2019Adeline Rosenstein, <em>Modules Dada<\/em> d\u2019Alexis Forestier, <em>Le Chagrin d\u2019H\u00f6lderlin<\/em> de Chantal Morel, <em>La Reprise<\/em> de Milo Rau) se trouvera assez d\u00e9muni pour cerner pr\u00e9cis\u00e9ment les principes d\u00e9fendus par l\u2019auteur. Car il est plus facile de savoir ce qui lui d\u00e9pla\u00eet&nbsp;: les cr\u00e9ations collectives de plateau, l\u2019abus de la vid\u00e9o, les poncifs \u00e0 la mode (comme de nos jours les r\u00e9fugi\u00e9s), le souci de se mettre au niveau d\u2019un public soi-disant populaire (\u00ab&nbsp;le peuple ne veut pas \u00eatre popularis\u00e9&nbsp;\u00bb \u2013&nbsp;Brecht). Plut\u00f4t que des pi\u00e8ces qui en rajoutent sur \u00ab&nbsp;l\u2019abomination de la domination, la souffrance des domin\u00e9s, la n\u00e9cessit\u00e9 de l\u2019unit\u00e9, la justesse de la radicalit\u00e9&nbsp;\u00bb, Neveux sugg\u00e8re de \u00ab&nbsp;d\u00e9dier la repr\u00e9sentation \u00e0 participer \u00e0 l\u2019instabilit\u00e9 de l\u2019\u00e9quilibre des repr\u00e9sentations existantes&nbsp;\u00bb (\/<em>sic\/<\/em>, p. 257). Dans la lign\u00e9e de Jacques Ranci\u00e8re (<em>Le Spectateur \u00e9mancip\u00e9<\/em>, 2008), il invite \u00e0 un th\u00e9\u00e2tre favorisant notre libert\u00e9, ou, selon ses propres termes, qui \u00ab&nbsp;porte la contradiction d\u2019une vie irr\u00e9ductible \u00e0 l\u2019alternative de nos r\u00eaveries solitaires et de nos imp\u00e9ratifs gr\u00e9gaires&nbsp;\u00bb (p. 272).<\/p>\n\n\n\n<p>D\u00e9sabus\u00e9 quant \u00e0 la capacit\u00e9 du\nth\u00e9\u00e2tre \u00e0 pousser \u00e0 la lutte, il lui suffirait \u2013&nbsp;reprenant ici une\nformulation de Walter Benjamin in <em>Programme\npour un th\u00e9\u00e2tre d\u2019enfants prol\u00e9tarien<\/em> (1929)&nbsp;\u2013 qu\u2019il nous fasse\npercevoir quelque \u00ab&nbsp;signal secret de la r\u00e9alit\u00e9 \u00e0 venir&nbsp;\u00bb (p. 274).<a name=\"end\">&nbsp;<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" data-attachment-id=\"408\" data-permalink=\"https:\/\/www.critical-stages.org\/20\/contre-le-theatre-politique\/photo-selim-lander-comp-238x300\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/Photo-Selim-Lander-comp-238x300.jpg\" data-orig-size=\"200,252\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Photo-Selim-Lander-comp-238&amp;#215;300\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/Photo-Selim-Lander-comp-238x300.jpg\" src=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/Photo-Selim-Lander-comp-238x300-150x150.jpg\" alt=\"\" class=\"wp-image-408 alignnone\"><br>&nbsp;\n\n\n\n<p><a name=\"end\" href=\"#back\">*<\/a><strong>Selim Lander<\/strong>\u00a0vit en Martinique (Antilles fran\u00e7aises). Ses critiques th\u00e9\u00e2trales apparaissent dans les revues \u00e9lectroniques: <a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/mondesfrancophones.com\/\" target=\"_blank\">https:\/\/mondesfrancophones.com\/<\/a>\u00a0et\u00a0\u00a0<a rel=\"noreferrer noopener\" href=\"http:\/\/www.madinin-art.net\/\" target=\"_blank\">http:\/\/www.madinin-art.net\/<\/a>.<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Copyright <strong>\u00a9<\/strong> 2019 Selim Lander<br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img decoding=\"async\" src=\"https:\/\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png\" alt=\"Creative Commons Attribution International License\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":407,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-405","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book-reviews"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/neveux.jpg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":64,"url":"https:\/\/www.critical-stages.org\/20\/la-vie-des-personnes-agees-a-lepoque-neo-liberale\/","url_meta":{"origin":405,"position":0},"title":"La vie des personnes \u00e2g\u00e9es \u00e0 l\u2019\u00e9poque n\u00e9o-lib\u00e9rale","author":"Selim Lander","date":"October 8, 2019","format":false,"excerpt":"Jisoo Nam* R\u00e9sum\u00e9 Comment peut-on d\u00e9finir les personnes \u00e2g\u00e9es? Les employ\u00e9s cor\u00e9ens commencent \u00e0 prendre leur retraite \u00e0 la cinquantaine. Bien qu\u2019on pense qu\u2019il est trop t\u00f4t pour appeler les cinquantenaires, des personnes \u00e2g\u00e9es, la vieillesse sociale commence t\u00f4t, sans consid\u00e9ration pour l\u2019\u00e9tat physique. Ironiquement, la maturit\u00e9 des jeunes commence\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/20\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":699,"url":"https:\/\/www.critical-stages.org\/20\/sankara-heros-tragique\/","url_meta":{"origin":405,"position":1},"title":"Sankara, h\u00e9ros tragique","author":"Selim Lander","date":"December 9, 2019","format":false,"excerpt":"Selim Lander* Sank ou la patience des morts, une pi\u00e8ce d\u2019Aristide Tarnagda mise en sc\u00e8ne par l\u2019auteur et Pierre Lambotte. Avec les com\u00e9diens Alain Hema, Alberto Martinez Guinaldo, Safoura Kabor\u00e9 et le musicien David Malgoubri. Cr\u00e9ation lumi\u00e8res\u00a0: Vincent Stevens. R\u00e9gie\u00a0: Kobor\u00e9 Mohamed. Production du Th\u00e9\u00e2tre de la Guimbarde (F\u00e9d\u00e9ration Wallonie-Bruxelles)\u2026","rel":"","context":"In &quot;Performance Reviews&quot;","block_context":{"text":"Performance Reviews","link":"https:\/\/www.critical-stages.org\/20\/category\/performance-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/PER-SankSankara-David.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/PER-SankSankara-David.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/PER-SankSankara-David.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/PER-SankSankara-David.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":135,"url":"https:\/\/www.critical-stages.org\/20\/insupportable-vieillesse\/","url_meta":{"origin":405,"position":2},"title":"Insupportable vieillesse ?","author":"Selim Lander","date":"October 20, 2019","format":false,"excerpt":"Jean-Pierre Han* R\u00e9sum\u00e9 Florian Zeller est l\u2019un des rares dramaturges \u00e0 plonger d\u00e9lib\u00e9r\u00e9ment dans le sujet de la vieillesse. Il le fait dans une trilogie consacr\u00e9e \u00e0 trois figures de base qui composent la famille\u00a0: le p\u00e8re, la m\u00e8re et le fils. Sachant toutefois que ce n\u2019est jamais de la\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/20\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-5.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-5.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-5.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-5.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":558,"url":"https:\/\/www.critical-stages.org\/20\/jacinto-benavente-relance-la-commedia-dellarte-au-canada\/","url_meta":{"origin":405,"position":3},"title":"Jacinto Benavente relance la Commedia dell\u2019arte au Canada","author":"Selim Lander","date":"December 9, 2019","format":false,"excerpt":"Alvina Ruprecht* The Bonds of Interest, production r\u00e9alis\u00e9e en langue anglaise par l\u2019Odyssey Theatre d\u2019apr\u00e8s une nouvelle traduction de Catherine Boyle et Laurie Steven \u00e0 partir de l\u2019original en espagnol, Los Intereses creados, de Jacinto Benavente\u00a0; mise en sc\u00e8ne de Laurie Steven, costumes Vanessa Imeson, sc\u00e9nographie Barry Podolsky, \u00e9clairage Graham\u2026","rel":"","context":"In &quot;Performance Reviews&quot;","block_context":{"text":"Performance Reviews","link":"https:\/\/www.critical-stages.org\/20\/category\/performance-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/DSC_0237.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/DSC_0237.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/DSC_0237.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/DSC_0237.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":728,"url":"https:\/\/www.critical-stages.org\/20\/theatre-in-malta-amateur-practice-and-professional-aspirations\/","url_meta":{"origin":405,"position":4},"title":"Theatre in Malta: Amateur Practice and Professional Aspirations","author":"Selim Lander","date":"December 16, 2019","format":false,"excerpt":"Vicki Ann Cremona* Abstract This article provides a general outline of theatre in Malta where the small size of the archipelago (316m2) makes it difficult to develop professional theatre. It evaluates the issues theatre faces when confronted by political constraints that affect cultural policies and outlooks. It looks at the\u2026","rel":"","context":"In &quot;National Reports&quot;","block_context":{"text":"National Reports","link":"https:\/\/www.critical-stages.org\/20\/category\/national-reports\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":574,"url":"https:\/\/www.critical-stages.org\/20\/all-puppets-large-and-small-in-quebec-and-the-czech-republic\/","url_meta":{"origin":405,"position":5},"title":"All Puppets, Large and Small\u2014in Qu\u00e9bec and the Czech Republic","author":"Selim Lander","date":"December 8, 2019","format":false,"excerpt":"Mark Brown* FIAMS, Saguenay, Qu\u00e9bec, Canada, 23\u201328 July, 2019.One Flew Over the Puppeteer\u2019s Nest Festival, Prague, Czech Republic, 31 October to 3 November 2019. As was excellently attested in the Special Topic of the previous (19th) edition of Critical Stages, the art of puppetry is ancient, diverse and global. However,\u2026","rel":"","context":"In &quot;Performance Reviews&quot;","block_context":{"text":"Performance Reviews","link":"https:\/\/www.critical-stages.org\/20\/category\/performance-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/Photo-3-PER-puppetmark-Fig-3.-Smallest-of-the-Sami.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/Photo-3-PER-puppetmark-Fig-3.-Smallest-of-the-Sami.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/Photo-3-PER-puppetmark-Fig-3.-Smallest-of-the-Sami.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/Photo-3-PER-puppetmark-Fig-3.-Smallest-of-the-Sami.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/comments?post=405"}],"version-history":[{"count":7,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/405\/revisions"}],"predecessor-version":[{"id":1177,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/405\/revisions\/1177"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media\/407"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/categories?post=405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/tags?post=405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}