{"id":432,"date":"2020-05-10T15:42:52","date_gmt":"2020-05-10T15:42:52","guid":{"rendered":"https:\/\/www.critical-stages.org\/21\/?p=432"},"modified":"2022-02-05T13:01:13","modified_gmt":"2022-02-05T13:01:13","slug":"martinique","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/21\/martinique\/","title":{"rendered":"MARTINIQUE : Cahiers de confinement"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Janine Bailly<\/strong><a href=\"#end\" name=\"back\">*<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La Structure \u00ab&nbsp;Tropiques Atrium Sc\u00e8ne Nationale&nbsp;\u00bb poursuit en ligne son activit\u00e9, sous l\u2019enseigne&nbsp;: <strong>#Culturecheznous.<\/strong><strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le Festival<strong> \u00ab&nbsp;<\/strong>Rencontres Cin\u00e9ma Martinique&nbsp;\u00bb a \u00e9t\u00e9 annul\u00e9. Pendant cinq semaines, \u00e0 raison d\u2019une s\u00e9rie diff\u00e9rente par semaine, les courts-m\u00e9trages pr\u00e9vus pour la section \u00ab&nbsp;Documentaires&nbsp;\u00bb ont \u00e9t\u00e9 visibles, apr\u00e8s accord avec leurs r\u00e9alisateurs.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"400\" src=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/image2-10.jpeg\" alt=\"\" class=\"wp-image-434\" srcset=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/image2-10.jpeg 400w, https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/image2-10-300x300.jpeg 300w, https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/image2-10-150x150.jpeg 150w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><figcaption>Suzanne C\u00e9saire, Fontaine Solaire, Tropiques-Atrium (2018\u201319)<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Lors du Martinique Jazz Festival, qui s\u2019est d\u00e9roul\u00e9 en d\u00e9cembre, des concerts ont \u00e9t\u00e9 film\u00e9s&nbsp;: nous pouvons en revivre les temps forts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Une s\u00e9lection de spectacles produits dans les Antilles est mise \u00e0 notre disposition. Danse avec Art&amp;Fact \u2014&nbsp;\u00ab&nbsp;Love me tender&nbsp;\u00bb et \u00ab&nbsp;Au nom du p\u00e8re&nbsp;\u00bb. Ou avec Christiane Emmanuel. <em>Th\u00e9\u00e2tre,<\/em> par Hassane Kassi Kouyat\u00e9&nbsp;: \u00ab Suzanne C\u00e9saire, Fontaine solaire&nbsp;\u00bb et \u00ab&nbsp;4 heures du matin&nbsp;\u00bb. Ou, par Daniel Scahaise&nbsp;: \u00ab&nbsp;Cahier d\u2019un retour au Pays natal&nbsp;\u00bb. En cr\u00e9ole \u00ab&nbsp; Pou an wi ou pou an non&nbsp;\u00bb, adaptation de la pi\u00e8ce de Nathalie Sarraute, dans une mise en sc\u00e8ne de Patrick Le Mauff. Enfin, un aper\u00e7u d\u2019Art-Performance&nbsp;: \u00ab&nbsp;Annabel the Rebel&nbsp;\u00bb.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">C\u2019est aussi Annabel Gu\u00e9r\u00e9drat qui, via le Collectif 24, contribue au lancement de l\u2019action <strong>\u00ab&nbsp; <\/strong>Appel aux artistes &#8211; call for artists<strong>&nbsp;\u00bb<\/strong>, une proposition de <strong>\u00ab&nbsp;<\/strong>minorit\u2019Art, revue de&nbsp;recherches d\u00e9coloniales<strong>&nbsp;\u00bb<\/strong>. D\u00e9but de l\u2019appel&nbsp;: <em>\u00ab&nbsp;Artistes des minorit\u00e9s visibles, des Am\u00e9riques, d<\/em><em>\u2019<\/em><em>Europe et d<\/em><em>\u2019<\/em><em>ailleurs dites-nous avec un texte, une image ou des mots (vid\u00e9<\/em><em>o, installation, po\u00e8<\/em><em>me, nouvelle, texte d\u00e9clam\u00e9, texte en musique, peinture, etc.) votre exp\u00e9rience de ce confinement\u2026&nbsp;\u00bb. <\/em>Ronald Cyrille a illustr\u00e9 l\u2019article<em>.<\/em><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"590\" src=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/image3.png\" alt=\"\" class=\"wp-image-435\" srcset=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/image3.png 800w, https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/image3-300x221.png 300w, https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/image3-768x566.png 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>Ronald Cyrille. \u201cResilience\u201d. Acrylique sur toile.<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c9galement, dans le cadre duSermac, structure culturelle cr\u00e9\u00e9e \u00e0 Fort-de-France par Aim\u00e9 C\u00e9saire, des cours de danse en ligne sont assur\u00e9s.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La Fondation Cl\u00e9ment propose une s\u00e9rie d\u2019actions quotidiennes, sur son site Facebook, en lien avec le patrimoine culturel de la Martinique et le Mus\u00e9e d\u2019art contemporain cr\u00e9\u00e9 sur le domaine.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Enfin, le t\u00e9l\u00e9phoneest lui aussi mis \u00e0 contribution. Des lectures accessibles aux gens de la Martinique et de la Guadeloupe sont faites par ce moyen, dans le cadre de l\u2019action \u00ab&nbsp;Bibliofil&nbsp;\u00bb, initi\u00e9e au niveau national. Lectures choisies par Adelin Flaun, actrice originaire de Fort-de-France.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video\">Vid\u00e9o&nbsp;<\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Cahier d&#039;un Retour au Pays Natal - Th\u00e9\u00e2tre\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/IniZFzyc0yc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00ab&nbsp;<a href=\"https:\/\/www.youtube.com\/watch?v=IniZFzyc0yc\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Cahier d&#8217;un Retour au Pays Natal<\/em><\/a>&nbsp;\u00bb, avril 2017, Tropiques-Atrium Sc\u00e8ne nationale.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Tant que se poursuivra la p\u00e9riode de confinement, chaque semaine de nouveaux \u00ab&nbsp;Temps forts&nbsp;\u00bb nous serons propos\u00e9s par Tropiques-Atrium.<a name=\"end\">&nbsp;<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<figure class=\"wp-block-image size-thumbnail is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/image4-7-150x150.jpeg\" alt=\"\" class=\"wp-image-436\" width=\"150\" height=\"150\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"end\" href=\"#back\">*<\/a><strong>Janine Bailly:<\/strong> Dipl\u00f4m\u00e9e de l\u2019\u00c9cole Normale de Nancy, retrait\u00e9e de l\u2019\u00c9ducation Nationale. A enseign\u00e9 le fran\u00e7ais, le th\u00e9\u00e2tre et le cin\u00e9ma en France m\u00e9tropolitaine, dans les d\u00e9partements d\u2019Outre-Mer et dans diff\u00e9rents pays francophones. Vit \u00e0 la Martinique depuis 2002.<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Copyright <strong>\u00a9<\/strong> 2020 Janine Bailly<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 wp-block-paragraph\">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":525,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[12],"tags":[],"class_list":["post-432","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-covid"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/flag-france400.png","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":152,"url":"https:\/\/www.critical-stages.org\/21\/koffi-kwahule\/","url_meta":{"origin":432,"position":0},"title":"Koffi Kwahul\u00e9","author":"Janine Bailly","date":"April 7, 2020","format":false,"excerpt":"Sylvie Chalaye (ed.)324 pp. Classiques Garnier, coll. \u00ab\u00a0\u00c9crivains francophones d\u2019aujourd\u2019hui\u00a0\u00bb n\u00b0 6 par Selim Lander* Koffi Kwahul\u00e9 mis \u00e0 nu. Koffi Kwahul\u00e9, n\u00e9 en 1956, nouvelliste, romancier, est avant tout dramaturge (auteur d\u2019une trentaine de pi\u00e8ces de th\u00e9\u00e2tre traduites en plus de vingt langues, r\u00e9compens\u00e9 par de nombreux prix). C\u2019est\u2026","rel":"","context":"In &quot;Book Reviews&quot;","block_context":{"text":"Book Reviews","link":"https:\/\/www.critical-stages.org\/21\/category\/book-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/Photo-Selim-Lander-comp-238x300-1-150x150.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":137,"url":"https:\/\/www.critical-stages.org\/21\/le-chemin-continue-entretien-avec-data-tavadze\/","url_meta":{"origin":432,"position":1},"title":"Le chemin continue : Entretien avec Data Tavadz\u00e9","author":"Janine Bailly","date":"April 7, 2020","format":false,"excerpt":"Par Irina Gogoberidz\u00e9* \u00ab\u00a0Si votre grand-tante se trouve \u00eatre Ellen Terry, votre grand-oncle Fred Terry, vos cousins Gordon Craig et Phyllis Neilson-Terry, et votre grand-m\u00e8re la plus grande actrice shakespearienne de toute la Lituanie, vous \u00eates peu susceptible de vous lancer dans le commerce du poisson.\u00a0\u00bb Ces mots de John\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/www.critical-stages.org\/21\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/Tavadz%C3%A9.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":368,"url":"https:\/\/www.critical-stages.org\/21\/le-theatre-au-maroc-etat-des-lieux\/","url_meta":{"origin":432,"position":2},"title":"Le th\u00e9\u00e2tre au Maroc, \u00e9tat des lieux","author":"Janine Bailly","date":"May 6, 2020","format":false,"excerpt":"Baker Saddiki* Introduction, petit historique Avant toute chose, pour une meilleure compr\u00e9hension de l\u2019\u00e9tat actuel, s\u2019impose un rapide rappel historique sur l\u2019histoire du th\u00e9\u00e2tre marocain, qui a r\u00e9ellement vu le jour \u00e0 l\u2019aube de l\u2019ind\u00e9pendance durant les ann\u00e9es cinquante. L\u2019essor du professionnalisme peut \u00eatre situ\u00e9 lors du lancement en 1954\u2026","rel":"","context":"In &quot;National Reports&quot;","block_context":{"text":"National Reports","link":"https:\/\/www.critical-stages.org\/21\/category\/national-reports\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/Moroccan-theatre.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/Moroccan-theatre.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/Moroccan-theatre.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/Moroccan-theatre.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":799,"url":"https:\/\/www.critical-stages.org\/21\/quebec-canada-au-quebec-grogne-et-resilience-des-artistes\/","url_meta":{"origin":432,"position":3},"title":"QUEBEC (CANADA) : Au Qu\u00e9bec, grogne et r\u00e9silience des artistes","author":"Janine Bailly","date":"May 8, 2020","format":false,"excerpt":"par Raymond Bertin* Comme toutes les soci\u00e9t\u00e9s occidentales, le Qu\u00e9bec a vu son activit\u00e9 th\u00e9\u00e2trale \u2013 particuli\u00e8rement effervescente dans cette importante province francophone du Canada \u2013 fortement perturb\u00e9e, voire annihil\u00e9e par la pand\u00e9mie de COVID-19. Du jour au lendemain, le 13 mars 2020, les autorit\u00e9s de sant\u00e9 publique et l\u2019\u00c9tat\u2026","rel":"","context":"In &quot;Covid&quot;","block_context":{"text":"Covid","link":"https:\/\/www.critical-stages.org\/21\/category\/covid\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/06\/flag-Quebec.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":215,"url":"https:\/\/www.critical-stages.org\/21\/lecriture-dune-vie\/","url_meta":{"origin":432,"position":4},"title":"L\u2019\u00e9criture d\u2019une vie","author":"Janine Bailly","date":"April 18, 2020","format":false,"excerpt":"Jean-Pierre Han* Les Innocents, moi et l\u2019inconnue au bord de la route d\u00e9partementale de Peter Handke. Mise en sc\u00e8ne d\u2019Alain Fran\u00e7on. Cr\u00e9ation en France le 3 mars 2020 au Th\u00e9\u00e2tre de la Colline \u00e0 Paris. Dans une saison tronqu\u00e9e pour cause de coronavirus, il ne fait gu\u00e8re de doute que\u2026","rel":"","context":"In &quot;Performance Reviews&quot;","block_context":{"text":"Performance Reviews","link":"https:\/\/www.critical-stages.org\/21\/category\/performance-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/PER-handkejp024.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/PER-handkejp024.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/PER-handkejp024.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/PER-handkejp024.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":535,"url":"https:\/\/www.critical-stages.org\/21\/la-musique-live-et-la-felure-des-mots\/","url_meta":{"origin":432,"position":5},"title":"La musique live et la f\u00ealure des mots","author":"Janine Bailly","date":"May 29, 2020","format":false,"excerpt":"Georges Banu* R\u00e9sum\u00e9 R\u00e9flexions sur le rapport de la musique et les mots dans la mise en sc\u00e8ne moderne. Le pr\u00e9ambule porte sur les chants dans les spectacles d\u2019Andrei Serban et la transition \u00ab\u00a0de la parole aux chants\u00a0\u00bb. Ensuite intervient l\u2019examen des approches de Mnouchkine et Brook o\u00f9 la musique\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/21\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/featured-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/featured-1.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/featured-1.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/featured-1.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/posts\/432","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/comments?post=432"}],"version-history":[{"count":5,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/posts\/432\/revisions"}],"predecessor-version":[{"id":1118,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/posts\/432\/revisions\/1118"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/media\/525"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/media?parent=432"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/categories?post=432"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/tags?post=432"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}