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DTSTART;VALUE=DATE:20141221
DTEND;VALUE=DATE:20141222
DTSTAMP:20260404T072822
CREATED:20221204T153733Z
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UID:10265-1419120000-1419206399@www.euroconte.fr
SUMMARY:Les outils de la critique - Séminaire 7 - Appareil critique de l'art du conteur contemporain
DESCRIPTION:Les outils de la critique de l’art du conteur contemporain – Séminaire 7\nConstruire un appareil critique c’est construire un ensemble de références historiques\, critiques\, archivistiques sur l’art en question de manière à ce que les personnes souhaitant s’intéresser à cet art puisse y trouver les éléments nécessaires pour situer un artiste par rapport aux critères passés et contemporains. \nLa difficulté de cet exercice est du au fait que jusqu’à présent peu de précautions ont été prises pour capter et conserver les diverses prestations des artistes conteurs. Peu de journaux spécialisés\, peu de journaux généralistes\, peu d’ouvrages ont produit des articles sur un artiste de façon systématique en tentant de le situer dans une oeuvre un peu globale. \nTravailler sur une comparaison avec les autres arts nous amène à nous poser poser la question de la lisibilité du parcours de cet art. Une autre difficulté est d’envisager le corpus référent dans le sens ou celui-ci n’existe qu’en tant qu’oeuvres littéraires. \nL’appareil critique répond à l’ outillage dont le critique pourra se servir pour étayer sa critique. Pour l’art du conte cet outillage est à constituer. La réflexion proposée pour la constitution des outils nécessaires de cet appareil critique\, dégager les besoins et commencer à remplir la caisse à outils s’appuie sur document qui liste de A à G les points à interroger\, base d’une grille qui devra être détaillée en sous catégorie. \nAprès présentation de la grille\, chaque point de la grille proposée est approfondi en binôme. \nA. Une histoire de l’art du conteur contemporain \nDans beaucoup de disciplines il y a eu  mutation d’une pratique traditionnelle vers une pratique où l’individu est spectateur. Le conteur a été plus lent à faire cete mutation. Il se dit encore que tout le monde peut raconter. Hors il faut une technicité pour raconter à un grand groupe. \nL’histoire peut permettre de comprendre où nous en sommes. On ne peut pas avoir un même discours si l’on veut changer les choses. \nLes préalables – Les principales étapes \n1. Fin du conte traditionnel\, quelle date ? Quelles causes ? Sont évoquées : la mutation du monde rural\, le passage rural/urbain des années 50\, la perte des langues régionales\, des pratiques des veillées (il n’est plus nécessaire de s’entre-aider pour les récoltes avec l’équipement mécanique des agriculteurs par ex.)\n2. Mais avec la guerre 14/18\, les contes ressurgissent. Entre les deux guerres\, le racontage existe toujours. Grandes collectes des années 1930\, vague ethnologique après les folkloristes du 19e siècle\n3. 1960 : renouveau du conte. Avec la télévision\, l’image\, le conte entre dans l’espace médiatique  et non plus les veillées (André Voisin\, Chabrol …)\n4. 1968/71 : mutation des arts : passage d’une pratique populaire collective à une pratique de « spectacle » (plus individuelle et professionnelle)\, déstructuration de l’espace\, du relationnel. Encore une expression traditionnelle\n5. Quelle est la spécificité du conte? Le conte : lieu d’une stabilité (compensation)\, pont entre passé et avenir\n6. 1981 : Soutien politique; des moyens donnés à la culture\, explosion du nombre de festivals\, les bibliothèques (heure du conte) soutiennent les initiatives\n7. 1980/1987 : Organisation de rencontres (Vannes\, 1980)\, création de structures (CLIO en 1981\, Les arts du récits en 1986\, La maison du conte\, Chevilly-Larue\, Paroles d’Alès)\, les revues (Dire en 1987\, Les Cahiers de Littérature orale en 1989)\n8. 1989-1990 : les conteurs sur scène\, théâtralisation\, adaptation du conte à la scène (question sur les diversités des paroles) – Colloque « Le renouveau du conte ‘ et ouvrages sur cette thématique  ( Geneviève Calame-Griaule\, Les Cahiers de la Littérature Orale)\n9. A partir de 1994/1995\, regards différents des institutions publics et le conte est mis à l’écart faute de moyens et considéré comme du socio-culturel\n10. Dans les années 2000\, structuration avec création de Mondoral\, organisation des conteurs (Apac et autres) \nB. Le répertoire référent \nLe répertoire à mettre en parallèle à l’histoire. l’histoire de cet art a été négligé. Les conteurs\, gens de la performnce\, n’ont pas capté leurs prestations. Il est important de regrouper les éléments pour une mémoire de la discipline\, que les acteurs du conte gardent la mémoire de ce qui s’est passé. Lieu d’archives nécessaire pour la discipline. \n1. Quelle relation au répertoire? Quelques uns ont reçu le conte par transmission orale. Choix par goût\, lié à un contexte en lien avec les collectes qui ont fondé le répertoire. Des convictions\, des parti-pris du conteur\, non neutre.\n2. Relation différente selon le type de collectes. L’ethnologue s’intéresse au contexte\, important pour lui-même. Quel matériel possède le conteur ? S’il ne connaît pas le contexte il est déconnecté des représentations qui font sens.\n3. Que dois-je transmettre ? Fidélité\, responsabilité\, ce qui n’empêche pas l’artistique\n4. Quel est son parti-pris ? Il choisit ou espace sensible pour volonté poétique\, ou se servir d’un répertoire pour dire sa vision du monde\, ou créer son récit. \nC. Les  acteurs \n1. Artistes : quelles sont leurs difficultés\, rassembler pour discuter ensemble et faire émerger quelque chose plus proche du réel\n2. Institutionnels\, politique\, financiers : impact des orientations des institutions responsables de l’argent public\, structures subventionnées\, ré-orientation de la pratique par missions attendues\n3. Les structures : réseau des bibliothèques et univers du livre\, structures décentralisées\, diversité des lieux de diffusion\n4. Les médias : profusion et difficulté de s’y retrouver\, qualité du discours sur le conte ? Peu d’articles\n5. Les archives \nD. Analyse des œuvres \n1. A partir des matériaux archives disponibles (vidéos\, audios\, entretiens avec les conteurs…)\n2. Question à poser : pourquoi cette histoire\, quel rapport intime avec elle?Est-ce que le public présent change la préparation\, la manière de raconter ?\n3. Comment travaille le conteur ? Représente-t-il les émotions ? Quel rapport ave l’image mental\, la poésie ?\n4. Comment le conteur est-il vu par son public ? Comparer avec le projet de l’artiste.\n5. Responsabilité du critique : les descriptions des spectacles orientent le public. Les bons critiques devraient nous donner envie de voir des choses que nous ne connaissons pas.\n6. Première lecture\, préparation\, restitution\, comment le public le reçoit? Plusieurs jours après\, plus tard ?\n7. Relation du conteur à l’image mentale\, images passives\, images dynamiques; la relation est différentes à l’image suivant les arts.\n8. Consulter articles (cf.IMEC Institut de l’Edition Contemporaine à Caen)\, revues \nE. Un ensemble de définitions des différents styles et partis pris \n1. Traditionnel : comment une forme peut maître d’une intention ?\n2. Populaire : à qui je m’adresse\, à tous\, à mes pairs ? Culture préalable ?\n3. Théâtralité : scène le plus souvent\n4. Littéraire : amour de la langue\, qualité qui n’est plus dans le naturel ? \nF. Une analyse des formes rattachées et/ou contestées \nG. Une bibliographie de référence \nNote complémentaire. Les archives \nImportance des archives pour étudier où en est l’artiste\, garder le matériel\, affiches\, son\, vidéo… et le déposer (voir IMEC\, service des archives(communes\, départements\, structures….). Actuellement les outils sont diffus. Important de la conservation des archives.\nArt naissant\, l’art du conte a oublié de conserver contrairement aux autres arts (cirque\, par ex)\, relation au spectacle vivant ? Le conte « parole naturelle » n’a pas incité à la conservation.\nEncore temps (50 ans d’histoire) de récupérer ou reconstituer des archives dans beaucoup de lieux éparpillés (institutions\, individuels\, structures\, communes\, festival ou animations\, radios…) et demander de l’aide pour traiter ces infos.\nPar exemple\, les archives de « Parole d’Alès » ont été déposées aux archives municipales de la ville d’Alès. Une étude du Clio (1988/1989)\, questionnaire aux conteurs\, les Arts du récit l’ont fait aussi (Pascal Quéré)\nLes films\, vidéos sont des outils de captation des spectacles\, des prestations\, qui ont leur intérêt dans un but autre que celui de la promotion. Beaucoup de vidéos existent déjà. Acceptation de se faire filmer?\nL’archive intéresse plutôt la diffusion de l’art que l’artiste lui même.\nEx : prestation de Catherine Zarcate à Aigues Mortes sur Salomon doit être captée et conservée quelque part.\nEx : Les archives de Paroles d’Alès sont conservées aux archives municipales\nEx: des archives de l’immigration ont été constituées hors financement en demandant à toutes les personnes volontaires\, avec un référent par région\, de chercher leurs archives pour les catégoriser. \nEn 1997\, le CMLO a mis en place l’annuaire des acteurs de la LO; toutes ces informations peuvent se regrouper dans des références bibliographiques. L’analyse vient après. Au CMLO\, nous conservons des courriers de Catherine Gendrin évoquant la guerre d’Algérie\, son parti pris\, la mise en lumière de son travail. Quelles sont les implications quand elle choisit de monter un spectacle sur l’Algérie?\nTous ces éclairages permettent de « reprendre » un grand conte\, un spectacle (par quelqu’un d’autre)\nL’archive n’est pas une simple sauvegarde (facile à faire); c’est une mise en valeur (en intelligence) du patrimoine. Elle est nécessaire à la critique. \nPour ce travail de critique\, maintenant\, nécessaire de monter des grilles de travail\, lister les tâches à faire\, les distribuer (à qui\, comment).\nPour constituer cette grande collecte\, un circuit est à organiser\, adapter. Convaincre les institutions (DRAC) pour nous aider à convaincre (par ex) l’IMEC – Institut des Mémoires et des Editions Contemporaines à Caen. \nEtaient présents : Véronique Aguilar\,  Danièle Rieu\, Gille Crépin\, Pascal Quéré\, Anne Wang\, Françoise Cadène\, Magali Dupuy\, Francine Beaudoin\, Catherine Maure\, Evelyne David\, Marc Aubaret. \nPour aller plus loinBibliographie sur la littérature orale et l'éducation ► \n\n		4420293\n		\n		\n		pedagogie\n		\n		\n        \n		1\n		https://www.euroconte.fr/cmlo.csl\n		50\n		creator\n		asc\n		\n		1\n		\n		1\n		\n		1\n		\n		1\n		title\n		\n        \n        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Download\n\n				\n\n				\n\n  ❧ Cazaux Henri\, 1992\, « Conter à l’école »\, Cahiers Pédagogiques\, mai-juin 1992\, n°304-305\, p. 108. \n\n				\n\n				\n\n  ❧ Decourt Nadine et Raynaud Michelle\, 1999\, Contes et diversité des cultures: le jeu du même et de l’autre\, s.l.\, CRDP de l’Académie de Lyon\, 196 p. \n\n				\n\n				\n\n ❧ Delarue François-Paul\, 1956\, " Valeur éducative des contes populaires "\, Enfance\, 1956\, vol. 9\, no 3\, p. 125‑133. \n\n				\n\n				\n\n ❧ Duprat Christel\, 1998\, " École du conte et conte de l'école "\, Actes de Lecture\, 1998\, Septembre\, no 63. \n\n				\n\n				\n\n  ❧ Gardner Pr Howard\, 2008\, Les intelligences multiples\, Paris\, Retz\, 192 p. \n\n				\n\n				\n\n ❧ Gillig Jean-Marie\, 2013\, Le conte en pédagogie et en rééducation\, Paris\, Dunod (coll. " Enfances ")\, 256 p. \n\n				\n\n				\n\n  ❧ Klein Melanie\, 1921\, « Le développement d’un enfant »\, Essais de psychanalyse\, 1921\, vol. 1945\, p. 29‑89. \n\n				\n\n				\n\n  ❧ L’Heude Sylvie\, 2008\, Formation et illettrisme: Un possible apprentissage\, s.l.\, Editions L’Harmattan\, 256 p. \n\n				\n\n				\n\n  ❧ Labrie-Bouthillier Vivian\, « Le conte populaire et son utilisation pédagogique »\, p. 4.  Download\n\n				\n\n				\n\n  ❧ Lafforgue Pierre\, 2002\, Petit Poucet deviendra grand : Soigner avec le conte\, Paris\, Payot\, 381 p. \n\n				\n\n				\n\n ❧ Langlois Roberte\, 2010\, " Les pédagogues de l'oralité : la parole et le vivant pour idéal scolaire "\, Spirale - Revue de recherches en éducation\, 2010\, vol. 45\, no 1\, p. 117‑126. \n\n				\n\n				\n\n ❧ Langlois Roberte\, 2009\, Oralité et éducation\, la parole et le vivant au cœur de l'idéal éducatif\, phdthesis\, Université de Rouen\, s.l.  Download\n\n				\n\n				\n\n ❧ Lemarié Esther\, 2012\, Les contes au service de l'apprentissage dans les écoles primaires\,Université de Rouen\, Département des Sciences de l'éducation\, 82 p. \n\n				\n\n				\n\n ❧ Marx Lisa\, Travailler en partenariat à l'école\, \, consulté le 20 septembre 2022. \n\n				\n\n				\n\n ❧ Meynier Laetitia\, 2012\, " En quoi l'art du contage d'aujourd'hui\, utilisé à l'école\, peut-il aider les élèves à mieux comprendre et maîtriser la langue française ? "\, 15 juin 2012\, p. 71.  Download\n\n				\n\n				\n\n  ❧ Montelle Christian\, 2005\, « La parole contre l’échec scolaire »\, La parole contre l’échec scolaire\, 2005\, p. 1‑280. \n\n				\n\n				\n\n  ❧ N’da Pierre\, 1984\, Le conte africain et l’éducation\, s.l.\, Editions L’Harmattan. \n\n				\n\n				\n\n ❧ Nonnon Élisabeth et David Jacques\, 2014\, " Langage oral et inégalités scolaires: Entretien "\, Le français aujourd'hui\, 2014\, vol. 185\, no 2\, p. 17.  Download\n\n				\n\n				\n\n  ❧ Péju Pierre\, 1981\, La Petite fille dans la forêt des contes\, Paris\, Robert Laffont. \n\n				\n\n				\n\n ❧ Platiel Suzy\, 1993\, " L'enfant face au conte "\, Cahiers de Littérature Orale\, 1993\, vol. 33\, p. 55‑73.  Download\n\n				\n\n				\n\n  ❧ Popet Anne et Roques Evelyne\, 2000\, Le conte au service de l’apprentissage de la langue: cycles 2 et 3\, s.l.\, Retz\, 174 p. \n\n				\n\n				\n\n  ❧ Rouiller Yviane et Howden Jim\, 2009\, La pédagogie coopérative: Reflets de pratiques et approfondissements\, Montréal\, Chenelière Education\, 268 p. \n\n				\n\n				\n\n  ❧ Şahenk Erkan Senem\, 2011\, « L’exploitation du Conte en fle a L’exemple de la Petite Fille Aux Allumettes »\, Ulusal Sosyal Araştırmalar Dergisi\, 2 janvier 2011\, vol. 4\, p. 553‑568.  Download\n\n				\n\n				\n\n  ❧ Salomé Jacques\, 1993\, Contes à guérir\, contes à grandir\, Paris\, Albin Michel\, 376 p. \n\n				\n\n				\n\n ❧ Veneziano Edy\, 2010\, " Peut-on aider l'enfant à mieux raconter ? Les effets de différentes méthodes d'intervention. "\, 2010\, p. 107.  Download\n\n				\n\n			\n\n		\n\n	\n\n\nRessources téléchargeables\n\n	\n	6261 téléchargements\n\n	\n\n		Actes des Rencontres de Septembre 2008 -- Les fonctions éducatives de la littérature orale\n\n		Actes Rencontres Septembre 2008 \n				\n			Télécharger le fichier			1ActesRenc2008.pdf				– 2\,87 Mo\n		\n			\n\n\n\nMarc AubaretEn savoir plus >
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