Recherches en danse
Rebond | 2024

Deux visages de la Carmen de Mats Ek à l’ère duféminisme
Citlali Jimenez

Édition électronique
URL : https://journals.openedition.org/danse/7138
ISSN : 2275-2293
Éditeur
ACD - Association des Chercheurs en Danse
Référence électronique
Citlali Jimenez, « Deux visages de la Carmen de Mats Ek à l’ère du féminisme », Recherches en danse[En ligne], Rebond, mis en ligne le 22 juillet 2024, consulté le 23 août 2024. URL : http://
journals.openedition.org/danse/7138

Ce document a été généré automatiquement le 23 août 2024.
Le texte et les autres éléments (illustrations, fichiers annexes importés), sont « Tous droits réservés »,sauf mention contraire.

Deux visages de la Carmen de Mats Ek à l’ère du féminisme'HX[YLVDJHVGHOD&DUPHQGH0DWV(N¢OɛªUHGXI«PLQLVPH
Citlali Jimenez

NOTE DE L’ÉDITEUR/DU«GDFWLRQGHFHWDUWLFOHD«W«VXSHUYLV«HSDU1LFROH+DUERQQLHUSURIHVVHXUHDXG«SDUWHPHQWGHGDQVHGHOɛ8QLYHUVLW«GX4X«EHF¢0RQWU«DOHQVHLJQDQWHGXFRXUVDAN8030-Théorie et observation du mouvementGDQVOHTXHOFHWWHLG«HG DUWLFOHDJHUP«b

Introduction
1&RPELHQ  GH  IRLV  GDQV  QRV  YLHV  HQ  WDQW  TXH  VSHFWDWHXUV  QɛDYRQVQRXV  SDV  YX  GHX[
GDQVHXUV  LQWHUSU«WHU  XQ  U¶OH  VRXV  OD  GLUHFWLRQ  GX  P¬PH  FKRU«JUDSKH  WRXW  HQ
UHPDUTXDQWTXHELHQTXHOHSHUVRQQDJHUHSU«VHQW«VRLWOHP¬PHLOHVWLPSU«JQ«GɛXQH
FRORUDWLRQSURSUH¢FKDTXHLQWHUSUªWHb"

2'HSXLVDXVVLORQJWHPSVTXHMHPHVRXYLHQQHP¬PHVLMɛDLHXOɛH[S«ULHQFHGɛLQWHUSU«WHU
HWGɛHQVHLJQHUODGDQVHPRLP¬PHMHPHVXLVWRXMRXUVODLVV««PHUYHLOOHUSDUODID©RQ
GRQW  XQ  SHUVRQQDJH  LQLWLDOHPHQW  ELHQ  FLUFRQVFULW  SDU  OH  FKRU«JUDSKH  SRXYDLW  VH
WUDQVIRUPHU  GɛXQ  LQWHUSUªWH  ¢  OɛDXWUH  /HV  QRPEUHX[  FRQWUDVWHV  HQWUH  OHV
LQWHUSU«WDWLRQVSRXYDQWSDUIRLV¬WUHDVVH]VLJQLILFDWLIVVɛREVHUYDLHQWSDUWRXWHVVRUWHVGHQXDQFHVJHVWXHOOHVGHIOXFWXDWLRQVG\QDPLTXHVDOODQWGHOɛLQILPHDXVDLVLVVDQWRXGH
WH[WXUHVH[SUHVVLYHVYDUL«HV&HSHQGDQWLO\DTXHOTXHVDQQ«HVHQFRUHQHGLVSRVDQW
SDV  GɛXQ  RXWLO  GH  OHFWXUH  JHVWXHOOH  SU«FLV  HW  P«WKRGLTXH  MH  Qɛ«WDLV  SDV  WRXMRXUV  HQ
PHVXUHGHG«WHUPLQHUFODLUHPHQWOHV«O«PHQWVTXLUHQGDLHQWODFRORUDWLRQGHFKDTXH
LQWHUSUªWH  XQLTXH  1ɛD\DQW  SDV  OHV  PRWV  QL  OHV  FRQQDLVVDQFHV  Q«FHVVDLUHV  SRXU  OHV
H[SOLTXHU  HW  OHV  G«FULUH  DYHF  SU«FLVLRQ  PRQ  «PHUYHLOOHPHQW  GH  Oɛ«SRTXH  «WDLW  G½
QRWDPPHQWDXFDUDFWªUHSDUIRLVLQVDLVLVVDEOHGHVGLII«UHQFHVTXHMHFRQVWDWDLV,QVSLU«H
SDUOHG«VLUGɛDSSURIRQGLUPHVU«IOH[LRQVVXUPDSURSUHSUDWLTXHGɛHQVHLJQHPHQWGHOD

Recherches en danse , Rebond1Deux visages de la Carmen de Mats Ek à l’ère du féminisme

GDQVHMɛDLHQWUHSULVGHV«WXGHVXQLYHUVLWDLUHVDXSURJUDPPHGHPD°WULVHHQGDQVHDX
G«SDUWHPHQWGHGDQVH¢OɛXQLYHUVLW«GX4X«EHF¢0RQWU«DO 84$0 R»GDQVOHFDGUHGXFRXUVmb7K«RULHHWREVHUYDWLRQGXPRXYHPHQWb}MɛDLG«FRXYHUWOHV\VWªPHGHOɛ2$0
3HXDSUªVD\DQWHXOɛRSSRUWXQLW«GɛDVVLVWHU¢ODUHFKHUFKHHQDQDO\VHGXPRXYHPHQW
VXU  OɛDSSOLFDWLRQ  GH  Oɛ2$0  GDQV  GLII«UHQWV  FRQWH[WHV  DUWLVWLTXHV  MɛDL  SX  DSSU«FLHU
GDYDQWDJHODSRUW«HGHFHWRXWLOSRXUODOHFWXUHGXPRXYHPHQW'DQVPRQH[S«ULHQFH
OHSURFHVVXVP«WKRGLTXHGHOɛ2$0PHSHUPHWGɛDUULYHU¢XQHFRPSU«KHQVLRQFODLUHSURIRQGHHWLQW«JUDOHGXPRXYHPHQWREVHUY«JU¤FH¢ODFRQVWUXFWLRQGHVHQVTXLSUHQG
IRUPHGHPDQLªUHLQ«GLWHDXIXUHW¢PHVXUHTXHMHPHWVHQUHODWLRQOHVGLII«UHQWVSDUDPªWUHVREVHUYDEOHVGXPRXYHPHQW&HODGLWMHQHSU«WHQGVSDVLJQRUHUOHVDXWUHVV\VWªPHVGHOHFWXUHGXPRXYHPHQWH[LVWDQWVPDLVQHFRQQDLVVDQWSDVVXIILVDPPHQW
OHXUIRQFWLRQQHPHQWMHQɛ«PHWVTXɛXQDYLVVRXVOɛDQJOHGHFHWWHQRXYHOOHDSSURFKH
3&HWDUWLFOHVɛLQVSLUHGXWUDYDLOILQDOGXFRXUVSU«FLW«TXLFRQVLVWDLW¢DSSOLTXHUOɛ2$0GH
PDQLªUHSUDWLTXH'XIDLWTXHOHEDOOHWCarmenGH0DWV(N HVWOɛXQHGHPHVüXYUHVFKRU«JUDSKLTXHVSU«I«U«HVMɛDLFKRLVLGɛHQIDLUHOɛDQDO\VH'DQVFHFDVOɛ2$0VɛDSSOLTXH¢FRPSDUHUOHVJHVWXHOOHVGɛ$QD/DJXQDHWGH6\OYLH*XLOOHPGHX[ILJXUHVGHODGDQVHUHFRQQXHV  ¢  OɛLQWHUQDWLRQDO  SRXU  OHXU  WHFKQLTXH  HW  OHXU  H[SUHVVLYLW«  GDQV  OHXULQWHUSU«WDWLRQGXSHUVRQQDJH&DUPHQGDQVODFKRU«JUDSKLH FU««H SRXUOD Suite Carmen8
SDUOHFKRU«JUDSKH0DWV(N /ɛH[HUFLFHDQDO\WLTXHVHIRQGHVXUOHSULQFLSHGɛ+XEHUW*RGDUGVHORQOHTXHO
mbODPRLQGUHYDULDWLRQGHODSDUWLHGXFRUSVTXLLUUDGLHOHPRXYHPHQWOHVIOXLGHVGɛLQWHQVLW«TXLOɛRUJDQLVHQWODPDQLªUHTXɛDOHGDQVHXUGɛDQWLFLSHUHWGHYLVXDOLVHUOH
PRXYHPHQWTXɛLOYDSURGXLUHWRXWFHODIDLWTXɛXQHP¬PHILJXUHQHSURGXLUDSDVSRXUDXWDQWOHP¬PHVHQVb}

bMise en contexte
4

0DWV(NGɛRULJLQHVX«GRLVHHVWVXUWRXWFRQQXSRXUDYRLU«W«OHSUHPLHUFKRU«JUDSKHHXURS«HQ  ¢  UHYLVLWHU  DYHF  VXFFªV  GH  QRPEUHXVHV  üXYUHV  GX  EDOOHW  FODVVLTXH  HQ
PRGLILDQWUDGLFDOHPHQWOHODQJDJHGHODGDQVHHWHQDFWXDOLVDQWOHVXMHW¢ODU«DOLW«
FRQWHPSRUDLQH  'DQV  VHV  FU«DWLRQV  FKRU«JUDSKLTXHV  0DWV  (N  DLPH  H[SORUHU  HQ
SURIRQGHXUOHVQRPEUHXVHVIDFHWWHVGHODSV\FKRORJLHKXPDLQHHWVɛHQJDJHLQWHQV«PHQW
GDQVOHV«PRWLRQVTXLQDLVVHQWGHVPRXYHPHQWVFHTXLFRQIªUH¢VHVSHUVRQQDJHVXQH
SU«VHQFH  SOXV  YLYDQWH  HQ  UHQGDQW  SOXV  YLVLEOHV  OHXUV  «PRWLRQV  LQW«ULHXUHV  HW  OHXUVFRQWUDGLFWLRQV$XVXMHWGHVRQVW\OHOHFKRU«JUDSKHG«FODUH¢SURSRVGHVLQWHUSUªWHVI«PLQLQHVbmb3RXUPRLLOHVWHVVHQWLHOGHG«FRXYULUHWGɛXWLOLVHUOHSRLGVHWODSXLVVDQFH
GHODGDQVHXVHb}5  OɛRULJLQH, Carmen HVW  XQH  QRXYHOOH  GH  3URVSHU  0«ULP«H  UDFRQWDQW  XQ  GUDPH
SDVVLRQQHOGDQVOɛ(VSDJQHGX;,;HVLªFOHGRQWODSURWDJRQLVWH&DUPHQHVWXQHMHXQH
ERK«PLHQQH  LQG«QLDEOHPHQW  EHOOH  V«GXFWULFH  G«OLQTXDQWH  DX  FDUDFWªUH  IRUWSURYRFDWHXU  I«URFH  HW  VDXYDJH  'DQV  OɛDGDSWDWLRQ  U«DOLV«H  SRXU  OɛRS«UD  Carmen GH*HRUJHV%L]HWELHQTXH&DUPHQ\VRLWHQFRUHG«FULWHFRPPHXQHERK«PLHQQHUHEHOOH
UXV«HHWDX[PüXUVO«JªUHVVRQFDUDFWªUHHVWQHWWHPHQWSOXV«GXOFRU«HWFLYLOLV«TXH
GDQVODQRXYHOOHGH0«ULP«H'DQVODYHUVLRQGHOɛRS«UDHOOHHVWFDUDFW«ULV«HFRPPH
OɛLQFDUQDWLRQGHODOLEHUW«I«PLQLQHUHSU«VHQWDQWDLQVLODYLFWLPHTXLVHEDWFRQWUHOHPDFKLVPHELHQTXɛHOOHVRLWHQFRUHWHLQW«HGɛXQHFRQQRWDWLRQQ«JDWLYHb

Recherches en danse , Rebond2Deux visages de la Carmen de Mats Ek à l’ère du féminisme

Carmen selon Mats Ek
6

3RXUODUHSULVHGHCarmen,0DWV(NDG«FLG«GHFRPELQHUOHVSURILOVGXSHUVRQQDJHGH&DUPHQVHORQOHVGHX[SHUVSHFWLYHVGH0«ULP«HHWGH%L]HW'DQVOHEXWGHGRQQHUVHQV¢VDSURSUHYLVLRQ0DWV(NDDGDSW«OɛKLVWRLUHGH&DUPHQ¢XQFRQWH[WHSOXVI«PLQLVWHHQHVVD\DQWGHG«SDVVHUOHFOLFK«GHODV«GXFWULFHVXOIXUHXVHHWGHOɛDPDQWPDFKR. ,OD
GRQFLQYHUV«ODSRODULW«GHVU¶OHVGHVSHUVRQQDJHVSULQFLSDX[R»&DUPHQHQD\DQWXQ
WUDYDLOHWOHSRXYRLUGHSUHQGUHGHVDPDQWVUHSU«VHQWHXQHSRVWXUHSOXVPDVFXOLQHTXLOXLGRQQHXQHSRVLWLRQOLEUHGDQVODVRFL«W«ELHQTXHFHVRLWSDUFHTXɛHOOHHQHVWH[FOXH
(QFRQWUHSDUWLHVRQDPDQW'RQ-RVHTXLFKHUFKHOHPDULDJHODV«FXULW«HWOHIR\HU
UHSU«VHQWH  XQH  SRVWXUH  SOXV  I«PLQLQH  'H  FHWWH  ID©RQ  OH  FKRU«JUDSKH  DUULYH  ¢G«SHLQGUH  OD  SURWDJRQLVWH  FRPPH  XQH  IHPPH  TXL  GH  PDQLªUH  WRWDOHPHQW
LQG«SHQGDQWHVDLWQ«JRFLHUDYHFOHGDQJHUGɛXQPRQGHPDVFXOLQU«WURJUDGHODIDLVDQWDLQVL VRUWLU GX VW«U«RW\SH GH OD V«GXFWULFH UXV«H HW YLFWLPH GX PDFKLVPH 'DQV VRQ
DGDSWDWLRQ  GH  Carmen  0DWV  (N  SU«VHQWH  XQH  IHPPH  SURYRFDWULFH  ¢  OD  SHUVRQQDOLW«FRPSOLTX«H  HW  PDVFXOLQLV«H  DX  FRPSRUWHPHQW  FRPSOH[H  HW  DQDUFKLVWH  R»  OH  IDLWGɛDERUGHUOɛDVSHFWVH[XHOGHOɛK«UR±QHGɛXQHPDQLªUHSOXVFODLUHHWSOXVFRPSU«KHQVLEOH
SRXUOHSXEOLFVRXOLJQHVDWHQGDQFH¢H[SORUHUOHFRPSRUWHPHQWKXPDLQWHOTXɛLOHVW
GDQVODYLHU«HOOH
b

Aspects méthodologiques
7,OHVW¢QRWHUTXHFHWDUWLFOHTXLIDLW«FKR¢FHOXLGɛ+DUERQQLHU'XVVDXOWHW)HUULGDQV
OHTXHOOɛ«PHUJHQFHGHOɛ2$0HWVHVIRQGHPHQWVFRQFHSWXHOVVRQWDPSOHPHQWH[SOLTX«VYLVHHVVHQWLHOOHPHQW¢LOOXVWUHUXQHGHVHVDSSOLFDWLRQVSRVVLEOHV/D  SHUWLQHQFH  GH  FKRLVLU  GHX[  H[WUDLWV  SRXU  DQDO\VHU  FKDFXQH  GHV  GHX[  LQWHUSUªWHVUHSRVH  VXU  OH  IDLW  TXH  FHX[FL  QRXV  SHUPHWWHQW  GɛDSSURIRQGLU  OɛH[SORUDWLRQ  GXSHUVRQQDJHGH&DUPHQQRXVGRQQDQWDLQVLDFFªV¢SOXVGHSDUDPªWUHVGLVWLQFWLIVHQWUH
OHVGHX[LQWHUSU«WDWLRQV'DQVOHSUHPLHUH[WUDLWQRXVOHVYR\RQVGDQVHUHQVRORDORUVTXHGDQVOHGHX[LªPHQRXVOHVYR\RQVLQWHUDJLUHQUHODWLRQDX[DXWUHVSHUVRQQDJHV/HV
H[WUDLWVGɛ$QD/DJXQDVRQWWLU«VGɛXQHYHUVLRQILOP«HSDUOHEDOOHW&XOOEHUJHQDORUV  TXH  FHX[  GH  6\OYLH  *XLOOHP  SURYLHQQHQW  GɛXQH  YHUVLRQ  SU«VHQW«H  HQ    ,O
FRQYLHQWGHSU«FLVHUTXHOɛDYDQWDJHGɛDQDO\VHUXQHQUHJLVWUHPHQWYLG«RHVWTXɛLOSHXW¬WUHOXDXWDQWGHIRLVTXHQ«FHVVDLUHHWTXɛLOSHXW¬WUHUDOHQWL¢GLII«UHQWHVYLWHVVHVFH
TXLSHUPHWGHGLVWLQJXHUGHVVXEWLOLW«VPLQLPHVGHVFRPSRVDQWHVGXPRXYHPHQW(QUHYDQFKHOɛXQHGHVHVOLPLWHVHVWTXHODFDSWXUHGHODFDP«UDQHSHUPHWGHYRLUTXɛXQH
LPDJHHQGHX[GLPHQVLRQVHQFRQWUDVWHDYHFOɛH[S«ULHQFHHQSU«VHQWLHOTXLRIIUHXQH
SHUVSHFWLYHWULGLPHQVLRQQHOOHSRXYDQW«YHLOOHUHWWRXFKHUODVHQVLELOLW«GHOɛREVHUYDWHXU¢XQQLYHDXSOXVDSSURIRQGLUHQGDQWODSHUFHSWLRQSOXVHQJOREDQWH8/DVWUXFWXUHGHFHWUDYDLOVXLWODP«WKRGRORJLHGHOɛ2$0/DSUHPLªUHSKDVHFRQVLVWH¢REVHUYHUOHVH[WUDLWV¢DQDO\VHUDYHFXQHDWWLWXGHTXLGHPDQGHGHVHODLVVHUWRXFKHUR»OɛHPSDWKLHNLQHVWK«VLTXHRSªUHODLVVDQWDORUV«PHUJHUVSRQWDQ«PHQWPHVSUHPLªUHV
LPSUHVVLRQV  HQ  DVVXPDQW  SOHLQHPHQW  PD  VXEMHFWLYLW«  'DQV  XQH  SKDVH  VXLYDQWH  MH
G«FULV  LGHQWLILH  HW  PHWV  HQ  UHODWLRQ  OHV  REVHUYDEOHV  GHV  VL[  FDW«JRULHV  GH  OD  JULOOHGɛDQDO\VH2$0TXHMHFKRLVLVGDQVFHWDUWLFOHGHSU«VHQWHUHQTXDWUHVHFWLRQVFDU¢GHX[UHSULVHVMHUHJURXSHOHVSDUDPªWUHVGHGHX[FDW«JRULHVSRXUPLHX[DUWLFXOHUPD
FRQVWUXFWLRQ  GH  VHQV  $LQVL  GH  PDQLªUH  V\VW«PDWLTXH  MɛLQWURGXLUDL  GɛDERUG

Recherches en danse , Rebond3Deux visages de la Carmen de Mats Ek à l’ère du féminisme

VXFFLQFWHPHQWFKDTXHFDW«JRULHVXLYLHGHOɛDQDO\VHGɛ$QD/DJXQDSXLVFHOOHGH6\OYLH*XLOOHP  HQ  OLHQ  DYHF  OD  RX  OHV  FDW«JRULHV  SU«VHQW«HV  $SUªV  FKDTXH  VHFWLRQ  XQH
V\QWKªVHGLVFXWHUDOHVSDUDPªWUHVVLJQLILFDWLIVTXLOHVGLVWLQJXHQWVHORQOɛREMHFWLILQLWLDOTXLHVWGHFRPSUHQGUHFRPPHQWFKDFXQHFRQVWUXLWOɛH[SUHVVLYLW«GHVDSURSUH&DUPHQ¢SDUWLUGHODSURSRVLWLRQGXFKRU«JUDSKH
b

Analyse comparative
Premières impressions – Ana Laguna24
9/DGDQVHGɛ$QDS«WLOOHWHOXQIHXGH%HQJDOHLOOXPLQDQWOɛHVSDFHHQHOOHHWDXWRXUGɛHOOH
'HVHVPRXYHPHQWVGDQV«VDXVVLV«GXLVDQWVTXɛH[SORVLIV«PDQHXQHIRUFHLQGRPSWDEOH
SURGXLVDQWVXUPRLXQLQWULJDQWUHPRXVLQWHUQHTXLHQP¬PHWHPSVPɛDWWLUH3DVVLRQURQGHXUU«EHOOLRQHWOLEHUW«VRQWOHVPRWVTXL«PHUJHQWQDWXUHOOHPHQWGHFHUHVVHQWLb

Premières impressions – Sylvie Guillem25
10/DSU«VHQFHGH6\OYLHPHVHPEOHSOXW¶WGLVWDQWHFRPPHQɛDUULYDQWSDV¢VHFRQQHFWHU¢OɛHVSDFH  6D  GDQVH  G«JDJH  XQH  EHDXW«  HVWK«WLTXH  SDU  OD  SU«FLVLRQ  GH  VD  WHFKQLTXHH[FHSWLRQQHOOHPDLVQHSURGXLWSDVVXUPRLXQHIIHW«PRWLRQQHOSDUWLFXOLHU3U«FLVLRQFRQWU¶OHVWDELOLW«PRXYHPHQWVSRLQWXVVRQWOHVPRWVTXLLOOXVWUHQWGHSULPHDERUGVRQ
LQWHUSU«WDWLRQ
b

Fond
11

'DQVOHFDGUH2$0ODFDW«JRULHFond UHJURXSHFLQTSDUDPªWUHVREVHUYDEOHVTXL«YRTXHQW  OD  WRLOH  WRQLFRSRVWXUDOH  GH  OD  SHUVRQQH  (QVHPEOH  FHV  SDUDPªWUHVFRQVWUXLVHQWXQHWRLOHGHIRQGTXLVXSSRUWHOHJHVWHbb/ɛDOLJQHPHQWSRVWXUDOTXLD
FRPPHUHSªUHXQHOLJQHJUDYLWDLUHLPDJLQDLUHTXLWUDYHUVHOHFRUSVbb/DPDQLªUHGRQW
XQHSHUVRQQHVɛRUJDQLVHDYHFODJUDYLW« Terrain fonctionnel bb/DYLVLELOLW«RXQRQGHODUHVSLUDWLRQ flux postural bb/ɛHPSUHLQWHSRVWXUDOHbb/HQLYHDXWRQLTXHGHEDVHbFond – Ana
12

3DUUDSSRUW¢ODOLJQHJUDYLWDLUHLPDJLQDLUHHQWUHODWHUUHHWOHFLHOXWLOLV«HFRPPH
U«I«UHQFHGDQVOɛalignement posturalODW¬WHGɛ$QDDWHQGDQFH¢VHPDLQWHQLUODSOXSDUWGXWHPSVO«JªUHPHQWHQDYDQWGHVDEDVHGHVXSSRUW&ɛHVWFHWDOLJQHPHQWTXLVHPEOHOɛDLGHU¢VXSSRUWHUODYLWHVVHTXɛHOOHDFTXLHUWGDQVOɛHQFKD°QHPHQWGHVHVPRXYHPHQWV
6RQ  empreinte posturale VɛLQVFULW GDQV OH  SODQ  IURQWDO, FH  TXL  OXL  FRQIªUH  XQH  TXDOLW«GɛRXYHUWXUHW«PRLJQDQWGɛXQHFHUWDLQHFRQILDQFHGDQVOɛHVSDFH/ɛ«WDWGHFRUSVGɛ$QD
G«JDJHXQWRQXVPXVFXODLUH équilibréTXLSHUPHWXQH libre circulation de sa respiration
GDQVODJOREDOLW«GHVRQFRUSV-HFRQVWDWHTXɛ$QDDWHQGDQFH¢VHUHSRXVVHUGXVRO GDQV
XQH  dynamique ascendante  FH  TXL  PɛDPªQH  ¢  SHQVHU  TXɛHOOH  PRELOLVH  XQH  stratégie
perceptivomotrice proprioceptive GDQVVRQUDSSRUW¢ODJUDYLW«b

Recherches en danse , Rebond4Deux visages de la Carmen de Mats Ek à l’ère du féminisme

Fond – Sylvie
13'DQV  Oɛalignement postural GH  6\OYLH  OD  OLJQH  JUDYLWDLUH  LPDJLQDLUH  TXL  OD  WUDYHUVHPDLQWLHQW  OHV  WURLV  YROXPHV  W¬WH  FDJH  WKRUDFLTXH  HW  EDVVLQ  DOLJQ«V  IDLVDQW  DLQVLUHVVRUWLUODverticalité de son empreinte posturale1HSHUFHYDQWTXHWUªVSHXGHPRPHQWV
GHUHO¤FKHPHQWVPXVFXODLUHVHWVHQWDQWTXɛHOOHUHWLHQWVRQSRLGVVRQ«WDWGHFRUSVPRQWUHXQ tonus plus élevéTXHFHTXHMɛDLSHU©XFKH]$QD3DUOɛXWLOLVDWLRQWUªVIU«TXHQWH
GHVRQUHJDUGTXLDQWLFLSHFRQVWDPPHQWO¢R»HOOHYDGDQVOɛHVSDFHMHIDLVOɛK\SRWKªVH
TXɛHOOHIDYRULVHXQHstratégie perceptivomotrice plutôt extéroceptive, VRXWHQXHSDUOHJHVWH
GɛmbDOOHUYHUVb}4XDQW¢VDrespirationHOOHHVWSHUFHSWLEOHPDLVSHXYLVLEOH

14(QVRPPHVDFKDQWTXHmbOHWUDYDLOGHODWRQLFLW«HVWOHSUHPLHUOLHXSDUR»OHFRUSVVH
ERXOHYHUVH  HW  VɛDQLPHb}  QRXV  SRXYRQV  DSSU«FLHU  GDQV  OD  FDW«JRULH  Fond  TXH  OD
PDQLªUH  GHV  GHX[  LQWHUSUªWHV  GɛHQJDJHU  OHXU  V\VWªPH  WRQLFRJUDYLWDLUHbɘbVRLW  OHXUFDSDFLW«¢PRGXOHUOHXU«WDWWRQLTXHHQIRQFWLRQGHOHXUVPRXYHPHQWVbɘIDLWUHVVRUWLU
XQHTXDOLW«H[SUHVVLYHSDUWLFXOLªUHTXLLPSUªJQHWRXWHOHXUGDQVH/DFRUSRU«LW«Gɛ$QD
G«JDJH  XQH  SU«VHQFH  IHUPH  YRLUH  VROLGH  TXRLTXH  WUªV  DJLOH  UDSLGH  HW  FKDOHXUHXVH
WDQGLVTXHODFRUSRU«LW«GH6\OYLHTXLVɛDEDQGRQQHPRLQV¢ODJUDYLW«GRQQH¢YRLUXQH
SU«VHQFHIRUWHHWUR\DOHPDLVSDUDGR[DOHPHQWPRLQVDQFU«HTXɛ$QDSDUFHTXɛ«WK«U«H
HW  UHWHQXH  QRWDPPHQW  GDQV  VD  UHVSLUDWLRQ  'DQV  OD  VHFWLRQ  GɛDQDO\VH  TXL  VXLW  OHV
FDW«JRULHVIntentionHW DynamiqueVRQWFRPELQ«HVb

Intention
15'DQV  OH  FDGUH  2$0  OD  FDW«JRULH  Intention G«YRLOH  OD  GLVSRVLWLRQ  LQW«ULHXUH  GH  VH
PRXYRLUTXLUHJURXSHTXDWUHSDUDPªWUHVREVHUYDEOHVb'LUHFWLRQVVSDWLDOHV¢WUDYHUVOHVTXHOOHVVHG«SORLHODUHVSLUDWLRQ spatialité du flux postural bb6\QFKURQLVDWLRQHQWUHODSRVWXUHHWOHJHVWHbb0RGXODWLRQGHODWRQLFLW«GDQVOHPRXYHPHQWbb7\SHVGH
regard intérieur, spatial, relationnel bDynamique
16/DFDW«JRULH Dynamique GH Oɛ2$0UHSUHQGJOREDOHPHQWOHVIDFWHXUVGHODWK«RULHGHV(IIRUWVGXLaban Bartenieff Movement Analysis /%$0  LQGLTX«VHQWUHSDUHQWKªVHV HQ
PRGLILDQW  FHSHQGDQW  TXHOTXHV  WHUPHV  b0RELOLVDWLRQ  GH  OD  IRUFH  LQWHUQH  SRLGV b
b5HODWLRQ¢OɛHVSDFH (VSDFH bb5HODWLRQDXWHPSV 7HPSV bb5HODWLRQDX[IRUFHV
H[WHUQHV )OX[ /HV«WDWVHWOHVSXOVLRQVGHODWK«RULHGHV(IIRUWVGX/%0$VRQWUHSULV
LQW«JUDOHPHQWPDLVHQLQW«JUDQWODPRGLILFDWLRQGHVWHUPHVSURSRV«HSDUOɛ2$0
bIntention/dynamique – Ana
17'HPDQLªUHJ«Q«UDOH$QDV\QFKURQLVHOHVJHVWHVGHVHVPHPEUHVHWGHVDW¬WHDYHFOHVPRXYHPHQWV  GH  VRQ  EXVWH. (OOH  PRQWUH  «JDOHPHQW  XQH  grande capacité à moduler sa
tonicité. &HVGHX[«O«PHQWVFRQWULEXHQW¢ODIOXLGLW«GHVDGDQVH3DUDLOOHXUVVDFDSDFLW«¢KDELWHUFRPSOªWHPHQWOɛHVSDFHHVWVRXWHQXHSDUOɛDPSOLWXGHGHVRQPRXYHPHQWHWOH
G«SORLHPHQWGHVDUHVSLUDWLRQGHPDQLªUHWULGLPHQVLRQQHOOH spatialité du flux postural (Q  FH  TXL  FRQFHUQH  VRQ  Intention, HOOH SDVVH  QRWDPPHQW  SDU  WRXWH  XQH  JDPPH  GH

Recherches en danse , Rebond

5Deux visages de la Carmen de Mats Ek à l’ère du féminisme

UHJDUGVWDQW¶WLOHVWintérieur, spatial (périphérique ou fovéal) RXrelationnelFHTXLOXL
RXYUHXQFDQDOH[SUHVVLIHQWUHVRQPRQGHLQW«ULHXUHWVRQHVSDFHH[W«ULHXU3DUUDSSRUW¢VRQLPSOLFDWLRQG\QDPLTXH$QDFRORUHVDGDQVHDYHFGHVSKUDV«VLPSDFWLILPSXOVLIGɛLQWHQVLW«  FURLVVDQWH  RX  G«FURLVVDQWH  HW  staccato  -H  FRQVWDWH  «JDOHPHQW  TXɛHOOH
VɛDEDQGRQQHIDFLOHPHQW¢ODJUDYLW« relation « sans entrave » aux forces externes G«ILDQWDLQVLOHVORLVGHOɛ«TXLOLEUH
18'DQVOHSUHPLHUH[WUDLWHOOHHVWWHOOHPHQWDFFDSDU«HSDUVRQPRQGHLQW«ULHXUMRXDQW
DYHFXQHUHODWLRQDFF«O«U«HDXWHPSVHWXQHrelation sans entrave aux forces externes WDW
PRELOH   PRELOLVDQW  P¬PH  SDUIRLV  VD  IRUFH  PXVFXODLUH  Force interne  GH  PDQLªUH
LQWHQVHTXHVRQDWWHQWLRQ¢OɛHVSDFHGLVSDUD°WJ«Q«UDQWDLQVLXQHSXOVLRQGHSDVVLRQ&HVGLII«UHQWV«O«PHQWVG\QDPLTXHVODVRXWLHQQHQWGDQVFHSUHPLHUH[WUDLWSRXUIDLUH
UHVVRUWLUXQHTXDOLW«H[SUHVVLYHGHU«EHOOLRQG«ERUGDQWGɛXQHLQWHQVLW«LQW«ULHXUHTXLVɛH[SULPHHQWRXWHOLEHUW«'DQVOHGHX[LªPHH[WUDLWOHIDLWTXɛHOOHDOWHUQH¢SOXVLHXUVUHSULVHVGHVG\QDPLTXHVTXLGHPDQGHQWXQHmobilisation intense de sa force musculaireHW
XQHUHODWLRQDFF«O«U«HDXWHPSV WDWSURFKH UHQIRUFHODSXLVVDQFHGHVDSU«VHQFH
3XLV  ORUVTXɛHOOH  HVW  HQJDJ«H  GDQV  XQH  UHODWLRQ  GɛDEDQGRQ  ¢  OD  JUDYLW«  HW  GDQV  XQH
mobilisation intense de sa force musculaire WDW  U¬YDQW  WRXW  HQ  VɛRXYUDQW  GH  PDQLªUHPXOWLGLUHFWLRQQHOOH¢OɛHVSDFHMHPHVHQVFRPPHHQYR½W«H'HPDQLªUHV\QWK«WLTXH
$QDSHXWSDVVHUDEUXSWHPHQWGɛXQHG\QDPLTXHFRQGHQV«HH[WU¬PH¢XQHG\QDPLTXH
GLODW«HH[WU¬PHLPSU«JQDQWVDGDQVHGɛXQHIRUFHV«GXFWULFHHWSDVVLRQQHOOHTXLLQFOXWWRXWOɛHVSDFHDXWRXUGɛHOOH
bIntention/dynamique – Sylvie
19/DWHQGDQFHGH6\OYLH¢OɛLQYHUVHGɛ$QDFRQVLVWHSOXW¶W¢G«SOR\HUVDJHVWXHOOH¢SDUWLU
GHVPHPEUHVHWGHODW¬WHYHUVVRQEXVWHU«GXLVDQWGHPRQSRLQWGHYXHODSRUW«H«PRWLRQQHOOHGHVHVPRXYHPHQWV4XDQGVDUHVSLUDWLRQHVWYLVLEOH flux postural HOOH
VɛLQVFULWGDQVXQHGLUHFWLRQYHUVOɛDYDQW spatialité du flux postural en s’avançant HWSDU
PRPHQWVGDQVXQHGLPHQVLRQODW«UDOH en s’ouvrant /DPRGXODWLRQWRQLTXHFKH]6\OYLH
HVW  GH  petite amplitude  SXLVTXɛHOOH  QH  YDULH  SDV  DXWDQW  TXɛ$QD  VD  WRQLFLW«  GDQV  VHV
PRXYHPHQWV /ɛDWWHQWLRQ TXɛHOOH SRUWH ¢ OɛHVSDFH VH PDQLIHVWH J«Q«UDOHPHQW SDU XQ
regard spatialTXLGDQVOHGHX[LªPHH[WUDLWGHYLHQWSDUIRLV relationnel&HGHUQLHUPH
VHPEOHFHSHQGDQWPDLQWHQLUXQHFHUWDLQHGLVWDQFHHQ«YLWDQWGHODLVVHUWUDQVSDUDLWUHOHPRLQGUHLQGLFHUHODWLI¢VRQPRQGHLQW«ULHXU/HV«O«PHQWVTXLG\QDPLVHQWVDGDQVH
GDQVOHVGHX[H[WUDLWVSDVVHQWVXUWRXWSDUGHVSKUDV«VLPSDFWLIHWLPSXOVLI/HSKUDV«FRQWLQXHVWTXDQW¢OXLLQWHUURPSX¢TXHOTXHVUHSULVHVSDUGHVDFFHQWVO«JHUV

20

7RXWDXORQJGXSUHPLHUH[WUDLW6\OYLHMRXHDYHFXQHUHODWLRQUHODWLYHPHQWDFF«O«U«HDX
WHPSVHWXQHUHODWLRQSOXW¶WFRQWU¶O«H¢ODJUDYLW« WDWPRELOH HQDMRXWDQW¢TXHOTXHVUHSULVHVXQHUHODWLRQXQLGLUHFWLRQQHOOH¢OɛHVSDFHDSSX\«HSDUVRQregard fovéal&HV
GLII«UHQWV  «O«PHQWV  G\QDPLTXHV  PH  UDPªQHQW  DX  SHUVRQQDJH  UR\DO  HPSUHLQWGɛ«O«JDQFHHWGHUDIILQHPHQWLQYHVWLGɛXQHSXOVLRQGHYLVLRQ$XFRXUVGXGHX[LªPH
H[WUDLWOHP¬PHMHXDYHFOHWHPSVODJUDYLW«HWOɛHVSDFHDSSDUD°WDYHFSOXVGHYDULDQWHV
GDQVVDUHODWLRQDXWHPSV accéléré et ralenti &HVYDULDWLRQVGHWHPSVLPSUªJQHQWVHV
PRXYHPHQWVGHFODUW«HWGHSU«FLVLRQWDQGLVTXHOHVQXDQFHVGDQVVDUHODWLRQ¢OD
JUDYLW« Force externe sans entrave et contrôlée UHVWHQWELHQ«TXLOLEU«HV3DUIRLVTXDQG
HOOHPRELOLVHVDIRUFHPXVFXODLUH Force interne HQVHUHOLDQW¢OɛHVSDFH WDWVWDEOH FHOD
FRQIªUH  ¢  VRQ  SHUVRQQDJH  XQH  LPSUHVVLRQ  Gɛ¬WUH  LQ«EUDQODEOH  (Q  ILQ  GH  FRPSWH

Recherches en danse , Rebond

6Deux visages de la Carmen de Mats Ek à l’ère du féminismeOɛH[«FXWLRQGHVDGDQVHG«JDJH¢PHV\HX[XQHJUDQGH«O«JDQFHXQHGLVWDQFHXQEULQ
DUURJDQWHELHQGLII«UHQWHGHOɛLQWHQVLW«SDVVLRQQHOOHTXHG«JDJHODGDQVHGɛ$QD
21(Q  U«VXP«  RQ  REVHUYH  ¢  TXHO  SRLQW  OHV  LPSXOVLRQV  LQW«ULHXUHV  Intention HW
Dynamique SHXYHQWIDLUHYDULHUODIRQFWLRQH[SUHVVLYHHQWUHGHX[LQWHUSUªWHVWRXWHV
GHX[HQSRVVHVVLRQGɛXQHWHFKQLTXHVROLGHGDQVOɛH[«FXWLRQGɛXQHP¬PHFKRU«JUDSKLH
$QDQRXVHQYR½WHSDUVRQLPSOLFDWLRQJ«Q«UHXVHHWSDVVLRQQHOOHGDQVVRQPRXYHPHQWWDQGLVTXH6\OYLHIDVFLQHSDUODQHWWHW«HWOɛ«O«JDQFHGHVRQJHVWH

Figure 1 (à gauche) : Ana dans la pulsion de passion
Crédits : The Cullberg Ballet, "Carmen"[Part 1]1994. Capture d’écran à 00 :08 :14
https://www.youtube.com/watch?v=_IoU4_fDLnM
Figure 2 (à droite) : Sylvie dans la pulsion de vision
Crédits : Carmen Mats Ek- Guillem Murru, 2002. Capture d’écran à 00:07:05
https://www.youtube.com/watch?v=pwWoxj-rKRA'DQV  OD  SURFKDLQH  VHFWLRQ  GɛDQDO\VH  OHV  FDW«JRULHV  Engagement HW  Espace VRQW«JDOHPHQWFRPELQ«HVbEngagement
22'DQVODFDW«JRULHEngagement GXFDGUHGHOɛ2$0FHVRQWFLQTSDUDPªWUHVREVHUYDEOHV
TXL  SHUPHWWHQW  GɛH[SULPHU  OH  UDSSRUW  JUDYLWDLUH  TXL  PRGXOH  OH  PRXYHPHQW  HW
OɛLQYHVWLVVHPHQW  GH  OɛHVSDFH  b'\QDPLTXH  VSDWLDOHb  FHQWULSªWH  RX  FHQWULIXJHb
b3URMHFWLRQVSDWLDOHbb2SSRVLWLRQVSDWLDOHbb'\QDPLTXHYHUWLFDOHbb3URMHFWLRQGX
UHJDUG
b

Espace23)RQG«H VXU OH SULQFLSH GH /DEDQ VHORQ OHTXHO OɛHVSDFH HVW G\QDPLTXH OD FDW«JRULH
Espace GXFDGUH2$0FRPSUHQGFLQTSDUDPªWUHVSRXUREVHUYHUODID©RQGRQWFHOXLFL
HVW  KDELW«  b*UDQGHXU  HW  VWDELOLW«PRELOLW«  GH  OD  NLQHVSKªUHb  b3ODQ  GH  OɛHVSDFH
SULYLO«JL«bb7UDMHWVGXPRXYHPHQWGDQVODNLQHVSKªUHbb)RUPHGHVWUDF«VGDQVOHVWURLVSODQVGHOɛHVSDFHbb*HVWDOWRXIRUPHJOREDOHGXPRXYHPHQW&HWWHQRWLRQGH*HVWDOWIDLWQRWDPPHQW«FKR¢OD*HVWDOWWK«RULHTXLHQWUHYRLWODSHUFHSWLRQFRPPHXQH
VDLVLHJOREDOHGɛXQHU«DOLW«bmbXQHG«PDUFKHDQDO\WLTXHIRQG«HVXUXQSURFHVVXVGHG«FRPSRVLWLRQGɛXQHQVHPEOHOD*HVWDOWWK«RULHHWOHVPRGªOHVTXLOXLVRQWDSSDUHQW«V
RSSRVHQWODSHUFHSWLRQFRPPHVDLVLHLPP«GLDWHGɛXQHFRQILJXUDWLRQJOREDOHb}b

Recherches en danse , Rebond

7Deux visages de la Carmen de Mats Ek à l’ère du féminisme

Engagement/Espace – Ana
24$QDVHSURMHWWHVDQVUHWHQXH projection spatiale GDQVOɛHVSDFHDYHFOɛLPS«WXRVLW«GHVRQ
IHXLQWHUQHTXLVHG«YRLOH«JDOHPHQWGDQVODprojection de son regard6DkinesphèreVH
PDLQWLHQW  grande HW  mobile  DOLPHQW«H  SDU  FHWWH  IRXJXH  TXL  OɛDQLPH  HW  OD  SRXVVH  DX
G«V«TXLOLEUH  FRQVWDQW  6HV  PRXYHPHQWV  VH  G«URXOHQW  GDQV  OHV  trois plans de l’espacebsagittalfrontalHW¢OɛRFFDVLRQhorizontal(QGHVVLQDQWGHVtracés en courbeHWen flèche
DLQVLTXɛHQsculptant son espace interneXQHSXLVVDQWH«QHUJLHVHQVXHOOHHQUHVVRUW/HV
trajets GDQV  VD  NLQHVSKªUH  VRQW  PXOWLSOHVb centraux, périphériques HW transversaux   /D
IRUPHJOREDOHGHVRQPRXYHPHQW Gestalt U«YªOHXQHV\QHUJLHVXEWLOHHQWUHOHVplanssagittal HW  frontal « balle » et « mur » FRPELQ«V   GRQQDQW  ¢  VHV  PRXYHPHQWV  XQH
LPSUHVVLRQGHURQGHXUHWKDELOODQWVHVJHVWHVGɛXQHJU¤FHV«GXFWULFH/HVoppositions
spatialesTXɛHOOHFU«HOɛDLGHQW¢MRXHUDYHFOHWHPSVUDOHQWLVDQVWRXWHIRLVSHUGUHVRQ«ODQ  /ɛHQJDJHPHQW  GDQV  XQH  dynamique spatiale centrifuge46 FRQWULEXH  ¢  FU«HU  XQH
LQWHUSU«WDWLRQ¢FDUDFWªUHSOXW¶WDUGHQWHWH[SORVLIbEngagement/Espace – Sylvie
25&KH]  6\OYLH  OɛHQJDJHPHQW  GDQV  OɛHVSDFH  HVW  LQYHVWL  GLII«UHPPHQW  &RPPH  $QD  HOOH
J«QªUHEHDXFRXSGɛoppositions spatiales HQSULYLO«JLDQWFHSHQGDQWOHVYHFWHXUVKDXWHW
EDVGɛXQHdynamique verticaleWUªVPDUTX«H/D kinesphèreGH6\OYLHHVWJUDQGHWRXWHQ
UHVWDQWstableOɛRFFDVLRQHOOHDGHVEUHIVPRPHQWVGHG«V«TXLOLEUHVDQVWRXWHIRLVVH
SHUPHWWUH  GH  VH  ODLVVHU  DOOHU  FRPSOªWHPHQW  GH  O¢  FHWWH  LPSUHVVLRQ  GɛXQH  TX¬WH  GH
VWDELOLVDWLRQHQSHUPDQHQFH6HVPRXYHPHQWVVHG«SORLHQWDXVVLGDQVOHVplanssagittal
HWfrontal(OOHGHVVLQHGDQVOɛHVSDFHGHVtracés en courbe HW en flècheVHPEODQWFHSHQGDQW¬WUHG«FRQQHFW«VGHVRQFHQWUHFU«DQWDLQVLXQHFHUWDLQHGLVWDQFHDYHFXQHSRVVLEOH«PRWLRQ/HVtrajetsGDQVVDNLQHVSKªUHVRQW centraux, périphériques HW transversaux/D
GestaltGXPRXYHPHQWPDUTXHXQHWHQGDQFHVDJLWWDOHPDLVFHOOHFLHVWWUªVLQIOXHQF«H
SDUVRQempreinte posturaleTXLVɛ«ULJHGDQVODGLPHQVLRQYHUWLFDOH3DUPRPHQWVOD
dynamique centrifugeHVWSU«VHQWHPDLVDYHFXQHLQWHQVLW«PRLQGUHTXHFKH]$QD,O\D
XQHDWWHQWLRQ¢OɛHVSDFHPDLVMHQHVXLVSDVFHUWDLQHTXHFHVRLWXQHprojection du regard
SXLVTXH OH IDLW TXH VRQ YLVDJH QH G«YRLOH SDV EHDXFRXS GɛH[SUHVVLRQ PH IDLW SOXW¶W
UHVVHQWLUTXHVRQUHJDUGDHVVHQWLHOOHPHQWXQVXSSRUWIRQFWLRQQHOSRXUVɛRULHQWHUGDQVOɛHVSDFH/ɛHQVHPEOHGHFHVSDUDPªWUHVFRQILUPHQWOɛLPSUHVVLRQTXHMɛDLHXHORUVGX
SUHPLHUYLVLRQQHPHQWGHVRQLQWHUSU«WDWLRQFHOOHGɛXQHLQWHUSUªWHGLVWDQWHHWXQSHXPRLQVHQJDJ«HTXɛ$QDGDQVOɛHVSDFH

26

3RXU  U«VXPHU  OHV  FDW«JRULHV  Engagement HW Espace QRXV  DLGHQW  ¢  FODULILHU  OHV
LPSUHVVLRQVFRQWUDVWDQWHVSDUUDSSRUW¢ODUHODWLRQ¢OɛHVSDFHGHVGHX[LQWHUSUªWHVSUHPLªUHYXHFHTXLPɛ«WDLWDSSDUXWUªVIUDSSDQWFɛHVWTXɛ$QDVHPEODLWIXVLRQQHUDYHF
OɛHVSDFH  DYHF  WRXWH  VD  FRUSRU«LW«  WDQGLV  TXH  6\OYLH  SDUDLVVDLW  QH  SDV  FRQQHFWHUFRPSOªWHPHQWDYHFVRQHVSDFHH[W«ULHXU'DQVODGDQVHGɛ$QDRQDOɛLPSUHVVLRQTXHOɛHVSDFH H[W«ULHXU GHYLHQW VRQ HVSDFH FRUSRUHO WHO TXH G«ILQL SDU -RVH *LO TXDQG LO
VRXOLJQHTXHb
mb/HFRUSVGXGDQVHXUVHG«SORLHGDQVOHFRUSVDJHQWGDQVDQWHWGDQV>ɣ@OɛHVSDFHFRUSVTXHOHPRXYHPHQWWUDYHUVHHWRFFXSHb}R»mbOɛHVSDFHLQW«ULHXUSDUWLFLSHVL
LQWLPHPHQW¢OɛHVSDFHH[W«ULHXUTXHOHPRXYHPHQWvuGHOɛH[W«ULHXUFR±QFLGHDYHF
OHPRXYHPHQWY«FXRXYXGHOɛLQW«ULHXUb}

Recherches en danse , Rebond

8Deux visages de la Carmen de Mats Ek à l’ère du féminisme

27'DQVODGDQVHGH6\OYLHLO\DDXVVLXQHprojection spatialePDLVTXLQɛLPSOLTXHSDVODU«Y«ODWLRQGHOɛHVSDFHLQW«ULHXUYHUVOɛHVSDFHH[W«ULHXU,OHVWLQW«UHVVDQWGHVRXOLJQHU
TXHSOXVLHXUVSDUDPªWUHVGHOɛHVSDFH XVDJHGHVSODQVWUDF«VWUDMHWV VRQWFRPPXQV
FKH]OHVGHX[LQWHUSUªWHVSDUFHTXɛLOVUHVVRUWHQWGHODFRQVWUXFWLRQFKRU«JUDSKLTXHGH
0DWV  (N  &HSHQGDQW  MH  UHPDUTXH  TXH  OD  Gestalt du mouvement  P¬PH  VL  HOOH  D  XQH
WHQGDQFHsagittale GDQVODFKRU«JUDSKLHHVWIRUWHPHQWFRORU«HSDUOɛempreinte posturale
GHFKDFXQH/ɛempreinte posturale IURQWDOHGɛ$QDGRQQHXQHGLPHQVLRQVSLUDO«H¢VRQ
PRXYHPHQW  ORUVTXH  FRPELQ«H  ¢  VD  Gestalt mbballe }  /ɛempreinte verticale GH  6\OYLH
VɛLQW«JUDQW¢ODURQGHXUVDJLWWDOHGHVDGestalt « balleb}OXLGRQQHSOXVGɛDQJOHVGURLWVGɛR»PDSUHPLªUHLPSUHVVLRQGHmbPRXYHPHQWVQHWVHWSRLQWXVb}/HVLPDJHVFLGHVVRXVPRQWUHQWODkinesphère mobileGɛ$QDYHUVXVODkinesphère stableGH6\OYLH

Figure 3 (à gauche) : Kinesphère mobile d’Ana
Crédits : The Cullberg Ballet, "Carmen" [Part 2]1994. Capture d’écran à 00 :01 :53
https://www.youtube.com/watch?v=Q800XvZNe5g&t=3s
Figure 4 (à droite) : Kinesphère stable de Sylvie
Crédits : Carmen Mats Ek- Guillem Murru, 2002. Capture d’écran à 00 :09 :07
https://www.youtube.com/watch?v=pwWoxj-rKRAb

Coordination
28/D  FDW«JRULH  Coordination GX  FDGUH  2$0  FRQFHUQH  OD  mbFRUSRU«LW«  FRPPH  YHFWHXUGɛDFWLRQb}HWUHJURXSHFLQTSDUDPªWUHVTXLSHUPHWWHQWGɛREVHUYHUOHVFRRUGLQDWLRQVPRWULFHVGHEDVHHWOHVSULQFLSHVFRUSRUHOVRUJDQLVDWHXUVGXPRXYHPHQWbb6FKªPH
GH  G«YHORSSHPHQW  PRWHXU  SULYLO«JL«b  b3DUWLHV  GX  FRUSV  TXL  VRQW  VWDEOHV  PRELOHVJUDYLWDLUHV  RX  GHV  DSSXLV  VSDWLDX[b  b3DUWLHV  GX  FRUSV  ¢  SDUWLU  GHVTXHOOHV  OH
PRXYHPHQW HVW LQLWL«b b3KUDV« FRUSRUHOb b)D©RQ GRQW OH regard associé synchrone,
précède, succède, dissocié HVWLPSOLTX«GDQVODCoordinationGXPRXYHPHQWbCoordination – Ana
29/D  IRUFH  H[SUHVVLYH  Gɛ$QD  FRQVLVWH  HQ  VD  FDSDFLW«  ¢  OLE«UHU  HW  ¢  PD°WULVHU  VHV
PRXYHPHQWVH[DOW«VHWIRXJXHX[&HWWHH[SUHVVLYLW«HVWVRXWHQXHSDUOHschème moteur
radiation par le nombril TXɛHOOH  SULYLO«JLH  WRXW  DX  ORQJ  GH  VD  GDQVH  *U¤FH  ¢  FHWWH
FRRUGLQDWLRQTXLRUJDQLVHVHVPRXYHPHQWV¢SDUWLUGHVRQFHQWUHVDW¬WHVHVEUDVHWVHV
MDPEHV  SHXYHQW  UD\RQQHU  HW  DFTXLªUHQW  XQH  JUDQGH  PRELOLW«  WRXW  HQ  OɛDLGDQW  ¢FRRUGRQQHU  KDUPRQLHXVHPHQW  OD  JOREDOLW«  GH  VRQ  FRUSV  &ɛHVW  DXVVL  FH  P¬PH  appui
central TXL  OXL  SHUPHW  GH  mbUDOORQJHU  OH  WHPSV  >HW@  GH  MRXLU  GH  VD  SURJUHVVLRQ b}
QRWDPPHQWORUVGHVJUDQGHVH[WHQVLRQVGXGRVTXLVHPEOHQWODFDUDFW«ULVHU/Hschème

Recherches en danse , Rebond

9Deux visages de la Carmen de Mats Ek à l’ère du féminisme

homolatéral DSSDUD°W  RFFDVLRQQHOOHPHQW  ORUV  GH  FHUWDLQV  PRXYHPHQWV  HQ  SDUWLFXOLHU
GDQVOHVSLURXHWWHV6HVEUDVVRQWDXVVLWUªVLPSOLTX«VGDQVVHVPRXYHPHQWVDYHFXQH
IRQFWLRQGɛappui spatialDLQVLTXHVHVORPEDLUHVHWVRQEDVVLQ6RQUHJDUGTXLWRXU¢WRXU anticipeRX  est associé de manière synchrone¢ VRQ PRXYHPHQW IRQFWLRQQH DXVVLFRPPH  XQ  YHFWHXU  FRRUGRQQDQW  VHV  DFWLRQV  6HV  LQLWLDWLRQV  VRQW  HVVHQWLHOOHPHQW
centrales  SDU  PRPHQWV  proximales FDJH  WKRUDFLTXH  HW  distales W¬WH   $YHF
OɛLPSUHVVLRQQDQWHDJLOLW«TXɛHOOHSDUYLHQW¢PDLQWHQLUSUDWLTXHPHQWGXG«EXW¢ODILQGH
VDGDQVHOHphrasé corporel chevauché54 HVWFHOXLTXLVHPDQLIHVWHODSOXSDUWGXWHPSVFRQWULEXDQW  ¢  UHQIRUFHU  OH  VHQWLPHQW  GɛXQH  YLYDFLW«  LQGRPSWDEOH  «PDQDQW  GH  VRQ
LQFDUQDWLRQGH&DUPHQb

Coordination – Sylvie
30/DFRORQQHGH6\OYLHWUªVDUWLFXO«HHQWUHVDW¬WHHWVRQFRFF\[G«YRLOHODSU«GRPLQDQFH
GɛXQschème moteur spinal/DIOXLGLW«GHVHVPRXYHPHQWVUHVVRUWGHFHWWHFRRUGLQDWLRQPRWULFHTXLPDLQWLHQWXQHFRQQH[LRQFRQVWDQWHHQWUHOHVH[WU«PLW«VGHVDFRORQQH
FRQQHFWLYLW«TXHOHFKRU«JUDSKHVHPEOHDYRLULQW«JU«SRXUHOOHGDQVFHWWHYHUVLRQ6D
W¬WHDJLVVDQWFRPPHappui semi-fixeIDYRULVHHWVRXWLHQWXQHGLUHFWLRQSUHVTXHFRQWLQXH
YHUVOHFLHO3DUDGR[DOHPHQWPDOJU«ODJUDQGHDPSOLWXGHTXHSHXYHQWDWWHLQGUHOHVPRXYHPHQWV  GH  VHV  MDPEHV  6\OYLH  QH  VHPEOH  SDV  WRXFKHU  OɛHVSDFH  DYHF  HOOHV  6HV
initiationsVRQWVXUWRXWdistalesW¬WHFRFF\[HWPDLQV&HTXLDWWLUHPRQDWWHQWLRQFɛHVW
TXHORUVTXɛHOOHDUURQGLWVRQWURQFGDQVXQHIOH[LRQYHUVOɛDYDQWHOOHDUWLFXOHWRXWHVVHV
YHUWªEUHV(QUHYDQFKHORUVTXɛHOOHIDLWXQHH[WHQVLRQGXGRVYHUVOɛDUULªUHVDFRORQQH
HVWLQFOLQ«HPDLVHOOHUHVWH«ULJ«HHWQHVɛHQJDJHSDVGDQVXQHFRXUEH/HVregardspré,associé synchrone HW  dissocié IRQW  SDUWLH  GH  VD  FRRUGLQDWLRQ  IRQFWLRQQHOOH  /H  phrasé
corporel successifUHQGFRPSWHGXG«URXOHPHQWSOXW¶WG«FRXS«GHVHVDFWLRQV6HORQPD
SHUFHSWLRQ  FHV  GLII«UHQWV  «O«PHQWV  GH  FRRUGLQDWLRQ  FRQWULEXHQW  ¢  PLQLPLVHU  OD
SHUVRQQDOLW«IRXJXHXVHHWH[WUDYHUWLHGXSHUVRQQDJHGH&DUPHQ

31(QU«VXP«QRXVDYRQVYXTXɛ$QDSULYLO«JLHOHschème moteur radiation par le nombrilHW
VɛRUJDQLVHGRQFGXFHQWUHYHUVOHVH[WU«PLW«VOHFHQWUHGHYHQDQWVRQVXSSRUWSULQFLSDOTXLOXLSHUPHWGɛDFTX«ULUXQHFDSDFLW«GHVɛRXYULUWRWDOHPHQWGHERXJHUHQJOREDOLW«WRXWHQOLE«UDQWVHVH[WU«PLW«VPDLVDXVVLGɛDYRLUXQHDJLOLW«UHPDUTXDEOH6\OYLHGH
VRQF¶W«DUHFRXUVDXschème moteur spinalTXLODPªQH¢DYRLUXQVXSSRUWWUªVVROLGHDXWRXUGHVDFRORQQH6HVPRXYHPHQWVVHPEOHQWVɛRUJDQLVHUGHODS«ULSK«ULHYHUVOH
FHQWUH  FRPPH  HQ  W«PRLJQHQW  VHV  initiations distales  ,O  HVW  LQW«UHVVDQW  GH  VRXOLJQHUFRPELHQXQP¬PHPRXYHPHQWSHXWG«JDJHUGHVTXDOLW«VH[SUHVVLYHVGLII«UHQWHVVHORQOH  VFKªPH  PRWHXU  FKRLVL    WLWUH  GɛLOOXVWUDWLRQ  OHV  FDSWXUHV  Gɛ«FUDQ  VXLYDQWHV  QRXVSHUPHWWHQW  GɛDSSU«FLHU  GDQV  XQ  P¬PH  PRXYHPHQW  FKRU«JUDSKLTXH  OHXUV  TXDOLW«V
H[SUHVVLYHVGLVWLQFWHV

Recherches en danse , Rebond

10Deux visages de la Carmen de Mats Ek à l’ère du féminisme

Figure 5 (à gauche) : Schème radiation par le nombril d’Ana
Crédits : The Cullberg Ballet, "Carmen" [Part 2] 1994. Capture d’écran à 00 :01 :13
https://www.youtube.com/watch?v=Q800XvZNe5g&t=3s
Figure 6 (à droite) : Schème spinal de Sylvie
Crédits : Carmen Mats Ek-Guillem Murru, 2002. Capture d’écran à 00 :08 :27
https://www.youtube.com/watch?v=pwWoxj-rKRAbSynthèse des observations
32

1RXVQHSRXYRQVSDVRFFXOWHUOHIDLWTXHOɛXWLOLVDWLRQGHODP«WKRGRORJLHGHOɛ2$0
FRPPHWRXWHDSSURFKHGɛDQDO\VHTXDOLWDWLYHGXPRXYHPHQWGɛDLOOHXUVSRXUUDLWDYRLUTXHOTXHFKRVHGHSDUDGR[DO(QHIIHWFHWWHP«WKRGHQRXVDPªQH¢WHQGUHYHUVXQH
REMHFWLYDWLRQSDUOHODQJDJHGHV«O«PHQWVTXLVLQJXODULVHXQHSHUIRUPDQFHDUWLVWLTXH
TXLHOOHUHOªYHGXVHQVLEOHDXPR\HQGHOɛDFWLYLW«GɛREVHUYDWLRQIRQGDPHQWDOHPHQW
VXEMHFWLYHb1RWUHYLV«HDYHFFHWWHP«WKRGHHVWGHSDUWDJHUQRWUHUHJDUGHQDVVXPDQW
TXHFHWWHDQDO\VHSDUOHXQSHXGHQRXV(QHIIHWHQGRQQDQWDXWDQWGɛLPSRUWDQFH¢OɛDFWLYLW«  GɛREVHUYDWLRQ  TXɛ¢  FHOOH  GɛDQDO\VH  Oɛ2$0  LQFRUSRUH  OɛH[S«ULHQFH  GH
OɛREVHUYDWHXUGDQVOɛDQDO\VHGHODSHUVRQQHREVHUY«H1RXVQRXVLQVFULYRQVHQFHODGDQVODSRVWXUHGHOɛHWKQRJUDSKHTXLQRXVUDSSHOOHTXHmbFHTXHQRXVSHUFHYRQVFHQɛHVWSDV
GHVREMHWVRXGHVIDLWV>ɣ@FHQɛHVWSDVVHXOHPHQWXQHIRUPHFɛHVWGɛDERUGHWWRXMRXUVGX
VHQVb}«WDQWHQWHQGXTXHOHVHQVTXLU«VXOWHGHQRWUHREVHUYDWLRQDQDO\VHHVWXQH
FRQVWUXFWLRQSHUVRQQHOOHHWXQLTXH1RXVDGK«URQVHQFHOD¢ODU«IOH[LRQGH-XOLH3HUULQSRXUTXLmbLOQɛ\DSDVGHVHQVLPPDQHQW¢WURXYHUPDLVXQVHQV¢FRQVWUXLUHHW¢DVVXPHUb}

33

3RXUUHYHQLU¢QRWUHDQDO\VHHOOHQRXVSHUPHWGHFRPSUHQGUHTXHP¬PHVɛLOVɛDJLWGɛXQ
P¬PHFKRU«JUDSKHGɛXQHP¬PHFKRU«JUDSKLHHWGɛXQP¬PHSHUVRQQDJHODPRLQGUH
PRGLILFDWLRQGDQVXQSDUDPªWUHGXPRXYHPHQWTXɛLOVRLWIRQFWLRQQHORXG\QDPLTXHSHXWDIIHFWHUVRQH[SUHVVLYLW«&RPPHOHVRXOLJQH3HJJ\+DFNQH\b
mb/HPRXYHPHQWGXFRUSVQɛHVWSDVXQV\PEROHSRXUUHSU«VHQWHUOɛH[SUHVVLRQLOest
OɛH[SUHVVLRQ  /HV  UHODWLRQV  DQDWRPLTXHV  HW  VSDWLDOHV  FU«HQW  GHV  V«TXHQFHV  GH
U\WKPHVGɛHIIRUWDYHFGHVFRQFRPLWDQWV«PRWLRQQHOV/HPRLQGUHFKDQJHPHQWGDQV
XQ«O«PHQWGXPRXYHPHQW FRUSVHIIRUWIRUPHHVSDFH DIIHFWHOɛDVSHFWIRQFWLRQQHODXVVLELHQTXɛH[SUHVVLIGHODFRPPXQLFDWLRQb}

34

SDUWLUGXSURFHVVXVGHWUDYDLOGH0DWV(.TXLWHQG¢FUHXVHUDXSOXVSURIRQGGHOD
SV\FK«  KXPDLQH  HW  ¢  WUDYDLOOHU  H[KDXVWLYHPHQW  DYHF  OHV  «PRWLRQV  TXL  QDLVVHQW  GHV

Recherches en danse , Rebond

11Deux visages de la Carmen de Mats Ek à l’ère du féminisme

PRXYHPHQWVGHVHVLQWHUSUªWHVQRXVDYRQVWHQW«GHPHWWUHHQOXPLªUHODULFKHVVHGH
ODG\QDPLTXHLQWHUQHGXPRXYHPHQWGɛ$QD/DJXQDHWGH6\OYLH*XLOOHP¢WUDYHUVOHXUVLQWHUSU«WDWLRQV'HVRUWHTXHOHVGHX[DUWLVWHVGRQQHQWYLHDXSHUVRQQDJHGH&DUPHQ
HQOHFRORUDQWGHOHXUSURSUHFRPSU«KHQVLRQGHODYLVLRQGɛ«PDQFLSDWLRQGHODIHPPH
SURSRV«HSDUOHFKRU«JUDSKHHWGHOHXUVLJQDWXUHPRWULFHSDUWLFXOLªUHG«ULY«HGHOHXUVFDUDFW«ULVWLTXHVFRUSRUHOOHVUHVSHFWLYHV35$LQVLSDUUDSSRUW¢ODYLVLRQGH0DWV(N$QD/DJXQDU«XVVLW¢PHWWUHHQYDOHXUODIRUFH
I«PLQLQHHWOɛLQG«SHQGDQFHTXHOHVIHPPHVGHOɛªUHDFWXHOOHU«FODPHQWGDQVOHXUTX¬WH
Gɛ«JDOLW«WRXWHQU«Y«ODQWDYHFXQHLQWHQVLW«DUGHQWHODEHDXW«HWODFRPSOH[LW«TXL
KDELWH  OD  IHPPH  'DQV  VRQ  LQWHUSU«WDWLRQ  HOOH  LQVXIIOH  ¢  &DUPHQ  XQH  SHUVRQQDOLW«H[WUDYHUWLHHWXQHVHQVXDOLW«TXHOTXHSHXVDXYDJHTXLVHFRPELQH¢Oɛ«QHUJLHUHEHOOHGX
G«VLUGɛLQG«SHQGDQFHGɛXQHVSULWOLEUH(OOHLPSUªJQHDXSHUVRQQDJHXQHIRUFHI«PLQLQH
H[SORVLYHTXLVɛH[SULPHDYHFDJLOLW«GDQVXQHDWWLWXGHGHG«ILHQYHUVOHVSHUVRQQDJHVPDVFXOLQV TXɛHOOH VHPEOH GRPSWHU GH PDQLªUH SDVVLRQQ«H HW VHORQ VHV FDSULFHV /HV
SULQFLSDX[SDUDPªWUHVGXPRXYHPHQWTXLVHPEOHQWOɛDLGHU¢FRPPXQLTXHUVHVTXDOLW«V
H[SUHVVLYHVSDUWLFXOLªUHVVRQWbODrelation sans entrave aux forces externesVDFDSDFLW«¢VH
UHO¤FKHUHW¢VHUHSUHQGUHTXLHVWVRXWHQXHSDUOHschème moteur radiation par le nombril
OHSXLVVDQWHQJDJHPHQWGDQVOɛHVSDFHSDUODprojection du regardODprojection spatialeOD
dynamique centrifugeHWODsynchronisation entre laposture et le geste

36'HVRQF¶W«HQUHODWLRQ¢ODYLVLRQGH0DWV(N6\OYLH*XLOOHPSDUYLHQW¢VRXOLJQHU
IRUWHPHQWFHWDVSHFWI«PLQLQGHQRQVRXPLVVLRQIDFH¢XQPRGªOHPDVFXOLQTXLVHPEOH
SHUGUHGHSOXVHQSOXVVRQK«J«PRQLH¢QRWUH«SRTXHWRXWHQH[SULPDQWVDEHDXW«HWVDSXLVVDQFHGɛXQHPDQLªUHUDIILQ«HTXLODLVVHQ«DQPRLQVHQWUHYRLUXQHFRPSOH[LW«VRXVMDFHQWH  6RQ  LQWHUSU«WDWLRQ  FRQIªUH  ¢  &DUPHQ  XQH  IRUFH  LQ«EUDQODEOH  ¢  WUDYHUV  XQH
SU«VHQFH  PDMHVWXHXVH  TXL  UHVSLUH  OD  FRQILDQFH  HQ  VRL  HW  UHIOªWH  XQ  WHPS«UDPHQW
G«WHUPLQ«  6D  IRUFH  I«PLQLQH  VɛH[SULPH  OLEUHPHQW  GDQV  XQH  DWWLWXGH  UHY¬WXH  GɛXQH«O«JDQFHGLVWDQWHGDQVODTXHOOHVHV«PRWLRQVVHPDQLIHVWHQWDYHFYLJXHXUPDLVDYHF
XQH  LQWHQVLW«  FRQWHQXH  /HV  SULQFLSDX[  SDUDPªWUHV  TXɛHOOH  VHPEOH  XWLOLVHU  SRXUFRPPXQLTXHU  VHV  SURSUHV  TXDOLW«V  H[SUHVVLYHV  VRQWb  OD  relation contrôlée aux forces
externes TXL  OD  IDLW  U«VLVWHU  ¢  OD  JUDYLW«  SURGXLVDQW  XQ  FHUWDLQ  GHJU«  GH  WHQVLRQPXVFXODLUHHWVRQempreinte posturale verticaleDFFHQWX«HSDUVRQschème moteur spinal

37

ODOXPLªUHGHFHWWHDQDO\VHFRPSDUDWLYHTXLDDERXWL¢GHX[FRQVWUXFWLRQVGHVHQV«ODERU«HV  ¢  OɛDLGH  GɛXQ  ODQJDJH  FRQFHSWXHO  SU«FLV  LO  QRXV  VHPEOH  LQW«UHVVDQW  GH
PHQWLRQQHUGHX[FULWLTXHVIRUPXO«HV¢SURSRVGHODFKRU«JUDSKLHCarmenGH0DWV(N/ɛXQHSXEOL«HQ GDQVODUHYXHDance Now61,DIILUPHFDW«JRULTXHPHQWVDQVWRXWHIRLVQLHUOɛH[SUHVVLYLW«GHODFKRU«JUDSKLHTXHODYHUVLRQGHCarmenSURSRV«HSDU0DWV(NHW
GDQVODTXHOOH6\OYLH*XLOOHPGDQVHOHU¶OHWLWUHSDUOHFHUWHVGHSDVVLRQPDLVTXHOXLP¬PHQɛDSDVVHQWLFHWWHSDVVLRQ«SURXYDQWSOXW¶WXQHFHUWDLQHIURLGHXU'DQVVRQSURSRV  OɛDXWHXU  DWWULEXH  VHV  LPSUHVVLRQV  ¢  OD  FKRU«JUDSKLH  GH  0DWV  (N  VDQV  VH
TXHVWLRQQHUVLHOOHVSRXUUDLHQWSURYHQLUGHOɛLQWHUSUªWH/HGHX[LªPHDUWLFOHGH
U«IªUH  «JDOHPHQW  ¢  OD  SHUIRUPDQFH  GH  6\OYLH  *XLOOHP  GDQV  Carmen  0DLV  HQ
OɛRFFXUUHQFH  OɛDXWHXU  TXL  DYDLW  G«M¢  HX  OɛRFFDVLRQ  GɛDSSU«FLHU Carmen  DYHF
OɛLQWHUSU«WDWLRQ  Gɛ$QD  /DJXQD  H[SRVH  VRQ  SRLQW  GH  YXH  HQ  FRPSDUDQW  OHV  GHX[
LQWHUSUªWHV6RQDYLVF«OªEUHFHUWDLQHPHQWODmbYLUWXRVLW«LUU«SURFKDEOHb}GH*XLOOHPPDLVOHUHVWHGHVHVLPSUHVVLRQVYDGDQVOHVHQVGHQRWUHDQDO\VHVDQVSRXUDXWDQW
H[SOLTXHU  TXHOV  VRQW  OHV  «O«PHQWV  GX  PRXYHPHQW  TXL  SURGXLVHQW  OH  FRQWUDVWH  HQWUH
HOOHV

Recherches en danse , Rebond

12Deux visages de la Carmen de Mats Ek à l’ère du féminisme

38

6LQRQSRXUUHYHQLUVXUOɛDGDSWDWLRQI«PLQLVWHGH0DWV(NP¬PHVLOHFKRU«JUDSKHYLVH¢G«FRQVWUXLUHOHVW«U«RW\SHI«PLQLQGHVRXPLVVLRQGHG«SHQGDQFHHWGHIDLEOHVVHHQ
LQYHUVDQW  V\VW«PDWLTXHPHQW  FHV  FDUDFW«ULVWLTXHV  DX  SURILW  GH  OD  GRPLQDWLRQ  GH
OɛLQG«SHQGDQFH  HW  GH  OD  IRUFH  FHOD  UHVWH  XQ  UHJDUG  PDVFXOLQ  VXU  XQH  FHUWDLQH
SHUVSHFWLYH  I«PLQLVWH  &HWWH  GHUQLªUH  SU¶QH  ILQDOHPHQW  GHV  YDOHXUV  DWWULEX«HVJ«Q«UDOHPHQW  DX[  KRPPHV  GHPHXUDQW  XQH  mbQRUPH  VRFLDOH  LQFRQWHVW«Hb}  HQ  OD
WUDQVI«UDQW  DX  SHUVRQQDJH  I«PLQLQ  /H  SRLQW  GH  YXH  I«PLQLVWH  GH  0DWV  (N  QH  IDLWILQDOHPHQWTXHFRQILUPHUXQVW«U«RW\SHDWWULEX«¢ODGDQVHHQJ«Q«UDOTXLODFRQ©RLWVHORQ  )RVWHU  FRPPH  mbXQH  P«WDSKRUH  SRXU  OD  OLEHUW«  SRXU  GHV  SRVVLELOLW«V  GH
WUDQVJUHVVLRQRXSRXUODU«DOLVDWLRQGXSODLVLUVH[XHOb}

BIBLIOGRAPHIE%(51$5'0LFKHOmb'HODFRUSRU«LW«ILFWLRQQDLUHb}Revue Internationale de PhilosophieQrb
YRObSSb
%581(/2OLYLHUmb6\OYLH*XLOOHPHVW&DUPHQb}ResMusica, musique classique et danseI«YULHU>HQOLJQH@KWWSVZZZUHVPXVLFDFRPV\OYLHJXLOOHPHVWFDUPHQSDJH
FRQVXOW«HOHQRYHPEUH
%8575DPVH\mb/ɛKLVWRLUHGHODGDQVHHWOHVGDQFHVWXGLHVDQJORDP«ULFDLQHVb}WUDG-HOHQD
5DMDNLQ/$81$<,VDEHOOH3$*66\OYLDQH GLU Mémoires et histoire en danse 3DULV/ɛ+DUPDWWDQYRObSSb
&2//2'$QQH&+$//(7+$$6-DFTXHOLQH%581'RPLQLTXHDossier Laban/LJQHGHVRUFLªUH&HQWUHQDWLRQDOGHGRFXPHQWDWLRQS«GDJRJLTXH
&277,15DSKD­O/285(,52$QJHODRéflexions sur la Forme en Analyse du Mouvement Laban (LMA) et
sur sa symbolisationUDSSRUWGHUHFKHUFKH3DQWLQ&HQWUHQDWLRQDOGHODGDQVH
&52,=(5&DOO\VWDm&DUPHQDQRWKHUSODFH %RO«UR}Culture-tops, critique des événements culturelsPDL>HQOLJQH@KWWSVZZZFXOWXUHWRSVIUFULWLTXHHYHQHPHQWRSHUDEDOOHWVPXVLTXH
FDUPHQDQRWKHUSODFHEROHURSDJHFRQVXOW«HOHQRYHPEUH
)267(56XVDQ/HLJKmb&KRUHRJUDSKLHVRI*HQGHUb}SignsQrbYRObSSb*,/-RV«mb7KH3DUDGR[LFDO%RG\b}WUDG$QGU«/HSHFNLTDR: The Drama Review, QrbYROb
SSb
*2'$5'+XEHUWmbSURSRVGHVWK«RULHVVXUOHPRXYHPHQWb}MarsyasQrbSSb*2'$5'+XEHUW/2833(/DXUHQFHmb/HG«V«TXLOLEUHIRQGDWHXU/HFRUSVGXGDQVHXUb«SUHXYHGX
U«HOb}Art Press, hors-série, 20 ans, l’histoire continue, Qrb SSb
*2'$5'+XEHUWmb&ɛHVWOHPRXYHPHQWTXLGRQQHFRUSVDXJHVWHb}MarsyasQrbMXLQ
SSb
*2'$5'+XEHUWmb/HJHVWHHWVDSHUFHSWLRQb}LQ0,&+(/0DUFHOOH*,127,VDEHOOH GLU La danse
au XXe siècle 3DULV%RUGDVSSb

Recherches en danse , Rebond

13Deux visages de la Carmen de Mats Ek à l’ère du féminisme*2'$5'+XEHUWmb)RQGILJXUH(QWUHWLHQDYHF+XEHUW*RGDUGb}LQ%289,(50DWKLHX GLU /DXVDQQH/D0DQXIDFWXUH +HVR >HQOLJQH@KWWSZZZSRXUXQDWODVGHVILJXUHVQHW
HOHPHQWIRQGILJXUHHQWUHWLHQDYHFKXEHUWJRGDUGSDJHFRQVXOW«HOHVHSWHPEUH
+$&.1(<3HQQ\Making Connections: Total Body Integration through Bartenieff Fundamentals7D\ORU)UDQFLV+66HERRNV>HQOLJQH@KWWSYLUWXROLHQXTDPFDWRXW84$0B%,%
SDJHFRQVXOW«HOHVHSWHPEUH
+$5%211,(51LFROHmb5HSU«VHQWHUOHPRXYHPHQWSRXUOHWUDQVIRUPHUb}LQ%$5%,(5-HDQ0DULH
'85$1'0DUF GLU Représenter/transformer. Débats en analyse des activités3DULV/ɛ+DUPDWWDQSSb
+$5%211,(51LFROH'866$8/7*HQHYLªYH)(55,&DWKHULQHmb8QQRXYHDXUHJDUGVXUOHOLHQ
IRQFWLRQH[SUHVVLRQHQDQDO\VHTXDOLWDWLYHGXPRXYHPHQWb/ɛ2EVHUYDWLRQ$QDO\VHGX
0RXYHPHQW 2$0 b}Recherches en dansemb2EVHUYHUDQDO\VHUHWGLUHOHJHVWHGDQV«b}Qrb>HQOLJQH@KWWSVMRXUQDOVRSHQHGLWLRQRUJGDQVHSDJHFRQVXOW«HOHDR½W
-(11,1*6/XNHmb*RRG6H[%DG6H[b}Summer Dance NowQrbYRObSSb
/$%$15XGROSKEspace dynamiqueNouvelles de danseQrb%UX[HOOHV&RQWUHGDQVH
/$3/$&(&/$9(5,(+«OªQHmb&DUPHQHWOHVFKRU«JUDSKHVGX;;HVLªFOHb}CahiersMériméeQrb
SSb
/$3/$17,1()UDQ©RLVLa Description ethnographique3DULV$UPDQGb&ROLQ
/(9,1-RUGDQm&DUPHQɛVEROG5ROH5HYHUVDO}Los Angeles TimesQRYHPEUH>HQOLJQH@KWWSVZZZODWLPHVFRPDUFKLYHVOD[SPQRYFDVWRU\KWPOSDJHFRQVXOW«HOH
DR½W
/2833(/DXUHQFHPoétique de la danse contemporaine%UX[HOOHV&RQWUHGDQVH/285(,52$QJHODEffort : l’alternance dynamique dans le mouvement 9LOOHUV&RWWHU¬WV
5HVVRXYHQDQFHV
05,0(3URVSHUCarmen3DULV5REHUW/DIIRQW
3(55,1-XOLHFigures de l’attention : cinq essais sur la spatialité en danse'LMRQ/HV3UHVVHVGXU«HO
32(6,2*LDQQDQGUHDmb0DWV(.b}LQ%5(06(50DUWKD6$1'(56/RUQD GLU Fifty contemporary
choreographers H«G /RQGUHV7D\ORU )UDQFLVH/LEUDU\
6+221(-$166RQLDmb0DWVUHWXUQVZLWK%RO«URb}Ballet 2000 QrbSSb
6'(5%(5*$QGUHDV(5,.6621%M¸UQThe Choreographer Mats Ek0RPHQW)LOP 9LGHR$%
GRFXPHQWDLUHPLQXWHVYLG«RQXP«ULTXHVLWHFRQVXOW«VHSWHPEUHKWWSVZZZ
PHGLFLWYSUR[\ELEOLRWKHTXHVXTDPFDHQGRFXPHQWDULHVFKRUHRJUDSKHUPDWVHNSDJH
FRQVXOW«HOHDR½W

NOTES
1.'$1Théorie et observation du mouvementb&RXUVREOLJDWRLUHGXSURJUDPPHGXHF\FOHDX
G«SDUWHPHQWGHGDQVH¢OɛXQLYHUVLW«GX4X«EHF¢0RQWU«DO 84$0 
2.+$5%211,(51LFROH'866$8/7*HQHYLªYH)(55,&DWKHULQHmb8QQRXYHDXUHJDUGVXUOHOLHQ
IRQFWLRQH[SUHVVLRQ  HQ  DQDO\VH  TXDOLWDWLYH  GX  PRXYHPHQWb  /ɛ2EVHUYDWLRQ$QDO\VH  GX

Recherches en danse , Rebond

14Deux visages de la Carmen de Mats Ek à l’ère du féminisme

0RXYHPHQW  2$0 b} Recherches en danse mb2EVHUYHU DQDO\VHU HW GLUH OH JHVWH GDQV«b} Qrb>HQOLJQH@KWWSVMRXUQDOVRSHQHGLWLRQRUJGDQVHSDJHFRQVXOW«HOHI«YULHU
3.3URMHWGHUHFKHUFKHbL’analyse du mouvement au service de l’étude de la corporéité en arts vivants
VRXVODGLUHFWLRQGH1LFROH+DUERQQLHU
4.ûXYUHFU««HGDQVOHFDGUHGɛXQHFRPPDQGHSRXUOɛH[SRVLWLRQXQLYHUVHOOHGH¢6«YLOOH
/(9,1-RUGDQm&DUPHQɛV%ROG5ROH5HYHUVDO}Los Angeles TimesQRYHPEUH>HQOLJQH@KWWSVZZZODWLPHVFRPDUFKLYHVOD[SPQRYFDVWRU\KWPO  SDJH  FRQVXOW«H  OH
I«YULHU
5. 6LWH  'LDJKLOHYb36b,QWHUQDWLRQDO  )HVWLYDO  RI  $UWV  mb$QD  /DJXQDb}  >HQ  OLJQH@  KWWSVZZZGLDJKLOHYSVUXHQSHUVRQVDQDODJXQDSDJHFRQVXOW«HOHDYULO
6.)57$5''RPLQLTXH7$3,(*LOOHVInvitation, Sylvie Guillem3DULV &HUFOHGɛDUW
7./(9,1-RUGDQDUWbFLW
8./$3/$&(&/$9(5,(+«OªQHmbCarmenHWOHVFKRU«JUDSKHVGX;;HVLªFOHb}Cahiers MériméeQrb
SSb
9.32(6,2*LDQQDQGUHDm0DWV(.}LQ%5(06(50DUWKD6$1'(56/RUQD GLU Fifty Contemporary
Choreographers H«G  /RQGUHV 7D\ORU )UDQFLVH/LEUDU\
10.*2'$5'+XEHUWmb/HJHVWHHWVDSHUFHSWLRQb}LQ0,&+(/0DUFHOOH*,127,VDEHOOH GLU La
danse au XXe siècle3DULV%RUGDVSSb
11.32(6,2*LDQQDQGUHD, op cit
12.6'(5%(5*$QGUHDV(5,.6621%M¸UQ The Choreographer Mats Ek0RPHQW)LOP 9LGHR$%  GRFXPHQWDLUH    PLQXWHV  YLG«R  QXP«ULTXH    >HQ  OLJQH@  KWWSVZZZPHGLFL
WYSUR[\ELEOLRWKHTXHVXTDPFDHQGRFXPHQWDULHVFKRUHRJUDSKHUPDWVHNSDJHFRQVXOW«HOHHU
VHSWHPEUH
13.32(6,2*LDQQDQGUHD, op cit
14. m)RUPHWRGLVFRYHUDQGXVHWKHZHLJKWDQGWKHSRZHURIWKHIHPDOHGDQFHULVFUXFLDO}
WUDGXLW  SDU  OɛDXWHXU  m$UWLVW  7DON  ZLWK  0DWV  (N}    PDL    >HQ  OLJQH@  KWWSV
ZZZEDOOHWRUJXNEORJGHWDLOPDWVHNZRUGVSDJHFRQVXOW«HOHPDUV
15.05,0(3URVSHUCarmen3DULV5REHUW/DIIRQW
16./$3/$&(&/$9(5,(+«OªQHDUWbFLW
17./(9,1-RUGDQDUWbFLW
18. 0DWV(NDFU««OHU¶OHGH&DUPHQSRXU$QD/DJXQDTXLHVWDXVVLVRQ«SRXVH6+221(-$16
6RQLDm0DWVUHWXUQVZLWK%RO«UR}Ballet 2000 QrbSSb
19./(9,1-RUGDQDUWbFLW
20. &52,=(5  &DOO\VWD  m&DUPHQ  $QRWKHU  3ODFH   %RO«UR}  Culture-tops, critique des événements
culturelsPDL>HQOLJQH@KWWSVZZZFXOWXUHWRSVIUFULWLTXHHYHQHPHQWRSHUDEDOOHWVPXVLTXHFDUPHQDQRWKHUSODFHEROHURSDJHFRQVXOW«HOHQRYHPEUH
21.32(6,2*LDQQDQGUHD, op cit.
/(9,1-RUGDQDUWbFLW
22. /H  V\VWªPH  2$0  HW  OHV  DFWLYLW«V  TXL  VRQW  PRELOLV«HV  GDQV  OH  SURFHVVXV  GɛREVHUYDWLRQ  GH
OɛDQDO\VWH  VRQW  FODLUHPHQW  G«WDLOO«HV  GDQV +$5%211,(5  1LFROH  '866$8/7  *HQHYLªYH  )(55,&DWKHULQHDUWbFLW
23.3RXUOɛH[SOLFDWLRQFRPSOªWHGHVFRQFHSWVGHOɛ2$0HWOHXURUJDQLVDWLRQYRLU +$5%211,(51LFROH'866$8/7*HQHYLªYH)(55,&DWKHULQHDUWbFLW
24. $QD  /DJXQDb  HU H[WUDLWb  bb  >HQ  OLJQH@  KWWSVZZZ\RXWXEHFRPZDWFKb"
Yb B,R8BI'/Q0SDJHFRQVXOW«HOHQRYHPEUH
HH[WUDLWbbb >HQOLJQH@ KWWSVZZZ\RXWXEHFRPZDWFKb"Yb 4;Y=1HJ Wb VSDJH
FRQVXOW«HOHQRYHPEUH
25. 6\OYLH  *XLOOHPb  HU H[WUDLWb  bb  >HQ  OLJQH@ KWWSVZZZ\RXWXEHFRPZDWFKb"
Yb SZ:R[MU.5$SDJHFRQVXOW«HOHQRYHPEUH

Recherches en danse , Rebond

15Deux visages de la Carmen de Mats Ek à l’ère du féminisme

H H[WUDLWb  bb  >HQ  OLJQH@ KWWSVZZZ\RXWXEHFRPZDWFKb"Yb SZ:R[MU.5$  SDJH
FRQVXOW«HOHQRYHPEUH
26.+$5%211,(51LFROH'866($8/7*HQHYLªYH)(55,&DWKHULQHDUWbFLW.
27./HVFDW«JRULHV2$0VRQWLQGLTX«HVHQJUDVHWOHVSDUDPªWUHV2$0HQLWDOLTXH
28. *2'$5'  +XEHUW  /2833(  /DXUHQFH  mb/H  G«V«TXLOLEUH  IRQGDWHXU  /H  FRUSV  GX  GDQVHXUb
«SUHXYHGXU«HOb}Art Press, hors-sériembDQVOɛKLVWRLUHFRQWLQXHb}bQrbbSSb
29. 6WUDW«JLH  SHUFHSWLYRPRWULFH  SULYLO«JL«H  mb¢  OɛRULJLQH  GH  OD  FRQVWUXFWLRQ  SK\VLTXH  HW
V\PEROLTXHGHODUHODWLRQ¢ODJUDYLW«GHFKDFXQb}*2'$5'+XEHUWmbSURSRVGHVWK«RULHVVXUOH
PRXYHPHQWb}MarsyasQrbSb
6WUDW«JLH  SURSULRFHSWLYH  G\QDPLTXH  DVFHQGDQWHbɘbmbWHUUHb}  RX  VWUDW«JLH  H[W«URFHSWLYH
G\QDPLTXHGHVFHQGDQWHbɘbmbFLHOb} ¢WUDYHUVOHVJHVWHVIRQGDWHXUV VHUHSRXVVHURXDOOHUYHUV 
30.,QVSLU«HSDUODQRWLRQGɛmbDWWLWXGHGHODIRUPHb}GDQVODWK«RULHGHODmb)RUPH-Shapeb}GX
V\VWªPH/%0$OɛHPSUHLQWHSRVWXUDOHUHQGFRPSWHGHODIRUPHJOREDOHGXFRUSV«WDQWHQWHQGX
TXHFHWWHIRUPHJOREDOHW«PRLJQHGHOɛKLVWRLUHDIIHFWLYRPRWULFHGXVXMHW
31./2833(/DXUHQFHPoétique de la danse contemporaine%UX[HOOHV&RQWUHGDQVHSb
32. *2'$5'  +XEHUW  mb&ɛHVW  OH  PRXYHPHQW  TXL  GRQQH  FRUSV  DX  JHVWHb}  Marsyas  Qrb  
SSb
33./HWHUPHFRUSRU«LW«HVWHPSUXQW«¢%(51$5'0LFKHOmb'HODFRUSRU«LW«ILFWLRQQDLUHb}Revue
Internationale de PhilosophieQrbYRObSSb
34. /285(,52  $QJHOD  Effort : l’alternance dynamique dans le mouvement  9LOOHUV&RWWHU¬WV
5HVVRXYHQDQFHV
35. /D  SXOVLRQ  GH  SDVVLRQ  FRPELQH  XQ  MHX  DYHF  OHV  G\QDPLTXHV  GH  OD  )RUFH  LQWHUQH  IRUFH
PXVFXODLUH GHV)RUFHVH[WHUQHV DEDQGRQRXU«VLVWDQFH¢ODJUDYLW« HWGX7HPSV
36. /D  SXOVLRQ  GɛHQYR½WHPHQW  FRPELQH  XQ  MHX  DYHF  OHV  G\QDPLTXHV  GH  Oɛ(VSDFH  GH  OD  )RUFH
LQWHUQH IRUFHPXVFXODLUH HWGHV)RUFHVH[WHUQHV DEDQGRQRXU«VLVWDQFH¢ODJUDYLW« 
37.&RPELQDLVRQGHVIDFWHXUVG\QDPLTXHVbPRELOLVDWLRQLQWHQVHGHODIRUFHLQWHUQHUHODWLRQXQLGLUHFWLRQQHOOH¢OɛHVSDFHUHODWLRQDFF«O«U«HDXWHPSVUHODWLRQFRQWU¶O«HDX[IRUFHH[WHUQHV
38.&RPELQDLVRQ GHV  IDFWHXUV G\QDPLTXHVb PRELOLVDWLRQ IDLEOH GH OD IRUFH LQWHUQH UHODWLRQPXOWLGLUHFWLRQQHOOH  ¢  OɛHVSDFH  UHODWLRQ  UDOHQWLH  DX  WHPSV  UHODWLRQ  VDQV  HQWUDYH  DX[  IRUFH
H[WHUQHV
39./DSXOVLRQGHYLVLRQFRPELQHXQMHXDYHFOHVG\QDPLTXHVGH7HPSVGH)RUFH([WHUQHHW
Gɛ(VSDFH
40./$%$15XGROSKEspace dynamique%UX[HOOHV1RXYHOOHVGHGDQVHSb
41.mb9ROXPHVSK«ULTXHLPDJLQDLUHTXLHQWRXUHOHFRUSVHWGRQWOɛ«WHQGXHVHOLPLWH¢ODSRUW«H
PD[LPDOHGHVPHPEUHVb}HWFHVDQVTXHODSHUVRQQHQHVHG«SODFHQLFKDQJHVDEDVHGHVXSSRUW
&2//2'$QQH&+$//(7+$$6-DFTXHOLQH%581'RPLQLTXH'RVVLHU/DEDQ/LJQHGHVRUFLªUH&HQWUHQDWLRQDOGHGRFXPHQWDWLRQS«GDJRJLTXHSb
42.mb7UDMHWVGXPRXYHPHQWGDQVODNLQHVSKªUHb}/2833(/DXUHQFHop. cit.Sb
43. /H  WUDF«  HQ  2$0  IDLW  U«I«UHQFH  DX  mbWUDF«  GH  OD  IRUPH  GURLW  HW  FRXUEHb}  'LUHFWLRQQDO
PRYHPHQWV6SRNHOLNH$UFOLNH RXmb3ODVWLFLW«GHODIRUPHb} &DUYLQJ6KDSLQJ0ROGLQJ GDQVOH/0$
44./D*HVWDOWIDLWU«I«UHQFHDX[mbDWWLWXGHVGHODIRUPHb} 6WLOO)RUPV%DVLF)RUPV6KDSH'HVLJQ
7RWDO%RG\$WWLWXGH GX/0$TXLHQGLII«UHQFLHTXDWUHLGHQWLIL«HVGHPDQLªUHP«WDSKRULTXHb
mbPXUEDOOHYLV«SLQJOHb}mb/HVGLII«UHQWHVIDPLOOHVGH)RUPHVVRQWHQTXHOTXHVRUWHXQHLPDJHɝVXEOLPLQDOHɞTXLGRQQHXQHVLJQDWXUH¢XQ«WDWGHFRUSVRX¢XQHSHUVRQQH>ɣ@/HV$WWLWXGHVSHUPHWWHQWDXVVLGɛLGHQWLILHUOHFDUDFWªUHGɛXQSHUVRQQDJH>@'DQVFHWWHFDW«JRULHRQSDUOHUDDXVVLGɛDPSOLWXGHGHFRQFDYHHWGHFRQYH[HGHFRXUEHVGɛDQJOHVDXWDQWGɛ«O«PHQWVOL«V¢XQH
VLWXDWLRQ  GRQQ«Hb}  &277,1  5DSKD­O  /285(,52  $QJHOD  Réflexions sur la Forme en Analyse duMouvement Laban (LMA) et sur sa symbolisation3DQWLQ&HQWUHQDWLRQDOGHODGDQVHSb45./$3/$17,1()UDQ©RLVLa Description ethnographique3DULV$UPDQG&ROLQSb

Recherches en danse , Rebond

16Deux visages de la Carmen de Mats Ek à l’ère du féminisme

46.0RXYHPHQWTXLYDGXFHQWUHYHUVODS«ULSK«ULH
47./DSURMHFWLRQGXUHJDUGSHXWVHUYLUGɛDSSXLVSDWLDOSRXUVHVWDELOLVHUGDQVOɛHVSDFH
48. *,/  -RVH  m7KH  3DUDGR[LFDO  %RG\}  WUDG  SDU  /(3(&.,  $QGU«  TDR/The drama Review, Qrb
YRObSSbm7KHGDQFHUɛVERG\XQIROGVLQWKHGDQFLQJERG\DJHQWDQGLQ>ɣ@WKH
ERG\VSDFHWKDWPRYHPHQWWUDYHUVHVDQGRFFXSLHV}Sb7UDGXLWSDUOɛDXWHXU
49.Ibid,m>ɣ@LQWHULRUVSDFHSDUWDNHVRLQWLPDWHO\RIH[WHULRUVSDFHWKDWPRYHPHQWseenIURPWKH
RXWVLGHFRLQFLGHVZLWKPRYHPHQWOLYHGRUVHHQIURPWKHLQVLGH}Sb7UDGXLWSDUOɛDXWHXU
50.$WWLWXGHSRVWXUDOHIRUPDQWXQHFRXUEHFRQFDYHRXFRQYH[HGDQVOHSODQVDJLWWDO9RLUDXVVLQRWHGHFHWDUWLFOH
51.*2'$5'+XEHUWmb)RQGILJXUH(QWUHWLHQDYHF+XEHUW*RGDUGb}LQ%289,(50DWKLHX GLU /DXVDQQH  /D  0DQXIDFWXUH  +HVR     >HQ  OLJQH@  KWWSZZZSRXUXQDWODVGHVILJXUHVQHW
HOHPHQWIRQGILJXUHHQWUHWLHQDYHFKXEHUWJRGDUGSDJHFRQVXOW«HOHVHSWHPEUH
52.,G«HVGɛ,UPJDUG%DUWHQLHIIHWGX%RG\0LQG&HQWHULQJp %0& TXLFURLVHQWFHOOHVGHOɛ$)&0'
53./285(,52$QJHODop cit.Sb
54./RUVGXSKUDV«FRUSRUHOFKHYDXFK«XQPRXYHPHQWQɛHVWSDVHQFRUHWHUPLQ«TXɛXQDXWUH
PRXYHPHQWG«PDUUHDYHFXQHDXWUHSDUWLHGXFRUSV
55./$3/$17,1()UDQ©RLVLa Description ethnographique3DULV$UPDQGb&ROLQSb56. 3(55,1-XOLHFigures de l’attention : cinq essais sur la spatialité en danse'LMRQ/HV3UHVVHVGXU«HOSb
57. +$&.1(<  3HJJ\  Making Connections: Total Body Integration through Bartenieff Fundamentals>@6LQJDSRUH*RUGRQDQG%UHDFK3XEOLVKHUV
58.m%RG\PRYHPHQWLVQRWDV\PEROIRUH[SUHVVLRQLWisWKHH[SUHVVLRQ$QDWRPLFDODQGVSDWLDOUHODWLRQVKLSV  FUHDWH  VHTXHQFHV  RI  HIIRUW  UK\WKPV  ZLWK  HPRWLRQDO  FRQFRPLWDQWV  7KH  VOLJKWHVW
FKDQJHLQDQ\PRYHPHQWHOHPHQW %RG\HIIRUWVKDSHVSDFH DIIHFWVWKHIXQFWLRQDODVZHOODVWKH
H[SUHVVLYHFRQWHQWRIWKHFRPPXQLFDWLRQ}Ibid.Sb7UDGXLWSDUOɛDXWHXU
59.6'(5%(5*$QGUHDV(5,.6621%M¸UQ op cit.
60. +$5%211,(51LFROHmb5HSU«VHQWHUOHPRXYHPHQWSRXUOHWUDQVIRUPHUb}LQ%$5%,(5-HDQ
0DULH  '85$1'  0DUF  GLU   Représenter/transformer. Débats en analyse des activités  3DULV/ɛ+DUPDWWDQSSb
61.-(11,1*6/XNHm*RRG6H[%DG6H[}Summer Dance NowQrbYRObSSb
62.%581(/2OLYLHUmb6\OYLH*XLOOHPHVW&DUPHQb}ResMusica,musique classique et danseI«YULHU  >HQ  OLJQH@  KWWSVZZZUHVPXVLFDFRPV\OYLHJXLOOHPHVWFDUPHQ  SDJH
FRQVXOW«HOHQRYHPEUH
63. %857  5DPVH\  mb/ɛKLVWRLUH  GH  OD  GDQVH  HW  OHV  dance studies DQJORDP«ULFDLQHVb}  WUDG  SDU
5$-$.-HOHQDLQ/$81$<,VDEHOOH3$*66\OYLDQH GLU Mémoires et histoire en danseMobiles n° 2
3DULV/ɛ+DUPDWWDQmbDUWVbb}SSb
64. mb'DQFHVHUYHVDVDPHWDSKRUIRUIUHHGRPWUDQVJUHVVLYHSRVVLELOLWLHVRUWKHUHDOL]DWLRQRI
VH[XDOSOHDVXUHb})267(56XVDQ/HLJKmb&KRUHRJUDSKLHVRI*HQGHUb} SignsQrbYROb
SSb  7UDGXFWLRQ  GH  %LDQFD  0DXUPD\U  )267(5  6XVDQ  /HLJK  mb&KRU«JUDSKLH  GX  JHQUHb}
Recherches en danse  mb7UDGXFWLRQVb}    >HQ  OLJQH@  KWWSVMRXUQDOVRSHQHGLWLRQRUJGDQVH
SDJHFRQVXOW«HOHQRYHPEUH

Recherches en danse , Rebond

17Deux visages de la Carmen de Mats Ek à l’ère du féminisme

RÉSUMÉS'DQVOHQXP«URGHRecherches en dansemb2EVHUYHUDQDO\VHUHWGLUHOHJHVWHGDQV«b}OɛDUWLFOHGH
1LFROH+DUERQQLHU*HQHYLªYH'XVVDXOWHW&DWKHULQH)HUULSU«VHQWHOHU«VXOWDWGHOHXUVUHFKHUFKHV
GDQVOHGRPDLQHGHOɛDQDO\VHTXDOLWDWLYHGXPRXYHPHQWLQWURGXLVDQWXQHQRXYHOOHSURSRVLWLRQ
FRQFHSWXHOOHTXɛHOOHVRQWQRPP«H2EVHUYDWLRQ$QDO\VHGX0RXYHPHQW 2$0 (Q«FKR¢FHWWH
QRXYHOOH  SURSRVLWLRQ  FRQFHSWXHOOH  VXU  OɛDQDO\VH  TXDOLWDWLYH  GX  PRXYHPHQW  FHW  DUWLFOH  WHQWH
GɛLOOXVWUHUDXPR\HQGɛXQHH[HPSOLILFDWLRQFRQFUªWHOɛXQHGHVPXOWLSOHVDSSOLFDWLRQVSRVVLEOHV
GHOɛDSSURFKH2$0-HSURSRVHXQHDQDO\VHFRPSDUDWLYHGHGHX[GDQVHXVHVTXLLQWHUSUªWHQWOH
P¬PHU¶OHI«PLQLQSULQFLSDOGDQVOɛüXYUHCarmenGXFKRU«JUDSKH0DWV(N/ɛREMHFWLIGHFHWWH
DQDO\VHYLVH¢LGHQWLILHUOHVSDUDPªWUHVHWOHVIDFWHXUVTXLGLVWLQJXHQWFHVGHX[LQWHUSU«WDWLRQVSRXU  DLQVL  WHQWHU  GH  PLHX[  FRPSUHQGUH  FRPPHQW  FKDFXQH  GHV  LQWHUSUªWHV  D  FRQVWUXLWOɛH[SUHVVLYLW«  GH  VD  SURSUH  &DUPHQ  ¢  SDUWLU  GH  OɛLG«H  TXH  OH  FKRU«JUDSKH  DYDLW  OXLP¬PH  GXSHUVRQQDJH,Q Recherches en danseɛV LVVXH  m2EVHUYLQJ DQDO\]LQJ DQG H[SUHVVLQJ WKH GDQFHG JHVWXUH}
1LFROH+DUERQQLHU*HQHYLªYH'XVVDXOWDQG&DWKHULQH)HUULɛVDUWLFOHSUHVHQWVWKHUHVXOWVRIWKHLUUHVHDUFK  LQ  WKH  ILHOG  RI  TXDOLWDWLYH  PRYHPHQW  DQDO\VLV  LQWURGXFLQJ  XV  WR  D  QHZ  FRQFHSWXDOSURSRVLWLRQ  ZKLFK  WKH\  FRLQHG  0RYHPHQW2EVHUYDWLRQ$QDO\VLV  02$   (FKRLQJ  WKLV  QHZ
FRQFHSWXDOIUDPHZRUNRQTXDOLWDWLYHPRYHPHQWDQDO\VLVWKLVDUWLFOHDWWHPSWVWRLOOXVWUDWHE\
PHDQV  RI  D  FRQFUHWH  H[HPSOLILFDWLRQ  RQH  RI  WKH  PXOWLSOH  SRVVLEOH  DSSOLFDWLRQV  RI  WKH  02$
DSSURDFK,SURSRVHDFRPSDUDWLYHDQDO\VLVRIWZRGDQFHUVZKRLQWHUSUHWWKHVDPHPDLQIHPDOH
UROHLQWKHEDOOHWCarmenE\WKHFKRUHRJUDSKHU0DWV(N7KHDLPRIWKHDQDO\VLVLVWRLGHQWLI\WKH
SDUDPHWHUV  DQG  IDFWRUV  WKDW  GLVWLQJXLVK  WKHVH  WZR  LQWHUSUHWDWLRQV  DQG  WKXV  WR  WU\  WR  EHWWHUXQGHUVWDQGKRZHDFKRIWKHGDQFHUVFRQVWUXFWHGWKHH[SUHVVLYHQHVVRIKHURZQ&DUPHQIURPWKH
FKRUHRJUDSKHUɛVYLVLRQRIWKHFKDUDFWHU

INDEX
Mots-clés : DQDO\VHFRPSDUDWLYH&DUPHQFRORUDWLRQH[SUHVVLYH(N 0DWV REVHUYDWLRQDQDO\VHbGXbPRXYHPHQW
Keywords : &DUPHQFRPSDUDWLYHDQDO\VLV(N 0DWV H[SUHVVLYHFRORXULQJPRYHPHQWREVHUYDWLRQDQDO\VLVAUTEUR
CITLALI JIMENEZ&LWODOL-LPHQH]DüXYU«GDQVOHGRPDLQHGHODGDQVHHQWDQWTXɛLQWHUSUªWHHWHQVHLJQDQWH(OOH
G«WLHQWXQHPD°WULVHHQGDQVHGHOɛXQLYHUVLW«GX4X«EHF¢0RQWU«DOHWHVWIRUP«H¢OɛHQWUHWLHQGɛH[SOLFLWDWLRQ(OOHWUDYDLOOHDFWXHOOHPHQWFRPPHDJHQWHGHVXSSRUW¢ODUHFKHUFKHDX
G«SDUWHPHQWGHGDQVHGHOɛXQLYHUVLW«GX4X«EHF¢0RQWU«DO 84$0 FROODERUDQWGDQVXQSURMHW
GLULJ«SDU1LFROH+DUERQQLHUHQOLHQDYHFODUHFKHUFKHVXUOɛDQDO\VHGXPRXYHPHQW6HVLQW«U¬WV
GHUHFKHUFKHSRUWHQWVXUOHVFKDPSVGHOɛHQVHLJQHPHQWGHODGDQVHODVRPDWLTXH
OɛLQWHUFRUSRUDOLW«HWOɛDQDO\VHGXPRXYHPHQWRecherches en danse , Rebond

18