{"id":83380,"date":"2026-03-13T19:58:38","date_gmt":"2026-03-13T18:58:38","guid":{"rendered":"https:\/\/lasentinelle.dz\/?p=83380"},"modified":"2026-03-13T19:58:39","modified_gmt":"2026-03-13T18:58:39","slug":"theatre-abdelkader-alloula-cavalier-des-planches","status":"publish","type":"post","link":"https:\/\/lasentinelle.dz\/index.php\/2026\/03\/13\/theatre-abdelkader-alloula-cavalier-des-planches\/","title":{"rendered":"Th\u00e9\u00e2tre\u00a0: Abdelkader Alloula, cavalier des planches"},"content":{"rendered":"\n

Il y a des absences qui ne finissent pas de peser. Le 14 mars 1994, une balle mettait fin \u00e0 la vie d’Abdelkader Alloula, l’une des figures les plus singuli\u00e8res et les plus f\u00e9condes que le th\u00e9\u00e2tre alg\u00e9rien ait jamais port\u00e9es. 32 ans plus tard, jeudi 12 mars \u00e0 Alger, la Radio alg\u00e9rienne lui rendait hommage \u00e0 travers une rencontre comm\u00e9morative plac\u00e9e sous l’intitul\u00e9 \u00e9vocateur : \u00ab Alloula : Cavalier des planches, gardien du patrimoine \u00bb<\/em>. Enregistr\u00e9e en vue d’une diffusion sur les ondes de Radio Culture ce samedi, cette \u00e9mission a r\u00e9uni acad\u00e9miciens, metteurs en sc\u00e8ne et proches du d\u00e9funt autour d’une \u0153uvre que le temps, loin d’\u00e9roder, semble continuer d’affermir. N\u00e9 en 1939 \u00e0 Oran, Abdelkader Alloula a consacr\u00e9 l’essentiel de sa vie cr\u00e9atrice \u00e0 une entreprise aussi ambitieuse que coh\u00e9rente : fonder un th\u00e9\u00e2tre alg\u00e9rien ancr\u00e9 dans les profondeurs du patrimoine populaire tout en s’ouvrant aux exigences de la modernit\u00e9 dramaturgique. C’est cette vision que les intervenants du jour se sont attach\u00e9s \u00e0 restituer, avec la pr\u00e9cision de ceux qui l’ont vu \u00e0 l’\u0153uvre et l’\u00e9motion de ceux qui, pour certains, l’ont aim\u00e9. Parmi eux, Rihab Alloula, com\u00e9dienne et fille du dramaturge, n’avait que dix ans lorsque son p\u00e8re fut assassin\u00e9 en pleine d\u00e9cennie noire. Pr\u00e9sente \u00e0 cette rencontre, elle a t\u00e9moign\u00e9 d’un lien filial nourri de \u00ab compr\u00e9hension, d’encouragements et de g\u00e9n\u00e9rosit\u00e9 \u00bb, tout en confiant qu’elle continuait encore aujourd’hui de d\u00e9couvrir cet homme \u00e0 travers les t\u00e9moignages de celles et ceux qui l’ont c\u00f4toy\u00e9. C’est par ces voix interpos\u00e9es qu’elle dit saisir mieux ses \u00ab \u00e9lans d’engagement et de d\u00e9vouement pour l’Alg\u00e9rie \u00e0 travers la pratique du 4e Art \u00bb \u2014 une fa\u00e7on de dire que l’h\u00e9ritage d’Alloula se transmet autant par les archives que par la m\u00e9moire vivante.<\/p>\n\n\n\n

Autour de la table, le directeur artistique du Th\u00e9\u00e2tre national alg\u00e9rien, Djamel Guermi, le docteur Abdelhamid Allaoui, pr\u00e9sident de la commission scientifique \u00e0 l’origine d’un ouvrage r\u00e9cemment paru sous le titre Abdelkader Alloula Ladjouad, Les \u00c9ternels<\/em>, ainsi que le dramaturge et metteur en sc\u00e8ne Omar Fetmouche ont dress\u00e9 le portrait d’un homme de th\u00e9\u00e2tre total. Le critique et enseignant \u00e0 l’universit\u00e9 Alger 2, Ahc\u00e8ne Tlilani, et le journaliste et critique de th\u00e9\u00e2tre Boubekeur Sekini ont compl\u00e9t\u00e9 ce panel de voix autoris\u00e9es.<\/p>\n\n\n\n

Tous ont insist\u00e9 sur ce que l’on pourrait appeler la double exigence d’Alloula : une exigence humaine, d’abord, faite d’\u00ab humanisme \u00bb, de \u00ab grande disposition \u00e0 \u00e9couter \u00bb et de \u00ab disponibilit\u00e9 \u00e0 aider \u00bb ; une exigence artistique, ensuite, qui ne souffrait aucune approximation. \u00ab Portant une vision sur l’avenir du th\u00e9\u00e2tre alg\u00e9rien claire et pr\u00e9cise, Abdelkader Alloula savait parfaitement ce qu’il voulait \u00bb, ont-ils soulign\u00e9, rappelant qu’il travaillait \u00ab avec une projection clairvoyante et pragmatique \u00bb sur chacun des ateliers constituant un spectacle \u2014 \u00e9criture, mise en sc\u00e8ne, sc\u00e9nographie, direction d’acteurs, \u00e9clairage, bande-son. Rien n’\u00e9tait laiss\u00e9 au hasard, rien n’\u00e9tait d\u00e9l\u00e9gu\u00e9 \u00e0 la n\u00e9gligence.<\/p>\n\n\n\n

Cette exigence se manifestait de mani\u00e8re particuli\u00e8rement frappante dans ce que le dramaturge lui-m\u00eame nommait le \u00ab th\u00e9\u00e2tre de la parole \u00bb. Alloula ciselait ses textes sur les plans \u00ab s\u00e9mantique, phonologique et phon\u00e9tique \u00bb, jusqu’\u00e0 obtenir une \u00ab uniformit\u00e9 et une ressemblance \u00bb du propos dans un rythme qu’il voulait \u00ab harmonieux de compl\u00e9mentarit\u00e9 \u00bb entre les diff\u00e9rents r\u00f4les. Ce travail de l’oreille et de la langue ne s’arr\u00eatait pas l\u00e0 : il d\u00e9veloppait parall\u00e8lement une r\u00e9flexion sur le \u00ab th\u00e9\u00e2tre de l’\u00e9coute \u00bb, interrogeant sans rel\u00e2che la mani\u00e8re dont chaque r\u00e9plique allait \u00eatre re\u00e7ue par le spectateur. Une qu\u00eate de \u00ab simplicit\u00e9 acad\u00e9mique o\u00f9 tout devait \u00eatre dit et transmis avec des corpus basiques de tous les jours, aux propos percutants et bien agenc\u00e9s \u00bb \u2014 art du quotidien \u00e9lev\u00e9 \u00e0 la hauteur d’une po\u00e9tique. C’est dans cette po\u00e9tique que s’inscrit la place accord\u00e9e \u00e0 la po\u00e9sie populaire, et notamment au melhoun, cette forme orale et chant\u00e9e profond\u00e9ment enracin\u00e9e dans la culture maghr\u00e9bine. En int\u00e9grant ces mat\u00e9riaux dans ses cr\u00e9ations, Alloula entendait promouvoir \u00ab la culture et le patrimoine alg\u00e9riens, tant sur la forme que dans les contenus, en mettant en valeur les us et les coutumes du peuple \u00bb. Le th\u00e9\u00e2tre comme acte de m\u00e9moire collective autant que comme outil d’\u00e9mancipation : telle \u00e9tait, en substance, la pr\u00e9occupation premi\u00e8re d’un artiste qui consacrait son \u0153uvre \u00e0 la \u00ab lib\u00e9ration de la pens\u00e9e de toutes les contraintes \u00bb. Pour illustrer l’ampleur de ce projet, les intervenants ont convoqu\u00e9 plusieurs pi\u00e8ces majeures du r\u00e9pertoire d’Alloula : Ladjouad<\/em>, Lagoual<\/em>, ou encore Homk Salim<\/em>, adaptation alg\u00e9rienne du Journal d’un fou<\/em> de Nicolas Gogol \u2014 preuve que le dramaturge n’h\u00e9sitait pas \u00e0 faire dialoguer le patrimoine local avec les grands textes de la litt\u00e9rature universelle. Des anecdotes et des souvenirs personnels ont \u00e9galement ponctu\u00e9 les \u00e9changes, restituant la dimension charnelle d’un artiste que ses proches d\u00e9crivent comme aussi chaleureux dans la vie qu’intransigeant sur les planches.<\/p>\n\n\n\n

L’\u00e9mission, qui sera diffus\u00e9e samedi prochain sur Radio Culture, s’inscrit dans un mouvement plus large de r\u00e9appropriation de l’\u0153uvre d’Alloula, dont t\u00e9moigne la r\u00e9cente publication collective Les \u00c9ternels<\/em>.<\/p>\n\n\n\n

M.S.<\/p>\n","protected":false},"excerpt":{"rendered":"

Il y a des absences qui ne finissent pas de peser. Le 14 mars 1994, une balle mettait fin \u00e0<\/p>\n","protected":false},"author":6,"featured_media":83381,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"colormag_page_container_layout":"default_layout","colormag_page_sidebar_layout":"default_layout","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":"","_wpscppro_dont_share_socialmedia":false,"_wpscppro_custom_social_share_image":0,"_facebook_share_type":"default","_twitter_share_type":"default","_linkedin_share_type":"default","_pinterest_share_type":"default","_linkedin_share_type_page":"","_instagram_share_type":"default","_medium_share_type":"default","_threads_share_type":"default","_google_business_share_type":"default","_selected_social_profile":[],"_wpsp_enable_custom_social_template":false,"_wpsp_social_scheduling":{"enabled":false,"datetime":null,"platforms":[],"status":"template_only","dateOption":"today","timeOption":"now","customDays":"","customHours":"","customDate":"","customTime":"","schedulingType":"absolute"},"_wpsp_active_default_template":true},"categories":[36],"tags":[],"class_list":["post-83380","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"aioseo_notices":[],"yoast_head":"\nTh\u00e9\u00e2tre\u00a0: Abdelkader Alloula, cavalier des planches - La Sentinelle<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/lasentinelle.dz\/index.php\/2026\/03\/13\/theatre-abdelkader-alloula-cavalier-des-planches\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Th\u00e9\u00e2tre\u00a0: Abdelkader Alloula, cavalier des planches - La Sentinelle\" \/>\n<meta property=\"og:description\" content=\"Il y a des absences qui ne finissent pas de peser. 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