Kateb Yacine, écrivain public

Admiração e destino

"Mon vrai maître est d’ailleurs Kateb Yacine. Il est un destin, une écriture. Pour moi Kateb Yacine est un éblouissement, une découverte. C’était le coup de foudre. Il est une œuvre monumentale. Je suis toujours collé à lui. C’est mon maître. J’étais en admiration devant lui, devant ses écrits. Il a tracé ce sillon dans la littérature. Il est allé au bout de lui-même. Kateb Yacine ne ressemble à personne, et son œuvre est unique."

Rachid Boudjedra
aqui.

Oposições múltiplas

Relação entre as personagens em
Nedjma de Kateb Yacine, por Charles Bonn

Como atravessar a narrativa e entender cada uma das faces do polígono, se, do lado de fora, Nedjma, é o espelho da estrela ao centro?

O diagrama possível

Diagrama da narrativa de Nedjma, por Marc Gontard e Jacqueline Arnaud 

O círculo solar de Nedjma

Nedjma de Kateb Yacine, por Charles Bonn, aqui.

Quando havia sangue...

"The day there were ambushes in Algeria, the day there were French casualties, the day there was blood, then the public began to be interested in Algeria. Editors began to hunt automatically for Algerians. Dib and I were published thanks to current events, the ambushes that were going on every day in the pages of France-Soir." 

Kateb Yacine

Kateb Yacine's Journey beyond Algeria and Back

"It is significant that one of the most influential and well-respected writers of the Algerian war generation selects Vietnam as the setting for a play. This choice allows Kateb to reach beyond Algeria. His work prior to L'homme questions and criticizes myriad issues: colonial institutions, social injustice, poverty, government corruption, and hypocrisy. Most of his literary endeavors are set in Algeria, and as Bernard Aresu indicates, Algeria represents a "microcosm of a broader world view" (7). With this play, however, he does not limit the setting to Algeria, his own nation; rather he adopts another country, Vietnam, as the microcosmic land. As an Algerian francophone writer, this alternative allows him to portray abuses of power in other nations beyond Algeria, while emphasizing the significance of Dien Bien Phu and the Vietnamese struggle to the world. This attempt to convey an international critique of injustice is demonstrated in the following ways: First, Kateb states an international political message and chooses a setting outside of Algeria to convey this message. Secondly, to enforce his message he employs thematic and linguistic satire, especially in order to render characters from various nations. At the same time, he draws a clear distinction between those personalities he ridicules and those he respects. Finally, he derives formal inspiration from Vietnamese popular theater. This study will first show examples of these attempts to go beyond Algeria and will then point out how this internationalizing project paradoxically leads to the local theater that makes up the remainder of Kateb's literary career. (...)"

Pamela A. Pears 

"Kateb yacine's Journey beyond Algeria and Back"

Research in African Literatures 

Volume 34, nº3, 2003 

What is the meaning of memory?

"While to this day, those in power in Algeria obstruct an honest, uncensored processing of the past, Algerian literature repeatedly tries to create a space where collective hurt and the experience of violence can be played out. This is a positive thing.

But there are also disadvantages to the domineering presence of complex thematic backdrop of violence and trauma: it distorts appreciation of other qualities offered by Algerian literature – for example its fascinating, unusual richness of form. As early as 1956, Kateb Yacine, one of the founders of modern Algerian literature, set out his legendary novel "Nedjma" as a complex tale of deliberate confusion. Since then, polyphony, distorted perspectives, intertextual references, and a play on fiction and reality have been hallmarks of Algerian novels. Where does reality end, where does literature begin? What is the meaning of memory? The sheer variety of themes addressed by Algerian literature is also staggering: Habib Tengour's literary grapplings with the issues of exile, identity and cultural globalisation are examples of world literature in every sense. (...)"

Martina Sabra

"Moving Beyond the Examination of History"

trad. de Nina Coon,Qantara.de, 2012.

Solilóquios

"Ouvriers, gens modestes

Pourquoi les gros

Vous étouffent-ils en leur graisse

Malsaine de profiteurs?"

Une bouffée de bonheur et de prise de conscience collective

Hamma Meliani

Quel a été l’apport de la tournée de Kateb Yacine avec sa pièce Mohamed prend ta valise?

Mohamed prend ta valise !a été une bouffée de bonheur et de prise de conscience collective. C’était vraiment le miroir qui nous jetait à la figure le drame de l’immigration algérienne que Yacine a si bien connu. Et puis les ingrédients du spectacle étaient captivants : chant, musique, narration, dialogues, sketches et intégration du public à l’action nous plongeaient dans la réalité de ces personnages auxquels on s’identifiait. L’apport de cette pièce venue d’Algérie jouée en franco-algérien et de sa diffusion en France a marqué les esprits par sa simplicité et par sa dramaturgie propre au génie créateur de Kateb Yacine. Enfin, on constatait qu’il existait un public sensible à la situation des immigrés et le public des émigrés était aussi nombreux que les Français. Pour tous ceux qui ont vu le spectacle au théâtre des Bouffes du Nord, c’était vraiment un moment de communion vécu entre les artistes et le public. Le théâtre de Kateb Yacine nous a impulsé un nouveau souffle pour notre créativité. Son influence irradiait sur nous tous. A moi, il m’a apporté la rigueur dans la dramaturgie, dans le traitement théâtral judicieux, le sens de la poésie dans l’écriture dramatique. L’apport de Mohamed prend ta valise ! a été considérable auprès du théâtre de l’immigration.

Hamma Meliani
em entrevista aqui.

Parce que c'est une femme

Dias 15, 16 e 17 de Novembro no Teatro de L'Étuve em Liège, Bélgica.