Dimension narratologique du théâtre des « exilés du langage

This paper is based on Genette’s concepts [Figures. III, 1972] and on the distinction he makes between “history”, succession of events, “narrative”, narrative statement, oral speech or writing that assumes the relationship of an event or series of events and “narration”, the act of narration. The narrative mode will be treated from theatrical works that, according to Jean-Pierre Ryngaert [2008: 10-11], appear as “imitating action, thus showing actions intended to be performed on the stage by actors”. Even more, we retain from Charaudeau and Maingueneau that “Narration (act of narrating) must be reintegrated into the broader linguistic phenomenon of enunciation (here narrative) and facts of enunciative polyphony”. [2002: 485] Applied to dramatic writing today, her ideas confront new forms of theater, such as stage writing and neo-dramatic drama, both of which profoundly question theatrical performance strategies and speaking strategies. These aspects interest us and will be treated on a corpus formed by works of “exiles of the language” (Anne Rosine Delbart, title of a study dedicated to the writers of French expression, published in 2005). The theme of the war, treated here, is in a form that recalls either its general meaning (conflict situation, with or without armed struggle) – Arezki Mellal (The Black Star) or the actual fight in the name of a cause – Darina Al Joundi (My Marseillaise). The aim is to observe how the traditional structure of theatrical writing decomposes to be recomposed in alternations of narration, dialogue, repetition, description, and how the action is born from the subtle combination of this amalgam