{"id":17010589,"date":"2025-07-10T12:35:34","date_gmt":"2025-07-10T11:35:34","guid":{"rendered":"https:\/\/kapitalis.com\/tunisie\/?p=17010589"},"modified":"2025-07-10T12:39:57","modified_gmt":"2025-07-10T11:39:57","slug":"ragouj-le-spectacle-a-dougga-reel-brut-satire-douce-et-tendresse-tragique","status":"publish","type":"post","link":"https:\/\/kapitalis.com\/tunisie\/2025\/07\/10\/ragouj-le-spectacle-a-dougga-reel-brut-satire-douce-et-tendresse-tragique\/","title":{"rendered":"\u2018\u2018Ragouj, le spectacle\u2019\u2019 \u00e0 Dougga | R\u00e9el brut, satire douce et tendresse tragique"},"content":{"rendered":"\n

Ce soir-l\u00e0, dans les ruines de Dougga, il ne s\u2019agissait pas d\u2019un simple spectacle. Ce n\u2019\u00e9tait pas un divertissement. C\u2019\u00e9tait une veill\u00e9e sacr\u00e9e. \u2018\u2018Ragouj, le spectacle\u2019\u2019 est une remont\u00e9e collective dans les couches profondes de la m\u00e9moire tunisienne. Et ce qui m\u2019a le plus touch\u00e9e, ce n\u2019est pas seulement la sc\u00e8ne. C\u2019est ce qui se passait hors sc\u00e8ne : dans les gradins, sur les visages, dans les c\u0153urs.\u00a0<\/em><\/strong>(Photos : Festival de Dougga). <\/em><\/p>\n\n\n\n

Manel Albouchi  <\/strong><\/p>\n\n\n\n\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

Mis en sc\u00e8ne par Abdelhamid Bouchnak, \u2018\u2018Ragouj, le spectacle\u2019\u2019<\/em>, est plus qu\u2019une adaptation sc\u00e9nique de la s\u00e9rie culte. C\u2019est une alchimie th\u00e9\u00e2trale : un croisement entre vid\u00e9o, danse, musique live, art populaire, geste chor\u00e9graphique et cri social. Une \u00e9criture sc\u00e9nique neuve, qui emprunte au rituel plus qu\u2019au r\u00e9cit classique. <\/p>\n\n\n\n

Sur sc\u00e8ne, 20 danseurs, un orchestre de 40 musiciens dirig\u00e9s par Hamza Bouchnak, des images projet\u00e9es, une m\u00e9moire en boucle. Et des com\u00e9diens devenus ic\u00f4nes : Fatma Ben Sa\u00efdane, Walid Ayadi, Bahri Rahali, Aziz Jebali, Fatma Sfar, Yasmine Dimassi, et bien d’autres. <\/p>\n\n\n\n

Et cette r\u00e9interpr\u00e9tation du morceau culte de H\u00e9di Guella \u00ab\u00a0\u064a\u0627 \u0647\u0644 \u062a\u0631\u0649 \u0642\u062f\u0627\u0634 \u0645\u0646 \u0641\u0631\u0637\u0637\u0648\u00a0\u00bb, par Khawla Tawes et qui m\u2019a marqu\u00e9, composent une fresque en mouvement. <\/p>\n\n\n\n

Une esth\u00e9tique \u00abragougienne\u00bb <\/h2>\n\n\n\n

Le mot s\u2019impose. Le style aussi.  <\/p>\n\n\n\n

On pourrait dire qu\u2019il s\u2019agit ici de th\u00e9\u00e2tre social. Mais c\u2019est bien plus\u2026 c\u2019est bien  organique\u2026 c\u2019est le style ragougien n\u00e9 dans la s\u00e9rie t\u00e9l\u00e9vis\u00e9e et transpos\u00e9 ici avec finesse. <\/p>\n\n\n\n

Qu\u2019est-ce que le style ragougien ? <\/p>\n\n\n\n

Un m\u00e9lange d\u2019absurde, de r\u00e9el brut, de satire douce, de lucidit\u00e9 politique et de tendresse tragique. <\/p>\n\n\n\n

Un th\u00e9\u00e2tre qui pleure en riant, qui critique sans se d\u00e9tourner de l\u2019amour, qui expose la violence tout en la transcendant. Une m\u00e9moire populaire. <\/p>\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n

Ce que j\u2019ai vu <\/h2>\n\n\n\n

Les chants de Kafon, les images d\u2019archives, les gestes r\u00e9p\u00e9titifs\u202fdans la chor\u00e9graphie d\u2019Ouma\u00efma Mana\u00ef ont transform\u00e9 les corps en langues muettes : Tout devient symbole, tout nous raconte un pays en \u00e9tat de survie po\u00e9tique. <\/p>\n\n\n\n

Ragouj incarne ce que Jung appelle le Trickster : le fou sacr\u00e9, l\u2019idiot divin, celui qui bouleverse l\u2019ordre \u00e9tabli pour r\u00e9v\u00e9ler l\u2019inconscient collectif. <\/p>\n\n\n\n

Mais ce soir-l\u00e0, une autre figure a \u00e9merg\u00e9 : celle de l\u2019Anima bless\u00e9e, ces femmes mortes dans les accidents de transport agricole. <\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

Leur souvenir, leur absence hurlante, \u00e9tait partout : dans les vid\u00e9os, dans les chants, dans les foulards color\u00e9s qui flottaient sur sc\u00e8ne et dans la salle. <\/p>\n\n\n\n

Le fil rouge  <\/h2>\n\n\n\n

Ce foulard. Je l\u2019ai vu sur les t\u00eates des danseuses. Dans les vid\u00e9os d\u2019archives. Dans le look de certaines spectatrices mordues de la s\u00e9rie, qui avaient adopt\u00e9 le style \u00abragougien\u00bb.<\/em> <\/p>\n\n\n\n

Mais pour moi, c\u2019\u00e9tait surtout le foulard de ma grand-m\u00e8re. Et de mon arri\u00e8re-grand-m\u00e8re. Un tissu simple, modeste, mais charg\u00e9 d\u2019une m\u00e9moire transg\u00e9n\u00e9rationnelle. <\/p>\n\n\n\n

Ce soir-l\u00e0, \u00e0 Dougga, sur la terre de mes m\u00e8res, le foulard \u00e9tait un drapeau. <\/p>\n\n\n\n

Le public : peuple fid\u00e8le du silence et du sacrifice <\/h2>\n\n\n\n

Ce public-l\u00e0 n\u2019a rien de mondain. Il est affam\u00e9 de sens, habit\u00e9 par un besoin de beaut\u00e9, m\u00eame dans la fatigue. <\/p>\n\n\n\n

Apr\u00e8s le spectacle r\u00e9volutionnaire, on a repris la route vers la capitale administrative, \u00e9puis\u00e9s, le c\u0153ur plein. Nous \u00e9tions un peuple \u00e9mu, silencieux, fid\u00e8le. Et je me suis dit : ce pays m\u00e9rite mieux. <\/p>\n\n\n\n

Une f\u00eate r\u00e9ussie, mais sans lendemain. Quel g\u00e2chis, quand on pense \u00e0 ce que cela aurait pu g\u00e9n\u00e9rer pour la r\u00e9gion. <\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

Car malgr\u00e9 ce succ\u00e8s populaire, aucune infrastructure, aucun h\u00e9bergement, aucune strat\u00e9gie. On aurait pu ouvrir les maisons de Dougga, faire travailler les artisans, inventer une \u00e9conomie culturelle vivante. Mais on pr\u00e9f\u00e8re laisser le miracle mourir avec l\u2019aube.  <\/p>\n\n\n\n

Une pr\u00eatresse nomm\u00e9e Fatma Ben Sa\u00efdane <\/h2>\n\n\n\n

Sur sc\u00e8ne Fatma Ben Sa\u00efdane est une pr\u00eatresse. Elle ne joue pas. Elle transperce. <\/p>\n\n\n\n

Elle est la parole qui ne tremble pas. <\/p>\n\n\n\n

Elle porte en elle toutes les m\u00e8res, toutes les blessures, tous les contes qu\u2019on n\u2019a jamais racont\u00e9s. <\/p>\n\n\n\n

Sa voix est une corde tendue entre les morts et les vivants. <\/p>\n\n\n\n

Ce que ma fille m\u2019a dit <\/h2>\n\n\n\n

Ma fille ne parle pas couramment le tunisien. Elle n\u2019a pas regard\u00e9 la s\u00e9rie. Et pourtant, \u00e0 la fin, elle m\u2019a dit : \u00abMaman, je suis ragougienne. J\u2019ai tout compris. Je veux revenir. Si c\u2019est comme \u00e7a le th\u00e9\u00e2tre je veux voir encore des spectacles.\u00bb <\/em><\/p>\n\n\n\n

Et j\u2019ai su que l\u2019essentiel avait \u00e9t\u00e9 transmis.  Car un th\u00e9\u00e2tre qui touche m\u00eame ceux qui ne comprennent pas tout le sens des mots, est un th\u00e9\u00e2tre qui parle \u00e0 l\u2019\u00e2me. Que m\u00eame les corps dansaient la v\u00e9rit\u00e9. <\/p>\n\n\n\n

Et m\u00eame pour les spectateurs qui n\u2019ont pas vu la s\u00e9rie \u2013 souvent parce qu\u2019ils ont d\u00e9sert\u00e9 les m\u00e9dias fatigu\u00e9s par leur m\u00e9diocrit\u00e9, ou \u00e0 cause de la censure sourde \u2013 le fil narratif semble peu obscur. Car ce que le th\u00e9\u00e2tre perd en continuit\u00e9, il le gagne en ouverture. <\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

Et ce qui importe ici, ce n\u2019est pas la logique du r\u00e9cit, mais la v\u00e9rit\u00e9 \u00e9motionnelle. Et surtout, la sc\u00e8ne n\u2019est pas fig\u00e9e\u202f: elle vit, respire, \u00e9volue. Contrairement \u00e0 l\u2019\u00e9cran, elle nous regarde. <\/p>\n\n\n\n

Le Tr\u00e9sor : une offrande <\/h2>\n\n\n\n

Ce spectacle est une offrande \u00e0 ceux qu\u2019on a oubli\u00e9s. Un th\u00e9\u00e2tre qui gratte, qui murmure, qui r\u00e9veille, qui d\u00e9place, qui bouscule, qui transforme. Un th\u00e9\u00e2tre d\u2019ombres, de lumi\u00e8re, de larmes et de feu. <\/p>\n\n\n\n

Et ce soir-l\u00e0, \u00e0 Dougga, malgr\u00e9 le manque de confort, malgr\u00e9 l\u2019absence de vision \u00e9tatique, malgr\u00e9 la fatigue et le froid\u2026 <\/p>\n\n\n\n

La Tunisie est vivante et elle continue de croire au miracle. <\/p>\n\n\n

\n
\"\"
Un magicien de la sc\u00e8ne appel\u00e9 Abdelhamid Bouchnak.<\/figcaption><\/figure>\n<\/div>\n\n\n

<\/p>\n\n\n\n

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