{"id":18157403,"date":"2025-12-30T09:23:05","date_gmt":"2025-12-30T08:23:05","guid":{"rendered":"https:\/\/kapitalis.com\/tunisie\/?p=18157403"},"modified":"2025-12-30T09:23:07","modified_gmt":"2025-12-30T08:23:07","slug":"les-fugitives-de-wafa-taboubi-linquietude-dun-avenir-nebuleux","status":"publish","type":"post","link":"https:\/\/kapitalis.com\/tunisie\/2025\/12\/30\/les-fugitives-de-wafa-taboubi-linquietude-dun-avenir-nebuleux\/","title":{"rendered":"\u2018\u2018Les Fugitives\u2019\u2019 de Wafa Taboubi | L\u2019inqui\u00e9tude d\u2019un avenir n\u00e9buleux"},"content":{"rendered":"\n

La pi\u00e8ce \u2018\u2018Les Fugitives\u2019\u2019 de Wafa Taboubi montre que l\u2019attente est une prison qui \u00e9puise les \u00e9nergies, brise les ambitions et transforme l\u2019espoir en d\u00e9sespoir. Les personnages luttent, tombent, se rel\u00e8vent, rappelant le mythe de Sisyphe.<\/em><\/strong><\/p>\n\n\n\n

Monia Kaouach<\/strong><\/p>\n\n\n\n\n\n\n\n

La pi\u00e8ce a, \u00e9galement, gagn\u00e9 le Tanit d\u2019Or, le Prix du meilleur texte, et l\u2019une de ses actrices, Lobna Noomen, a obtenu le Prix du meilleur r\u00f4le f\u00e9minin dans la comp\u00e9tition officielle de la 26e<\/sup> \u00e9dition des Journ\u00e9es th\u00e9\u00e2trales de Carthage (2025).<\/p>\n\n\n\n

La pi\u00e8ce de Wafa Taboubi a remport\u00e9 le Grand Prix de la cr\u00e9ation th\u00e9\u00e2trale ainsi que le Prix de la meilleure actrice, d\u00e9cern\u00e9 \u00e0 Fatma Ben Sa\u00efdane, dans le cadre de la comp\u00e9tition officielle des Saisons de la Cr\u00e9ation du Th\u00e9\u00e2tre national tunisien.<\/p>\n\n\n\n

\u2018\u2018Les Fugitives\u2019\u2019<\/em> a \u00e9galement d\u00e9croch\u00e9 le Grand Prix de la cr\u00e9ation th\u00e9\u00e2trale et le Prix de la meilleure actrice lors de la comp\u00e9tition officielle des Saisons de la Cr\u00e9ation du Th\u00e9\u00e2tre national tunisien et de la Fondation Abdelwahab Ayed.<\/p>\n\n\n\n

La pi\u00e8ce, \u00e9crite, mise en sc\u00e8ne et sc\u00e9nographi\u00e9e par Wafa Taboubi, a \u00e9t\u00e9 produite par Fatma Marsaoui pour le Th\u00e9\u00e2tre national. Elle r\u00e9unit sur sc\u00e8ne Oussama Hanine, Oumaima Bahri, Sabrine Omar, Mounira Zakraoui, Lobna Noomen et Fatma Ben Sa\u00efdane. Ensemble, ils incarnent l\u2019esprit d\u2019\u00e9quipe : solidaires, harmonieux, performants, ils ont pr\u00e9sent\u00e9 un travail coh\u00e9rent, abouti et captivant.<\/p>\n\n\n

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

Une souffrance permanente<\/h2>\n\n\n\n

Wafa Taboubi est partie d\u2019un \u00e9v\u00e9nement banal et routinier, qu\u2019elle a transform\u00e9 en m\u00e9ditation philosophique et existentielle, en illustrant pour le spectateur la probl\u00e9matique du transport public, la souffrance li\u00e9e \u00e0 l\u2019attente, la perte de temps et la perturbation des engagements quotidiens.<\/p>\n\n\n\n

La metteuse en sc\u00e8ne part d\u2019une situation ordinaire : des gens attendant un bus qui tarde \u00e0 venir. Leurs cous se tendent, leurs regards scrutent l\u2019horizon, la patience s\u2019\u00e9puise, la peur et la panique gagnent leurs visages.<\/p>\n\n\n\n

Finalement, ils d\u00e9cident de rejoindre leur lieu de travail \u00e0 pied, guid\u00e9s par la plus \u00e2g\u00e9e. Mais la route obscure et sans issue ne leur permet pas d\u2019avancer, les ramenant sans cesse au point de d\u00e9part. Ce qui les r\u00e9unit n\u2019est ni l\u2019amiti\u00e9 ni la parent\u00e9, mais l\u2019impasse et la peur de l\u2019inconnu. Des liens spontan\u00e9s naissent : ils discutent, se disputent, se r\u00e9concilient, se confient et expriment leurs souffrances, leur marginalisation, l\u2019oppression v\u00e9cue et l\u2019inqui\u00e9tude d\u2019un avenir n\u00e9buleux.<\/p>\n\n\n\n

L\u2019attente est une prison<\/h2>\n\n\n\n

La pi\u00e8ce montre que l\u2019attente est une prison qui \u00e9puise les \u00e9nergies, brise les ambitions et transforme l\u2019espoir en d\u00e9sespoir. Les personnages luttent, tombent, se rel\u00e8vent, rappelant le mythe de Sisyphe.<\/p>\n\n\n\n

Leur d\u00e9marche et leur souffle refl\u00e8tent leur douleur. La souffrance est exprim\u00e9e par les pas, la respiration, les gestes et les visages. La couleur rouge, ajout\u00e9e \u00e0 leurs costumes sombres, sert d\u2019alerte : l\u2019attente a trop dur\u00e9.<\/p>\n\n\n\n

Un espace vide, sombre et clos symbolise l\u2019impasse. Sans d\u00e9cor ni accessoires, l\u2019attention se concentre sur les r\u00e9cits des personnages.<\/p>\n\n\n\n

Les personnages n\u2019ont pas de noms : leurs fonctions et leurs douleurs suffisent \u00e0 les d\u00e9finir.<\/p>\n\n\n\n

Une couturi\u00e8re, un \u00e9lectricien, une aide-m\u00e9nag\u00e8re, une dipl\u00f4m\u00e9e en droit exploit\u00e9e, une enseignante pr\u00e9caire, et une barbacha<\/em> qui alerte sur l\u2019invasion du plastique.<\/p>\n\n\n\n

\u00c9garement et errance partag\u00e9s<\/h2>\n\n\n\n

La pi\u00e8ce place le public face \u00e0 des r\u00e9alit\u00e9s quotidiennes, provoquant empathie et identification.<\/p>\n\n\n\n

Le titre au f\u00e9minin pluriel rend hommage aux femmes, premi\u00e8res victimes de la pr\u00e9carit\u00e9 et de la marginalisation.<\/p>\n\n\n\n

L\u2019autrice ne propose pas de d\u00e9nouement ferm\u00e9, laissant au spectateur le soin d\u2019interpr\u00e9ter la conclusion.<\/p>\n","protected":false},"excerpt":{"rendered":"

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