{"id":19541769,"date":"2026-08-31T09:10:58","date_gmt":"2026-08-31T08:10:58","guid":{"rendered":"https:\/\/kapitalis.com\/tunisie\/?p=19541769"},"modified":"2026-08-31T09:10:59","modified_gmt":"2026-08-31T08:10:59","slug":"al-harraz-ou-le-malhoun-entre-ruse-theatre-et-memoire","status":"publish","type":"post","link":"https:\/\/kapitalis.com\/tunisie\/2026\/08\/31\/al-harraz-ou-le-malhoun-entre-ruse-theatre-et-memoire\/","title":{"rendered":"\u2018\u2018Al-Harraz\u2019\u2019 ou le malhoun entre ruse, th\u00e9\u00e2tre et m\u00e9moire"},"content":{"rendered":"\n

Avec \u2018\u2018Al-Harraz ou \u00catre le diable et jouer fleur\u2019\u2019 (<\/em>\u0627\u0644\u062d\u0631\u0627\u0632 \u0623\u0648 \u0641\u064a \u062b\u064a\u0627\u0628\u0647 \u0645\u0633\u0644\u0645 \u0648\u0641\u0639\u0627\u064a\u0644\u0647 \u0631\u0648\u0645\u064a\u0629)* , Abdelfattah Nissabouri remet sur le devant de la sc\u00e8ne une \u0153uvre o\u00f9 la po\u00e9sie, le th\u00e9\u00e2tre et la tradition orale marocaine se r\u00e9pondent. Publi\u00e9 le 13 novembre 2025 aux \u00c9ditions L\u2019Harmattan, dans la collection \u2018Th\u00e9\u00e2tre des cinq continents\u2019, ce volume bilingue fran\u00e7ais-arabe propose une traduction fid\u00e8le d\u2019un c\u00e9l\u00e8bre po\u00e8me narratif du<\/em><\/strong> malhoun.<\/em><\/strong><\/p>\n\n\n\n

Djamal Guettala<\/strong><\/p>\n\n\n\n\n\n\n\n

Ma\u00eetre de conf\u00e9rences en langue arabe \u00e0 l\u2019Universit\u00e9 Rennes 2, Nissabouri entreprend ici un travail qui d\u00e9passe la simple transposition linguistique. Traduire le malhoun<\/em> suppose de pr\u00e9server une histoire, certes, mais aussi une cadence, des images, des sonorit\u00e9s et une mani\u00e8re particuli\u00e8re de faire vivre le r\u00e9cit. Le fran\u00e7ais accompagne donc l\u2019arabe sans chercher \u00e0 l\u2019effacer. L\u2019intrigue poss\u00e8de la simplicit\u00e9 efficace des r\u00e9cits populaires. Un mari jaloux, le \u2018\u2018Harraz\u2019\u2019<\/em>, surveille \u00e9troitement sa jeune et belle \u00e9pouse. <\/p>\n\n\n\n

Gardien inflexible, v\u00e9ritable cerb\u00e8re domestique, il interdit \u00e0 quiconque de s\u2019approcher de celle qu\u2019il entend garder pour lui seul. La maison devient forteresse, la jalousie devient loi. Face \u00e0 cette surveillance, l\u2019amoureux n\u2019a qu\u2019une arme : l\u2019intelligence du d\u00e9tour. D\u00e9guisement apr\u00e8s d\u00e9guisement, stratag\u00e8me apr\u00e8s stratag\u00e8me, l\u2019homme cherche \u00e0 tromper la vigilance du gardien et \u00e0 p\u00e9n\u00e9trer dans la maison. Chaque transformation apporte son lot de situations comiques et de retournements. Le rire s\u2019installe l\u00e0 o\u00f9 l\u2019autorit\u00e9 pensait avoir tout verrouill\u00e9. Sous la farce, pourtant, affleurent des questions moins l\u00e9g\u00e8res : le d\u00e9sir, la possession, la jalousie, la surveillance et la libert\u00e9. La force du r\u00e9cit tient pr\u00e9cis\u00e9ment \u00e0 cette capacit\u00e9 \u00e0 faire passer une observation sociale par le plaisir du conte.<\/p>\n\n\n\n

Quand Tayeb Saddiki fait du malhoun une affaire de th\u00e9\u00e2tre<\/h2>\n\n\n\n

L\u2019histoire d\u2019\u2018\u2018Al-Harraz\u2019\u2019<\/em> reste ins\u00e9parable de Tayeb Saddiki. En 1970, le dramaturge marocain porte \u2018\u2018Al-Harraz Aouicha\u2019\u2019<\/em>, c\u00e9l\u00e8bre qasida<\/em> attribu\u00e9e au po\u00e8te El Mekki Ben El Korchi, sur la sc\u00e8ne du Th\u00e9\u00e2tre municipal de Casablanca. La rencontre entre Saddiki et le malhoun<\/em> produit alors une forme th\u00e9\u00e2trale singuli\u00e8re. Le po\u00e8me ne sert pas d\u2019habillage \u00e0 l\u2019action : il en devient la structure. Les chants accompagnent les personnages, rythment les \u00e9changes, relancent l\u2019intrigue et donnent \u00e0 la repr\u00e9sentation sa couleur populaire. La t\u00e9l\u00e9vision contribuera ensuite \u00e0 faire conna\u00eetre le spectacle \u00e0 un public plus vaste.<\/p>\n\n\n\n

Plusieurs artistes associ\u00e9s \u00e0 cette g\u00e9n\u00e9ration deviendront des figures majeures de la musique marocaine, notamment dans l\u2019univers de Nass El Ghiwane et de Jil Jilala. \u2018\u2018Al-Harraz\u2019\u2019<\/em> s\u2019inscrit ainsi dans cette p\u00e9riode o\u00f9 th\u00e9\u00e2tre, po\u00e9sie et musique participent ensemble \u00e0 une profonde effervescence culturelle au Maroc. La sc\u00e8ne de Casablanca appartient d\u00e9sormais \u00e0 l\u2019histoire. Mais l\u2019\u0153uvre n\u2019a pas disparu.<\/p>\n\n\n\n

Une traduction fid\u00e8le au c\u0153ur de l\u2019oralit\u00e9<\/h2>\n\n\n\n

Des d\u00e9cennies apr\u00e8s la cr\u00e9ation th\u00e9\u00e2trale, Abdelfattah Nissabouri retrouve l\u2019enregistrement vid\u00e9o int\u00e9gral du spectacle. Les images portent les marques du temps ; les voix, elles, conservent leur pr\u00e9sence. Cette red\u00e9couverte donne naissance \u00e0 un travail patient de transcription, de traduction et de commentaire. La difficult\u00e9 est consid\u00e9rable. Comment faire passer en fran\u00e7ais une po\u00e9sie n\u00e9e pour \u00eatre d\u00e9clam\u00e9e et chant\u00e9e ? Comment restituer une darija dont le rythme et les sonorit\u00e9s participent pleinement au sens ? Nissabouri choisit la fid\u00e9lit\u00e9 plut\u00f4t que la r\u00e9\u00e9criture. Le texte arabe conserve toute sa place dans l\u2019ouvrage, accompagn\u00e9 de sa traduction fran\u00e7aise. Les dialogues sont pr\u00e9sent\u00e9s en graphie arabe et organis\u00e9s pour faciliter le rep\u00e9rage. La qasida<\/em> originale est reproduite et comment\u00e9e, tandis que les conventions de transcription explicitent les choix linguistiques. Cette pr\u00e9sentation bilingue permet de lire autrement le malhoun<\/em>. Le fran\u00e7ais donne acc\u00e8s au r\u00e9cit et \u00e0 ses nuances ; l\u2019arabe conserve la musique originelle des mots. Entre les deux, aucune langue n\u2019est sacrifi\u00e9e. Cette fid\u00e9lit\u00e9 prend une importance particuli\u00e8re lorsqu\u2019on mesure ce que repr\u00e9sente le malhoun<\/em> dans l\u2019histoire culturelle marocaine.<\/p>\n\n\n\n

Po\u00e9sie dialectale chant\u00e9e, populaire sans \u00eatre d\u00e9pourvue de raffinement, cette tradition a longtemps accompagn\u00e9 les f\u00eates, les veill\u00e9es et les grands moments de la vie sociale. Amour, spiritualit\u00e9, satire, quotidien, sagesse et observation des comportements humains s\u2019y m\u00ealent dans une langue capable de passer du rire \u00e0 la gravit\u00e9. \u2018\u2018Al-Harraz\u2019\u2019<\/em> porte cette richesse. Derri\u00e8re l\u2019amoureux rus\u00e9 et le mari jaloux apparaissent les codes d\u2019une soci\u00e9t\u00e9, ses interdits, ses rapports de pouvoir et ses contradictions. La com\u00e9die permet de les regarder sans les alourdir.<\/p>\n\n\n\n

La reconnaissance du malhoun<\/em> comme patrimoine culturel immat\u00e9riel de l\u2019humanit\u00e9 par l\u2019Unesco, en 2023, est venue consacrer l\u2019importance de cette tradition. Le livre de Nissabouri apporte une nouvelle pi\u00e8ce \u00e0 cette entreprise de connaissance et de sauvegarde, en ouvrant le texte \u00e0 un lectorat francophone. L\u2019int\u00e9r\u00eat de l\u2019ouvrage r\u00e9side pr\u00e9cis\u00e9ment dans cette circulation. Une qasida<\/em> passe par la sc\u00e8ne, la sc\u00e8ne est conserv\u00e9e par l\u2019image, l\u2019image devient mat\u00e9riau de recherche, puis le tout revient au lecteur sous forme de livre.<\/p>\n\n\n\n

\u2018\u2018Al-Harraz ou \u00catre le diable et jouer fleur\u2019\u2019<\/em> n\u2019est donc pas seulement une traduction th\u00e9\u00e2trale. L\u2019ouvrage restitue une \u0153uvre, documente une aventure sc\u00e9nique et fait dialoguer deux langues autour d\u2019un m\u00eame patrimoine.<\/p>\n\n\n\n

Plus d\u2019un demi-si\u00e8cle apr\u00e8s Tayeb Saddiki, \u2018\u2018Al-Harraz\u2019\u2019<\/em> continue de garder sa porte. Mais le temps a chang\u00e9 les r\u00e8gles du jeu. Cette fois, l\u2019amoureux n\u2019a pas besoin de d\u00e9guisement. Une traduction fid\u00e8le suffit \u00e0 faire passer le malhoun<\/em> de l\u2019autre c\u00f4t\u00e9.<\/p>\n\n\n\n

* La harraz, ou mari jaloux en Marocain, est appel\u00e9 hazzar en Tunisien. <\/em><\/p>\n\n\n\n

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

La figure du \u00ab\u00a0harraz\u00a0\u00bb ou mari jaloux a \u00e9t\u00e9 popularis\u00e9e par le th\u00e9\u00e2tre du Marocain Tayeb Saddiki, qui a donn\u00e9 ses lettres de noblesse \u00e0 la po\u00e9sie populaire. . <\/p>\n","protected":false},"author":8,"featured_media":19541806,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[992,994,2433],"tags":[129926,129927,129929,577,123385,129928,129925],"class_list":["post-19541769","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-la-une","category-culture","category-tunisie","tag-abdelfattah-nissabouri","tag-jil-jilala","tag-malhoun","tag-maroc","tag-nass-el-ghiwane","tag-tayeb-saddiki","tag-tradition-orale"],"yoast_head":"\n\u2018\u2018Al-Harraz\u2019\u2019 ou le malhoun entre ruse, th\u00e9\u00e2tre et m\u00e9moire - Kapitalis<\/title>\n<meta name=\"description\" content=\"La figure du "harraz", le mari jaloux, a \u00e9t\u00e9 popularis\u00e9e par l'homme de th\u00e9\u00e2tre marocain Tayeb Saddiki, qui a r\u00e9habilit\u00e9 le malhoun,\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/kapitalis.com\/tunisie\/2026\/08\/31\/al-harraz-ou-le-malhoun-entre-ruse-theatre-et-memoire\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018\u2018Al-Harraz\u2019\u2019 ou le malhoun entre ruse, th\u00e9\u00e2tre et m\u00e9moire - 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