Résumés
Abstract
How should theatre talk to children about migration and its politics, about death and separation, about arrival and new hopes? What tone—when speaking of violence and torture, injustice and political manipulation, losing one’s family and language, seeking safety and new friends—should the artists take on? Should this conversation be educational, protective, cautious, neutral, or entertaining? How should artists shape their work for children of different ages to help them respond to the scope and complexity of the topic? Estelle Savasta’s play Traversée (2011) provides some responses to these questions. It engages with the pedagogical and artistic traditions of making “emancipatory theatre for children,” and it allows the conversation about war and migration to take place. Director Milena Buziak’s 2016 staging of Traversée presents an example of Theatre for Young Audiences (TYA) that takes on the responsibility of making its spectators politically aware and emotionally engaged, specifically when it comes to their understanding of social injustice today. By engaging with the most urgent political issues related to global migration, this article provides an example of making theatre for children political.
Keywords:
- migration,
- children refugees,
- political theatre for children,
- emancipatory theatre for children
Résumé
Comment le théâtre doit-il parler aux enfants de politiques d’immigration, de la mort, de la séparation, de l’arrivée dans un nouveau pays et de nouveaux espoirs? Quel ton doivent adopter les artistes pour parler de violence et de torture, d’injustice, de manipulation politique, ou pour dire la perte de sa famille et de sa langue, la quête de sécurité et la recherche de nouveaux amis? Cette conversation doit-elle être pédagogique, protectrice, prudente, neutre ou divertissante? Comment les artistes doivent-ils façonner leur oeuvre destinée à de jeunes publics pour les aider à saisir des sujets si complexes? La pièce Traversée (2011) d’Estelle Savasta fournit quelques pistes de réponse à toutes ces questions. Elle tient compte des traditions pédagogiques et artistiques du « théâtre de l’émancipation pour enfants » et favorise une conversation sur la guerre et la migration. La mise en scène par Milena Buziak de cette pièce en 2016 est un exemple de théâtre pour jeunes publics qui assume la responsabilité de conscientiser son auditoire aux réalités politiques, notamment en ce qui concerne des injustices sociales contemporaines. En abordant des questions politiques urgentes liées à la migration mondiale, Yana Meerzon montre comment on peut faire du théâtre jeunesse un instrument politique.
Mots-clés :
- migration,
- enfants réfugiés,
- théâtre politique pour jeune public,
- théâtre de l’émancipation pour jeune public
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Parties annexes
Biographical note
Professor Yana Meerzon teaches for the Department of Theatre at the University of Ottawa and she was appointed President of the Canadian Association for Theatre Research in June 2020. Yana’s research interests include drama and performance theory; theatre of exile; and migration, cultural, and interdisciplinary studies. She is the author of three books, with the latest volume, Performance, Subjectivity, Cosmopolitanism, published by Palgrave in August 2020. She co-edited several collections, including History, Memory, Performance with Dr. David Dean and Dr. Kathryn Prince (Palgrave 2015) and now Migration and Stereotypes in Performance and Culture with Dr. David Dean and Dr. Daniel McNeil (Palgrave 2020).
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