Variations dans l’application des composantes de la performance orale aux chants Yoruba
DOI :
https://doi.org/10.17159/tl.v60i3.14628Mots-clés :
performance orale, artiste, texte, public, musique, chants oraux modernes, YorubaRésumé
En littérature orale, toute forme orale est naturellement interprétée. Les composantes de la performance orale sont le texte, l’artiste, le public, la musique et les effets dramatiques. Bien que ces composantes s’appliquent à toutes les formes orales, qu’elles soient narratives ou poétiques, elles sont utilisées de différentes manières selon la nature de la forme orale en cours. C’est ce que l’on appelle le contexte de la performance. Le but de cet article est d’étudier les variations contextuelles de l’utilisation des composantes de la performance orale dans les formes orales traditionnelles, en mettant l’accent sur les chants oraux traditionnels yorubas. Mon objectif est d’analyser comment la nature de chaque chant dicte l’application des composantes dans son contexte. En d’autres termes, l’importance ou le manque d’importance d’un élément de la performance orale dans chaque forme poétique est déterminé par les règles de l’actualisation du sous-genre. Cette étude se limite aux formes poétiques orales yorubas classées comme chants. Le premier est le groupe restreint par le contexte qui limite l’utilisation des composants de la performance orale par ses propres règles, faisant ainsi de toute déviation un tabou. Le deuxième groupe comprend des formes qui étaient à l’origine liées au contexte, mais qui ont commencé à acquérir des caractéristiques séculières, ce qui a eu pour effet de diminuer leur valeur invocatoire et de les métamorphoser en sous-genres de divertissement. Le troisième groupe est celui des formes poétiques qui étaient à l’origine séculières. Non seulement elles le sont restées, mais elles ont aussi absorbé les nombreuses influences de la modernité. Les données analysées sont constituées de 13 formes orales qui ont été transcrites et traduites du yoruba à l’anglais. (La théorie de la performance orale, qui énumère les variables énumérées ci-dessus, et le fonctionnalisme, qui révèle l’essence des applications contextuelles de ces composantes, sont utiles pour le cadre théorique et la base de cet article. En outre, la théorie de la formule orale sera appliquée aux chants du premier groupe ci-dessus, car leur puissance est liée à leur structure de formule.
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