Les Jeunes poètes dits "Marseillais" des Cahiers du Sud
Institution:
Montpellier 3Disciplines:
Directors:
Abstract EN:
Fondent manteia. Mais, avant-garde militante a la maniere telquellienne, cette nouvelle revue impose the cahiers du sud, interested in encouraging yound poets, set up a specific section where it could present the various poetic tendencies that follawed the disruption caused by surrealism. Within the loose groupe formed by all the "cahiers" poets, there was a more coherent, though informal, group called the yound "marseillais". Close friends, all active in the p. C. F. , they helped create and develop action poetique. Close friends also with tortel, who was relatively marginal on the cahiers editorial committee, the six poets lived in marseilles, but were neither regional nor regionalist poets. This coherent group, however, covered two generatin. Malrieu, neveu and todrani, who joined the cahiers poets around 1950, formed the first. Their major influence was surrealism, but their approach was "sauvage" : they used the power of images, and glorified women and love, as certainties that gave lyrical possibilities. In the 1960's, however, they evolved in different ways : neveu' death brought his "poete maudit" role to its climax; malrieu turned to spiritual asceticism and poetics; todrani developed a personal "obscurantism". By contrast with their elders, gublielmi, viton and arseguel, who collaborated with the cahiers after 1960, kept their distance from surrealism. Their common interest in avantgarde "telquellienne" (as it is warts and all) influenced their poetry. From 1965 on, their poems, animated by an intense reflection on the subject and questionig the function of poetry, resulted in a form of "materialist poectics". They also experimented with the space between words.
Abstract FR:
Les cahiers du sud, soucieux de promouvoir la jeune poesie, constituent un espace privilegie pour observer quelques voies ouvertes au poeme apres le bouleversement surrealiste. Dans l'ensemble assez disparate que forment les "poetes des cahiers" se distingue le groupe coherent quoiqu'informel des jeunes "marseillais". Lies d'amitie, engages au sein p. C. F. , ayant contribue a la naissance et au developpement d'action poetique, proches amis de tortel lui-meme marginal dans le comite de redaction des cahiers, ces six poetes, s'ils habitent marseille, n'ont rien de poetes regionaux ni regionalistes. Coherent, le groupe comprend toutefois deux generations. Malrieu, neveu et todrani, venus aux cahiers vers 1950, forment la premiere. Ils recoivent leur premier elan du surrealisme dont leur pratique "sauvage" retien principalement le pouvoir de l'image, l'exaltation de la femme et de l'amour, certitudes fondant la possibilite du chant. Mais ils n'evoluent pas identiquement dans les annees soixante. La mort de neveu paracheve sa legende de "poete maudit". Malrieu s'engage dans une ascese spirituelle et poetique. Todrani elabore une parole "de l'obscur". Contrairement a leurs aines, guglielmi, viton et arseguel, dont la collaboration aux cahiers est posterieure a 1960, se situent a distance du surrealisme. Leur interet commun pour l'avant-garde telquellienne influe sur leur pratique poetique : a partir de 1965, leur poeme, anime d'un mouvement reflexif, interroge son propre fonctionnement; un "materialisme poetique" s'elabore. Parallement, un travail sur les bancs apparait. Apres l'arret des cahiers, en 1966, les "marseillais", desireux d'un espace vraiment leur, fondent manteia. Mais, avant-garde militante a la maniere telquellienne, cette nouvelle revue impose