{"id":3758,"date":"2025-10-09T00:05:31","date_gmt":"2025-10-08T22:05:31","guid":{"rendered":"https:\/\/www.thierry-groensteen.fr\/?p=3758"},"modified":"2025-09-26T09:35:57","modified_gmt":"2025-09-26T07:35:57","slug":"ombres-et-pierrot-chez-georges-bigot","status":"publish","type":"post","link":"https:\/\/www.thierry-groensteen.fr\/index.php\/2025\/10\/09\/ombres-et-pierrot-chez-georges-bigot\/","title":{"rendered":"Ombres et Pierrot chez Georges Bigot"},"content":{"rendered":"

Un chapitre de mon livre sur La Bande dessin\u00e9e en France \u00e0 la Belle \u00c9poque <\/em>est consacr\u00e9 aux histoires muettes, celles dont la narration repose sur les seules ressources de la pantomime. Et un autre aux ombres chinoises qui, dans le sillage des fameux spectacles d\u2019ombre du cabaret du Chat Noir, connurent alors une certaine vogue. \u00c9trangement, j\u2019ai n\u00e9glig\u00e9 un dessinateur dont une partie de la production se situe pr\u00e9cis\u00e9ment au carrefour de ces deux pratiques.<\/p>\n

Je veux parler de Georges Bigot (1860-1927). Certes, je lui consacre une quinzaine de lignes (page 183) et reproduis une de ses planches parues dans La Semaine de Suzette<\/em>, mais c\u2019est une planche qui ne rel\u00e8ve d\u2019aucune des deux cat\u00e9gories susmentionn\u00e9es. En fait, je n\u2019avais pris en consid\u00e9ration que la partie fran\u00e7aise de sa carri\u00e8re, post\u00e9rieure \u00e0 son retour du Japon, o\u00f9 il s\u00e9journa de 1882 \u00e0 1899. Bigot y avait fond\u00e9 successivement quatre revues satiriques : T\u00f4ba\u00e9 <\/i>(1887-1889, 69 n\u00b0s), La Vie japonaise <\/i>en 1890, Potins de Tokyo <\/i>(1890) et enfin Le <\/i>Potin <\/i>(1893).<\/p>\n

C\u2019est en lisant la monographie que lui ont consacr\u00e9 Christian Polak et Hugh Cortazzi (Georges Bigot and Japan, 1882-1899. Satirist, Illustrator and Artiste Extraordinaire<\/em>, Folkestone, Renaissance Books, 2018) que j\u2019ai d\u00e9couvert que plusieurs des recueils de dessins qu\u2019il publia \u00e9galement dans l\u2019archipel contenaient des histoires muettes en ombres chinoises, qu\u2019il d\u00e9signait comme des \u00ab\u00a0histoires en silhouettes \u00bb. Les auteurs en reproduisent deux\u00a0: \u00ab\u00a0D\u00eener japonais \u00bb paru dans l\u2019album Asa<\/em> (1883) et \u00ab\u00a0Une chasse \u00bb, tir\u00e9 de O-Ha-Yo<\/em> (\u00ab\u00a0Bonjour \u00bb, 1883). Des histoires o\u00f9 l\u2019on trouve peu de traces d\u2019humour, et qui ressortissent plut\u00f4t au r\u00e9cit documentaire. Le traitement en silhouette a pour effet d\u2019anonymiser les personnes repr\u00e9sent\u00e9es et, dans un d\u00e9cor r\u00e9duit \u00e0 l\u2019essentiel, de rendre leurs actions parfaitement lisibles. Faute d\u2019une connaissance plus exhaustive des p\u00e9riodiques illustr\u00e9s publi\u00e9s au Japon \u00e0 la fin du XIXe, je ne peux affirmer que Bigot y a introduit l\u2019histoire sans paroles et le dessin d\u2019ombres, mais c\u2019est une hypoth\u00e8se qui m\u00e9riterait d\u2019\u00eatre creus\u00e9e.<\/p>\n

\"\"

\u00ab Une chasse \u00bb, planche 2<\/p><\/div>\n

\"\"<\/p>\n

\n

Par ailleurs, Bigot avait, \u00e0 l\u2019instar de Willette, un lien privil\u00e9gi\u00e9 avec la figure de Pierrot, que le mime Deburau (immortalis\u00e9 par les photographies de Nadar) avait rendue immens\u00e9ment populaire. Il avait en effet pour habitude de se repr\u00e9senter dans ce costume en couverture de ses publications. L\u2019on peut se demander si Pierrot, qui appartient \u00e0 la com\u00e9die italienne et au folklore fran\u00e7ais, \u00e9voquait quoi que ce soit de pr\u00e9cis pour le public japonais. Interrog\u00e9 sur ce point, Shigeru Oikawa, professeur de litt\u00e9rature compar\u00e9e et grand sp\u00e9cialiste de Bigot, m\u2019a confirm\u00e9 que cette r\u00e9f\u00e9rence \u00e9tait tout bonnement incompr\u00e9hensible.<\/p>\n

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

Un chapitre de mon livre sur La Bande dessin\u00e9e en France \u00e0 la Belle \u00c9poque est consacr\u00e9 aux histoires muettes, celles dont la narration repose sur les seules ressources de la pantomime. Et un autre aux ombres chinoises qui, dans le sillage des fameux spectacles d\u2019ombre du cabaret du Chat Noir, connurent alors une […]<\/p>\n","protected":false},"author":1,"featured_media":3764,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[],"class_list":["post-3758","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mon-blog"],"acf":[],"yoast_head":"\nOmbres et Pierrot chez Georges Bigot - le site de Thierry Groensteen<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.thierry-groensteen.fr\/index.php\/2025\/10\/09\/ombres-et-pierrot-chez-georges-bigot\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ombres et Pierrot chez Georges Bigot - le site de Thierry Groensteen\" \/>\n<meta property=\"og:description\" content=\"Un chapitre de mon livre sur La Bande dessin\u00e9e en France \u00e0 la Belle \u00c9poque est consacr\u00e9 aux histoires muettes, celles dont la narration repose sur les seules ressources de la pantomime. 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