{"id":3925,"date":"2026-01-08T00:05:23","date_gmt":"2026-01-07T23:05:23","guid":{"rendered":"https:\/\/www.thierry-groensteen.fr\/?p=3925"},"modified":"2026-01-06T11:57:33","modified_gmt":"2026-01-06T10:57:33","slug":"meta-quoi","status":"publish","type":"post","link":"https:\/\/www.thierry-groensteen.fr\/index.php\/2026\/01\/08\/meta-quoi\/","title":{"rendered":"M\u00e9ta-quoi ?"},"content":{"rendered":"

\u00ab La m\u00e9ta-BD, qu\u2019est-ce que c\u2019est\u00a0? \u00bb s\u2019interroge en couverture le dernier num\u00e9ro du Dessableur <\/em>(n\u00b0 19, dat\u00e9 d\u00e9cembre 2025). Et la revue trimestrielle du Centre belge de la Bande dessin\u00e9e (qui proclame sa vocation de traiter de \u00ab sujets pointus \u00bb\u00a0!) de consacrer quelques pages \u00e0 ces innombrables r\u00e9cits dans lesquels \u00ab le personnage a conscience qu\u2019il est un personnage de bande dessin\u00e9e \u00bb. Les exemples reproduits sont, pour certains, canoniques (Bringing Up Father<\/em>, Achille Talon<\/em>, Imbattable <\/em>de Pascal Jousselin\u2026) et, pour d\u2019autres, un peu moins attendus (Victor Hussenot).<\/p>\n

L\u2019\u00e9laboration th\u00e9orique reste tr\u00e8s succincte et, plut\u00f4t que de \u00ab\u00a0m\u00e9ta-BD\u00a0\u00bb, il faudrait, pour qualifier certains des extraits montr\u00e9s (par exemple celui o\u00f9 Gai-Luron s\u2019adresse directement \u00e0 Gotlib, ou celui o\u00f9 Krazy Kat plonge dans un encrier qu\u2019une main \u2013 celle d\u2019Herriman, n\u00e9cessairement \u2013 vient aussit\u00f4t refermer) noter qu\u2019ils rel\u00e8vent plus pr\u00e9cis\u00e9ment de ce qu\u2019il est convenu d\u2019appeler la m\u00e9talepse.<\/p>\n

\"George

George Herriman, \u00ab\u00a0Krazy Kat\u00a0\u00bb, 1919<\/p><\/div>\n

\n

Pour d\u2019autres (je pense notamment aux exemples pris chez Fred et Marc-Antoine Mathieu), on est tout simplement face \u00e0 des cas d\u2019\u0153uvres r\u00e9flexives, qui jouent avec leurs codes, sans que la conscience du personnage telle qu\u2019elle a \u00e9t\u00e9 \u00e9voqu\u00e9e plus haut n\u2019entre v\u00e9ritablement en compte. Je me permettrai de rappeler ici les deux grandes \u00e9tudes que j\u2019ai publi\u00e9es sur les proc\u00e9dures r\u00e9flexives dans la bande dessin\u00e9e\u00a0: \u00ab Bandes de\u0301signe\u0301es : de la re\u0301flexivite\u0301 dans les bandes dessine\u0301es \u00bb, Conse\u0301quences<\/i>, n\u00b0 13\/14, Contrebandes<\/i>, 2e trim. 1990, p. 132-165, et \u00ab Feintise et travestissement : la BD maquille\u0301e \u00bb, RS\/SI<\/i>, vol. 37 (2017) n\u00b0 3 \/ vol. 38 (2018), n\u00b0s 1-2, Montre\u0301al, Association canadienne de se\u0301miotique, janvier 2019, p. 19-32.<\/p>\n

\"\"<\/p>\n

\n

Tout r\u00e9cemment je me suis occup\u00e9 \u00e0 concevoir une exposition (visible jusqu\u2019au 28 f\u00e9vrier \u00e0 Paris, dans la galerie Vivienne) sur \u00ab L’Art vus par la BD \u00bb. L’art ou plut\u00f4t les arts, et plus pr\u00e9cis\u00e9ment ceux repr\u00e9sent\u00e9s au sein de l\u2019Acad\u00e9mie des beaux-arts, commanditaire de l\u2019\u00e9v\u00e9nement : peinture, sculpture, architecture, musique, danse, cin\u00e9ma, photographie\u2026 Mais \u00e9galement dessin. Pour cette section particuli\u00e8re, je me suis interrog\u00e9 : fallait-il montrer des \u0153uvres \u00e0 caract\u00e8re r\u00e9flexif, ayant le fonctionnement propre de la bande dessin\u00e9e comme sujet ou pr\u00e9texte ? J\u2019ai pr\u00e9f\u00e9r\u00e9 faire un pas de c\u00f4t\u00e9 et r\u00e9unir des s\u00e9quences qui, chacune \u00e0 sa mani\u00e8re, interrogent les pouvoirs du dessin comme tel, mais pas le neuvi\u00e8me art dans sa sp\u00e9cificit\u00e9.<\/p>\n

\n

C\u2019est ainsi que l\u2019on peut voir c\u00f4te \u00e0 c\u00f4te deux \u00ab batailles de dessin \u00bb. La premi\u00e8re, extraite de Piero<\/i>, \u00e9voque le jeu auquel se livraient, enfants, Edmond Baudoin et son fr\u00e8re\u00a0: sur une feuille, placer deux ch\u00e2teaux-forts face \u00e0 face, et livrer bataille en introduisant chevaliers, catapultes, \u00e9changes de fl\u00e8ches, cadavres, explosions, jusqu\u2019\u00e0 ce que la feuille devienne illisible. La deuxi\u00e8me, tir\u00e9e de l\u2019album Les Amoureux<\/i>, de Victor Hussenot (tiens tiens\u2026), montre un petit homme et une petite femme qui se livrent \u00e0 une joute amoureuse \u00e0 coups de grands dessins \u00e9volutifs trac\u00e9s dans le vide en rouge et en bleu \u2013 comme une s\u00e9ance d\u2019animation fantasmatique.<\/p>\n

\"Edmond

La s\u00e9quence de la bataille de dessin dans \u00ab\u00a0Piero\u00a0\u00bb. Planches originales, collection mus\u00e9e de la Bande dessin\u00e9e, Angoul\u00eame<\/p><\/div>\n

\n

En face, on trouvera neuf strips tir\u00e9s de la conclusion de l\u2019album de Fran\u00e7ois Matton Autant la mer<\/i> (2009). J\u2019ai toujours aim\u00e9 les qualit\u00e9s descriptives et sensibles du dessin-\u00e9criture de cet artiste m\u00e9connu dans le milieu de la BD parce que ses livres sont publi\u00e9s chez P.O.L., maison litt\u00e9raire \u00e9trang\u00e8re au s\u00e9rail. Dans ce passage, un navigateur jette l\u2019ancre et sort un carnet dans lequel il accumule les dessins, les uns d\u2019observation, les autres d\u2019imagination. Il n\u2019y a plus de narration \u00e0 proprement parler, juste une succession de croquis reli\u00e9s par un texte \u00e0 la premi\u00e8re personne qui nomme les sujets repr\u00e9sent\u00e9s\u2026 et la s\u00e9quence finit dans l\u2019abstraction.<\/p>\n

\n

Ce qui fait une transition parfaite avec la quatri\u00e8me et derni\u00e8re \u0153uvre pr\u00e9sent\u00e9e (int\u00e9gralement) dans cette section de l\u2019exposition\u00a0: l\u2019histoire d\u2019un Petit Trait<\/i>, par Baladi (L\u2019Association, \u00ab Patte de Mouche \u00bb, 2008). Ainsi c\u2019est bien le dessin lui-m\u00eame, et ses sortil\u00e8ges, qui est th\u00e9matis\u00e9 dans cette petite salle, dont le jeune homme qui assure la surveillance des lieux me dit qu’elle est la plus appr\u00e9ci\u00e9e des visiteurs. Ou faudrait-il parler de m\u00e9ta-dessin ?<\/p>\n

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

\u00ab La m\u00e9ta-BD, qu\u2019est-ce que c\u2019est\u00a0? \u00bb s\u2019interroge en couverture le dernier num\u00e9ro du Dessableur (n\u00b0 19, dat\u00e9 d\u00e9cembre 2025). Et la revue trimestrielle du Centre belge de la Bande dessin\u00e9e (qui proclame sa vocation de traiter de \u00ab sujets pointus \u00bb\u00a0!) de consacrer quelques pages \u00e0 ces innombrables r\u00e9cits dans lesquels \u00ab le […]<\/p>\n","protected":false},"author":1,"featured_media":3927,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[],"class_list":["post-3925","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mon-blog"],"acf":[],"yoast_head":"\nM\u00e9ta-quoi ? - 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\/2026\/01\/08\/meta-quoi\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"M\u00e9ta-quoi ? - le site de Thierry Groensteen\" \/>\n<meta property=\"og:description\" content=\"\u00ab La m\u00e9ta-BD, qu\u2019est-ce que c\u2019est\u00a0? \u00bb s\u2019interroge en couverture le dernier num\u00e9ro du Dessableur (n\u00b0 19, dat\u00e9 d\u00e9cembre 2025). 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