Making theatre in wartime

Preface 9 Introduction 13 Chapter I The journeys of cultural entrepreneurs and theatrical experiments under colonial rule in Algeria: 1950–1962 Theatre in colonial Algeria: French mimicry, cultural vocations and political stakes 17 Theatre and politics 25 Popular theatre on the ground 28 Chapter II Theatrical projects and practices under colonial rule A national and Algerian theatre: contrasting perceptions and observations 46 Structural constraints and personal experiences 53 A shared observation, varied recommendations 62 Chapter III Cultural catch-up and political timelines A theatre scene in the making? 69 Plans for the future of theatre in Algeria: from the Cordreaux report (1959) to the Elgozy report (1960) 71 Avignon in the Oran region 77 Chapter IV Men caught between political constraints and theatrical exploration: Raymond Hermantier/ Ould Abderrahmane Kaki/ Abdelkader Alloula Raymond Hermantier/Abdelkader Alloula: a thwarted potential 87 Ould Abderrahmane Kaki, the fulfilment of an artistic destiny (1956–1962) 103 By way of summary 116 General conclusion 117 Bibliography 121 Appendices 131 Appendix 1: Biographies 131 Appendix 2: Documents relating to the history of theatre in the 1950s 133

This work attempts to document and examine various facets of theatrical activity in Algeria from the end of the Second World War until 1962. It aims to demonstrate, within the context of the development and spread of the struggle for independence, the cultural practices and commitments within the theatrical field. This period is marked by the birth and proliferation of numerous Muslim theater troupes and the emergence of new figures among actors and troupe leaders. It saw experimentation, a diversity of theatrical projects, and some attempts to build bridges between communities. The contributions of Mustapha Kateb, Réda Falaki, Henri Cordreaux, Geneviève Bailac, and Raymond Hermantier are explored in new light, and the early careers of some of the key figures in post-independence Algerian theater, such as Ould Abderrahmane Kaki and Abdelkader Alloula, are traced. This study draws primarily on institutional and private archives and an analysis of period newspapers, in addition to testimonies and a few key academic works. It calls for further fieldwork to enrich the writing of a history of theatrical practice in Algeria.