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De Versailles à Hairspray, quand la musique est « camp » : épisode 1/2 du podcast Triomphe du "camp" | France Culture
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svelte-dtfe3s"></div> <div class="CoverEpisode-background svelte-dtfe3s"><!--[!--><!--]--></div> <div class="CoverEpisode-grid qg-grid g-container svelte-dtfe3s"><div class="CoverEpisode-visual svelte-dtfe3s "><!--[!--><!--[--><div class="CoverEpisode-visual-container svelte-dtfe3s"><!----><div class="observer Image svelte-13dn26f" data-testid="IntersectionObserver"><!----><div class="Image-wrapper qg-tx5 svelte-10vjnxy rounded crop showCaptionToggle"><div class="Image-ratio svelte-10vjnxy" style="--defaultratio: calc(100%*9/16);"></div> <!--[!--><!--]--> <!--[--><!--[!--><!--]--> <figure class="svelte-10vjnxy"><picture><!--[--><!--]--> <!--[!--><!--]--> <!--[!--><!--]--> <!--[!--><!--]--> <img src="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/ef623935-3f1d-46d7-9180-cfff871f773c/640x340_sc_gettyimages-51130333.jpg" loading="eager" fetchpriority="high" width="640" height="340" class="Image-main svelte-10vjnxy rounded" data-testid="image-src" alt=""Hairspray" de John Waters, 1988. ©Getty - New Line Cinema / Handout" onload="this.__e=event" onerror="this.__e=event"></picture> <!--[--><figcaption class="svelte-10vjnxy">"Hairspray" de John Waters, 1988. ©Getty - New Line Cinema / Handout <!--[!--><!--]--></figcaption><!--]--></figure><!--]--> <!--[--><div class="Image-btnCopyright svelte-10vjnxy"><!----><button class="Button light primary medium svelte-1weqwpy circular" title="afficher la légende" type="button" aria-disabled="false" data-testid="ButtonInfo"><!----><!--[!--><!--]--> <!--[!--><svg aria-hidden="true" focusable="false" data-testid="icon-infoCircleFilled" class="svelte-1cvh6z9"><use href="/client/immutable/assets/infoCircleFilled.30Jnxcg9.svg#infoCircleFilled"></use></svg><!--]--><!----> <!----><!----> <!----><!----> <!----><!----> <!----><!----><!----></button><!----><!----></div> <div class="Image-overlay svelte-10vjnxy "></div><!--]--></div><!----><!----></div><!----><!----></div><!--]--><!--]--></div> <div class="CoverEpisode-metadata svelte-dtfe3s"><!--[--><!--[--><a href="/franceculture/podcasts/serie-triomphe-du-camp" data-testid="link" class="svelte-ovv3j3"><!----><!----><span class="CoverEpisode-serieLink qg-tx3"><span class="CoverEpisode-serieLink-prefix">Série</span> « Triomphe du "camp" »</span><!----><!----></a><!--]--><!--]--> <h1 class="CoverEpisode-title qg-tt3 svelte-dtfe3s"><!--[-->Épisode 1/2 : De Versailles à Hairspray, quand la musique est « camp »<!--]--></h1> <p class="CoverEpisode-publicationInfo qg-tx4 svelte-dtfe3s"><!--[!--><!--]--> Publié le samedi 19 octobre 2024 <!--[!--><!--]--></p> <div class="CoverEpisode-cta svelte-dtfe3s" data-brand="franceculture"><!--[--><div class="CoverEpisode-play qg-brand-button"><!----><!----><!--[--><!--[!--><!----><button class="Button light primary large svelte-1weqwpy" data-track-click-type="replayButton" type="button" disabled aria-disabled="true" data-testid="replay-button-aod" aria-label="Lecture"><!----><!----><span slot="icon-left" class="svelte-qdpjz6 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href="/client/immutable/assets/bookmark.D5umPYLy.svg#bookmark"></use></svg><!--]--><!----> <!----><!----> <!----><!----> <!----><!--[!--><!--]--><!----> <!----><!----><!----></button><!----><!--]--><!----><!----></div><!----><!----> <!--[--><div class="CoverEpisode-share"><!----><div class="Tooltip context-menu svelte-3pzr4v"><div class="Tooltip-activator-container"><!----><div class="ShareManager svelte-1arhdhp " slot="activator"><!----><!----><button class="Button dark secondary large svelte-1weqwpy circular" title="Partager De Versailles à Hairspray, quand la musique est « camp »" type="button" aria-disabled="false" aria-expanded="false"><!----><!--[!--><!--]--> <!--[!--><svg aria-hidden="true" focusable="false" data-testid="icon-share" class="svelte-1cvh6z9"><use href="/client/immutable/assets/share.Cf-yFRiQ.svg#share"></use></svg><!--]--><!----> <!----><!----> <!----><!--[!--><!--]--><!----> <!----><!----> <!----><!----><!----></button><!----><!----></div><!----></div> <!--[!--><!--]--></div><!----><!----></div><!--]--> <!--[!--><!--]--></div></div> <!--[--><div style="visibility: visible;" class="CoverEpisode-visual-legend-desktop svelte-dtfe3s"><span class="qg-tx5">"Hairspray" de John Waters, 1988. ©Getty - New Line Cinema / Handout</span></div><!--]--></div></div> <!--[!--><!--]--><!----><!----> <div class="qg-grid g-container Expression-grid svelte-s18jla"><!--[!--><!--]--> <div class="Expression-topBanner svelte-s18jla"><!--[--><div style="--mobile-minWidth: 320px; --mobile-minHeight: 100px; --tablet-minWidth: 320px; --tablet-minHeight: 100px; --desktop-minWidth: 1000px; --desktop-minHeight: 200px;" class="PopSlot banniere_haute svelte-1nn8uhn "><div class="PopSlot-label svelte-1nn8uhn "><span class="qg-tx5 svelte-1nn8uhn">Publicité</span> <svg class="PopSlot-svg svelte-1nn8uhn"><use href="#logoRF"></use></svg></div> <div id="banniere_haute" class="PopSlot-slot dfp-slot svelte-1nn8uhn" data-format="banniere_haute"></div></div><!--]--><!----></div> <!--[!--><!--]--> <div class="Expression-container svelte-s18jla"><!--[--><!----><aside class="ParentShowCard svelte-1ci3jk4"><div class="ParentShowCard-visual svelte-1ci3jk4" data-testid="ParentShowCard-visual"><!--[--><!----><picture style="--_base-ratio:1 / 1;" class="svelte-1n5zs1o ratio"><!--[--><!--[--><!--]--> <!--[!--><!--]--> <!--[--><source type="image/webp" srcset="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/09/2752a954-7a85-40ab-96be-799f4f55ae1a/400x400_sc_fc-laseriemusicale-3000x3000-photo.webp" sizes="" class="svelte-1n5zs1o"><!--]--> <!--[!--><!--]--> <!--[--><source data-testid="image-src" srcset="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/09/2752a954-7a85-40ab-96be-799f4f55ae1a/400x400_sc_fc-laseriemusicale-3000x3000-photo.jpg" class="svelte-1n5zs1o"><!--]--><!--]--> <img src="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/09/2752a954-7a85-40ab-96be-799f4f55ae1a/400x400_sc_fc-laseriemusicale-3000x3000-photo.jpg" width="400" height="400" alt="La Série musicale" loading="lazy" fetchpriority="low" data-testid="image-tag" style="--_image-preview:url('data:image/svg+xml,<svg height="100%" width="100%" xmlns="http://www.w3.org/2000/svg"><defs><filter id="f1" x="0" y="0" xmlns="http://www.w3.org/2000/svg"><feGaussianBlur in="SourceGraphic" stdDeviation="30" /></filter></defs><rect width="100%" height="100%" fill="%23782888" filter="url(%23f1)" /></svg>');" aria-hidden="true" class="svelte-1n5zs1o ratio" onload="this.__e=event" onerror="this.__e=event"></picture><!----><!--]--></div> <div class="ParentShowCard-data svelte-1ci3jk4"><h2 class="svelte-1ci3jk4"><!--[--><span class="ParentShowCard-firstLine qg-tx4 svelte-1ci3jk4">Provenant du podcast</span><!--]--> <span class="ParentShowCard-secondLine qg-st4 svelte-1ci3jk4"><!--[--><a href="/franceculture/podcasts/la-serie-musicale" aria-label="Voir le podcast La Série musicale" data-testid="link" class="svelte-ovv3j3 underline-hover"><!----><!----><!---->La Série musicale<!----><!----></a><!--]--><!----></span></h2></div> <!--[--><div class="ParentShowCard-ctaWrapper svelte-1ci3jk4"><!--[--><!--[--><div class="Tooltip context-menu svelte-3pzr4v"><div class="Tooltip-activator-container"><!----><div class="ContactButton" slot="activator"><!----><button class="Button light secondary medium svelte-1weqwpy" title="Contacter l'émission" type="button" aria-disabled="false" data-testid="ButtonPodcastContact" aria-expanded="false"><!----><span slot="icon-left"><svg class="icon-svg"><!----><!--[!--><!--]--> <!--[!--><svg aria-hidden="true" focusable="false" data-testid="icon-chat" class="svelte-1cvh6z9"><use href="/client/immutable/assets/chat.BAKyDbaD.svg#chat"></use></svg><!--]--><!----></svg></span><!----> <!----><!----> <!----><!----><!--[!--><!----><span class="g-isHiddenL-up">Contacter</span> <span class="g-isVisibleL-up">Contacter l'émission</span><!----><!--]--><!----><!----> <!----><!----> <!----><!----><!----></button><!----><!----></div><!----></div> <!--[!--><!--]--></div><!--]--><!--]--> <!--[--><!--[--><div class="Tooltip context-menu svelte-3pzr4v"><div class="Tooltip-activator-container"><!----><div class="ButtonPodcast" slot="activator"><!----><button class="Button light secondary medium svelte-1weqwpy circular" title="S'abonner" type="button" aria-disabled="false" data-testid="ButtonPodcast" aria-label="s'abonner à La Série musicale"><!----><!----> <!----><!----> <!----><!----> <!----><!----> <!----><!--[!--><!--]--> <!--[!--><svg aria-hidden="true" focusable="false" data-testid="icon-podcast" class="svelte-1cvh6z9"><use href="/client/immutable/assets/podcast.Cx0SK-Rn.svg#podcast"></use></svg><!--]--><!----><!----></button><!----><!----></div><!----></div> <!--[!--><!--]--></div><!--]--><!--]--></div><!--]--></aside><!----><!--]--> <!--[--><div class="ExpressionSummary "><!--[--><h2 class="ExpressionSummary-standFirst qg-tt4 qg-xtra-lh svelte-s18jla" data-testid="ExpressionSummary-standFirst">Aux origines du camp, cette notion parfois dévoyée, parfois revendiquée, toujours voyante et ludique, qui nous mène de Molière à John Waters.</h2><!--]--> <!--[!--><!--]--></div><!--]--> <!--[--><div class="ExpressionBodyJson ExpressionBodyJson-franceculture g-block-margin svelte-s18jla"><div class="HtmlBodyWrapper station-franceculture " data-brand="franceculture" style="--filledQuote: url('/client/immutable/assets/quoteFilled.CHiZHkDC.svg');"><div><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[--><!--[!--><!--[--><!----><p class="PopSlotParagraph qg-tx2 qg-xtra-lh svelte-1xznlfb"><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!---->Si le camp a souvent été dévoyé - il n’était pas rare dans les années 1970 de dire d’une chanson ou d’une esthétique qu'elle était camp pour dire qu’elle était kitsch,- le terme “camp” n’est pas nécessairement négatif. En 1964, dans son ouvrage <em>Notes on "Camp"</em>, Susan Sontag liste comme étant “camp” les figures de King Kong, de Charles de Gaulle, les ouvrages de Cocteau, ou encore les opéras de Strauss. Le terme viendrait notamment des <em>Fourberies de Scapin</em> de Molière, où le mot “camper” évoquerait un personnage défendant son existence dans le monde, face au mépris et à la domination, qui en fait beaucoup trop. Exactement ce que propose Louis XIV avec sa débauche de costumes pour tenir la Fronde nous dit Sontag. Les ballets baroques de Lully seraient de fait profondément camp.<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></p> <!--[!--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[--><!----><!--[!--><!--[--><h2 class="qg-st2 "><!----><!---->En faire trop, surjouer pour survivre<!----><!----></h2><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[--><!--[!--><!--[--><!----><p class="PopSlotParagraph qg-tx2 qg-xtra-lh svelte-1xznlfb"><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!---->Le mot "camp" aurait également été repris par la langue polari, forme d’argot pratiqué en Grande-Bretagne à la fin du XIXe siècle et au début du XXe siècle par les acteurs, les gens du cirque, les performeurs, les marins ou encore les travailleurs du sexe dans les milieux gays. Il s'agirait d’une langue un peu internationale devenue la langue parlée de la subculture gay au tournant du XIXe et du XXe siècle. On peut la retrouver dans l'un des derniers titres d’une grande figure camp, à savoir, David Bowie, qui chante dans cette langue dans <em>Girl Loves Me.</em><!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></p> <!--[--><!--[--><div style="--mobile-minWidth: 300px; --mobile-minHeight: 250px; --tablet-minWidth: 300px; --tablet-minHeight: 250px; --desktop-minWidth: 533px; --desktop-minHeight: 300px;" class="PopSlot inread svelte-1nn8uhn "><div class="PopSlot-label svelte-1nn8uhn "><span class="qg-tx5 svelte-1nn8uhn">Publicité</span> <svg class="PopSlot-svg svelte-1nn8uhn"><use href="#logoRF"></use></svg></div> <div id="inread" class="PopSlot-slot dfp-slot svelte-1nn8uhn" data-format="inread"></div></div><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[--><!----><!--[!--><!--[--><h2 class="qg-st2 "><!----><!---->Le camp, du cabaret au cinéma<!----><!----></h2><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[--><!--[!--><!--[--><!----><p class="PopSlotParagraph qg-tx2 qg-xtra-lh svelte-1xznlfb"><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!---->Le camp est souvent décrit comme proposant une réflexivité face à une culture dominante homophobe ou capitaliste. Il s'agit ainsi de reprendre précisément ce qui est reproché et de le "camper "de manière tellement explosive et visible que le reproche n’est plus possible. Le trait stigmatisé devient même un objet d’appréciation.<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></p> <!--[!--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[--><!--[!--><!--[--><!----><p class="PopSlotParagraph qg-tx2 qg-xtra-lh svelte-1xznlfb"><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!---->Dans cette idée, à partir du début du XXe siècle, l'esthétique du cabaret berlinois, lieu de la mise en scène excessive de soi-même, brouille les pistes sur le genre. Marlene Dietrich est une grande figure de cette esthétique du cabaret. Dans <em>Cœurs brûlés</em> (<em>Morocco</em> en anglais, 1930) de Josef von Sternberg, elle chante même déguisée en homme.<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></p> <!--[!--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[--><!--[!--><!--[--><!----><p class="PopSlotParagraph qg-tx2 qg-xtra-lh svelte-1xznlfb"><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!---->De son côté, révélée dans <em>Cabaret</em> (Bob Fosse, 1972), Liza Minnelli chante l'importance de ce lieu dans lequel on pourrait exister en étant parfaitement soi-même et “camper” ce que l’on rêve d’être depuis toujours. Elle est notamment la fille de Judy Garland, figure camp par excellence que l’on entend chanter dans un film non moins camp, <em>Le Magicien d’Oz</em> (Victor Fleming, 1939).<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></p> <!--[!--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[!--><!--[!--><!--[!--><!--[!--><!--[--><!----><!--[--><!----><div class="observer Image svelte-13dn26f" data-testid="IntersectionObserver"><!----><div style="max-width: 860px;" class="Image-wrapper qg-tx5 svelte-10vjnxy rounded showCaption"><div class="Image-ratio svelte-10vjnxy" style="--defaultratio: 126.16279069767442%;"></div> <!--[--><img class="Image-preview svelte-10vjnxy " data-testId="image-preview" src="data:image/jpeg;charset=utf-8;base64, /9j/2wBDACgcHiMeGSgjISMtKygwPGRBPDc3PHtYXUlkkYCZlo+AjIqgtObDoKrarYqMyP/L2u71////m8H////6/+b9//j/2wBDASstLTw1PHZBQXb4pYyl+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj/wAARCAAqACEDASIAAhEBAxEB/8QAGAAAAwEBAAAAAAAAAAAAAAAAAAECAwT/xAAXEAEBAQEAAAAAAAAAAAAAAAAAAQIR/8QAFAEBAAAAAAAAAAAAAAAAAAAAAP/EABQRAQAAAAAAAAAAAAAAAAAAAAD/2gAMAwEAAhEDEQA/AFUVdRQRU1dRQIAA6LUWq1WWqAtLpWl0DBdANtMtVpploE2l0qAPoIA//9k=" alt=""><!--]--> <!--[--><!--[!--><!--]--> <figure class="svelte-10vjnxy"><picture><!--[--><!--]--> <!--[--><source type="image/webp" data-testId="image-webpSrcset" srcset="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/8bdeb71b-c3b3-41ae-975e-fad3d00bdbc2/860_sc_gettyimages-3169970.webp 860w" sizes="(max-width: 480px) 200px, (max-width: 1024px) 1000px, 2000px"><!--]--> <!--[--><source type="image/webp" data-testId="image-webpSrc" srcset="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/8bdeb71b-c3b3-41ae-975e-fad3d00bdbc2/860_sc_gettyimages-3169970.webp" sizes="(max-width: 480px) 200px, (max-width: 1024px) 1000px, 2000px"><!--]--> <!--[--><source data-testId="image-srcset" srcset="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/8bdeb71b-c3b3-41ae-975e-fad3d00bdbc2/860_sc_gettyimages-3169970.jpg 860w" sizes="(max-width: 480px) 200px, (max-width: 1024px) 1000px, 2000px"><!--]--> <img src="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/8bdeb71b-c3b3-41ae-975e-fad3d00bdbc2/860_sc_gettyimages-3169970.jpg" loading="lazy" fetchpriority="low" width="860" height="1085" class="Image-main svelte-10vjnxy rounded" data-testid="image-src" alt="Marlene Dietrich dans "Morocco" de Josef von Sternberg, 1930" onload="this.__e=event" onerror="this.__e=event"></picture> <!--[--><figcaption class="svelte-10vjnxy">Marlene Dietrich dans "Morocco" de Josef von Sternberg, 1930 <!--[--><footer class="svelte-10vjnxy"><!--[--><span>© Getty</span><!--]--> <!--[--><span>- Eugene Robert Richee / Contributeur</span><!--]--></footer><!--]--></figcaption><!--]--></figure><!--]--> <!--[!--><!--]--></div><!----><!----></div><!----><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[--><!----><!--[!--><!--[--><h2 class="qg-st2 "><!----><!---->John Waters, pape du trash et du camp<!----><!----></h2><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[--><!--[!--><!--[--><!----><p class="PopSlotParagraph qg-tx2 qg-xtra-lh svelte-1xznlfb"><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!---->Le camp ne consiste pas qu’à subvertir les genres : il sait aussi les surperformer, comme le font des figures comme Mina ou Dusty Springfield, la première dans les années 1960 à surjouer un personnage féminin à l’aide de perruques et de maquillage.<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></p> <!--[!--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[--><!--[!--><!--[--><!----><p class="PopSlotParagraph qg-tx2 qg-xtra-lh svelte-1xznlfb"><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!---->De son côté, John Waters, souvent surnommé “le pape du trash”, joue de ce surjeu, mettant à l’honneur Divine, sa drag-queen fétiche, dans nombre de ses films. Son film <em>Hairspray</em> (1988), qui impose une drag-queen dans le rôle d'une mère de famille, s'est affirmé comme une comédie musicale très populaire aux Etats-Unis. Comme le dit John Waters lui-même, ce film "accidentellement" familial s’affirme aujourd'hui comme un véritable “cheval de Troie” du camp.<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></p> <!--[!--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[--><!----><!--[!--><!--[--><h2 class="qg-st2 "><!----><!---->Extraits sonores :<!----><!----></h2><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--[!--><!--[!--><!--[--><!--[--><!--[--><!----><!--[!--><ul><!----><!--[--><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Françis Poulenc</strong>, <em>Concerto pour 2 pianos en ré min FP 61 : Allegro ma non troppo</em><!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Chapell Roan</strong>, <em>Pink Pony Girl,</em> album <em>The Rise and Fall of a Midwest Princess</em>, 2023<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Jean-Baptiste Lully</strong>, <em>Ballet de la nuit</em> : Ouverture, XVIIe siècle<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>David Bowie</strong>, <em>Girl Loves Me</em>, album <em>Blackstar</em>, 2016<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Marlene Dietrich</strong>, <em>Quand l’amour meurt</em>, du film <em>Cœurs brûlés</em> (<em>Morocco</em>) de Josef von Sternberg, 1930<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Liza Minnelli</strong>, <em>New York New York</em><!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Judy Garland</strong>, <em>Follow The Yellow Brick Road</em>, du film <em>Le Magicien d'Oz</em>, 1939<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Michael Jackson et Diana Ross,</strong> <em>Ease on down the road</em>, du film <em>The Wiz</em> de Sidney Lumet, 1978<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Elton John</strong>, <em>Goodbye Yellow Brick Road</em>, album <em>Goodbye Yellow Brick Road,</em> 1973<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!---->Archive : Little Richard, <em>Send me some Lovin'</em><!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Little Richard</strong>, <em>Tutti Frutti</em>, album <em>Here's Little Richard</em>, 1957<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!---->Archive : RuPaul, émission "The Late Show with Stephen Colbert", 2019<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>La Lupe</strong>, <em>Puro Teatro</em>, album <em>La Lupe Es La Reina / La Lupe The Queen</em>, 1969<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Dusty Springfield</strong>, <em>The look of the Love</em> de Burt Bacharach, album <em>Casino Royale – An Original Soundtrack Recording</em>, 1967<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!----><li><!----><!--[!--><!--[--><!--[--><!--[!--><!--[!--><!--[--><!--[!--><!--[--><!--[!--><!--[--><!----><!----><!----><strong>Rachel Sweet</strong>, <em>Hairspray</em>, du film <em>Hairspray</em> de John Waters, 1988<!----><!----><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----><!----></li><!----><!--]--><!----></ul><!--]--><!----><!--]--><!--]--><!--]--><!--]--><!--]--><!----><!--]--><!--]--><!--]--><!----></div><!----></div><!----> <!--[!--><!--]--></div><!--]--> <div class="ExpressionReferences-chronicles g-block-margin svelte-s18jla"><!--[!--><!--]--></div> <!--[--><div class="ExpressionReferences svelte-s18jla"><!--[!--><!--]--> <!--[--><div class="ExpressionReferences-themes g-block-margin"><!--[--><div class="Tags "><!--[!--><!--]--> <nav><div class="TagsList svelte-1ll2msf "><ul class="TagsList-list qg-tx4 svelte-1ll2msf" data-testid="tags"><!--[--><li class="TagsList-item svelte-1ll2msf"><!--[--><div class="qg-tx4 light svelte-gvokpe"><!--[--><a href="/musique" data-testid="link" class="svelte-ovv3j3"><!----><!---->Musiques – Actualité musicale<!----></a><!--]--><!----></div><!--]--><!----></li><li class="TagsList-item svelte-1ll2msf"><!--[--><div class="qg-tx4 light svelte-gvokpe"><!--[--><a href="/arts-divertissements" data-testid="link" class="svelte-ovv3j3"><!----><!---->Arts et Divertissement<!----></a><!--]--><!----></div><!--]--><!----></li><li class="TagsList-item svelte-1ll2msf"><!--[--><div class="qg-tx4 light svelte-gvokpe"><!--[--><a href="/personnes/lady-gaga" data-testid="link" class="svelte-ovv3j3"><!----><!---->Lady Gaga<!----></a><!--]--><!----></div><!--]--><!----></li><li class="TagsList-item svelte-1ll2msf"><!--[--><div class="qg-tx4 light svelte-gvokpe"><!--[--><a href="/personnes/kate-bush" data-testid="link" class="svelte-ovv3j3"><!----><!---->Kate Bush<!----></a><!--]--><!----></div><!--]--><!----></li><!--]--></ul> <!--[!--><!--]--></div><!----></nav></div><!--]--><!----></div><!--]--></div><!--]--></div> <aside class="Expression-sidebar svelte-s18jla"><!--[--><div style="--mobile-minWidth: 0; --mobile-minHeight: 0; --tablet-minWidth: 0; --tablet-minHeight: 0; --desktop-minWidth: 300px; --desktop-minHeight: 600px;" class="PopSlot pave_haut svelte-1nn8uhn "><div class="PopSlot-label svelte-1nn8uhn "><span class="qg-tx5 svelte-1nn8uhn">Publicité</span> <svg class="PopSlot-svg svelte-1nn8uhn"><use href="#logoRF"></use></svg></div> <div id="pave_haut" class="PopSlot-slot dfp-slot svelte-1nn8uhn" data-format="pave_haut"></div></div><!--]--><!----> <!----><div class="observer svelte-13dn26f" data-testid="TopContent-observer"><!----><!--[!--><!--]--><!----><!----></div><!----><!----> <!--[--><!--[--><div style="--mobile-minWidth: 0; --mobile-minHeight: 0; --tablet-minWidth: 0; --tablet-minHeight: 0; --desktop-minWidth: 300px; --desktop-minHeight: 600px;" class="PopSlot pave_bas svelte-1nn8uhn "><div class="PopSlot-label svelte-1nn8uhn "><span class="qg-tx5 svelte-1nn8uhn">Publicité</span> <svg class="PopSlot-svg svelte-1nn8uhn"><use href="#logoRF"></use></svg></div> <div id="pave_bas" class="PopSlot-slot dfp-slot svelte-1nn8uhn" data-format="pave_bas"></div></div><!--]--><!--]--></aside></div> <!--[--><div class="qg-grid g-container"><div class="PersonList qg-grid g-block-margin svelte-169nyt2"><!----><p class="qg-tt3 PersonList-title svelte-169nyt2 ">L'équipe<!----></p><!----> <ul class="PersonList-items g-unstyled-list qg-grid svelte-169nyt2 "><!--[--><!----><li class="CardPerson svelte-12wu147"><div class="CardPerson-wrapper horizontal svelte-12wu147 "><!--[--><!--[--><div class="CardVisual svelte-j1s6h8" data-track-click-type="image"><!----><picture style="--_base-ratio:1/1;" class="svelte-1n5zs1o ratio"><!--[--><!--[--><!--]--> <!--[!--><!--]--> <!--[--><source type="image/webp" srcset="https://www.radiofrance.fr/s3/cruiser-production/2022/09/5d4e5b87-6cc3-42aa-b6ee-81a73a1ed0c0/120x120_1b039767-47d7-4830-a2c6-7ad7db8b59b4.webp" sizes="" class="svelte-1n5zs1o"><!--]--> <!--[!--><!--]--> <!--[--><source data-testid="image-src" srcset="https://www.radiofrance.fr/s3/cruiser-production/2022/09/5d4e5b87-6cc3-42aa-b6ee-81a73a1ed0c0/120x120_1b039767-47d7-4830-a2c6-7ad7db8b59b4.jpg" class="svelte-1n5zs1o"><!--]--><!--]--> <img src="https://www.radiofrance.fr/s3/cruiser-production/2022/09/5d4e5b87-6cc3-42aa-b6ee-81a73a1ed0c0/120x120_1b039767-47d7-4830-a2c6-7ad7db8b59b4.jpg" width="120" height="120" alt="Zoé Sfez" loading="lazy" fetchpriority="low" data-testid="image-tag" style="--_image-preview:url('data:image/svg+xml,<svg height="100%" width="100%" xmlns="http://www.w3.org/2000/svg"><defs><filter id="f1" x="0" y="0" xmlns="http://www.w3.org/2000/svg"><feGaussianBlur in="SourceGraphic" stdDeviation="30" /></filter></defs><rect width="100%" height="100%" fill="%23undefined" filter="url(%23f1)" /></svg>');" aria-hidden="true" class="svelte-1n5zs1o ratio" onload="this.__e=event" onerror="this.__e=event"></picture><!----><!----> <!--[!--><!--]--> <!--[!--><!--]--> <!--[!--><!--]--> <!--[!--><!--]--></div><!--]--><!--]--> <div class="CardPerson-details svelte-12wu147"><!--[--><div class="CardPerson-name qg-st5 svelte-12wu147"><!--[--><a href="/personnes/zoe-sfez" data-testid="link" class="svelte-ovv3j3 expandToParent underline-hover"><!----><!---->Zoé Sfez<!----></a><!--]--><!----></div><!--]--> <!--[--><div class="CardPerson-role qg-tx4 svelte-12wu147">Production</div><!--]--></div></div><!----></li><!----><!----><li class="CardPerson svelte-12wu147"><div class="CardPerson-wrapper horizontal svelte-12wu147 "><!--[--><!--[!--><div class="CardPerson-fallbackIcon svelte-12wu147"><!--[!--><!--]--> <!--[!--><svg aria-hidden="true" focusable="false" data-testid="icon-personFilled" class="svelte-1cvh6z9"><use href="/client/immutable/assets/personFilled.BM1ODQCy.svg#personFilled"></use></svg><!--]--><!----></div><!--]--><!--]--> <div class="CardPerson-details svelte-12wu147"><!--[--><div class="CardPerson-name qg-st5 svelte-12wu147"><!--[--><a href="/personnes/thomas-jost" data-testid="link" class="svelte-ovv3j3 expandToParent underline-hover"><!----><!---->Thomas Jost<!----></a><!--]--><!----></div><!--]--> <!--[--><div class="CardPerson-role qg-tx4 svelte-12wu147">Réalisation</div><!--]--></div></div><!----></li><!----><!----><li class="CardPerson svelte-12wu147"><div class="CardPerson-wrapper horizontal svelte-12wu147 "><!--[--><!--[!--><div class="CardPerson-fallbackIcon svelte-12wu147"><!--[!--><!--]--> <!--[!--><svg aria-hidden="true" focusable="false" data-testid="icon-personFilled" class="svelte-1cvh6z9"><use href="/client/immutable/assets/personFilled.BM1ODQCy.svg#personFilled"></use></svg><!--]--><!----></div><!--]--><!--]--> <div class="CardPerson-details svelte-12wu147"><!--[--><div class="CardPerson-name qg-st5 svelte-12wu147"><!--[--><a href="/personnes/louise-andre" data-testid="link" class="svelte-ovv3j3 expandToParent underline-hover"><!----><!---->Louise André<!----></a><!--]--><!----></div><!--]--> <!--[--><div class="CardPerson-role qg-tx4 svelte-12wu147">Réalisation</div><!--]--></div></div><!----></li><!----><!----><li class="CardPerson svelte-12wu147"><div class="CardPerson-wrapper horizontal svelte-12wu147 "><!--[--><!--[!--><div class="CardPerson-fallbackIcon svelte-12wu147"><!--[!--><!--]--> <!--[!--><svg aria-hidden="true" focusable="false" data-testid="icon-personFilled" class="svelte-1cvh6z9"><use href="/client/immutable/assets/personFilled.BM1ODQCy.svg#personFilled"></use></svg><!--]--><!----></div><!--]--><!--]--> <div class="CardPerson-details svelte-12wu147"><!--[--><div class="CardPerson-name qg-st5 svelte-12wu147"><!--[--><a href="/personnes/laura-dutech-perez" data-testid="link" class="svelte-ovv3j3 expandToParent underline-hover"><!----><!---->Laura Dutech-Perez<!----></a><!--]--><!----></div><!--]--> <!--[--><div class="CardPerson-role qg-tx4 svelte-12wu147">Collaboration</div><!--]--></div></div><!----></li><!----><!--]--></ul></div><!----></div><!--]--> <!--[--><div class="g-block-margin Expression-carouselContainer"><!--[--><!----><aside class="CardCarousel-wrapper"><!----><!--[--><div class="CardCarousel-top g-container svelte-em0yst"><div class="MeaCarouselHeader svelte-p8wm5c" data-testid="MeaCarouselHeader"><!--[--><div class="SectionTitle svelte-ngwok2"><div class="SectionTitle-firstLine svelte-ngwok2"><!----><span class="SectionTitle-title qg-tt3 reachableFromSectionSkip svelte-ngwok2" id="8ctxZF_87R"><!--[--><a href="/franceculture/podcasts/serie-triomphe-du-camp" data-testid="link" class="svelte-ovv3j3"><!----><!---->De la même série<!----><!--[--><span class="SectionTitle-icon svelte-ngwok2"><!--[!--><!--]--> <!--[!--><svg aria-hidden="true" focusable="false" data-testid="icon-chevronTop" class="svelte-1cvh6z9"><use href="/client/immutable/assets/chevronTop.B9vVM_Th.svg#chevronTop"></use></svg><!--]--><!----></span><!--]--><!----></a><!--]--><!----></span><!----> <!----><!--[!--><!--]--><!----> <!--[--><span 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href="/client/immutable/assets/chevronTop.B9vVM_Th.svg#chevronTop"></use></svg><!--]--><!----><!----></button><!----><!----></div> <ul class="svelte-m0l2a5 hasRightOverlay"><!----><!--[--><!----><li aria-hidden="true" class="svelte-1que890 "><!----><!----><!--[!--><!----><!--[!--><!--[--><!----><!--[!--><!----><div class="CardMedia vertical image svelte-p5qr3" data-brand="franceculture"><div class="CardMedia-visual image svelte-p5qr3"><!--[--><div class="CardVisual svelte-ccycl2 " data-track-click-type="image"><!----><picture style="--_base-ratio:16 / 9;" class="svelte-1n5zs1o ratio"><!--[--><!--[--><!--]--> <!--[!--><!--]--> <!--[--><source type="image/webp" srcset="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/11a74232-1cdc-4b3a-8bcf-5e2479405312/560x315_sc_gettyimages-1147404543.webp" sizes="" class="svelte-1n5zs1o"><!--]--> <!--[!--><!--]--> <!--[--><source data-testid="image-src" srcset="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/11a74232-1cdc-4b3a-8bcf-5e2479405312/560x315_sc_gettyimages-1147404543.jpg" class="svelte-1n5zs1o"><!--]--><!--]--> <img src="https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/11a74232-1cdc-4b3a-8bcf-5e2479405312/560x315_sc_gettyimages-1147404543.jpg" width="225" height="400" alt="Lady Gaga au Met Gala 2019 à New York" loading="lazy" fetchpriority="low" data-testid="image-tag" style="--_image-preview:url('data:image/svg+xml,<svg height="100%" width="100%" xmlns="http://www.w3.org/2000/svg"><defs><filter id="f1" x="0" y="0" xmlns="http://www.w3.org/2000/svg"><feGaussianBlur in="SourceGraphic" stdDeviation="30" /></filter></defs><rect width="100%" height="100%" fill="%23080808" filter="url(%23f1)" /></svg>');" aria-hidden="true" class="svelte-1n5zs1o ratio" onload="this.__e=event" onerror="this.__e=event"></picture><!----><!----> <!--[!--><!--]--> <!--[!--><!--]--> <!--[!--><!--]--></div><!--]--></div> <span class="CardTitle qg-st4 svelte-15fyv8v" data-track-click-type="text"><!--[--><a href="/franceculture/podcasts/la-serie-musicale/josephine-baker-lady-gaga-ou-sophie-mettre-en-musique-la-reflexivite-3886274" data-testid="link" class="svelte-ovv3j3 expandToParent underline-hover"><!----><!---->Épisode 2/2 : Joséphine Baker, Lady Gaga ou Sophie : mettre en musique la réflexivité<!----></a><!--]--><!----></span><!----> <!--[!--><!--]--> <div class="CardMedia-details svelte-p5qr3 "><div class="DefaultDetails svelte-jq3mtv"><!--[--><div class="DefaultDetails-icon svelte-jq3mtv"><!--[--><!--[!--><!----><button class="Button light primary small svelte-1weqwpy circular" type="button" aria-disabled="false" data-testid="play-button" aria-label="Écouter Épisode 2/2 : Joséphine Baker, Lady Gaga ou Sophie : mettre en musique la réflexivité"><!----><span slot="icon-left" class="svelte-13eov3i "><!--[--><!--[--><span class="qg-sr-only">Lecture</span><!--]--> <!--[!--><svg aria-hidden="true" focusable="false" data-testid="icon-playFilled" class="svelte-1cvh6z9"><use href="#playFilled"></use></svg><!--]--><!--]--></span><!----> <!----><!----> <!----><!----><!----><!----> <!----><!----> <!----><!----><!----></button><!----><!--]--><!--]--></div><!--]--> <div class="DefaultDetails-text svelte-jq3mtv"><!--[!--><!--]--> <div class="DefaultDetails-secondLine svelte-jq3mtv"><!--[!--><!--[--><!--[--><!--[!--><!----><p class="CardText qg-tx5 svelte-rxs35k"><!----><!---->26 oct.<!----><!----></p><!----><!--]--><!--]--> <!--[--><!--[!--><!----><p class="CardText qg-tx5 svelte-rxs35k"><!----><!----> • <!----><!----></p><!----><!--]--><!--]--> <!--[--><!--[!--><!----><p class="CardText qg-tx5 svelte-rxs35k"><!----><!---->59 min<!----><!----></p><!----><!--]--><!--]--> <!--[!--><!--]--> <!--[!--><!--]--><!--]--><!--]--></div></div></div><!----> 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En 1964, dans son ouvrage \u003Cem>Notes on \"Camp\"\u003C/em>, Susan Sontag liste comme étant “camp” les figures de King Kong, de Charles de Gaulle, les ouvrages de Cocteau, ou encore les opéras de Strauss. Le terme viendrait notamment des \u003Cem>Fourberies de Scapin\u003C/em> de Molière, où le mot “camper” évoquerait un personnage défendant son existence dans le monde, face au mépris et à la domination, qui en fait beaucoup trop. Exactement ce que propose Louis XIV avec sa débauche de costumes pour tenir la Fronde nous dit Sontag. Les ballets baroques de Lully seraient de fait profondément camp."}]},{type:"heading",level:2,value:"En faire trop, surjouer pour survivre"},{type:"text",children:[{type:"text",value:"Le mot \"camp\" aurait également été repris par la langue polari, forme d’argot pratiqué en Grande-Bretagne à la fin du XIXe siècle et au début du XXe siècle par les acteurs, les gens du cirque, les performeurs, les marins ou encore les travailleurs du sexe dans les milieux gays. Il s'agirait d’une langue un peu internationale devenue la langue parlée de la subculture gay au tournant du XIXe et du XXe siècle. On peut la retrouver dans l'un des derniers titres d’une grande figure camp, à savoir, David Bowie, qui chante dans cette langue dans \u003Cem>Girl Loves Me.\u003C/em>"}]},{type:"heading",level:2,value:"Le camp, du cabaret au cinéma"},{type:"text",children:[{type:"text",value:"Le camp est souvent décrit comme proposant une réflexivité face à une culture dominante homophobe ou capitaliste. Il s'agit ainsi de reprendre précisément ce qui est reproché et de le \"camper \"de manière tellement explosive et visible que le reproche n’est plus possible. Le trait stigmatisé devient même un objet d’appréciation."}]},{type:"text",children:[{type:"text",value:"Dans cette idée, à partir du début du XXe siècle, l'esthétique du cabaret berlinois, lieu de la mise en scène excessive de soi-même, brouille les pistes sur le genre. Marlene Dietrich est une grande figure de cette esthétique du cabaret. Dans \u003Cem>Cœurs brûlés\u003C/em> (\u003Cem>Morocco\u003C/em> en anglais, 1930) de Josef von Sternberg, elle chante même déguisée en homme."}]},{type:"text",children:[{type:"text",value:"De son côté, révélée dans \u003Cem>Cabaret\u003C/em> (Bob Fosse, 1972), Liza Minnelli chante l'importance de ce lieu dans lequel on pourrait exister en étant parfaitement soi-même et “camper” ce que l’on rêve d’être depuis toujours. Elle est notamment la fille de Judy Garland, figure camp par excellence que l’on entend chanter dans un film non moins camp, \u003Cem>Le Magicien d’Oz\u003C/em> (Victor Fleming, 1939)."}]},{type:"image",data:{src:"https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/8bdeb71b-c3b3-41ae-975e-fad3d00bdbc2/860_sc_gettyimages-3169970.jpg",webpSrc:"https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/8bdeb71b-c3b3-41ae-975e-fad3d00bdbc2/860_sc_gettyimages-3169970.webp",width:860,height:1085,ratio:"126.16279069767442%",alt:"Marlene Dietrich dans \"Morocco\" de Josef von Sternberg, 1930",preview:"data:image/jpeg;charset=utf-8;base64, /9j/2wBDACgcHiMeGSgjISMtKygwPGRBPDc3PHtYXUlkkYCZlo+AjIqgtObDoKrarYqMyP/L2u71////m8H////6/+b9//j/2wBDASstLTw1PHZBQXb4pYyl+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj4+Pj/wAARCAAqACEDASIAAhEBAxEB/8QAGAAAAwEBAAAAAAAAAAAAAAAAAAECAwT/xAAXEAEBAQEAAAAAAAAAAAAAAAAAAQIR/8QAFAEBAAAAAAAAAAAAAAAAAAAAAP/EABQRAQAAAAAAAAAAAAAAAAAAAAD/2gAMAwEAAhEDEQA/AFUVdRQRU1dRQIAA6LUWq1WWqAtLpWl0DBdANtMtVpploE2l0qAPoIA//9k=",sizes:"(max-width: 480px) 200px, (max-width: 1024px) 1000px, 2000px",srcset:"https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/8bdeb71b-c3b3-41ae-975e-fad3d00bdbc2/860_sc_gettyimages-3169970.jpg 860w",webpSrcset:"https://www.radiofrance.fr/s3/cruiser-production-eu3/2024/10/8bdeb71b-c3b3-41ae-975e-fad3d00bdbc2/860_sc_gettyimages-3169970.webp 860w",copyright:"Getty",author:"Eugene Robert Richee / Contributeur"}},{type:"heading",level:2,value:"John Waters, pape du trash et du camp"},{type:"text",children:[{type:"text",value:"Le camp ne consiste pas qu’à subvertir les genres : il sait aussi les surperformer, comme le font des figures comme Mina ou Dusty Springfield, la première dans les années 1960 à surjouer un personnage féminin à l’aide de perruques et de maquillage."}]},{type:"text",children:[{type:"text",value:"De son côté, John Waters, souvent surnommé “le pape du trash”, joue de ce surjeu, mettant à l’honneur Divine, sa drag-queen fétiche, dans nombre de ses films. Son film \u003Cem>Hairspray\u003C/em> (1988), qui impose une drag-queen dans le rôle d'une mère de famille, s'est affirmé comme une comédie musicale très populaire aux Etats-Unis. Comme le dit John Waters lui-même, ce film \"accidentellement\" familial s’affirme aujourd'hui comme un véritable “cheval de Troie” du camp."}]},{type:"heading",level:2,value:"Extraits sonores :"},{type:"list",ordered:false,children:[{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Françis Poulenc\u003C/strong>, \u003Cem>Concerto pour 2 pianos en ré min FP 61 : Allegro ma non troppo\u003C/em>"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Chapell Roan\u003C/strong>, \u003Cem>Pink Pony Girl,\u003C/em> album \u003Cem>The Rise and Fall of a Midwest Princess\u003C/em>, 2023"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Jean-Baptiste Lully\u003C/strong>, \u003Cem>Ballet de la nuit\u003C/em> : Ouverture, XVIIe siècle"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>David Bowie\u003C/strong>, \u003Cem>Girl Loves Me\u003C/em>, album \u003Cem>Blackstar\u003C/em>, 2016"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Marlene Dietrich\u003C/strong>, \u003Cem>Quand l’amour meurt\u003C/em>, du film \u003Cem>Cœurs brûlés\u003C/em> (\u003Cem>Morocco\u003C/em>) de Josef von Sternberg, 1930"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Liza Minnelli\u003C/strong>, \u003Cem>New York New York\u003C/em>"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Judy Garland\u003C/strong>, \u003Cem>Follow The Yellow Brick Road\u003C/em>, du film \u003Cem>Le Magicien d'Oz\u003C/em>, 1939"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Michael Jackson et Diana Ross,\u003C/strong> \u003Cem>Ease on down the road\u003C/em>, du film \u003Cem>The Wiz\u003C/em> de Sidney Lumet, 1978"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Elton John\u003C/strong>, \u003Cem>Goodbye Yellow Brick Road\u003C/em>, album \u003Cem>Goodbye Yellow Brick Road,\u003C/em> 1973"}]},{type:"list_item",children:[{type:"text",value:"Archive : Little Richard, \u003Cem>Send me some Lovin'\u003C/em>"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Little Richard\u003C/strong>, \u003Cem>Tutti Frutti\u003C/em>, album \u003Cem>Here's Little Richard\u003C/em>, 1957"}]},{type:"list_item",children:[{type:"text",value:"Archive : RuPaul, émission \"The Late Show with Stephen Colbert\", 2019"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>La Lupe\u003C/strong>, \u003Cem>Puro Teatro\u003C/em>, album \u003Cem>La Lupe Es La Reina / La Lupe The Queen\u003C/em>, 1969"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Dusty Springfield\u003C/strong>, \u003Cem>The look of the Love\u003C/em> de Burt Bacharach, album \u003Cem>Casino Royale – An Original Soundtrack Recording\u003C/em>, 1967"}]},{type:"list_item",children:[{type:"text",value:"\u003Cstrong>Rachel Sweet\u003C/strong>, \u003Cem>Hairspray\u003C/em>, du film 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