{"id":64,"date":"2018-11-02T13:59:32","date_gmt":"2018-11-02T12:59:32","guid":{"rendered":"http:\/\/www.kaoutherbenamor.com\/?p=64"},"modified":"2018-11-02T21:54:21","modified_gmt":"2018-11-02T20:54:21","slug":"taheya-carioca-1919-1999","status":"publish","type":"post","link":"https:\/\/www.kaoutherdanse.com\/it\/les-legendes-de-la-danse-orientale\/taheya-carioca-1919-1999\/","title":{"rendered":"Taheya CARIOCA (1919-1999)"},"content":{"rendered":"

\"\"Danseuse et actrice, elle aura \u00e9t\u00e9 une sorte de f\u00e9ministe orientale, et n’a jamais accept\u00e9 de faire comme toutes ses cons\u0153urs. A la diff\u00e9rence de Samia Gamal<\/a>,\u00a0danseuse instinctive et ing\u00e9nue qui avait besoin d’espace pour exprimer sa chor\u00e9graphie, Taheya Carioca reste dans la m\u00e9moire populaire comme la danseuse \u00abdu geste minimum\u00bb<\/strong>.<\/p>\n

Rivale de Samia Gamal, Abla Ali Mohamed Karim est n\u00e9e en 1915 \u00e0 Isma\u00eflia. A 12 ans, elle arrive au Caire et entre comme danseuse dans la troupe du Casino, le cabaret dirig\u00e9 par la productrice Badia Massabni. Malicieuse, elle a la r\u00e9putation d’apprendre \u00e0 une vitesse inou\u00efe. Dans le cosmopolitisme cairote de l’\u00e9poque o\u00f9 l’on parle fran\u00e7ais pour faire distingu\u00e9, elle s’exprime dans cette langue presque sans accent et\u00a0excelle dans la danse br\u00e9silienne. C’est ainsi qu’elle devient Taheya \u00abCarioca\u00bb<\/strong>. Chez Badia Massabni, la concurrence est rude, sp\u00e9cialement avec Samia Gamal. Lorsque cette derni\u00e8re choisit la d\u00e9marche des stars de la chanson \u00e9gyptienne (Mohamed Abdelwahab et Farid El Atrache) qui orientaient leur musique vers un romantisme occidentalis\u00e9, Taheya Carioca opte pour la voie de la performance et de l’inattendu.<\/p>\n

\u00abElle savait capter le regard et ne plus le l\u00e2cher, l’art de la quintessence et du geste juste. Taheya pouvait danser dans un mouchoir de poche\u00bb<\/p><\/blockquote>\n

raconte Jean-Marie Bonnafous, des Films R\u00e9gent, distributeur en France des longs m\u00e9trages o\u00f9 a jou\u00e9 Taheya Carioca. Comme toutes les danseuses orientales et les vedettes de la chanson du Caire, Taheya Carioca entre en 1935 dans le cin\u00e9ma par la porte de la com\u00e9die musicale. Du Docteur Farhat de Togo Mizrahi \u00e0 Dans l’ombre de Kamal Selim elle tient les seconds r\u00f4les; de sc\u00e8ne de mariages en sc\u00e8ne de cabarets, elle impose son style dansant int\u00e9rioris\u00e9 qui fait lever de sa chaise d’admiration le populaire en guellabia fra\u00eechement arriv\u00e9 de sa campagne. Bient\u00f4t promue sex symbol, Taheya Carioca fait \u00e9cole; elle aura plus tard pour successeur Zoheir Zaki.<\/p>\n

Vers 1940, elle passe aux premiers r\u00f4les, d’abord avec Hussein Fawzi, qui lui offre l’occasion de sortir de ses r\u00f4les oblig\u00e9s de danseuse dans deux films: J’aime les erreurs et J’aime le populaire. Mais c’est gr\u00e2ce au r\u00e9alisateur Wali Eddine Sameh qu’elle acc\u00e8de \u00e0 la c\u00e9l\u00e9brit\u00e9 en 1946, dans\u00a0la Femme et le pantin<\/strong>, \u00e0 la faveur d’un face-\u00e0-face avec le mauvais gar\u00e7on ch\u00e9ri du cin\u00e9ma \u00e9gyptien, Naguib al-Rihani.<\/p>\n

Cannes, 1956. Eternelle danseuse pour le monde arabe,\u00a0Taheya Carioca est d\u00e9couverte en 1956 par le public de Cannes<\/strong>\u00a0comme une personnalit\u00e9 \u00e0 la fougue rare pour le cin\u00e9ma de son pays. Le r\u00e9alisateur n\u00e9or\u00e9aliste Salah Abou Seif venait d’offrir \u00e0 Taheya Carioca le film\u00a0la Sangsue. La danseuse y jouait une matrone veuve dans un quartier populaire du Caire. Logeant un \u00e9tudiant candide (jou\u00e9 par Chukri Serhan), la loueuse s’entiche vite du beau paysan et ne domine bient\u00f4t plus ses d\u00e9sirs. Le film devait entrer dans les annales du cin\u00e9ma arabe via une fameuse sc\u00e8ne o\u00f9, l\u00e8vres presque coll\u00e9es \u00e0 celles de l’ondulante logeuse, l’\u00e9tudiant qui entend l’appel \u00e0 la pri\u00e8re h\u00e9site \u00e0 enlacer sa gardienne.<\/p>\n

En 1958, Taheya retrouve sa vieille coll\u00e8gue et prot\u00e9g\u00e9e des ann\u00e9es 40, la lumineuse\u00a0Samia Gamal<\/a><\/strong>\u00a0dans habibi al askar : une rencontre au sommet pour les deux plus prestigieuses danseuses du cin\u00e9ma oriental qui ne vaut que pour les sc\u00e8nes de danse des deux \u00e9toiles.<\/p>\n

En 1960, elle fournit une excellente prestation dans les rivages de l\u2019amour , joli m\u00e9lo romantique avec le c\u00e9l\u00e8bre chanteur Farid el Attache. Elle y incarne avec talent et beaucoup d\u2019\u00e9motion une vieille danseuse de cabaret dont la fille ignore l\u2019identit\u00e9. Avec de telles qualit\u00e9s de com\u00e9dienne, l\u2019actrice n\u2019aura aucun mal \u00e0 poursuivre sa carri\u00e8re loin des com\u00e9dies musicales quand elle abandonne la danse en 1963.\u00a0 Dans les ann\u00e9es 70, Taheya Carioca va poursuivre sa carri\u00e8re tant au cin\u00e9ma que sur sc\u00e8ne, dirigeant une troupe permanente qui porte son nom ainsi qu\u2019 une salle de th\u00e9\u00e2tre.\u00a0 Tr\u00e8s impliqu\u00e9e dans les syndicats du cin\u00e9ma \u00e9gyptien, la com\u00e9dienne n\u2019avait pas sa langue dans sa poche et sa virulence \u00e9tait proverbiale.<\/p>\n

En 1985, l\u2019actrice tient un r\u00f4le de sage femme dans adieu Bonaparte de Chahine qu\u2019elle pr\u00e9sentera au festival de Cannes.<\/strong><\/p>\n

Toujours tr\u00e8s impliqu\u00e9e politiquement, elle s\u2019est rendue \u00e0 Ath\u00e8nes en 1988 avec quelques intellectuels \u00e9gyptiens , \u00e0 l\u2019initiative de l\u2019organisation de la lib\u00e9ration de la Palestine qui planifiait d\u2019affr\u00e9ter un navire le Al-Awda, pour rapatrier des palestiniens dans leurs foyers et terres d’origine occup\u00e9es par Isra\u00ebl.
\nA la fin des ann\u00e9es 80 , Tahia Carioca s\u2019est retir\u00e9e d\u00e9finitivement de la vie artistique, se consacrant enti\u00e8rement \u00e0 l\u2019\u00e9ducation de sa fille adoptive, sans toutefois jamais renier sa carri\u00e8re de danseuse \u00e9toile.<\/p>\n","protected":false},"excerpt":{"rendered":"

Danseuse et actrice, elle aura \u00e9t\u00e9 une sorte de f\u00e9ministe orientale, et n’a jamais accept\u00e9 de faire comme toutes ses cons\u0153urs. A la diff\u00e9rence de Samia [\u2026]<\/span><\/p>\n","protected":false},"author":2,"featured_media":106,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-64","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-les-legendes-de-la-danse-orientale"],"yoast_head":"\nTaheya CARIOCA (1919-1999) | Kaouther Ben Amor - Cours de Danse Orientale Paris<\/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.kaoutherdanse.com\/it\/les-legendes-de-la-danse-orientale\/taheya-carioca-1919-1999\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:locale:alternate\" content=\"fr_FR\" \/>\n<meta property=\"og:locale:alternate\" content=\"en_US\" \/>\n<meta property=\"og:locale:alternate\" content=\"es_ES\" \/>\n<meta property=\"og:locale:alternate\" content=\"de_DE\" \/>\n<meta property=\"og:locale:alternate\" content=\"nl_NL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Taheya CARIOCA (1919-1999) | Kaouther Ben Amor - Cours de Danse Orientale Paris\" \/>\n<meta property=\"og:description\" content=\"Danseuse et actrice, elle aura \u00e9t\u00e9 une sorte de f\u00e9ministe orientale, et n’a jamais accept\u00e9 de faire comme toutes ses cons\u0153urs. 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