Eurocommunism and the French Communist Party

The Algerian Communist Party (PCA) played a particularly important role in the anti-colonial movement in the Chelif region, a prominence that explains why it was chosen as the primary base for the ‘Red Maquis’ guerrilla force in 1956. Chapter 7 looks at the way in which the PCA, dominated by the French Communist Party, initially opposed nationalism and followed the orthodox Marxist doctrine that the peasantry could not constitute a revolutionary class, a vanguard role that could only be assumed by an industrial or urban proletariat. In the Chelif region the veteran communist and trade union leader Mohamed Marouf reflected this position and focused propaganda work on the farm labourers of the plain while neglecting the mountain peasants that were seen as a form of seasonal, blackleg labour. However, from 1932 onwards a minority movement began to emerge in the PCA that was favourable to a peasant-based strategy, and in 1944 this led to the creation of the Syndicat des petits cultivateurs (SPC). The peasant-based movement that developed in the Aurès, Tlemçen, and Chelif mountains during the late 1940s and prepared the ground for a later guerrilla movement.

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Homage to Robert Aron, 1898—1975

Theatre Research International ◽

10.1017/s0307883300001516 ◽

1977 ◽

Vol 2 (2) ◽

pp. 131-139

Author(s):

Annabelle Henkin Melzer

Keyword(s):

World War Ii ◽

Communist Party ◽

World War ◽

Alfred Jarry ◽

Avant Garde ◽

Louis Aragon ◽

Tristan Tzara ◽

Philippe Soupault ◽

Young Wife ◽

French Communist Party

I went to see Robert Aron in the summer of 1972. He was then seventy-four years old, a tall, striking man in an apartment of stuffed furniture overrun by books. In all my meetings that summer with former surrealists, people who had made avant-garde theatre in Paris in the 1920s, there was always a sense of trembling at reaching out to touch cobwebbed memories. Forty-five years had passed since the events we talked about. Tristan Tzara, recalled by Gide as a charming man with a young wife who was ‘even more charming’, had since fought with the French Resistance during World War II and later joined the Communist Party. André Breton, when he died in 1966, was accompanied to his grave by ‘waves of young men and young girls often in couples, with arms entwined’. They had come from all over France to pay him tribute. Philippe Soupault is a respected editor, critic and radio commentator, Louis Aragon is at the forefront of the French Communist Party and dislikes talking about his days as a Surrealist, Roger Vitrac is an acknowledged and produced playwright while Artaud is a cult figure. There are moments when in looking back, the whole Dada-Surrealist performance world looks like some great Dada swindle perpetrated on the only too fallible researcher and critic. Robert Aron does nothing to dispel this feeling. The man who sent a telegram to Breton warning him that he would stop at no measures to keep the fervent Surrealist claque from disturbing the performance of Strindberg's A Dream Play at the Théâtre Alfred Jarry, was elected a member of the French Academy before his death.

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