By Alfred Jarry
Le nine décembre 1896, un jeune homme crée le scandale en faisant jouer au Théâtre de l'Oeuvre une farce truculente, Ubu roi. "Merdre!" Sitôt le most popular mot lâché, los angeles salle siffle, hue, rit, proteste : le public est insulté, les conventions théâtrales bousculées, le gruesome s'introduit dans le théâtre d'avant-garde. En mettant en scène les tribulations du Père Ubu - personnage cynique et ordurier, prêt à tout pour s'accaparer le pouvoir -, Jarry donne naissance à un véritable mythe. Blague de potache témoignant de l'inventivité d'un lycéen rennais ou "pamphlet philosophico-politique à gueule effrontée", selon le mot d'un journaliste d'alors, Ubu roi est d'abord un feu d'artifice verbal qui, plus d'un siècle plus tard, n'a rien perdu de sa saveur.
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Extra info for Ubu roi
Sample text
41 THE EMPTY SPACE As a result, we are often forced to choose between reviving old plays or staging new plays which we find inadequate, just as a gesture towards the present day. Or else to attempt to initiate a play—as, for example, when a group of actors and writers in the Royal Shakespeare Theatre, wanting a play on Vietnam that did not exist, set out to make one, using techniques of improvisation and authorless invention to fill the vacuum. Group creation can be infinitely richer, if the group is rich, than the product of weak individualism—yet it proves nothing.
However, setting out to ‘be simple’ can be quite negative, an easy evasion of the exacting steps to the simple answer. It is a strange role, that of the director: he does not ask to be God and yet his role implies it. He wants to be fallible, and yet an instinctive conspiracy of the actors is to make him the arbiter, because an arbiter is so desperately wanted all the time. In a sense the director is always an imposter, a guide at night who does not know the territory, and yet he has no choice—he must guide, learning the route as he goes.
On the stage was a bright blue sky. Two seedy, spangled clowns sat on a painted cloud on their way to visit the Queen of Heaven. ’ said one. ‘Dinner,’ said the other and the children screamed approval. ’ ‘Schinken, leberwurst …’ the clown began to list all the unobtainable foods and the squeals of excitement were gradually replaced by a hush—a hush that settled into a deep and true theatrical silence. An image was being made real, in answer to the need for something that was not there. In the burnt-out shell of the Hamburg Opera only the stage itself remained—but an audience assembled on it whilst against the back wall on a wafer-thin set singers clambered up and down to perform The Barber of Seville, because nothing would stop them doing so.