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Ubu Roi Alfred Jarry , Barbara Wright (Translator) , (Illustrator)

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Ubu Roi

Alfred Jarry , Barbara Wright (Translator) , Franciszka Themerson (Illustrator)

Ubu Roi Alfred Jarry , Barbara Wright (Translator) , Franciszka Themerson (Illustrator) One of the most extraordinary events of the late nineteenth century in was the opening on December 11, 1896, at the Théâtre de l’Oeuvre, of Alfred Jarry’s play Ubu Roi. The audience was scandalized by this revolutionary satire, developed from a schoolboy farce, which began with a four-letter word, defied all the traditions of the stage, and ridiculed the established values of bourgeois society.

Barbara Wright’s witty translation of this riotous work is accompanied with drawings by Franciszka Themerson. Two previously untranslated essays in which Jarry explains his theories of the drama have also been included.

Ubu Roi Details

Date : Published January 17th 1961 by New Directions (first published December 9th 1896) ISBN : 9780811200721 Author : Alfred Jarry , Barbara Wright (Translator) , Franciszka Themerson (Illustrator) Format : Paperback 186 pages Genre : Plays, Drama, Theatre, Cultural, France, Classics, Fiction, European Literature, French Literature

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From Reader Review Ubu Roi for online ebook

Matea says

This was so... ridiculous! Or it's maybe that I just don't understand surrealistic literature, but you know what, I don't care one bit about it. It was very easy to read, though.

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Mahmood666 says

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tENTATIVELY, cONVENIENCE says

Alfred Jarry is probably in my top 20 favorite writers & this is his most famous bk. It's also one of the ones that I find least interesting. It's basically juvenilia - striking in its clear rebelliousness & biting satire but not necessarily THAT great otherwise. Nonetheless, I HAVE 7 EDITIONS OF THIS - 4 IN ENGLISH, 1 IN SPANISH, & 2 IN FRENCH. & mon Français est minimale (et mauvais) & I don't speak Spanish at all. Each of the editions is interestingly different. This particular New Directions edition is illustrated by Franciszka Themerson & I don't even really like her drawings - but I still like the edition w/ its handwritten text & generally SCRAWLING layout. One of the English editions that I have is translated as "King Turd"! I haven't read that one yet - it claims to be the 1st complete edition of all of Jarry's Ubu writings.

Book Wyrm says

You could sum up this play in a single quote from its stage directions: 'Clown explodes'. A longer summary is difficult, and despite what I'd heard about this play, it seems less proto-Dada and more just ga-ga. Imagine Macbeth rewritten by a sadistic scat fetishist with some unwarranted hatred for and you've bearly scratched the surface of something that is pretty much hollow. It's a series of weird gags and deliberate shock tactics, with the extremely rare amusing line; pure farce for farce's sake. Everything is deliberately ludicrous, some parts deliberately irritating, such as the list of people thrown through a trap door, that went on for (no joke) at least four sodding kindle pages. While there's something fun about Ubu Roi (albeit on the level of a fart gag) I feel annoyed for reading it, I think people who watched the play were annoyed for losing a few hours of their life, and I'm even more annoyed by the fact that's probably exactly the reaction Alfred Jarry wanted.

John Allen says

Jarry's perverse creation, "Ubu Roi", is now running the United States. Thus Jarry takes his place as the artist-prophet.

Czarny Pies says

Ubu roi est le grand classique du mouvement Dadaist en litterature. Je ne suis pas sur qu'il existe d'autres livres dans le genre mais peu importe un classique c'est un classique.

Ubu roi est un excellent choix pour un professeur qui donne un cours de litterature francaise aux Anglophones. Apres avoir lutte avec Racine et Corneille, c'est toujours un plaisir de lire cet ouvrage qui est facile a lire et bourré de blagues cacaistes.

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Gustl says

Possiedo l'edizione Adelphi; che contiene le 4 commedie del ciclo di Ubu. Ubu è la marionetta più famosa del teatro francese subito dopo Guignol, che a sua volta si ispira ai burattini italiani. Le surreali vicende di Papà Ubu, sembrano uscite direttamente da quel capolavoro dell'assurdo che è "Gargantua & Pantagruele" di Rabelais; un mondo in cui il concetto di giusto e sbagliato è totalmente sovvertito, e dove la realtà si contamina col sogno, in un quadro allucinato e straniante. Il bretone Jerry, padre della patafisica: (scienza delle soluzioni immaginarie), è considerato il primo esponente del Teatro dell'assurdo, che prolifererà soprattutto grazie ad artisti del calibro di: Ionesco e Beckett, ma deve a mio avviso molto, all'immortale Rabelais e alle sue incredibili intuizioni. Il personaggio di Papà Ubu, ha ispirato tra gli altri, una band di garage rock americana degli anni 70 e tuttora attiva: i Pere Ubu. Io sono già un Ubucolo, e voi?

Mazel says

Merdre.

Ubu, monument de la dramaturgie française, s'ouvre sur ce juron étonnant qui trouve ses origines dans l'esprit moqueur d'un lycéen rennais.

Jarry n'a en effet que quinze ans lorsqu'il compose, dans la veine des gestes médiévales, cette pièce aux accents de grosse farce.

Ubu, héros de troisième ordre qui synthétise à lui seul tous les travers humains possibles, devient roi de Pologne par un régicide grotesque.

Son règne, sa déchéance et les savoureux dialogues qu'il échange avec la mère Ubu, manière de Lady Macbeth, la dimension tragique en moins, constituent les cinq actes de cette pièce conçue à l'origine comme un spectacle de marionnettes.

Ubu roi, satire universelle de la stupidité et de la vulgarité, est peuplé de personnages types.

Malgré son trait exagérément appuyé qui donne au tout l'aspect d'une blague de potache, cette pièce constitue une véritable aventure créatrice pour son jeune auteur, désormais identifié à son personnage légendaire.

Première d'une série de pièces et de textes mettant en scène le Père Ubu, cette facétie, réappropriation de grands textes et invention d'un langage propre, suscita un tollé lors de sa première représentation en 1896.

Amy Hawthorne says

This play is funny and absurd ~ as it's meant to be for an absurdist drama! The settings move about quickly, the action is fast paced and predictable, the characters are gluttonous and disgusting.

I have no idea how I feel about this kind of drama yet. The production I watched on youtube played on the filthy language and actions of Mama and Papa Ubu. It's cringe worthy, awkward but a real development in

PDF File: Ubu Roi... 5 Read and Download Ebook Ubu Roi... theatre at the time and I think when I've studied this play (as with most of the texts we study at university) the star rating will rise with understanding.

But for now it gets 3!

Nathan "N.R." Gaddis says

[Ubu Roi is a book, a play, a drama for our times. Don’t miss out on this wonderful 80-odd minute production of pantagruelism. (hide spoiler)]

Loretta says

If John Waters-- not the JW of Hairspray or Cry Baby, but the down and dirty creator of Pink Flamingoes-- did an interpretation mash up of Macbeth and Julius Caesar... You might get something approaching this play. I had a different translation, one that the translator, David Copelin, called the only one "with balls."

Well, sheeyit! Funny, disturbing, gross... And the exploration of corruption, tyranny, and greed of man still very relevant, of course.

Jessica says

Macbeth retold as an absurdist drama revolving around shit? Yes. As a matter of fact, that is what this play is about.

Phillip says

What's unique and interesting about Ubu Roi is that it is one of those plays that secured its fame because there were riots (later named the Ubu Riots) at its premier. Of course, for modern theatre goers, violence, sexual activity, and swearing are all common place, so I think Ubu Roi is not as shocking today as it certainly would have been when it was first performed and confronted an audience whose sensibilities were conditioned by a Symbolist aesthetic.

It seems like Jarry's goal was to stage a grotesque simply for the sake of staging a grotesque. My sense is that generally a grotesque figure shows up in a play/novel/poem/whatever incidentally, it functions as part of the plot or serves some kind of purpose, but what Jarry does that seems different is he makes this grotesque figure an end in and of itself. Papa Ubu is a figure of consumption, greed, and corporeality. The vast majority of his dialogue centers around eating, shitting, violence, and making money. He loves feasting but hates paying for it, he kills absurd amounts of people for little or no reason but he is cowardly, and he brags of great deeds he's never done. Ubu is the corrupted opposite of the Symbolist fantasy--the Hyde to Symbolism's Jeckyll.

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P.E. says

Farcical, glutton, grotesque, gross, cowardly and vile, Ubu is on a wacky warped rampage remake of Macbeth :)

Matching Soundtrack : Vladimir Cauchemar - Aulos

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Bouffon, goinfre, grotesque, couard et vil, Ubu nous fait un remake de Macbeth bien cocasse ! ;)

Entracte musical : Vladimir Cauchemar - Aulos

Roberto says

“Ubu re” è un'opera teatrale di Alfred Jarry pubblicata nel 1896. Un sovrano, Padre Ubu, cinico, ipocrita, meschino, vile, passa il suo tempo ad arraffare titoli e tesori, imprigiona nobili, giudici e finanzieri nei sotterranei perché vuole amministrare il paese facendo i suoi comodi. È caratterizzato da una assoluta mancanza di ideali e dalla concentrazione sul suo interesse personale. È veloce ad adattarsi a tutte le situazioni e a sfruttarle in funzione della sua convenienza. L’unica sua morale è quella di fare ciò che gli torna utile. È sorprendente come il testo sia rimasto attuale, nonostante siano passati più di cento anni; forse è la dimostrazione che le bassezze umane rimangono sempre le stesse.

A volte ci sono libri che hanno un elevato valore per il significato intrinseco, in questo caso la denuncia del potere e delle sue bassezze. Il loro valore sta nell’idea, non nelle singole frasi contenute in esso. Ubu Re per me è questo, solo questo. Senza la morale e la spiegazione purtroppo non rimane molto. È un libro grottesco, volgare (merda è ripetuto in continuazione), paradossale, che parla di personaggi improbabili. Un libro che non mi ha strappato nemmeno un sorriso (meno male che dicevano fosse comico) e che mi ha annoiato a morte.

E' come guardare un'opera contemporanea con a fianco qualcuno che ti spiega le ragioni per cui è importante e degna di nota. Capisci le ragioni del valore dell’opera, ma l’opera stessa ti fa schifo…

Quindi direi 5 stelle all’idea e -1 stella alla godibilità. Media 2 stelle. Che forse per me son sempre tante…

Wendy Crittenden says i do believe that this is the dude that we discussed in art h. methods seminar (though none of my goodreads friends were in that seminar) this past semester when we were reading examples of post-colonial art historical practices with a sociological approach. he was only briefly mentioned but as my group presented the article containing the blurb about him, i of course excitedly tripped on his mention and haven't forgotten

PDF File: Ubu Roi... 7 Read and Download Ebook Ubu Roi... about his absurdist approach to exploiting colonialism. i am a bit excited to read this when i fit it in my schedule.

Emily says

Like most of the participants in Ubu Week, I am at a bit of a loss when it comes to actually writing about Alfred Jarry's aggressively odd contribution to French theatre. Having only read the first play in the series, Ubu roi (which I understand is not the best), I am left with an impression of frat-boy humor that is somehow also a revolutionary step toward surrealism; a piece that invites comparison to everything from Shakespeare's Falstaff, to Monty Python's exploding man sketch, to some kind of appalling reality show on competitive cannibalism or something. ("Next, on FOX...") Seriously, what to say?

Regular readers may remember that I'm slowly and very casually compiling a reading list around the literary treatment of disgust and the disgusting, and this is probably the angle from which Ubu roi most interests me. Its main character and raison d'être, Père Ubu, is viscerally disgusting both morally and physically, and indeed eliciting shock and disgust, and expressing Jarry's own disgust with certain personality types and social assumptions, seems to have been a major goal of the plays to begin with. As such, they're a great jumping-off point for a catalog of possible sources of literary revulsion.

So, what's so disgusting about Père Ubu? His physical form, famously obese and with a head and face distorted to the point of inhumanity, makes a good start. The costume suggested by Jarry even includes a mask, which further separates Père Ubu from the world of the human.

From Dorian Grey's portrait to Lord Voldemort's snake face, it's always tempting to make a morally repugnant character physically repulsive as well, and even before Ubus père and mère become splattered with brains, they are a pretty repellent pair. (I question whether a production staged with marionettes, as this one sometimes has been, could achieve quite the levels of disgust possible for flesh-and-blood actors, although the puppets would add an extra level of inhumanity.) Père Ubu looks like the grotesque embodiment of id that his actions quickly prove him to be, with a giant spiral marking his insatiable stomach or "gidouille," the pit into which more or less anything is liable to vanish, and the before-mentioned mask obscuring his facial expressions just as the monotone voice which Jarry recommended for him, would mask vocal intonation.

Père Ubu's physical form, then, combines at least three modalities of disgust: the disgusting-as-distorted-or- out-of-place (the mask, the grotesque proportions); the disgusting-as-corporeal (his messiness and fatness; the references to his various orifices); and, in seeming contradiction to the second, the disgusting-as-void, a modality which might even verge on the eerie or frightening, rather than the disgusting. Anything can be subsumed into Père Ubu's gidouille, and while it's certainly disgusting to think of ingesting human flesh, for example, it's also horrifying to think of being eaten and thereby eliminated, subsumed into another. I think it's the combination of all three modalities that makes for a true coup de dégoût: Père Ubu combines the monstrous and bestial with the undeniably and uncomfortably human in a way that can't fail to repulse.

The speech and actions of the Ubus, of course, only reinforce this triple threat of repugnance. From the

PDF File: Ubu Roi... 8 Read and Download Ebook Ubu Roi... famous first word ("Merdre," a verbing of the French word "merde" or "shit"), the couple's odd coinages continue the theme of distortion and the out-of-place while at the same time making words and ideas that were already obscene, even grosser and messier. At the same time, Père Ubu's behavior takes the corporeal aspect of disgust to new levels: before a dinner party, for example, he gorges himself on the food laid out for the guests, then sits in a corner groaning about how fat and full he is, before proceeding to poison the food that all his guests are eating. The disgust of satiety is well represented in this scene: not only are we confronted with someone who has stuffed themselves to bursting before the meal even begins, but Mère Ubu's menu is comically large (thinking of eating so much food is disgusting), and features such delicacies as choux-fleurs à la merdre, or cauliflower à la shitting (thinking of eating this is disgusting all by itself). Add to the ideas of surfeit and coprophagia the body's reaction to having consumed poison, as well as Père Ubu's frequent threats to eat Mère Ubu, and you get a very disgusting scene indeed.

Interestingly, the most morally reprehensible actions in the play are the ones I, at least, found least viscerally disgusting. The murder of the Polish king, for example, is not particularly played for the gross-out. Nor is the scene (which I found to be one of the funniest in the play) when Père Ubu and his two lackies are attacked by a bear, and Père Ubu lets the lackies kill the beast while cowering in a corner—later telling them, in a very Falstaffian move, that

Vous pouvez vous flatter que si vous êtes encore vivants et si vous foulez encore la neige de Lithuanie, vous le devez à la vertue magnanime du Maître des Finances, qui s'est évertué, échiné et égosillé à débiter des patenôtres pour votre salut, et qui a manié avec autant de courage le glaive spirituel de la prière que vous avez manié avec adresse le temporel de l'ici présent Palotin Cotice coup-de-poing explosif.

You can flatter yourselves that if you're still alive to tread the snow of Lituania, you owe it to the magnanimous virtue of the Master of Finances [Père Ubu himself], who strove with great effort, yelling at the top of his voice, to discharge Pater Nosters for your health, and who handled with such courage the spiritual sword of prayer while you took on the here-present temporal weapon of the Knight Errant's explosive fist-punches.

This, and the seemingly random and jubilant execution of the nobles (the moral vacuum of which scene Amateur Reader addresses here), are the scenes that perhaps should disgust us the most—in the scene of cowardice, even Père Ubu's lackey calls him a revolting swine. But at least for me, they're not the most disgusting, which is an interesting commentary. Our perceptions of moral and physical disgust are so intertwined (often, of course, mistakenly, although not in the case of Ubu roi—this is an aspect of the play that's not particularly subversive), that it's easy to believe that a character who looks and speaks like Père Ubu will act in a cowardly, cruel way. What one does not expect, however jaded one might be, are threats of debraining.

Perhaps, also, one needs a deep sense of a victim's humanity before one is able to feel deeply disgusted by moral flaws like cruelty and cowardice. This is the point of those human-interest stories highlighting individuals who, for example, lost their retirement savings due to the greed of Enron executives, or their

PDF File: Ubu Roi... 9 Read and Download Ebook Ubu Roi... homes as a result of speculation on the housing market. Moral outrages tend to sicken only when embodied, when we can see the concrete pain that has been caused. Since all characters in the Ubu plays are broad, satirical sketches, not intended as real-seeming humans, and since Père Ubu's more reaching atrocities tend to be oddly uncoupled from the extreme embodiment found in the shit-eating, debraining, and cannibalism sections of the plays, said atrocities often achieve comedy and occasionally horror, but seem (especially by contrast) strangely devoid of disgust.

So. Are we all grossed out yet? One more note on disgust in Ubu roi: it interested me, especially given the prominence of the husband/wife duo, that sex-as-source-of-disgust doesn't really feature in this play. Those who have read the next in the cycle, Ubu cocu, can tell me: does it feature in that one? For a work that seems methodically to hit all the major categories of disgust, it seems a glaring omission, especially since Père Ubu's void-like gidouille functions like a kind of ungendered vagina dentata: the monstrous and amoral body part that will consume whatever comes into contact with it.

And with that, my friends, I'm off to take a shower and brush my teeth. Thoroughly. Several times.

Kichi says

There's nothing quite like laughing at something and then thinking deeply about it. Alfred Jarry makes you do this a lot in Ubu Roi. It's a brilliant satire on power playing in politics.

Sinem A. says absürd ve saçman?n ba?lang?c? bir yazar?n tüm u?ra??n?n ba??

Steve says

"Jarry's teaching could be summarised thus: every man is capable of showing his contempt for the stupidity and cruelty of the universe by making his own life a poem of incoherance and absurdity."

His last request was for a toothpick.

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