Relevant bibliographies by topics / Ubu roi (Jarry, Alfred)

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Academic literature on the topic 'Ubu roi (Jarry, Alfred)'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Ubu roi (Jarry, Alfred)"

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Corral Fullà, Anna. "1964: Première mise en scène d’Ubu roi en Catalogne." Çédille 12 (April 1, 2016): 90. http://dx.doi.org/10.21071/ced.v12i.5616.

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La obra de teatro de Alfred Jarry Ubu roi se ha convertido hoy en día en una obra de repertorio en Francia y en el mundo entero. En Cataluña, Ubu roi es representada por primera vez en 1964, a puerta cerrada, en el marco de la Escola d’art dramàtic Adrià Gual. El presente estudio abordará dicha experiencia, una puesta en escena a día de hoy desconocida y a la que pretendemos rendir homenaje en tanto que primer espectáculo en torno a Ubu roi en tierras catalanas.
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Jannarone, Kimberly. "Puppetry and Pataphysics: Populism and the Ubu Cycle." New Theatre Quarterly 17, no. 3 (August 2001): 239–53. http://dx.doi.org/10.1017/s0266464x00014755.

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Many partisans of Alfred Jarry's work have discovered Ubu roi and the ‘science’ of pataphysics via a study of the Parisian avant-garde, and the play has been discussed for a hundred years in this context. Kimberly Jannarone also assesses Jarry in the context of the world of rural puppetry – for, like many other avant-garde artists at the fin de siècle, Jarry came to Paris from a small town, and brought with him such formative experiences as the makeshift puppet shows he saw as a child. Bringing the rural puppet into focus in a discussion of the Ubu cycle, Kimberly Jannarone exposes Père Ubu's identity as a class hybrid, whose maddening and elusive nature stems from the fusion of popular and elite forms. Further, she reveals that Jarry's use of puppet forms is radically different from that of the Symbolists, who conceived puppets as theoretical figures within a fully formed aesthetic doctrine. By contrast, Jarry used puppets for their very incompleteness – their makeshift nature making them ideal catalysts for the audience's imaginations. She sees Pataphysics as a model of the avant-garde itself: a system that focuses less on products than on effects. Kimberly Jannarone has taught at the University of Washington School of Drama, and is about to take up an appointment as Assistant Professor of Theater Arts at the University of California, Santa Cruz. She received her MFA and DFA from the Yale School of Drama, where her dissertation examined the historical avant-garde through the works of Jarry and Antonin Artaud.
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Jannarone, Kimberly. "L'Amour Chez Jarry: Rupture, Ridicule, and Theatre." New Theatre Quarterly 27, no. 4 (November 2011): 329–40. http://dx.doi.org/10.1017/s0266464x11000650.

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Alfred Jarry, best known for his scandalous 1896 play Ubu Roi, wrote an equally scandalous work in 1898: L'Amour en visites (Visits of Love). This hybrid novel/play dramatizes several of Alfred Jarry's battles with the Symbolist movement, literary form, and inherited traditions. It is a work about rupture on all levels. In this article Kimberly Jannarone investigates the text and its backstory to give a greater understanding of Jarry's work and the last days of the Symbolist movement. Tracing the life of a central character, Lucien, who plays different roles as he travels through naturalistic and fantastic realms in a deviant coming-of-age story, L'Amour en visites condenses Jarry's formal and personal rejection of the worlds around him, especially that of the Symbolist literary scene. Culminating in a sensational coup de théâtre – a pair of lovers being flushed down the toilet – L'Amour en visites marked the closure of one part of Jarry's work and a chapter of his life. Kimberly Jannarone is the author of Artaud and His Doubles (University of Michigan Press, 2010). As well as two earlier essays on Jarry in New Theatre Quarterly – in NTQ 98 (May 2009) and NTQ 67 (August 2001) – she has published essays on avant-garde literature and performance in Theatre Journal, Theatre Survey, French Forum, TDR, Modernism/Modernity, and a book chapter on The Exquisite Corpse. Jannarone is Associate Professor of Theater Arts at the University of California, Santa Cruz.
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Silva, Renato Mendes de Azevedo. "UMA IDEIA DE DRAMATURGIA MENOR NO INFINITO DE UBU REI: APRENDER A PRATICAR UM TEATRO MENOR." Linha Mestra, no. 41 (September 2, 2020): 212–20. http://dx.doi.org/10.34112/1980-9026a2020n41p212-220.

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O presente artigo se propõe a realizar um deslocamento conceitual do princípio de “literatura menor”, conceituado pelos filósofos Gilles Deleuze e Félix Guattari (1977), e aplica-lo à escrita do texto teatral a partir de seus princípios constitutivos para, a partir daí, elaborar uma hipótese da própria ação de representação enquanto um possível teatro menor. Para tal, aqui serão observados possíveis devires do princípio de “menor” na obra do dramaturgo francês do final do século XIX, Alfred Jarry, em específico sua obra mais popular, Ubu Rei (1972, 1986, 1987 e 2007). Assim se testará o quão maleável pode ser o conceito do qual se parte e de que maneira ele se adaptaria à literatura teatral, bem como se desprenderia e reinventaria no momento em que a arte teatral transcende o escrito em seu texto pretexto e assume a materialidade do tempo do processo criativo cênico e, tanto quanto, da representação.
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Bradby, David, and Keith Beaumont. "Jarry: 'Ubu Roi'." Modern Language Review 85, no. 1 (January 1990): 197. http://dx.doi.org/10.2307/3732857.

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KNOWLSON, J. R. "Review. Jarry: 'Ubu Roi'. Beaumont, Keith." French Studies 44, no. 1 (January 1, 1990): 80. http://dx.doi.org/10.1093/fs/44.1.80.

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Wee, Cecilia. "London, Sadler's Wells: Penderecki's ‘Ubu Rex’." Tempo 58, no. 230 (October 2004): 55–56. http://dx.doi.org/10.1017/s0040298204220319.

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A multimedia explosion of musical styles, political satire and dramatic intrigue, the Polish National Opera ended their trio of Polish operas in April 2004 at Sadler's Wells with Krzysztof Penderecki's Ubu Rex. Based on Alfred Jarry's absurdist play, Ubu Roi – in other words Poles (1888), Ubu Rex (1991) resonates well with Poland's political situation in 2004, prompting us to read the opera as an insightful exploration into the identity of a nation navigating the legacy of Soviet rule and its emerging future in Europe.
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Pollin, Karl. "The Subversive Poetics of Alfred Jarry: Ubusing Culture in the Almanachs du Père Ubu by Marieke Dubbelboer." Nineteenth-Century French Studies 42, no. 3-4 (2014): 293–94. http://dx.doi.org/10.1353/ncf.2014.0012.

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Prevots, Aaron. "The Subversive Poetics of Alfred Jarry: Ubusing Culture in the Almanachs du Père Ubu by Marieke Dubbelboer." French Review 88, no. 1 (2014): 223–24. http://dx.doi.org/10.1353/tfr.2014.0139.

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Hérisson, Armelle. "Le petit vers bouffe de Jarry et le poème." Études françaises 51, no. 3 (November 30, 2015): 99–116. http://dx.doi.org/10.7202/1034133ar.

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À côté d’Ubu, des Minutes de sable mémorial et de ses grands romans, Alfred Jarry est le librettiste d’une douzaine d’opérettes-bouffes destinées à Claude Terrasse. En 1906, il place trois de ces opérettes, avec de petits Ubu, dans une collection qu’il intitule Théâtre mirlitonesque, semblant affirmer leur statut mineur. Il est vrai que les opérettes et les chansons ubuesques sont pleines de vers qu’on peut regarder comme « mauvais », qui mettent la règle métrique et les principes de la bienséance et du bon goût à distance. Ce sont les vers bouffons d’une poésie qui se nourrit de jeux de mots, parfois grossiers, où la définition de la rime frôle celle du calembour, modèle de comique sans esprit. Pourtant, c’est à un renversement des échelles de valeurs que Jarry invite en associant étroitement, dans son discours critique, le mirliton, l’écriture bouffe et l’idée de la poésie. Et si le vers mirlitonesque n’était pas « mauvais », mais seulement autre, et doté de pouvoirs de représentation supérieurs ? Et si le rire « bouffe » était le signal de sa haute qualité poétique ? L’élection du calembour au titre de figure emblème d’un dire poétique nouveau par Jarry n’est pas une boutade. Elle implique un point de vue sur le langage, où l’écho est signifiant. Elle tend à découvrir, sous couvert de poésie pour rire, une nouvelle idée du poème, conçu comme une petite machine à créer de drôles de rapports.
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Dissertations / Theses on the topic "Ubu roi (Jarry, Alfred)"

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Pinkavová, Eleanor. "Alfred Jarry: "Král Ubu" - komplexní kostýmní řešení." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202439.

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The subject of this thesis is the comprehensive research and design of costumes for the play Ubu Roi by Alfred Jarry, including documentation of the creative process from the initial analysis of the play to the final designs. This play was written in the late 19th century and is considered to be a precurser to Surrealism and Theatre of the Absurd. The story is about the brief and tyrannical reign of a hideous, backward individual named Ubu, who comes to power by murdering the Polish king. The play is notable for its rough playfulness, ruthlessness with regard to social and cultural traditions, its open-mindedness and unique use of language. On the surface it comes across as a silly farce, but it contains many deeper undertones that cause Jarry to be sometimes regarded as a symbolist writer. This work is divided into a theoretical and practical part. The theoretical part deals with the author of the play, its content and the context in which it was written, and studies how it was staged in the past. It is not the aim to offer a coherent overview of the life of Alfred Jarry, his work, or the history of past productions of King Ubu. Instead, the information contained here is intended only as a documentation of the historical and theoretical research necessary to understand this work, which ultimately had an impact on the final designs. Part two documents the process of developing the costume designs themselves. Initially it introduces the key considerations that arose from reading the play that affected the overall progress of the work. There follows an analysis of the characters and situations based on the text, and sources of inspiration. The main section describes the final designs of the set and costumes that are supported by attached images.
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Mekeel, Lance. "From Irreverent to Revered: How Alfred Jarrys Ubu Roi and the "U-Effect" Changed Theatre History." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371827527.

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Fólica, Laura. "Reescrituras de la espiral: producción y recepción de Ubu roi de Alfred Jarry en Francia y su traducción y recepción en Argentina y España (1896-2016)." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/401859.

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Esta tesis se centra en las reescrituras que la pieza teatral Ubu roi (1896) de Alfred Jarry experimentó tanto a partir de sus condiciones de producción y recepción en Francia como de sus traducciones y recepción en Argentina y España (1900-2016). La investigación aborda la concepción jarryana de autor, obra y lector en el campo literario francés. Tras estudiar su singular concepción de lengua y “mala traducción”, se detectan y explican los juegos de palabras presentes en el texto. También se revisa la recepción francesa de la pieza, que instaura dos lecturas posibles: una, paródica, anclada en la lengua; la otra, satírica, centrada en la referencia extraliteraria. Luego, mediante un enfoque sistémico, diacrónico y supranacional del hecho literario, se analiza la preponderancia de la lectura satírica en el “siglo largo” de recepción de la obra en Argentina y España. Conjugando un análisis sociológico-cultural y descriptivo-comparativo y contrastivo, la tesis se detiene en el estudio de la traducción de los juegos de palabras en las doce traducciones publicadas (al castellano, catalán y gallego), en las que predominan la neutralización y la domesticación del texto fuente. Por último, se consideran las adaptaciones para la puesta en escena, la pintura, el cómic, la literatura infantil y juvenil, que completan su recepción.
Cette thèse est centrée sur les réécritures que la pièce de théâtre d’Alfred Jarry, Ubu roi (1896), a connues tant à partir de ses conditions de production et de réception en France que de ses traductions et de sa réception en Argentine et Espagne (1900-2016). La recherche aborde la conception jarryenne de l’auteur, de l’œuvre et du lecteur dans le champ littéraire français. Après avoir étudié sa conception singulière de la langue et de la « mauvaise traduction », l’on identifie et explique les jeux de mots présents dans le texte. On examine également la réception française de la pièce qui instaure deux lectures possibles : l’une parodique, ancrée dans la langue ; l’autre satirique, centrée sur la référence extralittéraire. Puis, à partir d’une approche systémique, diachronique et supranationale du fait littéraire, on analyse la prépondérance de la lecture satirique dans le « long siècle » de réception de l’œuvre en Argentine et en Espagne. Conjuguant une analyse sociologico-culturelle, descriptivo-comparative et contrastive, la thèse étudie en détail la traduction des jeux de mots dans les douze traductions publiées (en castillan, catalan et galicien), traductions dans lesquelles prédominent la neutralisation et la domestication du texte source. Enfin, l’on se penche sur les adaptations pour la scène, la peinture, la bande dessinée, la littérature pour enfants et pour la jeunesse, qui complètent sa réception.
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Tremblay, Caroline. "Le carnavalesque dans Ubu d'Alfred Jarry." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2004. http://theses.uqac.ca.

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Mittenberg, Corey. "Proto-absurdist strides and leanings : Alfred Jarry's Shakespearean spirit in Ubu roi /." 2007. http://hdl.handle.net/1951/37396.

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Thesis (M.A.)--State University of New York at New Paltz, 2007.
Includes bibliographical references (leaves 129-135). Online version available via the SUNY New Paltz Sojourner Truth Library : http://hdl.handle.net/1951/37396.
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Books on the topic "Ubu roi (Jarry, Alfred)"

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Etude sur Alfred Jarry, Ubu roi. Paris: Ellipses, 2007.

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Jopeck, Sylvie. Etude sur Alfred Jarry, Ubu roi. Paris: Ellipses, 2007.

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Henri, Béhar, ed. Ubu roi. Paris: Larousse, 1985.

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Jarry, Alfred. Ubu roi. Marseille: A. Dimanche, 1996.

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Jarry, Alfred. Ubu roi, ou, Les Polonais. Anjou, Québec: Éditions CEC, 2011.

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Jarry, Alfred. Ubu roi [videorecording] / by Alfred Jarry ; a production for the Open University. Princeton: Films for the Humanities, 1999.

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Jean-Claude, Dinguirard, and Gayot Paul, eds. Ubu roi: Texte intégral : avec une chronologie d'Alfred Jarry, du Père Ubu, ume bibliographie, des textes de Jarry sur Ubu et le théâtre, des jugements, des notes, des questions. Paris: Bordas, 1986.

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Régibier, Philippe. Ubu sur la berge: Alfred Jarry à Corbeil, 1898-1907. Paris: Presses du Management, 1999.

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Payne, Richard. Alfred Jarry's Circus Ludicrous presents "Boss Ubu": A full-length clown play celebrating Jarry's "Ubu Roi" of 1896 in the spirit of the 1980's. Toronto: Playwrights Canada Press, 1988.

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Ubu roi: Alfred Jarry. Bertrand Lacoste, 1993.

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Book chapters on the topic "Ubu roi (Jarry, Alfred)"

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Gedeon, Hanne. "Jarry, Alfred: Ubu roi." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4034-1.

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"King Ubu (Alfred Jarry)." In The Routledge Drama Anthology and Sourcebook, 213–28. Routledge, 2012. http://dx.doi.org/10.4324/9780203124406-22.

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"Ubu Reporter: News and Newspapers in the Almanacs." In The Subversive Poetics of Alfred Jarry, 19–95. Routledge, 2017. http://dx.doi.org/10.4324/9781315085135-3.

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Shtutin, Leo. "Introduction." In Spatiality and Subjecthood in Mallarmé, Apollinaire, Maeterlinck, and Jarry, 1–6. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821854.003.0007.

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The Introduction sets out the key concerns of the book—early modernist conceptualizations of spatiality and subjecthood, and the treatment of space and subject in the poetic and dramatic works of Stéphane Mallarmé, Guillaume Apollinaire, Maurice Maeterlinck, and Alfred Jarry. It also examines some of the critical literature on these four principal authors, remarking on the variable quality of existing analyses—while the semiotics of Jarry’s Ubu cycle, for example, has been brilliantly and comprehensively elucidated, critics have, until comparatively recently, tended to gloss over the semiotic complexity of Apollinaire’s calligrammes, some doing so with unjustified disparagement. The Introduction concludes with a brief overview of the book’s five chapters.
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Shtutin, Leo. "Space Subjectivized." In Spatiality and Subjecthood in Mallarmé, Apollinaire, Maeterlinck, and Jarry, 123–57. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821854.003.0004.

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The separate discussions of page and stage in Chapters 2 and 3 are followed in Chapters 4 and 5 by a more abstract investigation of parallel inverse processes—the subjectivization of space and the spatialization of the subject—manifest in both the poetry and drama of the period. As already made clear, space is presented in the works to be discussed not as objective outside but as emanation of character; by the same token, the subject does not remain fully demarcated from its surroundings, and exhibits varying degrees of spatial dispersion. Exploring various types of subjectivization and associated formal techniques such as collage, montage, and temporal telescoping, Chapter 4 focuses on Maeterlinck’s one-acts, Apollinaire’s ‘Zone’ and ‘Lundi Rue Christine’, and Jarry’s Ubu roi.
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Shtutin, Leo. "Staging the Liminal." In Spatiality and Subjecthood in Mallarmé, Apollinaire, Maeterlinck, and Jarry, 85–122. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821854.003.0003.

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Chapter 3 implements the notion of liminality (the experience or condition of the betwixt and between) in an analysis of character and diegetic space in Jarry’s Ubu roi and Maeterlinck’s one-acts. Both playwrights’ characters are uncanny schematizations of the human form that blur the distinctions between subject and object, human and non-human, animate and inanimate. I examine the uncanny as a category of liminality, invoking Victor Turner, Antonin Artaud, the ‘uncanny valley’ theory of Japanese roboticist Masahiro Mori, and the fin-de-siècle cult of the marionette. Both playwrights also refuse to localize dramatic space, to transform it into a specific Somewhere by means of consistent diegetic framing. Deliberately eschewing any geographical or historical consistency in his use of proper names and toponyms, Jarry foregrounds the liminal character of his ‘Poland’ by mixing and matching names, accents, and costumes from various periods and locales. Maeterlinck, meanwhile, underscores the neither-here-nor-there-ness or indeterminacy of the dramatic situations in L’Intruse, Intérieur, and Les Aveugles.
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