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

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Jannarone, Kimberly. "Jarry's Caesar Antichrist and the Theatre of the Book." New Theatre Quarterly 25, no. 2 (May 2009): 121–36. http://dx.doi.org/10.1017/s0266464x09000220.

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The familiarity bred by the notoriety in its own times of Alfred Jarry's Ubu Roi has been accompanied by neglect for his other work, especially that which seems of peripheral interest to the theatre practitioner. In this article, Kimberly Jannarone argues that his earlier Caesar Antichrist falls into the unusual category of ‘a piece of theatre not intended for the stage’ – apparently unstageable, yet not a closet drama since, in Jarry's scrupulous care for its published form, he created his own ‘theatre of the book’, anticipating the later modernist use of collage while also demonstrating in words and pictures his ‘pataphysical’ interest in the dialectics of opposites. Kimberly Jannarone received her MFA and DFA from the Yale School of Drama, and is currently teaching in the Department of Theater Arts at the University of California, Santa Cruz. She wrote on ‘Puppetry and Pataphysics: Populism and the Ubu Cycle’, in NTQ67 (2001).

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12

Menon, Elizabeth K. "Potty-Talk in Parisian Plays: Henry Somm's La Berline de l'emigre and Alfred Jarry's Ubu roi." Art Journal 52, no. 3 (1993): 59. http://dx.doi.org/10.2307/777370.

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13

Landis, Kevin. "Culinary Pataphysics." Gastronomica 14, no. 2 (2014): 46–55. http://dx.doi.org/10.1525/gfc.2014.14.2.46.

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The movement that is known as molecular gastronomy has received much attention over the past decade, both as a compelling artistic breach of “ordinary cuisine” and for its privileging the scientific advancement of food preparation. The great chefs of this movement are received as auteurs of the meals that they create; not simply chefs, but avant-garde performers. This article proposes that many of the facets of modern haute cuisine have parallels in the historical avant-garde. Through a theatrical lens, Culinary Pataphysics explores some of the history of food’s artistry and draws parallels between drama and cuisine and both disciplines’ use of simulation and disruption. With Alfred Jarry’s remarkable play Ubu Roi as a starting point, three famous restaurants are assessed as contemporary exemplars of an artistic movement that has long been pronounced dead.

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14

Landais, Monique. "À la rencontre de quelques avant-gardes choisies." Anuario de Letras Modernas 24, no. 1 (May 14, 2021): 61–73. http://dx.doi.org/10.22201/ffyl.01860526p.2021.24.1.1428.

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This article undertakes a chosen journey through the various avant-garde manifestations that flourished since the end of the 19th century to the 60s. The reasons for their emergence and the excesses of their creations constitute the axes of this essay. Starting from the fanciful imaginary of Alfred Jarry incarnated by King Ubu, we will arrive at the sarcasms of Boris Vian singing La Java des bombes atomiques, to end with the convulsive beauty of Paul Éluard. By proclaiming themselves as the defenders of anti-art, they reject reason and rely on the absurd. They are characterized by chaos and imperfection, which leads them to sometimes commit destructive acts of mythical works whose sacred value is rooted in popular opinion. In turn, they advocate non-signification and contradiction as the guiding principles of their creation. Consistent with their aspirations for total independence and in whatever fields, including politics, they experience absolute creation freedom. Provocation, transgression, and subversion animate these texts eager to open new poetic horizons of writing and reading. From a double approach, theoretical and critical, we will try to forge a renewed vision of this disconcerting creation through contemporary expectations.

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15

Cutshall, J. A. "Alfred Jarry – Ubu Intime, Pièce en un Acte & Divers Inédits autour d'Ubu. By Henri Bordillon (Ed.). Editions Folle Avoine, 1985. Pp. 203 + illus. 130FF." Theatre Research International 12, no. 1 (1987): 78–79. http://dx.doi.org/10.1017/s030788330001333x.

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16

Scheffler, Ismael. "Ubu Rei - do teatro francês aos palcos Curitibanos." Dito Efeito - Revista de Comunicação da UTFPR, no. 1 (February 12, 2014). http://dx.doi.org/10.3895/rde.v0n1.2167.

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O artigo realiza um relato de caso do processo de encenação do texto Ubu Rei, de Alfred Jarry, pelo TUT (grupo de teatro da UTFPR – Campus Curitiba), estabelecendo reflexões sobre temas relacionados. Num primeiro momento, o texto apresenta uma justificativa sobre as motivações para a escolha do texto, destacando a relevância do texto e do autor bem como o seu desconhecimento no entorno, apontando características da obra que favorecem o perfil do grupo. Num segundo momento, traz uma reflexão sobre as influências dos tradutores sobre a interpretação do texto dramatúrgico, comparando diferentes traduções de Ubu Rei no Brasil, apresenta ainda a leitura realizada para a encenação que determinou os processos de criação do trabalho dos atores, das resoluções visuais e sonoras; relata também diferentes dinâmicas do espetáculo.

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17

Parvaneh, Farid. "Social Upheavals as Absurdity: The Genealogy of the Theater of Absurd in Ubu the King by Alfred Jarry." Applied Linguistics Research Journal, 2019. http://dx.doi.org/10.14744/alrj.2019.27146.

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