Jarry Ubu

The Ubu Plays: King Ubu, Cuckold Ubu & Slave Ubu
1. Auflage 2013
ISBN: 978-1-78001-268-1
Verlag: Nick Hern Books
Format: EPUB
Kopierschutz: 6 - ePub Watermark

E-Book, Englisch, 160 Seiten

Reihe: NHB Classic Plays

Drama Classics: the World's Great Plays at a Great little Price Alfred Jarry's trilogy of plays about the comically grotesque character of Pa Ubu, satirising power, greed, and bourgeois pretension. The Ubu Plays (King Ubu, Cuckold Ubu and Slave Ubu) caused scandal when they first appeared in Paris in the 1890s, with their surreal and frequently obscene energy, and their broad parodies of Shakespeare. They have since acquired cult status in European drama, and are seen by some as harbingers of modernism. In King Ubu (Ubu roi, first performed in Paris in 1896), Pa Ubu is a cowardly hanger-on at the court of Good King Wenceslas of Baloney. Nagged by his fearsome wife Ma Ubu, he gathers a band of Barmpots and seizes the throne. But Ubu soon turns into a tyrant, debraining anyone who disagrees with him, murdering all the aristocrats and middle classes and extorting triple taxes from the peasants. When Ma Ubu runs off with a handsome soldier, his downfall suddenly seems inevitable... Cuckold Ubu (Ubu cocu) is the darkest and most surreal of the plays. Pa Ubu takes up residence in the home of Peardrop, a breeder of polyhedra, and he and his Barmpots tyrannise the neighbourhood, despite the efforts of Pa Ubu's Conscience and Peardrop to stop them. In Slave Ubu (Ubu encha?né) Pa Ubu decides that he has had enough of tyranny, and that the only way to be free is to become a slave, with unpredictable results. Also included is the short sketch Up Ubu (Ubu sur la butte), comprising scenes and sequences from Ubu roi, with added songs. This volume of The Ubu Plays, in the Nick Hern Books Drama Classics series, contains fresh and performable English translations by Kenneth McLeish, as well as an introduction to the plays and a chronology of Jarry's life.

Alfred Jarry (1873-1907) was a French symbolist writer who is best known for his play King Ubu (Ubu roi) (1896), an absurdist work featuring the character Pa Ubu, who reappears in later plays, Cuckold Ubu and Slave Ubu. He coined the term and philosophical concept of pataphysics, which uses absurd irony to portray symbolic truths (and playfully vice versa).

Autoren/Hrsg.

Jarry, Alfred

Weitere Mitwirkende

Mcleish, Kenneth

Leseproben

Introduction

Alfred Henri Jarry (1873-1907)

Jarry was born and brought up in the provinces, but went to Paris at eighteen to study philosophy. (His professor was the famous Henri Bergson.) Already comic writing was his passion. From the age of twelve onwards he had composed verse, playlets, and nonsense-stories parodying the fiction of the time: typical titles are The Umbrella-Syringe of Doctor Death, Roupias Tsunami-head and Fishing Overture. At the same age, in company with two school friends, he had also amused himself by writing satirical sketches about his schoolteachers, and one of these, The Poles, was later reworked as King Ubu (Ubu roi), first play in the Ubu cycle.

The extraordinary energy of the three Ubu plays, and their cult status in European drama, have all but eclipsed everything else Jarry wrote or did. From student days onwards he supported himself as a writer, producing everything from reviews and satirical essays to music-hall songs, from mock philosophy to fiction. His ‘novels’ The Supermale and The Exploits and Opinions of Doctor Faustroll, Pataphysician are absurd masterpieces, anticipating the stories of Jorge Luis Borges or Italo Calvino on the one hand, and the satires of Stephen Leacock, James Thurber and Flann O’Brien on the other. The more people laughed, the more seriously he set his face, pretending that he was a genuine philosophical visionary and developing the spoof system of pataphysics. This, he said, was a ‘science of imaginary solutions, which symbolically attributes the properties of objects, described by their virtuality, to their lineaments’ – that is, one in which appearance is reality, and vice versa. (Its origins are the infants’ game of ‘No means Yes’, and its implications are worked out before our eyes in Slave Ubu.)

In daily life, Jarry was eccentric in the gentle, melancholic vein also favoured by his contemporary, the composer Erik Satie. He was just under five feet tall and slight, dressed always in black and sported long black hair and a pointed beard which made him look like a miniature Mephistopheles. With a group of like-minded friends, he cultivated the art of living, as he put it, for the ‘exquisite moment’, of taking very seriously the business of taking nothing seriously at all. He rode a bicycle excitedly and energetically, as if it were a charger, sometimes into bars and houses as well as in the street. In admiration of Buffalo Bill, one of his heroes, he shot lighted cigarettes from people’s mouths – with a popgun. He alternated between dandyism and never washing.

Jarry loved to play the part of Pa Ubu in real life, swaggering like a foul-mouthed little boy in a playground, indulging in orgies of food and, most especially, drink. He was an exponent of street theatre, happy to stand up and lecture passersby on insects, pataphysics, God, ‘shikt’ or any other subject that came into his head. He drank enormous quantities of absinthe, and took ether – experiments, he said, designed to lift his soul into a state of transcendental perception. When these practices destroyed his health and he fell mortally ill, he refused treatment on the grounds that he preferred illness to the mercies of ‘merdecin’. On his sickbed, he had himself photographed as a corpse and sent his friends the photos as souvenirs.

What Happens in the Plays

In King Ubu, Pa Ubu is a cowardly toady, one of the hangers-on of Good King Wenceslas of Baloney. Nagged by his fearsome wife Ma Ubu, he gathers a band of Barmpots, led by the obnoxious Dogpile, assassinates Wenceslas and seizes the throne. He and the Barmpots fight Wenceslas’s army, led by Princes Willy, Silly and Billikins, and defeat them. Billikins escapes to the hills, where the ghosts of his ancestors give him a great big sword and order him to organise resistance.

Ubu starts his reign by crawling to the people, but soon turns into a tyrant, debraining anyone who disagrees with him, murdering all the aristocrats and middle classes and extorting triple taxes from the peasants. The peasants revolt and go over to Billikins – and Dogpile, whom Ubu has rashly insulted, defects to Tsar Alexis of All the Russkies and leads him and his army to attack Baloney and restore Billikins to the throne. Ma Ubu steals the Balonian state treasure and a handsome Balonian soldier, and flees into exile.

Defeated in battle, Pa Ubu holes up in a cave with his cronies Wallop and McClub, and barely survives when a bear attacks them. Ma Ubu eventually reaches the same cave. She and Pa Ubu make up their differences, give up all claims to the Balonian throne and set off with Wallop and McClub on a voyage of exile to Engelland.

Cuckold Ubu (Ubu cocu) is the darkest and most surreal of the plays. Pa Ubu takes up residence in the home of Peardrop, a breeder of polyhedra, and he and his Barmpots tyrannise the neighbourhood, despite the efforts of Pa Ubu’s Conscience and Peardrop to stop them. There is war, led on Peardrop’s side by Memnon (the singing Egyptian statue with whom Ma Ubu is cuckolding Pa Ubu) and by the banker Swankipants, and eventually a crocodile appears in true Punch-and-Judy style to chase off all the others. (We don’t know whether it does or not: the play as it survives is incomplete.)

In Slave Ubu (Ubu enchaîné, ‘Ubu in chains’) Pa Ubu decides that he has had enough of tyranny, and that the only way to be free is to become a slave. He attaches himself and Ma Ubu to the dear old man Peebock and his daughter Eleutheria, and rules their household. The Three Free Men and their Sergeant Pisseasy (Eleutheria’s fiancé) come to the rescue, and Ma and Pa Ubu are transferred to jail, preparatory to being sold as galley-slaves to Sultan Suleiman of Turkishland. The jail is so comfortable that the Three Free Men and the Populace break in to become convicts themselves. Two convoys of convicts set out to Turkishland, one consisting of the Ubs and the convicts (who have generously exchanged clothes and manacles with their guards) and the other led by Pisseasy. Sultan Suleiman makes them all galley slaves, and they row into the sunset and live happily ever after.

The Ubu Plays

It is common everywhere, but in France it has been a longstanding literary tradition, for bright adolescents to mock their schoolteachers. The eighteenth-century philosophers Voltaire and Rousseau were merciless about their tutors. Charles Bovary’s classmates do it in Flaubert’s novel Madame Bovary (perhaps in deference to Flaubert’s own custom of inventing embarrassing and painful adventures, not for publication, for those of his characters he disliked). The tradition continues in ‘grand’ literature such as André Gide’s novel The Counterfeiters, and in such not-so-grand literature as French children’s comics. But Jarry’s Ubu plays are the only case in which such lampoons survive to become adult obsessions, or are developed into such influential works of art.

The original skits were the work not of Jarry but of two of his friends, the brothers Charles and Henri Morin. Jarry soon joined in, giving the brothers’ ideas literary edge and bite, and reworking them as playlets. The boys’ favourite butt was a fat physics teacher, Monsieur Hébert, known to his pupils as ‘Pa Ébé’, ‘Éb’ and ‘Ébouille’. Hébert, at least in his pupils’ opinion, was a sadist, and Jarry later claimed that he was also the quintessence of bourgeois vulgarity, ‘grotesquerie incarnate’. In the comedy sketch The Poles, written when the boys were fourteen and fifteen, Ébé has absurd, Rabelaisian adventures in Poland – and this material was reworked soon afterwards into the first version of King Ubu, in which Ubu’s ambitious wife emulates Lady Macbeth and nags her husband into killing the King and usurping his throne.

This first version of King Ubu was first staged, by puppets, when Jarry was fifteen. It seems to have obsessed him from that moment onwards, and he spent much of the next three years adding material, polishing, illustrating, writing songs and making stage designs. As soon as he went to Paris, he sent the play (now substantially as it survives) to Aurélien-Marie Lugné-Poë, the avant-garde actor and director who had brought Ibsen’s Peer Gynt to France and was involved with such experimental writers as the early symbolists, especially Maurice Maeterlinck. Lugné-Poë mounted a performance by live actors of King Ubu in 1896, and his and Jarry’s production (involving masks, costumes of painted cardboard, hobby-horses, and the dehumanisation, or perhaps one should say puppetisation, of the actors), not to mention the play’s very first word (merdre, ‘shikt’), outraged the bourgeois audience and caused a scandal not matched until the première of Stravinsky’s Rite of Spring nearly two decades later. In 1898 the play was revived in a puppet theatre belonging to Jarry’s friend, the painter Pierre Bonnard, and yet another revision, Up Ubu (Ubu sur la butte), was performed by the marionettes of the Théâtre guignol des gueules de bois in 1901: see Appendix, page 124. The ‘sequels’ Cuckold Ubu and Slave Ubu were written in the 1890s and performed in various versions during that time. Jarry never produced a definitive version of Cuckold Ubu; Slave Ubu was first published in 1900.

The Ubu plays, and particularly King Ubu, quickly became one of the most influential avant-garde creations of the new century. Generations of writers, painters, musicians and above all theatre writers and performers were inspired by the way...