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''Ubu Roi'' (''Ubu the King'' or ''King Ubu'') is a play by Alfred Jarry. It was first performed in Paris at the ''Théâtre de l'Œuvre'', causing a riotous response in the audience as it opened and closed on December 10, 1896.〔Hill, Phillip G. ''Our Dramatic Heritage. Vol. 6''. Fairleigh Dickenson, 1995, p. 30. ISBN 0838634214〕〔Ford, Mark (May 10, 2012), "The King of Charisma", ''The New York Review of Books''. 59 (8): 63–64〕 It is considered a wild, bizarre and comic play, significant for the way it overturns cultural rules, norms, and conventions. For those who were in the audience on that night to witness the response, including William Butler Yeats, it seemed an event of revolutionary importance. It is now seen by some to have opened the door for what became known as modernism in the twentieth century.〔Ball, David. "UBU-ing a Theatre-Translation: Defense and Illustration". ''Metamorphoses, a Journal of Literary Translation''. Spring and Fall. 2006 ()〕 It is a precursor to Dada, Surrealism and the Theatre of the Absurd. It is the first of three stylised burlesques in which Jarry satirises power, greed, and their evil practices — in particular the propensity of the complacent bourgeoisie to abuse the authority engendered by success. The title is sometimes translated as ''King Turd''; however, the word "Ubu" is actually merely a nonsense word that evolved from the French pronunciation of the name "Herbert",〔Fell, JIll. ''Alfred Jarry, an Imagination in Revolt''. Rosemont Publishing & Printing Corp. page 142〕 which was the name of one of Jarry's teachers who was the satirical target and inspirer of the first versions of the play.〔Jarry, Alfred. ''Ubu Roi''. Dover (2003)〕 Jarry made some suggestions regarding how his play should be performed. He wanted King Ubu to wear a cardboard horse's head in certain scenes, "as in the old English theatre", for he intended to "write a ''guignol''". He thought a "suitably costumed person would enter, as in puppet shows, to put up signs indicating the locations of the various scenes". He also wanted costumes with as little specific local colour reference or historical accuracy as possible.〔 Benedikt, Michael and Wellwarth. ''Modern French Theatre''. Dutton. 1966. pp. x-xi〕 ''Ubu Roi'' was followed by ''Ubu Cocu'' (''Ubu Cuckolded'') and ''Ubu Enchaîné'' (''Ubu in Chains''), neither of which was performed during Jarry's 34-year life.〔 One of his later works, a novel/essay on "'pataphysics", is offered as an explanation behind the ideas that underpin ''Ubu Roi''. 'Pataphysics is, as Jarry explains, "the science of the realm beyond metaphysics". It studies the laws that "govern exceptions and will explain the universe supplementary to this one". It is the "science of imaginary solutions".〔Hill, Phillip G. ''Our Dramatic Heritage. Vol. 6''. Fairleigh Dickenson, 1995, p. 31. ISBN 0838634214〕 ==Synopsis== The story may at first glance seem merely frivolous — the obscene nonsense of schoolboys. It is a parody of Shakespeare's ''Macbeth'' with bits of ''Hamlet'' and ''King Lear'' tossed in. But with Jarry's rich imagination at work, the material began to express something deeper, an inner consciousness in a way that is similar to the Symbolists, a group Jarry had befriended. In fact, many critics consider Jarry a Symbolist author.〔Hill, Phillip G. ''Our Dramatic Heritage. Vol. 6''. Fairleigh Dickenson, 1995, p. 30. ISBN 0838634214〕〔Innes, Christopher. ''Avant-Garde Theatre: 1892 1992''. Routledge. 1993, p. 24. ISBN 0-415-06517-8〕 As the play begins, Ubu leads a revolution, and kills the King of Poland and most of the royal family. The Queen of Poland then dies. The ghost of the dead king calls for revenge, prompting Ubu to begin killing the population and taking their money. Ubu's henchman gets thrown into prison; he then escapes to Russia, where he gets the Tsar to declare war on Ubu. As Ubu heads out to confront the invading Russians, his wife tries to steal money that Ubu has stashed in the palace. She is driven away by Bougrelas, the crown prince, who is leading a revolt of the people against Ubu. She runs away to her husband, Ubu, who has, in the meantime, defeated the Russians, and who has also been attacked by a bear. Ubu's wife pretends to be the angel Gabriel, in order to try to scare Ubu into forgiving her for her attempt to steal from him. They fight, and she is rescued by the entrance of Bougrelas, who is after Ubu. Ubu knocks down the attackers with the body of the dead bear, after which he and his wife flee to France, which ends the play. The action contains motifs found in the plays of Shakespeare: a king's murder and a scheming wife from ''Macbeth'', the ghost from ''Hamlet'', Fortinbras' revolt from ''Hamlet'', the reneging of Buckingham's reward from ''Richard III'', and the pursuing bear from ''The Winter's Tale''. It also includes other cultural references, for example, to Sophocles' ''Oedipus the King'' (''Œdipe Roi'' in French) in the play's title. ''Ubu Roi'' is seen to have been preceded in the spirit of outrageousness, and comic grotesquery by the great French Renaissance author François Rabelais's ''Gargantua and Pantagruel'' novels.〔Faustroll, Dr. ''Pataphysica 2: Pataphysica E Alchimia, Volume 2''. iUniverse (2004). ISBN 9780595337453〕〔Offord, M.H. Francophone ''Literatures: A Literary and Linguistic Companion''. Psychology Press (2001). ISBN 9780415198400 page 123〕 The language of the play is a unique mix of slang from the playground, code-words, puns and near-gutter vocabulary, set to strange speech patterns.〔Jarry, Alfred. ''The Ubu Plays''. Nick Hearn Books, Ltd. 1997. Introduction.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Ubu Roi」の詳細全文を読む スポンサード リンク
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