The Skenè company faces one of the most irreverent texts in the history of drama: Ubu Re. The text so loved by Artaud is a cruel and Dionysian representation of power. Ubu, the most cowardly, rude and vulgar of subjects, has made up his mind to become king. Encouraged by his wife to commit the most atrocious crimes to get to the crown, he will be able to eliminate his enemies, seize power and finally exploit the people for his own interests. It seems incredible… yet it happens!
In this staging, with only three actors to represent all the characters that animate Jarry's grotesque (sometimes hilarious) comedy, we will try to reflect on how consensus, desire and power are today inconsistent, manipulated and virtual. In this dramaturgical version of Jarry's text, Mother Ubu persuades Father Ubu to massacre the king and the royal family in order to seize power, but she does so only to indulge her lover: Captain Bordure, a multifaceted man who is actually his own the son of King Wenceslas. Her plan is simple: get rid of the King Father, let Ubu rule in all his ferocity and finally come back acclaimed by the people who will exalt him as a liberator. Mother Ubu helps him expecting to reign alongside him, but there is no place for his bestiality,
The scene is a kitchen island, surrounded by mirrors that reflect the distorted image of Mother Ubu and Father Ubu. The mirrors themselves will be transformed into television screens that will project the news services, the images of the nobles to brainstorm , the interviews with the king before the conspiracy!
The actors' clothes will also be a deformation of fashionable clothes – too big for Mother Ubu, too tight for Father Ubu. Bordure is instead an anthology of disguises from the most credible to the most ridiculous.
The irresistible rise of Ubu, the parable of triumph and defeat, intrigue and barbarism, all happens simply in the kitchen, where Mother Ubu sets the table and Father Ubu... eats
