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Alfred Jarry's life and work are both wildly separated and inextricably connected. The varied nature of his writing makes his work as a whole difficult to assimilate. Jarry is widely regarded as an icon of the modern theater. His best-known play is the i...

The life and work of Alfred Jarry, both of which are enigmatic, complex, and at times undecipherable, mark a watershed in French theatrical history. Jarry's best-known play, Ubu Roi (1896; translated as Ubu Roi, 1951), was a revolutionary work that intro...

In the following essay, Jannarone argues that the 1896 production of Ubu Roi represents a complicated mixture of folk culture and highbrow art, and suggests that Jarry envisioned his audience in a more complex way than did other Symbolist artists.

In the following essay, Perry traces the echoes of Shakespeare's Macbeth in Jarry's surreal Ubu Roi, and then examines the ways in which both Macbeth and Ubu inform Eugène Ionesco's absurdist Macbett.

In the following essay, Vickroy demonstrates that Julia Kristeva's theory of “semiotic motility”—which does not presuppose that meaning preceding language—provides a useful methodology for reading Jarry's Ubu Roi, which creates neologisms with the effect of undercutting preconceptions about meaning and symbol.