Development
"The beginnings of the original Ubu," wrote Taylor, "have attained the status of legend within French theatre culture." It was as a student in 1888, at the age of fifteen, that Jarry perused Les Polonais, a brief teacher-ridiculing farce by the brothers Henri (of whom he was a good friend) and Charles Morin. This, one of many plays created around the character of Père Ubu (or Hébé, as he was known at the time), is long lost, so the true and complete authorship of Ubu Roi can never be known. It is clear, however, that Jarry considerably revised and expanded the play, endowed it with the marionette concept and gave its protagonist the handle under which he became famous.
While his schoolmates lost interest in the Ubu legends when they left school, Jarry continued adding to and reworking the material for the rest of his short life. His plays were widely and wildly hated for their scant respect to royalty, religion and society, their vulgarity and scatology, their brutality and low comedy, and their perceived utter lack of literary finish.
Read more about this topic: Ubu Roi
Famous quotes containing the word development:
“I have an intense personal interest in making the use of American capital in the development of China an instrument for the promotion of the welfare of China, and an increase in her material prosperity without entanglements or creating embarrassment affecting the growth of her independent political power, and the preservation of her territorial integrity.”
—William Howard Taft (1857–1930)
“On fields all drenched with blood he made his record in war, abstained from lawless violence when left on the plantation, and received his freedom in peace with moderation. But he holds in this Republic the position of an alien race among a people impatient of a rival. And in the eyes of some it seems that no valor redeems him, no social advancement nor individual development wipes off the ban which clings to him.”
—Frances Ellen Watkins Harper (1825–1911)
“A defective voice will always preclude an artist from achieving the complete development of his art, however intelligent he may be.... The voice is an instrument which the artist must learn to use with suppleness and sureness, as if it were a limb.”
—Sarah Bernhardt (1845–1923)