Difference between revisions of "Ubu and the Truth Commission"

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by [[Jane Taylor]], [[William Kentridge]] and the [[Handspring Puppet Company]]. Based on [[Alfred Jarry]]'s ''[[Ubu Roi]]'',  it compared Jarry's King Ubu with the Truth and Reconciliation Commission, utilizing texts from the TRC hearings in documentary fashion, as well as puppets and animated graphics by Kentridge. The text was finalized by [[Jane Taylor]] and the production directed by [[William Kentridge]].  It opened in South Africa at the [[Grahamstown Festival]] in 1997,presented by the [[Handspring Puppet Company]] and [[William Kentridge]] in association with [[Mannie Manim Productions]], featuring [[Dawid Minnaar]] as Pa Ubu and [[Busi Zokufa]] as Ma Ubu.  
 
by [[Jane Taylor]], [[William Kentridge]] and the [[Handspring Puppet Company]]. Based on [[Alfred Jarry]]'s ''[[Ubu Roi]]'',  it compared Jarry's King Ubu with the Truth and Reconciliation Commission, utilizing texts from the TRC hearings in documentary fashion, as well as puppets and animated graphics by Kentridge. The text was finalized by [[Jane Taylor]] and the production directed by [[William Kentridge]].  It opened in South Africa at the [[Grahamstown Festival]] in 1997,presented by the [[Handspring Puppet Company]] and [[William Kentridge]] in association with [[Mannie Manim Productions]], featuring [[Dawid Minnaar]] as Pa Ubu and [[Busi Zokufa]] as Ma Ubu.  
  
Two story lines were presented through two different media; the fictitious story of Pa Ubu, the outrageously violent megalomaniac and his wife Ma Ubu were played by live actors, while the true-life stories of individuals testifying at the TRC were presented through puppets. Both [[TRC]]-related productions, ''[[The Story I am About to Tell]]'' and ''[[Ubu and the Truth Commission]]'' told the actual stories of real victims who had recently testified before the [[TRC]], but in neither production were those victims portrayed by actors playing the parts. As if the pain and suffering of those victims were too real and too immediate at that time to be presented by performers, the former production used the real victims on stage and the latter used puppets.
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Two story lines were presented through two different media; the fictitious story of Pa Ubu, the outrageously violent megalomaniac and his wife Ma Ubu were played by live actors, while the true-life stories of individuals testifying at the TRC were presented through puppets. Both [[TRC]]-related productions, ''[[The Story I am about to Tell]]'' and ''[[Ubu and the Truth Commission]]'' told the actual stories of real victims who had recently testified before the [[TRC]], but in neither production were those victims portrayed by actors playing the parts. As if the pain and suffering of those victims were too real and too immediate at that time to be presented by performers, the former production used the real victims on stage and the latter used puppets.
  
 
==Source==
 
==Source==

Revision as of 10:27, 24 February 2014

by Jane Taylor, William Kentridge and the Handspring Puppet Company. Based on Alfred Jarry's Ubu Roi, it compared Jarry's King Ubu with the Truth and Reconciliation Commission, utilizing texts from the TRC hearings in documentary fashion, as well as puppets and animated graphics by Kentridge. The text was finalized by Jane Taylor and the production directed by William Kentridge. It opened in South Africa at the Grahamstown Festival in 1997,presented by the Handspring Puppet Company and William Kentridge in association with Mannie Manim Productions, featuring Dawid Minnaar as Pa Ubu and Busi Zokufa as Ma Ubu.

Two story lines were presented through two different media; the fictitious story of Pa Ubu, the outrageously violent megalomaniac and his wife Ma Ubu were played by live actors, while the true-life stories of individuals testifying at the TRC were presented through puppets. Both TRC-related productions, The Story I am about to Tell and Ubu and the Truth Commission told the actual stories of real victims who had recently testified before the TRC, but in neither production were those victims portrayed by actors playing the parts. As if the pain and suffering of those victims were too real and too immediate at that time to be presented by performers, the former production used the real victims on stage and the latter used puppets.

Source

Grahamstown Festival programme, 1997

[Van Heerden (2008)][1] P.103

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