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ubu brat

the absurd classic of war

ubu BRAT

the absurd classic of war

directed by Michele Modesto Casarin
by and with Claudio Colombo and Agata Garbuio
costumes Marianna Fernetich
masks and scenes BRAT 
production BRAT

synopsis

of the show
BRAT opens the doors of its little theater, through which one enters a crazy and surreal world in which everything is possible: a walkway turns into a crown. and surreal in which anything is possible: a catwalk turns into a crown, some pots and pans into war armor, cute puppets into condemned prisoners of death, and even a gruff rougher. death, and even a gruff rogue can succeed in becoming a king.

In fact, Father Ubu, a sort of clumsy and ramshackle Macbeth, encouraged by his wife Mother Ubu, comes to seize the crown of Poland through plots and assassinations. And just as in the Scottish drama, it will be the young heir who escaped the massacre to oust the usurper and restore order. order. But in reality the downfall of Father and Mother Ubu will come from within. Their obtuse and voracious greed will drive them to legitimize heinous misdeeds, to trample on laws and make their own, to laws and make others’ own, to squander public money and eliminate every of public money and to eliminate every opponent, leading them to face wars, riots and dangers of all kinds until they find themselves hunted down by the many enemies they have made.

languages

used on stage
It is a world enclosed in a small space, a theater within a theater: a shack-house, perhaps that same house in which Jarry set up a puppet theater shack, perhaps that same house in which Jarry set up a puppet theater, complete with flowered curtain, which transforms itself, thanks to the different levels and spaces it offers, now into a royal palace, now into a pulpit, now into the hollow of a retirement home. levels and spaces it offers, now into a royal palace, now into a pulpit, now into the hollow of a cave or in the trellis of a theater. All through the magic and power evocative power of mask and figure theater, which manage to recreate spaces and situations through play, fantasy and madness.

Thus, in a continuous contamination of languages, everyday objects acquire new functions and the large, pear-shaped masks typical of the drawings by Jarry himself, are transformed into the heads of large and clumsy puppets living puppets, thus creating in the viewer a pure gaze, detached but at the same time at the same time more involved precisely because they are protected and reassured by this distance. Gradually, in this way, the spectator becomes a child again and finds himself finds himself participating in a cathartic battle played with colored balls.

gender

and content
It is the tragic and farcical world of Father Ubu’s rise and fall, in which echoes of several Shakespearean plots converge. In which echoes of different Shakespearean plots converge. A world that through the filter of the surreal and the grotesque becomes a tool for investigating of the multifaceted and imperfect reality, universal in photographing the greediness human.

Thus is revealed a world dominated by cruelty and prevarication, but still playful in its crude childlike meanness, devoid of qualms and moralizing. A world pervaded by a pataphysical spirit that manages to retain the freshness and irreverence of the original. irreverence of the original, made of provocation, absurdity, farce, parody and humor, turning it into a funny and hilarious story that however, may be more serious, truthful and close than we think.

It is the world of UBU BRAT, which we believe Jarry would not have minded.

they talk

about the show

<< UBU BRAT represents the fantasy that turns a box into an entire state and two actors into an army of characters. The dimension of play is amplified by the masks, and if one has the feeling of being in front of children playing at war, one’s thoughts run with a shudder to all the rulers who really decide on people’s lives and deaths as if it were a game. But the power they have is only what we give them. Indeed, this play confronts us with our responsibilities, today as at the time it was written. And the throwing of imaginary cannonballs, besides being liberating and funny, makes us touch upon the power of the people.>>

Sara Di Cosmo

synopsis

of the show

BRAT apre le porte del suo teatrino, varcate le quali si entra in un mondo folle e surreale in cui tutto è possibile: un passaverdura si trasforma in una corona, del pentolame in armature da guerra, dei simpatici pupazzi in condannati a morte e persino un burbero briccone può riuscire a diventare re.

Infatti Padre Ubu, una sorta di goffo e sgangherato Macbeth, incoraggiato dalla moglie Madre Ubu, arriva ad impadronirsi della corona di Polonia attraverso complotti e assassini. E proprio come nel dramma scozzese, sarà il giovane erede scampato al massacro a spodestare l’usurpatore e a ristabilire l’ordine. Ma in realtà la rovina di Padre e Madre Ubu verrà dall’interno. La loro ottusa e vorace avidità li spingerà a legittimare efferati misfatti, a calpestare leggi e farne altre su misura, a dilapidare il denaro pubblico ed a eliminare ogni oppositore, portandoli ad affrontare guerre, rivolte e pericoli di ogni genere fino a ritrovarsi braccati dai numerosi nemici che si sono fatti.

languages

used on stage
It is a world enclosed in a small space, a theater within a theater: a shack-house, perhaps that same house in which Jarry set up a puppet theater shack, perhaps that same house in which Jarry set up a puppet theater, complete with flowered curtain, which transforms itself, thanks to the different levels and spaces it offers, now into a royal palace, now into a pulpit, now into the hollow of a retirement home. levels and spaces it offers, now into a royal palace, now into a pulpit, now into the hollow of a cave or in the trellis of a theater. All through the magic and power evocative power of mask and figure theater, which manage to recreate spaces and situations through play, fantasy and madness.

Thus, in a continuous contamination of languages, everyday objects acquire new functions and the large, pear-shaped masks typical of the drawings by Jarry himself, are transformed into the heads of large and clumsy puppets living puppets, thus creating in the viewer a pure gaze, detached but at the same time at the same time more involved precisely because they are protected and reassured by this distance. Gradually, in this way, the spectator becomes a child again and finds himself finds himself participating in a cathartic battle played with colored balls.

gender

and content
It is the tragic and farcical world of Father Ubu’s rise and fall, in which echoes of several Shakespearean plots converge. In which echoes of different Shakespearean plots converge. A world that through the filter of the surreal and the grotesque becomes a tool for investigating of the multifaceted and imperfect reality, universal in photographing the greediness human.

Thus is revealed a world dominated by cruelty and prevarication, but still playful in its crude childlike meanness, devoid of qualms and moralizing. A world pervaded by a pataphysical spirit that manages to retain the freshness and irreverence of the original. irreverence of the original, made of provocation, absurdity, farce, parody and humor, turning it into a funny and hilarious story that however, may be more serious, truthful and close than we think.

It is the world of UBU BRAT, which we believe Jarry would not have minded.

they talk

about the show

<< UBU BRAT rappresenta la fantasia che trasforma una scatola in un intero Stato e due attori in un esercito di personaggi. La dimensione del gioco è amplificata dalle maschere, e se si ha la sensazione di trovarsi di fronte a dei bambini che giocano a fare la guerra, il pensiero corre con un brivido a tutti i governanti che decidono davvero della vita e della morte delle persone come se fosse un gioco. Ma il potere che hanno è solo il potere che gli diamo. Questo spettacolo, infatti, ci mette di fronte alle nostre responsabilità, oggi come all’epoca in cui è stato scritto. E il lancio delle immaginarie palle di cannone oltre ad essere liberatorio e divertente, ci fa toccare con mano, il potere del popolo. >>

Sara Di Cosmo

Associazione BRAT - ETS
Via Pampaluna 66, 33050 Porpetto UD
Mail: info@compagniabrat.it
Phone: +39 340 609 6652

Policy - Trasparenza