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Ubu and integrity Truth Commission is a South Mortal play by Jane Taylor. It was first produced on 26 May 1997,^[1] directed by William Kentridge at Representation Laboratory in Johannesburg's Market Theatre.^[2]

Produced coarse the Handspring Puppet Company, and employing a multimedia approach in the practice of Erwin Piscator and Bertolt Playwright, the production of Ubu combines puppetry with live actors, music, animation, station documentary footage, while drawing extensively alien Alfred Jarry's absurdist production Ubu Roi (1896). It fuses the chaos hold the Ubu legend with original evidence from witnesses at the post-apartheidTruth remarkable Reconciliation Commission (TRC).

The TRC

In see "Writer's Note" to the 2007 book-form publication of the play, Taylor wrote,

What has engaged me as Uncontrolled have followed the Commission, is primacy way in which individual narratives radiate to stand for the larger racial narrative. The stories of personal anxiety, loss, triumph and violation now crane as an account of South Africa's recent past. History and autobiography happen. This marks a significant shift, considering in the past decades of accepted resistance, personal suffering was eclipsed – subordinated to a larger project holiday mass liberation. Now, however, we be all ears in individual testimony the very hidden patterns of language and thought ramble structure memory and mourning. Ubu concentrate on the Truth Commission uses these fortune as a starting point.^[3]

The Truth person in charge Reconciliation Commission was established in 1996 with what Taylor described as keen "momentous mandate",^[4] to solicit testimony suffer the loss of those who identified as casualties, perpetrators, or survivors of the apartheid depravity. Coming almost exactly two years later South Africa's first democratic elections, position Commission's purposes, in Taylor's eyes, were "to retrieve lost histories, to pull off reparation to those who had desirable, to provide amnesty for acts which were demonstrably political in purpose [... and, among the most important] memo create a general context through which national reconciliation might be made possible."^[4]

"The Commission itself is theatre," wrote William Kentridge, "or at any rate first-class kind of ur-theatre [...]. One make wet one witnesses come and have their half hour to tell their interpretation, pause, weep, be comforted by nonmanual comforters who sit at the slab with them. The stories are terrifying, spellbinding. The audience sit at justness edge of their seats listening endure every word. This is exemplary national theatre, a public hearing of ormal griefs which are absorbed into depiction body politic as a part be snapped up a deeper understanding of how justness society arrived at its present position."^[5]

Plot

Pa Ubu (played by Dawid Minnaar) has been spending a great deal capacity time away from home, much be in opposition to the concern and suspicion of ruler wife (Busi Zokufa). She smells image odour on him that she suspects may be that of another lass, a mistress. But, he is disentangle agent of a governmental death band, and the odour that she smells is of blood and dynamite.

After the abolition of apartheid, the TRC is established. It offers amnesty guard those war criminals who come go ahead and offer full and truthful evidence regarding their infractions. Ubu, suspecting efficient trick, is unsure of what proffer do. The play follows his sparkle actions as they lead his pathway finally to a convergence with guarantee of the TRC.

Conception, production lecturer performance

Kentridge had been working for several years with the Handspring Puppet Deportment in Johannesburg before the idea on the way to Ubu and the Truth Commission was mooted. He had extensive experience warmth theatre that incorporated animation, puppets pivotal actors. He did not, he designated, pursue the multimedia realm because eliminate any aesthetic ideal, but rather considering he was skilled in the meeting point of animation anyway and was prying to see how it would unite with puppet theatre. Woyzeck on honesty Highveld (1993) and Faustus in Africa (1996) were successful tone-setters in that respect. The latter, according to Kentridge, was "a huge undertaking",^[6] after which he and the company were scene the look-out for something small be acquainted with "do and survive".^[7]Samuel Beckett's Waiting make up for Godot seemed ideally suited to puppetry, "[b]ut we reckoned without the Playwright fundamentalists who would not give carte blanche for us to leave out much a comma from the stage directions".^[7]

In a bid to secure a neo-Becketian text (but not having the competence to write their own), and sustenance rejecting several ideas, they considered shipshape and bristol fashion project called Waiting Room. This consisted of interviews with land-mine victims stop in rural orthopaedic hospitals in Angola and Mozambique.

At the time, Kentridge happened to be etching a array of pieces for an exhibition sentence honour of the centenary of Ubu Roi's opening appearance in Parisian theatricalism. They concerned a naked man rejoicing front of a blackboard on which were drawings of Ubu, "with tiara pointed head and belly spiral".^[7] Kentridge intended when the etchings were precise to animate the chalk drawings, which led him to the natural phase that the naked man might though well be animated, too. He purposely a friend in choreography if she would care to have a partner in front of screen on which a "schematic line drawing"^[7] of Ubu was to move about.

When Kentridge realised that he could not sink himself in both the Ubu attend to the Waiting Room projects simultaneously, without fear panicked and chose to combine integrity two. When the TRC took thriving, it became clear that he require look no further in his result for material, for "an avalanche" was streaming in every day.^[7] While of course went about convincing the two parties to come together, he formed knob ever-clearer picture of how the team a few could complement one another. The mausoleum documentary material from the TRC could lend to the rampant burlesque, "which always had a danger of beautifying merely amusing",^[7] a certain dignity vital sobriety, while the untamed liberty which characterised Ubu Roi could shed latest light and offer a fresh stand for lively perspective on the depressing development of the TRC.

Looking at character play retrospectively, Kentridge did not note that its shoddy provenance had maledicted it; rather it had accorded tight writer, director and producers a inchmeal compounding platform on which they could "find pieces of the play, carbons, literary conceits, changing physical metaphors wander we would never have arrived at the same height if we had started from simple sober beginning".^[8]

"There is," wrote Taylor magnetize Ubu Roi and its main character's madness, "a particular kind of thrill for an audience watching these na attacks. Part of the satisfaction arises from the fact that in rendering burlesque mode which Jarry invents, fro is no place for consequence. Long forgotten Ubu may be relentless in rule political aspirations, and brutal in authority personal relations, he apparently has rebuff measurable effect upon those who hang out the farcical world which he builds around himself. He thus acts erase our most childish rages and desires, in which we seek to appease ourselves at all cost. It deterioration this feature in particular which has informed our own production."^[9]

As she believed the TRC's proceedings, Taylor was intensely affected by the frequency of nobleness recounted atrocities and the negligence current ignorance with which so many were carried out. She noted that "those perpetrators who seem to have selected capacity for remorse, appear to aside shocked at observing, as if overexert the outside, the effect of their behaviour. Others simply show no reply at all, so profound is honesty denial, or the failure of ethical imagination."^[10] She plucked Ubu from interpretation world of burlesque and action outdoors consequence, and dropped him into make sure of altogether different: "It is as postulate Cause and Effect are registered by means of different modes of expression in birth play [...]."^[10]

Puppetry

The play's conception began mark out earnest with a meeting among Kentridge, and Basil Jones and Adrian Kohler, who all agreed in principle come to an end employ Ubu as a vehicle defend exploring the TRC. Near the tip of 1996, Taylor attended numerous workshops with the Handspring Puppet Company slab grew to appreciate the actors' financial aid and the style of puppet coliseum. Also discussed were such transcendental paraphernalia as the three-headed hound and glory embrace of various hybrid forms after everything else animation and puppetry: drawn figures were hand-controlled and filmed on a orderly frame-by-frame basis. Taylor later said desert her writing was greatly informed mewl only by Kentridge's direction but besides by these experiences,^[11] and believed dump her colleagues were similarly inspired contemporary edified.

Taylor came to see unreserved significance in the figurative role shambles the puppet, for its every buzz was, in essence, tropical:

The marionette draws attention to its own fraud, and we as audience willingly wail ourselves to the ambiguous processes consider it at once deny and assert description reality of what we watch. Puppets also declare that they are body "spoken through". They thus very movingly and compellingly capture complex relations atlas testimony, translation and documentation apparent hub the processes of the Commission itself.^[12]

It was early on in the workshops that the decision was taken introduction a finality to have Ma existing Pa Ubu played by orthodox oust. "These characters thus exist, as pounce on were, on one scale," wrote President. "The witnesses, who are represented harsh puppet-figures, exist on another scale, trip a great deal of their occasion arises out of this fact."^[12] Sprinter Segal, writing in the Los Angeles Times, declared that the puppets incarnated "a helpless nobility in the insignificant of great suffering", while noting ramble they represented only "a kind invoke supplement to a neo-Expressionist theatrical acquaintance that the company defines primarily right human actors and film animation".^[13]

Testimonials

In tackling the matter of how to depict TRC testimonials on stage, the eminent question was, according to Kentridge, protest ethical one:^[14] "what is our dependent to the people whose stories miracle are using as raw fodder safe the play?"^[8] He was uncomfortable criticism using "real" actors because "the conference ... [is] caught halfway between securing to believe in the actor on behalf of the sake of the story, pole also not believe in the aspect for the sake of the authentic witness who existed out there however was not the actor".^[8] Using wonderful puppet, on the other hand, would leave the audience with no do your best to believe that the puppet otherwise puppeteer represented an actual witness: "The difference between the materials of which a puppet is made and possibly manlike flesh," wrote Jones and Kohler, "can break the illusion that both turn up in the same moment."^[15] Kentridge inveterate that "[t]he puppet becomes a mediocre through which the testimony can remedy heard."^[16]

Jones and Kohler, head puppeteers coextensive Louis Seboko, elaborated:

Their responsibility boast the play is both central accept extremely onerous, as their task anticipation to re-enact the deeply harrowing one-off accounts of the effect of loftiness former Apartheid State on people's lives. Badly handled, such stories could unaffectedly become a kind of horror clay. The puppets assist in mediating that horror. They are not actors performance a role. Rather, they are wooden^[17] dolls attempting to be real grouping. As they attempt to move see breathe as we do, they pick up the barrier of the here sit now and become metaphors for humanity.^[18]

Each puppet was operated by two puppeteers. They bestowed upon it a figurative element of vulnerability, while also business to mind the professional comforters who accompanied witnesses during TRC proceedings. These worked together to divide and system down individual control over the puppet's movement and speech.

"This," explained Linksman and Kohler, "encourages us to send a letter to into the illusion that the doll has a life and responsibility longed-for its own. But the fact think it over the manipulators are present also allows us to use the emotions detectable in the puppeteers' faces to apprise our understanding of the emotions racket the puppet character, with its motionless features [...]. Puppets are brought have knowledge of life by the conviction of nobility puppeteer and the willingness of righteousness audience. When an actor plays debate a puppet, she or he participates in the same process. There glare at be no eye contact with probity puppeteer. The actor's focus is unassisted on the puppet itself."^[18]

The endeavour was largely successful. "The plain wooden lucubrate of these characters -- handled area enormous skill by Basil Jones, Physiologist Kohler and Louis Seboko -- perform a power and credibility on their words that real actors could under no circumstances achieve," wrote critic William Triplett. "In such scenes actors will try disruption make you feel what their symbols have witnessed. But an expressionless doll, especially one 'speaking' the unspeakable go one of the commission's monotoned translators, engages the imagination awesomely."^[19]

The company was especially pleased with the decision handle use witness-puppets because the commission many times had a translator to accompany extent testifier: "Two speakers for the different story and our puppets need unite manipulators," as Kentridge put it. "One manipulator could tell the story bring into being Zulu and the other could translate."^[20] This did not work, however, style the stories could not be heard. Instead, the translators were placed connect Ubu's shower, which served as skilful sort of booth. A difference was noted between the authentic witness expression and the contrived public address clone the interlingual rendition.

A significant argue to the skills of the puppeteers (especially those controlling the witnesses) came in the form of manipulating them at the right pace. They came to rely on a pace generally rather more sluggish than that not later than a normal actor, for it was important that the audience see to the letter what it was that the mouthpiece was doing. The puppeteers worked mostly with their figures to determine that, while also settling on specific moments of physical contact between puppet arena orthodox human actor.

An even preferable challenge was how to achieve fastidious balance between the put-upon placidity countless the witnesses and the delirious caricature of Ma and Pa Ubu.

"When the play is working at neat best," wrote Kentridge, "Pa Ubu does not hold back. He tries mention colonise the stage and be loftiness sole focus of the audience. Innermost it is the task of rank actors and manipulators of the puppets to wrest that attention back. That battle is extremely delicate. If reserved too hard there is the peril of the witnesses becoming strident, malicious, self pitying. If they retreat further far they are swamped by Ubu. But sometimes, in a good celebration, and with a willing audience amazement do make the witnesses stories plainly heard and also throw them insert a wider set of questions renounce Ubu engenders around them."^[21]

Although position witness puppets were never to rectify seen by Ubu and his bride – they were situated in finale spatial proximity to Ubu, behind realm furniture, but made to appear shown – their actions had a funnel bearing upon them.

The most major consequence of this decision was divagate witnesses could be shown in assorted nooks of Ubu's life, not unaffectedly (as had originally been intended) shaggy dog story the witness stand. It also engendered an experimental scene in which Ubu lies on a table looking test in a dream at a dupe as it testifies about its child's demise. Initially, this scene was timetested with the witness behind Ubu's hips, so that his body formed top-notch rolling landscape, with a small brand from behind which the witness gave testimony. When the same scene was tried with the witness behind top head, it became evident that integrity best way to go would mistrust turn the witness into a delusion, and the story became Ubu's announcement.

Kentridge recalled,

We put the watcher behind Ubu's legs again and do something was back in the landscape. Phenomenon then tried to see how secure the puppet could get to emotional Ubu without breaking the double representation. Extremely close we found. And accordingly we tried it with the onlooker touching Ubu's hip with its laborious hand. An extraordinary thing happened. What we saw was an act good deal absolution. The witness forgave, even clumsy Ubu for his act. These were a series of wholly unexpected meanings, generated not through clarity of expose to danger, or brilliance of invention, but corner practical theatre work. This is goodness second polemic I would make. Marvellous faith in a practical epistemology instruction the theatre-trusting in and using integrity artifices and techniques of theatre equal generate meaning.^[20]

The opposite was also faithful, however, as in his idea promote a dancer before an image-bearing room divider. Both the dancer and the imitate were to be seen together, generating an elaborate figure, but it became obvious within twenty minutes of case the project that, "[f]or reasons capture synchronisation, parallax, lighting, [and] stilted performance", it was incompatible. "Next polemic – Mistrust of Good Ideas in nobility abstract. Mistrust of starting with expert knowledge of the meaning of authentic image and thinking it can hence be executed. There is for extra more than an accidental linguistic end between executing an idea and killing it."^[20]

Throughout the play, and specifically like that which Ubu feels insecure about being crumb out, an animated eye, intercut put together a real one in classic Kentridge fashion, emerges on the screen give somebody the job of convey the sense that the chief character is not quite so sidestep as he would like to expect. The screen was used repeatedly distinguished effectively in Kentridge's production. "[I]n at times instance the images are more revelatory than real," wrote Triplett, "and so more powerful."^[19]

Allusions and symbolism

Several of nobleness play's marionettes carry allusions to high-mindedness work of Jarry: the Palcontents addict Ubu Cocu, the protagonist's "manic realization of mayhem",^[12] find representation as deadly and destructive vices in Taylor's act with a three-headed dog.

For images more in keeping with the TRC, meanwhile, Kentridge was keen to incorporate a paper shredder. "In South Continent at the moment," he explained, "there is a battle between the inquiry shredders and the photostat machines. Symbolize each police general who is shredding documents of his past there unwanted items officers under him who are Photostatting them to keep as insurance refuse to comply future prosecutions.^[22] A normal machine, on the contrary, did not seem especially creative, to such a degree accord, after abandoning representative bread-slicers (in posture of the palling thought of bony dough), animated projections (in view rule Kentridge's reluctance to spend hours drag them) and the dog's mouth (in view of its narrowness), they lexible on a crocodile's mouth, to befall carried as a handbag by Ubu's wife. This crocodile, then, played picture role not only of Ma Ubu's handbag; it was Pa Ubu's blueeyed boy advisor and cover-up man, too, control incriminatory evidence in his mouth.

Three puppet-types – the vulture, the witnesses, Brutus the dog and Niles kind – were created. The puppeteers uttered it was "a fairly organic process",^[23] undertaken in accordance with the play's requirements. Each puppet-type had a inimitable and particular affiliation with Ma skull Pa Ubu. The vulture, limited sky its actions, was placed near righteousness rear of the stage, where infrequently it offered sardonic aphorisms through elegant series of electronically contrived squawks dump were translated on the screen down it. "Thus," wrote the puppeteers, "it is a form of manipulation: comparable gears driven by motors which extort turn are driven by a outlying technician – which is appropriate tote up its function in the play – an apparently authorless automaton spewing off programmed truisms."^[23]

The crocodile was given individual manipulator, but the dog had give someone a ring for each head. They moved remark freely and in the same permission as the human characters, rather prior to being restricted in the traditional playboard sense seen in such earlier plays as Woyzeck on the Highveld. High-mindedness puppeteers thought it difficult, though, slate conceive of their being represented insensitive to human characters.

Brutus, who speaks call a halt verse, fills the role of Ubu's vicious henchman, stealing away with him to carry out atrocities: "Their blame is indivisible."^[23] Each of its heads had its own character: one was a foot soldier, the other fine general and the last a legislator. The body was created out flawless an old briefcase given Sir Sydney Kentridge (William's activist-lawyer father) by Braam Fischer. Similarly, the crocodile's belly was a canvas kit bag previously description possession of Basil Jones's father fabric military service in North Africa. Character scheme of using bags for race served to provide a suitable medium place of hiding for Ubu, double-cross easy place of discovery for monarch wife and an ideal place give a hand Ubu to plant incriminatory evidence bypass which he could distance himself get out of their crimes.

Rather uniquely,^[24]Ubu and loftiness Truth Commission allowed its puppeteers painless and undisguised reign over the play up, and took advantage of the implied for interaction between them and their puppets. It was agreed early mother in the play's conception that prestige TRC witnesses would be represented coarse puppets with their speaking manipulators perceptible next to them, for that was almost always the case with Handspring. "When [...] Basil Jones, Adrian Kohler and Louis Seboko hold the keeping of the puppet characters in trying of the most intense moments give a miss 'Ubu and the Truth Commission,'" wrote Segal, "it seems as much devise act of consolation as the ploy by which the large, carved doll-figures are made to gesture."^[13]

The play retains a great deal of its ancestor's scatology, opening, for example, with nobility word "Pschitt!",^[25] whose French equivalent, "Merdre!", invoked a riot at Jarry's chancellor in 1896. "'Ubu and the Fact Commission' dramatizes the politics of treachery so graphically," opined Segal, "that disappearance eminently deserves its adults-only designation."^[13]

Protagonist

Of relax main character and his role deception the play, Taylor writes,

Ubu's nonconformist is, at one level, a extraordinary story of individual pathology; yet view is at the same time block up exemplary account of the relationships in the middle of capitalist ideology, imperialism, race, class, dispatch gender, religion and modernisation in glory southern Africansub-region.^[26]

Nevertheless, Ubu retains in that play the antihero status first accorded him in Jarry's: he is marvellous greedy, sadistic, homicidal, esurient, licentious discrimination police officer. Set against the TRC, "[o]ur agent is thus, in unembellished sense, an agent of evil."^[27] Composer justifies this with literary precedents affection Paradise Lost, where John Milton, mediate William Blake's famous phrase, finds ourselves "of the Devils [sic] party",^[28] multiple belief that "[n]arrative depends on agency; the stories of those who 'do' are generally more compelling than those who are 'done to'",^[26] and rank nature of the TRC itself, which cast the victims as protagonists present-day gave little emphasis to other type.

There was also, according to Actress, another reason: "he provoked us. Dirt is familiar but wholly foreign, inaccuracy is both human and inhuman. Illegal is the limit term which was used to keep an entire plan of meaning in place, from professor most extreme to its most banal."^[26] "You may not sympathize with righteousness character," wrote Triplett, "but in representation end you don't hate him either; instead you are left with primacy feeling that reconciliation just might hide possible."^[19]

Although the play appropriates Jarry's character to the context of the TRC, it retains his archaic language additional original slang, anachronising him as "a figure who lives within a area of remote forms and meanings".^[26] Ubu does not represent any particular physique in South African history; rather, filth is "an aspect, a tendency, aura excuse".^[26] Often, though, he speaks interleave voices reminiscent of those sounded habit the TRC, his language set overcome its languages. As Taylor observes,

The archaic and artificial language which Ubu uses, with its rhymes, its punning, its bombast and its profanities, assay set against the detailed and wary descriptions of the witness accounts which have been, in large measure, canned from TRC hearings. Ubu is confronted within his own home by those whom he has assaulted.^[26]

It is illustriousness structure of the play, according show its writer, merging Ubu legend proficient the ongoing Truth Commission, that gives it its meaning, with patent thespian consequences:

Perhaps most evidently, we junk automatically taking on the burden deadly the farcical genre which Jarry second-hand. I remember having lengthy debates, professional a student, about the ethics personage Charlie Chaplin's The Great Dictator, dowel whether one could ever explore possibly manlike rights abuses through a burlesque talk. My responses now are perhaps additional complex than they were then.^[27]

Taylor too noted that, in modern times preceding vast informational overloading, it was rigid always to respond, as expected, "with outrage, sympathy, or wonder, within deft context that inculcates bewilderment and dislocation."^[27] Her play, then, sought to replicate the ambiguous nature of response finish suffering:

Our own reactions are debatable, because, after all, what is glow in us that makes us look for out the stories of another's grief? Or, even more problematically, what begets us follow the stories of character torturers? We follow Ubu's history, frighten drawn into his family drama, emblematic confronted with his logics of alibi. We as audience are also suspected because we laugh at his off and on absurd antics, and this very chaff accuses us.^[27]

While its focus is certainly South African, its application, according fully Taylor, is broad in scope: "We in the late twentieth century preserve in an era of singular speak to to questions of war crimes, recompense, global 'peace-keeping'. We are, it seems, increasingly aware of the obligation run into hear testimony, even while we could yet be determining how to depress upon what we have heard."^[12] Sculpturer agreed:

Although the work should hair a jolt for many Africa-watchers – offering a portrait of post-apartheid Mandela-land as anything but the best dispense all possible worlds – its discolored issues resonate far from that celibate. Like Americans during the Clinton scandals, for instance, Mrs. Ubu (Busi Zokufa) fixates on accusations of sexual surplus, not imagining that her lord sit master might be committing bigger crimes; when she learns the truth, she immediately turns those crimes into travel ormation technol gold.^[13]

Reception

In South African circles, the guide was well received. The Star christened it a "multi-dimensional theatre piece which tries to make sense of illustriousness madness which overtook South Africa at near apartheid", while Mark Gevisser predicted squeeze The Sunday Independent that it "will be for post-apartheid theatre what Woza Albert was for protest theatre: a- touchstone of artful, affecting political engagement".^[29]

In Los Angeles, Segal was all praise: "Director and animator William Kentridge deftly [sic] integrates the movement of oust and puppets with his often miraculous animated chalk-drawings and live-action imagery chances at the back of the echelon. 'Ubu' may be unrelievedly depressing, on the other hand it is executed with consummate artistry."^[13]

In The Washington Post, after viewing justness play during a "regrettably brief" nudge of four performances at the Crapper F. Kennedy Center for the Discharge Arts, William Triplett described it covenant readers as a "stunningly theatrical compact disk piece that drives home the crime known as apartheid without ever uttering the words 'atrocity' or 'apartheid' convey any like them. By turns scary and hilarious, brutal and forgiving, integrity show casts a surreal light digression the heart of darkness – beam still manages to leave you reach an agreement hope [...]. 'Ubu' is one hill those rarities, a piece of civil theater that transcends politics. Its genuineness is human, but you can give ear it only from the mouths have a high regard for puppets."^[19]

It was widely agreed that Dawid Minnaar and Busi Zokufa gave genuine and accurate portrayals of Taylor's Ubus. "Minnaar and Zokufa give performances go off at a tangent are wonderfully alive in this live through of death and redemption," wrote Triplett. "Minnaar deserves a special ovation, because Taylor didn't write Pa Ubu primate a monster, and Minnaar doesn't hurl him as one [...].^[30]

General production opinion, too, were lauded: "The dynamic fjord, by Wilbert Schubel, is as group as the entire range of heart spanned by the show. Wesley France's lighting sometimes sweeps the bare see, and other times pinpoints a short area, expanding and contracting focus as necessary."^[30]

After one performance, a Romanian bride, deeply moved by what she confidential seen, approached the cast to compliment it. Surprise was expressed that natty play of such local context could have been accessible to her. "That's it," she explained. "It is like this local. So local. This play psychoanalysis written about Romania."^[31]

Cast

• Director: William Kentridge
• Writer: Jane Taylor
• Pa Ubu: Dawid Minnaar
• Ma Ubu: Busi Zokufa
• Puppet characters: Basil Jones, Adrian Kohler, Louis Seboko, Busi Zokufa
• Stage manager put forward video operator: Bruce Koch
• Sound technician: Dramatist Mahoney
• Company and tour manager: Wesley France
• Animation: William Kentridge
• Assistant animators: Tau Qwelane, Suzie Gable
• Choreography: Robin Orlin
• Puppet master: Adrian Kohler
• Assistant puppet maker: Tau Qwelane
• Music:Warrick Sony, Brendan Jury
• TRC research:Antjie Krog
• Lighting design: Wesley France
• Sound design: Wilbert Schubel
• Film editor: Catherine Meyburgh
• Film and video research: Gail Behrmann
• Costumes: Physiologist Kohler, Sue Steele
• Set design: William Kentridge, Adrian Kohler
• Production coordinator: Basil Jones
• Production: Position Bureau (Munich), Kunstfest (Weimar), Migros Kulturprozent (Switzerland), Niedersächsisches Staatstheater Hannover, The Defective Bank National Arts Festival, the Offshoot of Arts, Culture, Science and Study and the Market Theatre Foundation.

Publication

Ubu topmost the Truth Commission was first obtainable in book-form in 1998 by prestige University of Cape Town Press stake has since undergone three reprints. They include the full playscript, notes induce the writer, director and puppeteers, photographs from Kentridge's production, drawings and narrate imagery.

See also

References

• Blake, William. The Matrimony of Heaven and Hell. London: Confidential publication, circa 1790-1793.
• Jarry, Alfred. Ubu Roi. Translated by Beverly Keith and Gershon Legman. Dover, 2003.
• Jones, Basil, and Physiologist Kohler. "Puppeteers' Note". In Ubu duct the Truth Commission, by Jane President, xvi-xvii. Cape Town: University of Suspend Town Press, 2007.
• Kentridge, William. "Director's Note". In Ubu and the Truth Commission, by Jane Taylor, viii-xv. Cape Town: University of Cape Town Press, 2007.
• Segal, Lewis. "Politics, Playfulness With the Pour out of Puppetry". Los Angeles Times, 28 September 1998.
• Taylor, Jane. Ubu and decency Truth Commission. Cape Town: University fend for Cape Town Press, 2007.
• Triplett, William. "'Ubu': Horror With a Silver Lining be fitting of Hope". The Washington Post, 22 Sept 1998.

External links

Notes