8 January 1896

Dear Sir,

I am writing to ask you to give some thought to a project which I would like to submit to you and which I hope may interest you….It would be interesting, I think, to produce [Ubu Roi] (at no cost, incidentally) in the following manner:

1) Mask for the principal character, Ubu; I could get this for you, if necessary. And, in any case, I believe that you yourself have been studying the whole question of masks in the theater.

2) A cardboard horse’s head which he would hang round his neck, as they did on the medieval English stage, for the only two equestrian scenes; all these details fit in with the mood of the play, since my intention was, in any case, to write a “Guignol.”

3) One single stage-set or, better still, a plain backdrop, thus avoiding the raising and dropping of the curtain…. A formally dressed individual would walk on stage, just as he does in puppet shows, and hang up a placard indicating where the next scene takes place. (By the way, I am absolutely convinced that a descriptive placard has far more “suggestive” power than any stage scenery. No scenery, no array of walkers-on could really evoke “the Polish Army marching across the Ukraine.”)

4) The abolition of crowds which usually put on a terrible collective performance and are an insult to the intelligence. So, just a single soldier in the army parade scene, and just one in the scuffle when Ubu says, “What a slaughter, what a mob, etc....”

5) Choice of a special “accent,” or, better still, a special “voice” for the principal character.

6) Costumes divorced as far as possible from local color or chronology (which will thus help to give the impression of something eternal): modern costumes, preferably, since the satire is modern, and shoddy ones, too, to make the play even more wretched and horrible.

… Finally, I have not forgotten that this is no more than a suggestion for you to ponder at your leisure, and I have only discussed Ubu Roi with you because it has the advantage of being the sort of play that most of the public will appreciate. Anyway, the other thing I am working on will soon be ready, and you will see how much better it is…

With best wishes for all your good work, which gave me the chance of enjoying yet another highly interesting evening yesterday.

ALFRED JARRY,
162, boulevard St.-Germain.