The 2005 adaptation of Alfred Jarry’s Ubú Rey by Enrique Permuy and Polizonteatro in Flor de Maroñas, a working-class neighborhood in the outskirts of Montevideo, did more than transform the play into a street spectacle. This article explores the connections between the event, which was later replicated in La Teja and other working-class neighborhoods, and a series of poetic and theoretical considerations, including theatre as “journey” and the physical translation of the play to “the border” of Montevideo. This relocation was also a journey to “a cultural frontier,” to the limits and the outside of our lettered, middle-class notions of theatre and theatricality. The author recurs to the notion of “transmodernity” as an alternative to the modern and postmodern aesthetic that predominates within academic circles and renders transmodern theatre invisible. The article also examines the convivial and place-time-specific quality of theatrical productions and the ways in which a long, deep and lively carnivalesque theatrical tradition within working-class neighborhoods makes possible an effective social encounter, exchange, and communication.

中文翻译：

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DelSolísa Flor deMaroñas：乌布·德·恩里克·佩穆伊和特拉维斯·德拉弗龙特拉的剧院

Enrique Permuy和Polizonteatro于2005年在蒙得维的亚郊区的工人阶级社区改编的Alfred Jarry的UbúRey，不仅将剧本变成了街头奇观。本文探讨了事件之间的联系，该事件后来在拉泰亚（La Teja）和其他工人阶级社区被复制，与一系列诗意和理论上的考虑，包括戏剧作为“旅途”，以及将戏剧实际翻译成“边界”蒙得维的亚。这次搬迁也是通往“文化疆界”的旅程，达到了我们关于戏剧和戏剧性的中产阶级概念的极限。作者重申“超现代性”的概念，以替代在学术界占主导地位的现代和后现代美学，并使超现代剧院不可见。本文还考察了戏剧作品的娱乐性和时效性，以及工人阶级社区内长期，深刻而生动的狂欢节戏剧传统如何有效地进行社交，交流和沟通的方式。