Pere Kaijubu: A Pataphysical Production
The New National Theatre, Tokyo, was about to get a whole lot more national, and a hell of a lot less theatrical. The avant-garde was never avant-garde enough, see? They thought they were pushing boundaries with this production of Alfred Jarry’s Ubu Roi, that ur-text of the absurd. “Merdre!” indeed. They had no idea what merdre was really coming.
The director, a certain Kenji Artaud (no relation, he insisted, to Antonin, though one suspected a past-life connection given the bug-eyed fervor with which he approached the material), had decided to juice things up. Authenticity, he called it. Immersion. What it really was was a fistful of blotter acid slipped into the cast and crew’s green room tea.”To unlock the Savage God,” he’d mumbled, channeling Yeats. He should have stuck to Brecht.
The first act went off… well, it went off. Exaggerated gestures became truly unhinged, the cardboard props took on a sinister life of their own, and the actors, bless their dissolving minds, began to ad-lib lines that would have made Jarry himself blush. Lines about the coming of the Great Old Ones, the geometry of madness, the proper method for extracting ichor from a star-spawned toad. Classic stuff. By the time Père Ubu, played by the unfortunate Hideki Tojo (no relation, again), started gnawing on his toilet-brush scepter, Artaud knew he’d hit upon something truly transformative. Pure pataphysics. The science of imaginary solutions. Solutions that involved a whole lot of screaming and a distinct smell of ozone.
It wasn’t long before the transformations began. Little flickers at first. A twitch in the eye, a thickening of the skin, a sudden and inexplicable craving for raw fish and depleted uranium. Tojo-Ubu’s costume, already grotesque, started to *become* him. The cardboard mask melded with his face, the padding of his enormous belly grew organically, scales shimmering beneath the cheap fabric. A tail, thick and reptilian, burst through the back of his costume, scattering stagehands and splattering cheap sake.
Meanwhile, Mère Ubu—played with increasingly maniacal glee by the once-demure Akari Sato—began to sprout chitinous armor, her voice deepening into a guttural roar that rattled the theater’s foundations. Her boudoir became a nest, littered with broken eggs and the glistening exoskeletons of smaller cast members. She seemed to have a particular fondness for the tax collectors, muttering about “efficiency” and “resource allocation” as she devoured them whole. Ah, the classics.
Artaud, perched in the lighting booth, cackled with glee, scribbling furiously in his notebook. He was witnessing the birth of a new art form, a synthesis of Jarry’s mad vision and the raw, untamed power of the collective unconscious. A play so real, it threatened to spill over into reality itself. He felt a strange pressure building in his chest, a heat rising from his gut. He looked down and saw his hands, no longer human, but tipped with razor-sharp claws. His face stretched, his teeth lengthened, his spine arched…
The newly-minted Kaiju, led by Ubu-Gojira and Mère Ubu-Kamacuras, didn’t stay confined to the stage for long. They burst through the theater walls, scattering bewildered patrons and sending terrified yakuza running for cover. The Tokyo streets became their playground. Ubu, bellowing Jarry’s nonsense syllables mixed with atomic fire, stomped through Ginza, swatting aside tanks and devouring power lines like spaghetti. Mère Ubu, wings buzzing with malevolent energy, tore through Shibuya, her chitinous claws shredding neon signs and leaving a trail of acrid pheromones in her wake. Artaud, now a towering, multi-limbed monstrosity that seemed to be cobbled together from spare set pieces and discarded costumes, directed the chaos with flailing appendages, occasionally pausing to vomit forth a torrent of nonsensical art manifestos.
The JSDF, naturally, proved utterly useless. Missiles bounced harmlessly off Ubu’s hide, tanks were swatted aside like toys, and the brave pilots who dared to engage Mère Ubu found themselves swarmed by her brood of newly-hatched, acid-spitting larvae. The city was doomed. Or was it?
Just when all hope seemed lost, a lone figure emerged from the wreckage, clad in a tattered kabuki robe and wielding a shamisen like a weapon. It was the tayu, the narrator of the play, himself transformed by the psychedelic maelstrom into a spectral being of pure storytelling energy. He began to chant, not the lines of Jarry, but ancient verses of warding, of cosmic balance, of the power of narrative to shape reality.
The Kaiju faltered, their rampages slowing. Memories flickered in their monstrous minds: of rehearsals, of shared tea, of the fleeting beauty of the human experience. The shamisen wailed, its notes weaving a tapestry of longing and regret, of the absurdity of existence and the fleeting, precious nature of beauty.
Then, as suddenly as it began, it was over. The Kaiju shrank, their monstrous forms dissolving into clouds of iridescent smoke. The tayu collapsed, his energy spent, leaving behind only a lingering scent of cherry blossoms and burnt ozone.
The city was in ruins, but it was also… different. Transformed. The absurd had become real, the imaginary had bled into the concrete. Tokyo was now a living stage. And somewhere, amidst the rubble, a single, slightly singed toilet-brush lay gleaming in the moonlight. The play, as they say, must go on. And the show, by god, was just beginning.
Horror Sleaze Trash 