Abstract
Ubu and the Truth Commission (Taylor 2015a) satirically rewrites Macbeth, yet also borrows more problematically from Jarry’s farce and other Shakespearean texts. Coterminous with the hearings of the Truth and Reconciliation Commission, this rewriting of Renaissance texts leads us to examine the relation between theatrical genres, the power of the theatre – between iteration and the singular nature of the theatrical performance – and its relation to the confessional mode.
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