Faustroll, but also Jarry's works in general are definitely major influences (but don't expect Fsustroll or anything by Jarry to be some kind of manifesto or theorical book. He's more the literary and philosophical heir of Rabelais). Oulipo was the first "ouvroir" introduced under the Ouxpo (Ouvroirs d'X potentiels) concept that was created by Queneau and Le Lionnais from the Collède de 'pataphysique in the 60s.

Incidentally I got to see the Oulipo Show (a collage of texts from Calvino, Queneau, Perec, Le Lionnais etc.) on stage last year. It's a near mythical stage show around here (and abroad as they toured it in francophone Europe a lot back in the 80s), re created for the 30th anniversary of the Théàtre Ubu company.

Lucky for me (as I've loved that tradition since I was a teenager)there's still a fairly strong presence of the Oulipo/Cd'p and Théâtre de l'absurde in Montréal (you can even spot an absurdist or dadaist "twist" in some recent productions of Shakespeare or Seneca). I'm very much looking forward to the new production of Ionesco's Le Roi se meurt next season. I've seen two already, and the last one that was played on an half-sphere that kept the actors off-balanced throughout was especially brilliant, but the new one looks promising as for the dying King whose kingdom is dying with him, they had this great idea of casting an actor in his mid-20s. Funny how the 21th century seems to have made old movements that marked the beginning of the 20th resonate even more strongly, especially in their darker/desperate aspects.