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Surrealism and Dada in the Theatre
Transcript of Surrealism and Dada in the Theatre
Tzara was delighted. The "cretinization of the public" had been achieved. The performance was stopped and the lights went out. During the twenty minute intermission, the audience "gained in self-awareness", the rage subsided, and a calm ensued that ruled the final part of the programme. ...Tzara would later proclaim,
The public was tamed. Dada had succeeded in establishing the circuit of absolute unconsciousness in the audience which forgot the frontiers of education, of prejudices, experienced the commotion of the NEW. Final victory of Dada. Dada and surrealism sought to question and even destroy the traditional asthetics of art. "Chance poetry," performed by pulling words out of a hat, was commonly seen. Antoine Artaud proposed what he called a "theatre of cruelty" in which the actors would act out all of their emotions physically; Artaud believed that the written word had corrupted the original intention of theatre. A video about dada, done in the movement's style. Due to the unusual nature of production of surrealist and dada theatre, there exist vary few fixed plays that could be characterized as definitively "surrealist" or dada; plays such as Alfred Jarry's (1896) are cited as pre-cursors to surrealist theatre, and the two styles tend to meld into the greater umbrella of the "avant-garde." Ubu Roi http://www.tranquileye.com/theatre/dada_theatre.html