Collage
The Dadaists imitated the techniques developed during the cubist movement through the pasting of cut pieces of paper items, but extended their art to encompass items such as transportation tickets maps, plastic wrappers, etc. to portray aspects of life, rather than representing objects viewed as still life.
Photomontage
The Berlin Dadaists - the "monteurs” - would use scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media A variation on the collage technique, photomontage utilized actual or reproductions of real photographs printed in the press.
Assemblage
The assemblages were three-dimensional variations of the collage - the assembly of everyday objects to produce meaningful or meaningless (relative to the war) pieces of work
Readymades
Marcel Duchamp began to view the manufactured objects of his manufactured objects collection as objects of art, which he called "readymades He would add signatures and titles to some, converting them into artwork that he called "readymade aided" or "rectified readymades". One such example of Duchamp's readymade works is the urinal that was turned onto its back, signed "R. Mutt", titled "Fountain", and submitted to the Society of Independent Artists exhibition that year.
(B)
Cabaret Voltaire. Under this name a group of young artists and writers has been formed whose aim was to create a centre for artistic entertainment. The idea of the cabaret will be that guest artists will come and give musical performances and readings at the daily meetings. The young artists of Zurich, whatever their orientation, are invited to come along with suggestions and contributions of all kinds. Though the Cabaret was to be the birthplace of the Dadaist movement, it featured artists from every sector of the avant-garde, including Futurism's Marinetti. The Cabaret exhibited radically experimental artists, many of whom went on to change the face of their artistic disciplines; featured artists included Kandinsky, Paul Klee, de Chirico and Max Ernst.
(C)
It is often said that Dada originated as a pacifist protest to the devastations of the First World War. In fact, the war was merely the occasion for making protest a guiding principle of life. It is not simply that the unadventurous or uninformed found Dada shocking--as, for example, the Paris audience found Le sacre du printemps shocking when it was first performed in 1913. No, the principle aim, of Dada was to shock and discombobulate. Its path, as Melzer puts it, is a "path of pure provocation." In Tzara's inimitable words, Dada is "a new transmutation that signifies nothing, and was the most formidable blasphemy mass combat speed prayer tranquility private guerrilla negation and chocolate of the desperate." My belief is that DADA is the most audience friendly style of theater there is. Each individual audience member is allowed to react in their own way, independent of any artistic manipulation. The Dadaists cultivated interesting performance techniques which were used in provoking the audiences into challenging their current ideals at the times of performance. Which, consequently usually meant attacking the circumstances of culture which had precipitated the conflict surrounding the Dadaists. Shock and unconventionality were two tricks at the disposal at the hands of the Dadaists and in the hands of the dynamic personalities of the likes of Tzara, Schwitters & co they were bound to make many ripples in the world of art. The power of belief which was inherent inside the movement meant that although it was always going to have a short life span the reverberations and influences, the questions and the provocations which those at the heart of the movement always refused to answer meant that the legacy of Dada is still prominent in the world around us today.
Drama booklet
