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Dada theatre

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(A) In February 1916, as WW1 raged on, Dadaism was invented in Zurich by a German refugee, the poet Hugo Ball, and his companion, Emmy Hennings. They were soon joined by other skillful artists who had moved to Zurich to escape the war: the Romanian poet Tritan Tzara and the German poet Richard Hulsenbeck, the Romanian painters marcel Janco and Arthur Segal, the German painters Hans Richter and Christian Shad and a dance Sophie Taeuber. All of the painters were still using figuration when they came to Dada in 1916, and the general tendency of their works was quite Expressionistic. The group got together regularly in a tavern on the speiglegasse. The Dadaists transformed this tavern into what is now called the Cabaret Voltaire. This was the place where the members sought to ridicule the culture of their time through deliberately absurd performances, poetry, and visual art. Dadaists embraced the extraordinary, the irrational, and the contradictory largely in reaction to the brutality of World War I. ...read more.


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. ...read more.


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 http://www.tranquileye.com/theatre/dada_theatre.html http://en.wikipedia.org/wiki/Cabaret_Dada http://books.google.com.au/books?id=GNkfv6l7-OgC&pg=PA51&lpg=PA51&dq=dada+drama&source=web&ots=hVUaPmCxFS&sig=WDPFOjq9Wg5cGVqyNVObulrV4Sw&hl=en&sa=X&oi=book_result&resnum=7&ct=result http://www.uni-stuttgart.de/ndl1/arp_zurichdada.htm ...read more.

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