Seven Dada Manifestos and Lampisteries
Tristan Tzara—poet, literary iconoclast, and catalyst—was the founder of the Dada movement that began in Zürich during World War I. His ideas were inspired by his contempt for the bourgeois values and traditional attitudes towards art that existed at the time. This volume contains the famous manifestos that first appeared between 1916 and 1921 that would become the basic texts upon which Dada was based. For Tzara, art was both deadly serious and a game. The playfulness of Dada is evident in the manifestos, both in Tzara's polemic—which often uses dadaist typography—as well as in the delightful doodles and drawings contributed by Francis Picabia. Also included are Tzara's Lampisteries, a series of articles that throw light on the various art forms contemporary to his own work. Post-war art had grown weary of the old certainties and the carnage they caused. Tzara was on the cutting edge at a time when art was becoming more subjective and abstract, and beginning to reject the reality of the mind for that of the senses.
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Probably because people thought I should still be classified as a poet. One of
those poets who satisfy their legitimate need of cold onania in hot furs; H a Hu, I
know other, equally platonic, pleasures. Ring up your family on the telephone Q
For this poet, life is a serious and revolving game of jokes, sadness, good-nature,
naivety and modernism, turn and turn about. The finger bores into all sorts of
flesh till it gets to the innermost part that shrieks and vibrates, where it becomes a
The poet of the last station has given up vain weeping; lamentation slows down
progress. The humidity of past ages. People who feed on tears are contented and
obtuse, they thread their tears behind the necklaces of their souls so as to cheat ...
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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