La dynamique de l'humour et de l'enfance dans l'oeuvre de Tristan Tzara

O presente artigo trata da expressão poética e literária, entremeada por reflexões filosóficas e pedagógicas, sobre os processos de assujeitamento e as subjetivações de um professor na escola pública durante dois anos letivos de experiência como docente de Seminários Integrados e Projetos. No texto, influenciado por Bachelard, Barthes, Cioran, Corazza, Feyerabend, Montaigne, Nietzsche, Sloterdijk, Tristan Tzara, são elaboradas escrituras heréticas e trágicas. São expressos os tensionamentos sofridos pelo autor, que também foi o sujeito da pesquisa, no decurso da vivência que causou profundas modificações no seu ser/fazer docente e redefinições epistemológicas. É um texto sagrado ao devaneio, veículo da significação de elementos da memória como objeto de estudo para alargamentos poéticos e literários sobre o ensino em uma perspectiva pluralista e transgressora. Os contrastes de claro e escuro permitem dimensionar o relevo e descrever a topologia dos (des)caminhos de um professor que, entre ciência e arte, escolhe ambas. Trata-se de um texto noturno, porém capaz de lançar luz sobre nós górdios da Educação através da lucidez que somente a loucura é capaz de forjar.

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Ball, Hugo (1886–1927)

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem985-1 ◽

2018 ◽

Author(s):

Timothy Shipe

Keyword(s):

World War I ◽

Literary Critic ◽

World War ◽

Tristan Tzara ◽

Catholic Faith ◽

Religious Books

Born in Pirmasens on February 22, 1886, the German writer Hugo Ball is best known as the co-founder, with Tristan Tzara, of the Cabaret Voltaire and the Dada movement in Zurich. Active initially as an Expressionist playwright and dramaturge in Munich and as a journalist and literary critic in Berlin in the years leading up to World War I, Ball left Germany with his companion and future wife Emmy Hennings in 1915. They remained in Switzerland for the rest of their lives. Following his period of Dada activities in 1916 and 1917, Ball was a journalist for a centre-left newspaper for three years. Reconverting to the Catholic faith of his childhood, Ball spent the remainder of his life in relative seclusion in Ticino, where he wrote a series of religious books and revised his diaries for publication.

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Automatism

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem1036-1 ◽

2018 ◽

Author(s):

Hazel Donkin

Keyword(s):

Visual Artists ◽

Marcel Duchamp ◽

Psychological States ◽

Avant Garde ◽

Tristan Tzara ◽

Automatic Writing ◽

Philippe Soupault ◽

Poetic Imagery ◽

Psychic Automatism ◽

Francis Picabia

Both Dada and Surrealist writers and artists experimented with "automatic" creative production. Dadaists including Francis Picabia, Tristan Tzara, Hans Arp, and Kurt Schwitters wrote "automatic" poems from 1918, so called because they were transcribed without delay, serious consideration, or revision. Dada visual artists, including Arp, Sophie Tauber, and Marcel Duchamp also relinquished creative control of their works by employing chance. At the same time a group of writers in France around André Breton experimented with automatic writing as a new method of exploring the unconscious. In 1919 Breton and Philippe Soupault published Les Champs magnétiques, the result of their first experiments with automatic writing that tried to tap new poetic imagery through uncontrolled outbursts of imagination. In the period 1922–4 dream accounts were added to automatism. In the First Manifesto of Surrealism (1924) the movement is defined by Breton as "pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought." Surrealist visual artists also explored automatism. Surrealist automatism was influential in the development of modernist visual art. Robert Matta’s (1911–2002) concerns with psychological states in the late 1930s set a precedent for American abstraction. CoBrA (1948–51), an avant-garde collective established in Europe, favored automatic techniques and influenced developments in European abstraction.

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Sonia Delaunay and Simultanism

Experiment ◽

10.1163/2211730x-12341281 ◽

2016 ◽

Vol 22 (1) ◽

pp. 107-116 ◽

Cited By ~ 1

Author(s):

Alexandre Vasiliev

Keyword(s):

Color Theory ◽

Theater Companies ◽

Tristan Tzara ◽

Ballets Russes ◽

The Impact

The life and work of Sonia Delaunay (1885-1979), especially her clothing and textile designs as reflections of the theory of Simultanism, are the focus of this article. Also discussed are her works for the Ballets Russes and other theater companies, her commercial undertakings, the impact of her color theory on Russian artists such as Georgii Yakulov, and her connections with the Paris avant-gardists such as André Lhote and Tristan Tzara.

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Homage to Robert Aron, 1898—1975

Theatre Research International ◽

10.1017/s0307883300001516 ◽

1977 ◽

Vol 2 (2) ◽

pp. 131-139

Author(s):

Annabelle Henkin Melzer

Keyword(s):

World War Ii ◽

Communist Party ◽

World War ◽

Alfred Jarry ◽

Avant Garde ◽

Louis Aragon ◽

Tristan Tzara ◽

Philippe Soupault ◽

Young Wife ◽

French Communist Party

I went to see Robert Aron in the summer of 1972. He was then seventy-four years old, a tall, striking man in an apartment of stuffed furniture overrun by books. In all my meetings that summer with former surrealists, people who had made avant-garde theatre in Paris in the 1920s, there was always a sense of trembling at reaching out to touch cobwebbed memories. Forty-five years had passed since the events we talked about. Tristan Tzara, recalled by Gide as a charming man with a young wife who was ‘even more charming’, had since fought with the French Resistance during World War II and later joined the Communist Party. André Breton, when he died in 1966, was accompanied to his grave by ‘waves of young men and young girls often in couples, with arms entwined’. They had come from all over France to pay him tribute. Philippe Soupault is a respected editor, critic and radio commentator, Louis Aragon is at the forefront of the French Communist Party and dislikes talking about his days as a Surrealist, Roger Vitrac is an acknowledged and produced playwright while Artaud is a cult figure. There are moments when in looking back, the whole Dada-Surrealist performance world looks like some great Dada swindle perpetrated on the only too fallible researcher and critic. Robert Aron does nothing to dispel this feeling. The man who sent a telegram to Breton warning him that he would stop at no measures to keep the fervent Surrealist claque from disturbing the performance of Strindberg's A Dream Play at the Théâtre Alfred Jarry, was elected a member of the French Academy before his death.

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