*(Bilde er Hugo Ball, tatt fra Culture Trip)
DADA var født på Cabaret Voltaire i Zürich, Sveitz.
Det var der Hugo Ball leste opp DADA sin manifest 28 juli 1916.
- Sannheten er kaos
- I en verden som kunne skap verdenskrig er sannhet galskap
We have thrown out the cry-baby in us. Any infiltration of this kind is candied diarrhoea. To encourage this act is to digest it. What we need is works that are strong straight precise and forever beyond understanding. Logic is a complication. Logic is always wrong. (The Dada Manifesto)
DADA finner sannheten i kaos.
[DADA] er en litteratur som ikke kommer den glupske masse. Det er et verk av skaperne, utstedt fra en ekte nødvendighet i forfatteren, produsert for seg selv. Det uttrykker kunnskapen om en øverste egoisme, der lover visne bort. Hver side skal eksplodere, enten ved dyp tung seriøsitet, virvelvinden, poetisk vanvidd, det nye, det evige, den knusende spøk, entusiasme for prinsipper, eller ved måten den er skrevet. På den ene siden en vaklende verden i flukt, trolovet til klokkespill av helvete, på den annen side: nye menn. Rough, sprette, riding på hikke. Bak dem et forkrøplet verden og litterære kvakksalvernes med en mani for forbedring. Jeg ødelegger skuffene i hjernen og sosial organisering: spre demoralisering uansett hvor jeg går og kastet min hånd fra himmelen til helvete, øynene mine fra helvete til himmelen, gjenopprette fruktbar rattet i en universell sirkus til objektive krefter og fantasi til hver enkelt . Hvis jeg roper ut: Ideal, ideal, ideal, Kunnskap, kunnskap, kunnskap, Boomboom, boomboom, boomboom. Frihet: Dada Dada Dada, et brøl av intense farger, og sammenfletting av motsetninger, av alle motsetninger, grotesker, inkonsekvenser: LIVET
Tzara, Tristan. “Dada Manifesto”  og “Foredrag om Dada” , oversatt fra den franske Robert Motherwell, * Dada malere og diktere *, Robert Motherwell, (1989), New York, Wittenborn, Inc., Publishers.
En viktig billedkunstner inn i dadaisme var Marcel Duchamp. André Breton ga Duchamp æren for “readymades”, hverdagsobjekter satt i perspektiv som gjøre dem til kunstobjekter. Det meste berømt av disse er “Fontenen”, en pissoir som DuChamps utstilt under navn “R. Mutt” og som er utstilt* på Tate Modern i dag.
I dag er det kjent at R. Mutt var sannsynlig Baronnesse Elsa von Freytag-Loringhoven, en forløpere til samtids performance kunstnere.
When Breton broke an actor’s arm while disrupting a performance of The Gas Heart:
The Gas Heart by Tristan Tzaratranslation Eric v.d. Luft
Gegenstaz Press, New York. 2008
“In 1922, [Tristan] Tzara[at first] refused to participate in the Paris congress (to determine directives and to defend the modern spirit). He responded with this magnificent phrase: ‘Dada is not modern.’
“André Breton summarized the preliminaries to the convocation of such a congress: ‘I consider that the present stagnation, which has been brought about by mizing predispositions, by dangerous confusion, and by subsituting individuals for grouops, is more dangerous than reaction.’ The contentious ones were expanding their circle; the most pitiable schemers were participating. Tzara was described as “an indiviual from Zürich [the birthplace of Dada],’ but, when forty-three attendees of a meeting signed a petition in support of Tzara, Breton’s maneuvers and the project of the congress fell apart (and Breton had to apologize much later for his near slander).
The day of said congress, André Breton, whom Vitrac had brought to bay, proclaimed that he wanted to stop all literary activity. Fortunately he did none of this.
“The point of no return was reached when Tzara, having renewed his international friendships [and changed his mind about attending the conference], notably with Iliazd, decided to hone Iliazd’s request to revive his play The Gas Heart. The evening of hte premiere Tzara dedicated a monument to the dead of modern art, one of whom, Picasso, was present in the room. Breton rose up in revolt, climbed onto the stage, and broke someone’s arm with his cane. He was ejected. The cops intervened. (Until recanting lager, he would declare Tzara to have been in the cahoots with the police.) The battle became general. There was no second performance.”
André Breton had no sense of humor. […] Like the pious fanatic who will never tolerate any mocking of his own religion but will freely mock everyone else’s, Breton tried to set himself up as Dada’s chief censor, arbitrator, and Holy Father, all in one. […]
Dada accepted the invitation solely for the purpse of torpedoing the whole business and making the efforts of the congress ridiculous from the very start. Tzara’s followers thought that Breton ‘as a good Dadaist’ would take on himself the role of a detonator to blow the Congress sky high.
But Breton did nothign of the sort. He took the Congress perfectly seriously… Breton’s error of judgment was to direct personal insults at Tzara. … When the time came for the performance of Le coeur à gaz [The Gas Heart] Breton hoised himself on to the stage and started to belabor the actors. The latter, hampered by Sonia Delaunay’s solid carboard costumes, were unable to protect themselves and made efforts to flee with tiny steps. Breton boxed Crevel’s ears… and broke Pierre de Massot’s arm with his walking-stick. Recovering from its stupefaction, the audience reacted… Le coeur àbarb and Le coeur à gaz were Dada’s swansong. There was no point in continuing because nobody could no longer see any point…”
Muligheter for fordypning:
En forsøk på å gjenskap Balls 1917 forestillingen i 1969.
Se link fra Cabaret Volaire over.