Podcasts about Tristan Tzara

CADÁVER EXQUISITO Hoy vamos a sumergirnos en una técnica literaria fascinante: El cadáver exquisito. ¿Qué es? El cadáver exquisito es un juego literario que permite crear una obra colectiva. Se basa en la idea de que varios autores contribuyen con partes de un texto sin conocer lo que han escrito los demás. Esto da como resultado una narrativa surrealista y a menudo sorprendente. ORIGEN DEL JUEGO En la década de 1920, los surrealistas, como André Bretón y Paul Éluard Se reunían para jugar un peculiar juego derivado del juego "Consecuencias", donde cada uno aportaba su texto. Siguiendo la regla sustantivo-adjetivo-verbo, con esto surgió la siguiente oración compuesta: Le cadavre-exquis boira le vin nouveau (el cadáver exquisito beberá el vino nuevo); así es como surgió el nombre con el que conocemos este juego, o por lo menos así lo cuenta el surrealista por excelencia André Bretón. Los teóricos y asiduos al juego (en un principio, Robert Desnos, Paul Éluard, André Bretón y Tristan Tzara) sostenían que la creación, en especial la poética, debe ser anónima y grupal, intuitiva, espontánea, lúdica y en lo posible automática. ¿Cómo se crea un cadáver exquisito? En escritura: Cada participante escribe una línea o un párrafo y lo oculta al siguiente, quien continúa la historia sin saber lo que se ha escrito antes. Cada persona solo puede ver el final de lo que escribió el jugador anterior. POR LO TANTO: El cadáver exquisito no solo es una forma divertida de escribir, sino también una manera de explorar la creatividad colectiva. Te animamos a probarlo con amigos o en grupos literarios. ¡Nunca sabes qué maravillas pueden surgir! HAZTE FAN DEL PODCAST Y APRENDE MÁS.

Ce premier épisode s'intéresse à Ubu Roi d'Alfred Jarry, une pièce révolutionnaire qui a enflammé le public dès sa première en 1886. L'écrivain et compositeur Hélios Azoulay partage son analyse des moments où l'art défie les conventions. L'émission nous transporte également en 1916, à Zurich, au cœur du mouvement Dada et du Cabaret Voltaire, où Tristan Tzara et ses contemporains bousculent les normes. Enfin, le scandale du Sacre du printemps d'Igor Stravinsky en 1913 est évoqué comme un tournant majeur de l'art moderne. Une plongée fascinante dans ces événements où le choc et la provocation redéfinissent la création artistique. Réalisation Axelle Thiry. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Véronique Raboud, documentaliste à la RTS, partage une interview de lʹinitiateur du mouvement Dada, né en 1916. Dans une archive de 1939, Tristan Tzara, explique vouloir rendre lʹart plus simple et moins pompeux

“esprit d'atelier” arp et taeuber, vivre et créerà la Fondation Arp – atelier de jean arp et de sophie taeuber, Clamartdu 2 février au 24 novembre 2024Entretien avec Mirela Ionesco, secrétaire générale de la Fondation Arp, et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Clamart, le 22 juillet 2024, durée 20'25,© FranceFineArt.https://francefineart.com/2024/07/26/3552_esprit-d-atelier_fondation-arp/Communiqué de presse Commissaires :Mirela Ionesco, Chiara Jaeger et Sébastien TardyLa maison-atelier de Arp et Taeuber à Clamart fut conçue par Sophie Taeuber-Arp (1889-1943), pionnière suisse de l'Avant-garde, dans l'idée que l'art et le quotidien devaient continuellement s'appuyer l'un sur l'autre. Mais quelles différences existent entre un atelier et une maison-atelier ? Et quelles subtilités s'ajoutent quand cette maison-atelier n'est pas celle d'un seul artiste mais celle d'un couple d'artistes ?Esprit d'atelier, arp et taeuber, vivre et créer, nouvelle exposition de la Fondation Arp présentée du 2 février au 24 novembre 2024, plongera les visiteurs dans l'intimité d'un couple emblématique de l'art du XXe siècle. Ils pourront découvrir comment le lieu a été pensé, comment s'articulent le temps du travail et celui du quotidien des deux créateurs. Les espaces de vie et d'atelier se confondent dans une maison et un jardin dont l'histoire évolue au cours des années. Ces espaces s'agrandissent, les fonctions changent, et l'art se développe également au gré de ces modifications.Le parcours de l'exposition présentera des oeuvres majeures des deux artistes ( sculptures, peintures, dessins, écrits… ) en parallèle d'éléments inédits ( esquisses, ébauches, photographies ), témoignant de l'esprit d'atelier, multiple, qui résidait dans cette maison. Tout en évitant la reconstitution d'ateliers factices, chacun des créateurs sera présenté dans l'espace qu'il occupait à l'origine. D'autres salles seront consacrées à la compréhension du concept de maison-atelier, par les éléments de vie, par les oeuvres en commun de Arp et Taeuber, et par les rencontres et les nombreuses visites de tous les artistes des mouvements avant-gardistes européens de l'entre-deux-guerres ( Max Ernst, Tristan Tzara, Kurt Schwitters, Theo van Doesburg, Paul Eluard, Marcel Duchamp, Maurice Ravel… ), si prompts à venir rejoindre ce couple le temps d'une journée, d'un verre, d'une oeuvre…La Fondation Arp est une fondation d'artiste, dont Jean Arp (1886-1966) avait souhaité la création et esquissé les contours plusieurs années avant sa mort. Créée en 1978 à l'initiative de sa seconde épouse, Marguerite Arp-Hagenbach, la Fondation est dédiée à la diffusion et à la protection de la collection exceptionnelle dont elle est dotée, ainsi qu'à la promotion de l'héritage culturel de Jean Arp et de Sophie Taeuber-Arp, en France et à l'étranger. Longtemps ouverte au public très occasionnellement depuis sa création, la Fondation accueille les visiteurs à horaires fixes depuis 2004. La Fondation Arp est reconnue d'utilité publique, détentrice de l'appellation « musée de France ».[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Te contamos nuestras impresiones después de haber vivido el FBS 2024. Analizamos el "Future Opportunities Report", el informe Global 50 que comparte la visión sobre el futuro y 50 oportunidades para el crecimiento, la prosperidad y el bienestar.¿Qué implicaciones tiene que Apple cancelara su proyecto de Apple Car?Te recomendamos una página web llamada Low Earth Orbit Visualization, la herramienta para filtrar cada uno de los objetos que están orbitando al planeta Tierra.Y para nuestros suscriptores en Patreon, Tristan Tzara, del movimiento Dada, que te permite crear en contra de toda lógica… --- Send in a voice message: https://podcasters.spotify.com/pod/show/creative-talks/message

Né en 1907, le journaliste américain Varian Fry est connu pour avoir sauvé, durant la Seconde Guerre mondiale, de nombreux juifs réfugiés en France. Correspondant d'un journal américain à Berlin, il est témoin, en 1935, des violences que font subir aux juifs les nazis.Il assiste alors à des scènes choquantes, qui vont le marquer durablement. En août 1940, il débarque à Marseille. Officiellement, il est là comme journaliste. En fait, il est mandaté par l'"Emergency rescue comity", un organisme de secours parrainé par Eleanor Roosevelt, l'épouse du Président américain.Le but de ce comité est d'organiser la fuite vers les États-Unis des juifs menacés par les nazis, en Allemagne ou dans d'autres pays d'Europe.En principe, la mission de sauvetage confiée a Varian Fry ne concerne pas tous les réfugiés juifs. En effet, il doit permettre à des intellectuels, des écrivains ou des artistes, de s'échapper vers l'Amérique.Il arrive à Marseille avec une valise et une somme assez modeste en poche, environ 3.000 dollars. En principe, il est là pour trois mois, mais son séjour va durer plus d'un an.Il reçoit l'aide d'un syndicat américain et de certaines organisations juives. Le vice-consul américain à Marseille lui est d'un grand secours, ainsi que la riche collectionneuse d'art Peggy Guggenheim, qui lui apporte un soutien financier appréciable.Varian Fry fonde bientôt le Centre américain de secours (CAS), où une soixantaine de personnes viennent chaque jour demander de l'aide. Dans la vaste villa Air-Bel, située dans la banlieue de Marseille, se pressent des intellectuels renommés, pressés de quitter l'Europe.On y côtoie en effet des poètes, comme Tristan Tzara ou Benjamin Perret, ou des artistes, comme André Masson, Max Ernst, Marcel Duchamp ou encore Marc Chagall.Au total, plus de 2.000 personnes réussirent à fuir l'Europe grâce à l'intervention de Varian Fry. Le gouvernement de Vichy, qui appréciait peu ses activités, obtient son départ en septembre 1941.Tardivement reconnue, son action lui vaut pourtant, à titre posthume, le titre de Juste parmi les nations. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Né en 1907, le journaliste américain Varian Fry est connu pour avoir sauvé, durant la Seconde Guerre mondiale, de nombreux juifs réfugiés en France. Correspondant d'un journal américain à Berlin, il est témoin, en 1935, des violences que font subir aux juifs les nazis. Il assiste alors à des scènes choquantes, qui vont le marquer durablement. En août 1940, il débarque à Marseille. Officiellement, il est là comme journaliste. En fait, il est mandaté par l'"Emergency rescue comity", un organisme de secours parrainé par Eleanor Roosevelt, l'épouse du Président américain. Le but de ce comité est d'organiser la fuite vers les États-Unis des juifs menacés par les nazis, en Allemagne ou dans d'autres pays d'Europe. En principe, la mission de sauvetage confiée a Varian Fry ne concerne pas tous les réfugiés juifs. En effet, il doit permettre à des intellectuels, des écrivains ou des artistes, de s'échapper vers l'Amérique. Il arrive à Marseille avec une valise et une somme assez modeste en poche, environ 3.000 dollars. En principe, il est là pour trois mois, mais son séjour va durer plus d'un an. Il reçoit l'aide d'un syndicat américain et de certaines organisations juives. Le vice-consul américain à Marseille lui est d'un grand secours, ainsi que la riche collectionneuse d'art Peggy Guggenheim, qui lui apporte un soutien financier appréciable. Varian Fry fonde bientôt le Centre américain de secours (CAS), où une soixantaine de personnes viennent chaque jour demander de l'aide. Dans la vaste villa Air-Bel, située dans la banlieue de Marseille, se pressent des intellectuels renommés, pressés de quitter l'Europe. On y côtoie en effet des poètes, comme Tristan Tzara ou Benjamin Perret, ou des artistes, comme André Masson, Max Ernst, Marcel Duchamp ou encore Marc Chagall. Au total, plus de 2.000 personnes réussirent à fuir l'Europe grâce à l'intervention de Varian Fry. Le gouvernement de Vichy, qui appréciait peu ses activités, obtient son départ en septembre 1941. Tardivement reconnue, son action lui vaut pourtant, à titre posthume, le titre de Juste parmi les nations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.Monica Poggi"Robert Capa, Gerda Taro"La fotografia, l'amore, la guerraCamera Torino, fino al 2 giugno 2024Un'altra grande mostra - dopo le personali dedicate a Eve Arnold, Dorothea Lange e André Kertész - che racconta con oltre 120 fotografie uno dei momenti cruciali della storia della fotografia del XX secolo, il rapporto professionale e affettivo fra Robert Capa e Gerda Taro, tragicamente interrottosi con la morte della fotografa in Spagna nel 1937.Fuggita dalla Germania nazista lei, emigrato dall'Ungheria lui, Gerta Pohorylle ed Endre – poi francesizzato André – Friedmann (questi i loro veri nomi) si incontrano a Parigi nel 1934, e l'anno successivo si innamorano, stringendo un sodalizio artistico e sentimentale che li porta a frequentare i cafè del Quartiere Latino ma anche ad impegnarsi nella fotografia e nella lotta politica. In una Parigi in grande fermento, invasa da intellettuali e artisti da tutta Europa, trovare committenze è però sempre più difficile. Per cercare di allettare gli editori, è Gerta a inventarsi il personaggio di Robert Capa, un ricco e famoso fotografo americano arrivato da poco nel continente, alter ego con il quale André si identificherà per il resto della sua vita. Anche lei cambia nome e assume quello di Gerda Taro. L'anno decisivo per entrambi è il 1936: in agosto si muovono verso la Spagna, per documentare la guerra civile in corso tra i repubblicani e fascisti; il mese dopo Robert Capa realizzerà il leggendario scatto del Miliziano colpito a morte, mentre Gerda Taro scatta la sua immagine più iconica, una miliziana in addestramento, pistola puntata e scarpe con i tacchi, in un punto di vista inedito della guerra fatta e rappresentata da donne. Insieme a queste due icone, i fotografi realizzano tanti altri scatti, che testimoniano di una partecipazione intensa all'evento, sia dal punto di vista del reportage di guerra, sia da quello della vita quotidiana dei soldati, delle soldatesse e della popolazione drammaticamente vittima del conflitto. La Spagna è, infatti, in quegli anni una terra che attira molti intellettuali, scrittori e registi da tutto il mondo come Ernest Hemingway, immortalato in uno scatto di Capa, che racconterà l'esperienza della guerra civile spagnola nel suo capolavoro “Per chi suona la campana” oppure George Orwell che ne parlerà in “Omaggio alla Catalogna”. Le loro fotografie vengono pubblicate sui maggiori giornali del tempo, da “Vu” a “Regards” a “Life”, conferendo alla coppia – che spesso firma con un'unica sigla, senza distinguere l'autore o l'autrice dello scatto – una solida fama e molte richieste di lavoro. Nel corso del 1936 e del 1937 i due si spostano tra Parigi e la Spagna, documentando ad esempio gli scioperi nella capitale francese e le elezioni del 1937, conclusesi con la vittoria del raggruppamento antifascista del Fronte Popolare. Ma anche il Convegno Internazionale degli Scrittori Antifascisti a Valencia, dove Taro fotografa personaggi come André Malraux, Ilya Ehrenburg, Tristan Tzara, Anna Seghers. Proprio poco dopo la vittoria del Fronte Popolare, però, durante la battaglia di Brunete, in Spagna, il 24 luglio del 1937, Gerda Taro viene involontariamente investita da un carro armato e muore, chiudendo così tragicamente la vita della prima reporter di guerra. L'anno successivo, Robert Capa darà alla luce l'epocale volume Death in the Making, dedicato alla compagna, nel quale si trovano molte delle immagini visibili in mostra, di entrambi i fotografi. L'intensa stagione di fotografia, guerra e amore di questi due straordinari personaggi è narrata nella mostra di CAMERA - curata da Walter Guadagnini e Monica Poggi - attraverso le fotografie di Gerda Taro e quelle di Robert Capa, nonché dalla riproduzione di alcuni provini della celebre “valigia messicana”, contenente 4.500 negativi scattati in Spagna dai due protagonisti della mostra e dal loro amico e sodale David Seymour, detto “Chim”. La valigia, di cui si sono perse le tracce nel 1939 - quando Capa l'ha affidata a un amico per evitare che i materiali venissero requisiti e distrutti dalletruppe tedesche - è stata ritrovata solamente a fine anni Novanta a Mexico City, permettendo di attribuire correttamente una serie di immagini di cui fino ad allora non era chiaro l'autore o l'autrice. La mostra si apre con una sala che introduce le figure di questi straordinari autori anche grazie a due documentari, The Mexican Suitcase (2011) di Trisha Ziff e Searching for Gerda Taro (2021) di Camille Ménager, di cui sono mostrati degli estratti particolarmente utili a fornire delle lenti di lettura utilizzate anche nella scelta delle opere esposte poi nelle sale successive. Dopo le immagini realizzate da Capa a Parigi, il percorso esplora la documentazione della guerra attraverso gli spostamenti e i focus dati da Capa e Taro, concludendosi con la pagina più straziante, quella della distruzione e della morte causata dal conflitto.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it

durée : 00:45:00 - Les Nuits de France Culture - par : Albane Penaranda - "La nouvelle poésie anglaise" : entretien avec le poète anglais Eric Mottram. L'émission "Albatros" proposait, en 1983, une série de cinq entretiens avec des poètes anglais contemporains. L'émission "Albatros" proposait en 1983 une série de cinq émissions sur la nouvelle poésie anglaise. La première était consacrée au poète Eric Mottram, universitaire et poète, spécialiste de Faulkner et Burroughs : rencontre chez lui dans un quartier du sud de Londres. * Nous sommes des poètes anglais oui, nous écrivons en anglais, pas d'erreur possible. Mais nous n'écrivons pas à l'intérieur d'une définition étroite de ce qu'on pourrait appeler la culture standard anglaise, celle de l'establishment qui lie la poésie à une métrique très stricte, à rimes. [.] Il y a aussi dans ce pays une poésie autre. Il fait référence à Stéphane Mallarmé, au mouvement surréaliste, à Tristan Tzara, à Paul Ceylan, à Rainer Maria Rilke. Il revient sur l'importance et l'influence de la poésie américaine des années 1950 et 1960 : Allen Ginsberg, Jack Kerouac, Charles Olson, Robert Duncan, etc. L'émission avec Eric Mottram (1924-1995) était suivie de quatre autres émissions avec des représentants de la nouvelle poésie anglaise : Tom Raworth, Bob Cobbing, Allen Fisher et Jeff Nuttall Production Pierre Joris Réalisation Jacques Taroni 1ère diffusion : 02/10/1983 Indexation web : Sandrine England, Documentation de Radio France Archive INA-Radio France - invités : Eric Mottram Poète anglais

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Kassák Lajos önéletrajzi írásainak sorában az ötvenes évek közepén írt napló, a Szénaboglya kerül sorra a Kassák Múzeum és a PIM közös podcast-sorozatában. A kötetet Valcz Péter színész-rendező olvassa fel. „Meghívót kaptam az Írószövetségtől Tristan Tzara tiszteletére rendezett fogadásra. Beteg voltam, nem tudtam elmenni. [...] Tzara másnap telefonálta, hogy meglátogat. A vele töltött néhány óra sok mindenért kárpótolt. Ahogy a szobámba belépett, s a falakon meglátta a képeket, széttárt karokkal kiáltotta: – Ah, DADA! DADA!"

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

Essentiel – Le rendez-vous culture de RCJ – présenté les lundis par Sandrine Sebbane. Elle reçoit Philippe Torreton pour son « Anthologie de la poésie française » aux éditions Calmann-Levy À propos du livre : « Anthologie de la poésie française » paru aux éditions Calmann-Levy « Que ce livre joyeux vous accompagne partout, qu'il essuie vos larmes afin d'en faire couler d'autres plus grosses et plus pleines, qu'il vous éclaire dans vos nuits de plein jour, qu'il vous dévoile un horizon d'événements, qu'il vous trahisse. Ce n'est pas un livre en fait mais un kit de survie en territoire hostile. Un couteau suisse. Écrivez dessus, cornez des pages, lâchez-y vos sanglots, il sert à ça, ce livre.» Plus de 150 poètes, plus de 300 poèmes: Louise Labé, Richard Coeur de Lion, François Villon, Joachim du Bellay, Pierre de Ronsard, Paul Scarron, Jean de La Fontaine, Pierre Corneille, Nicolas Boileau, Molière, Denis Diderot, Marceline Desbordes-Valmore, Jean Racine, Voltaire,  Jean-Jacques Rousseau, Victor Hugo, Gérard de Nerval, Alphonse de Lamartine, Germaine de Staël, Alfred Jarry, Théophile Gautier, Paul Verlaine, Stéphane Mallarmé, Charles Baudelaire, Arthur Rimbaud, Alphonse Allais, Anna de Noailles, Lautréamont, Paul Valéry, René Char, Tristan Tzara, Charles Péguy, Paul Éluard, André Breton, Blaise Cendrars,  Marguerite Yourcenar, Jean Cocteau, Jacques Prévert, Henri Michaux, Jean Genet, Boris Vian, Francis Ponge, Louis Aragon, Marguerite Duras, Barbara, Aimé Césaire, Jacques Brel, Georges Moustaki, François Cheng, Yves Bonnefoy, Andrée Chedid, Christian Bobin, Dominique Sampiero et bien d'autres. Philippe Torreton a été sociétaire de la Comédie Française de 1994 à 1999. Il a joué les plus grands rôles sur les planches: Scapin, Tartuffe, Arlequin, Henri V, Richard III, Hamlet ou Galilée et obtient le Molière pour le rôle-titre de Cyrano de Bergerac. Grand acteur de théâtre, il n'en oublie pas pour autant le cinéma et le petit écran. Il reçoit un césar pour son rôle dans Capitaine Conan, de Bertrand Tavernier.

Welcome to Season 4 of The Host Dispatch!!  We're kicking this season off with another pressing question: "What the Hell is Dada?" Annar and Claire dive into the absurdity, revolution, play, and anti-art of the Dada movement, sharing some of their favorite writings from the likes of Tristan Tzara, Til Brugman, and Mina Loy. Here's our curated Dada Reading List, including books we discuss in this episode: Seven Dada Manifestos and Lampistries by Tristan Tzara  The Dada Market Anthology edited by Willard Bohn Dada: Themes and Movements (Phaidon), Rudolf Kuenzli The Lost Lunar Baedeker: Poems by Mina Loy Three New York Dadas and The Blind Man: Marcel Duchamp, Henri-Pierre Roché, Beatrice Wood  The Dada Spirit by Emmanuelle De L'Ecotais 

durée : 00:43:35 - Les Nuits de France Culture - par : Albane Penaranda - L'émission "Photogrammes" propose en 1962 un portrait radiophonique de Tristan Tzara. Ecrivain, poète et essayiste, il est en 1915 l'un des fondateurs du mouvement Dada, dont il sera par la suite le chef de file.

Philippe Torreton a été sociétaire de la Comédie Française de 1994 à 1999. Il a joué les plus grands rôles sur les planches: Scapin, Tartuffe, Arlequin, Henri V, Richard III, Hamlet ou Galilée et obtient le Molière pour le rôle-titre de Cyrano de Bergerac. Grand acteur de théâtre et de cinéma, il a reçu un césar pour son rôle dans «Capitaine Conan» de Bertrand Tavernier. Il est également l'auteur d'une dizaine de livres dont «Mémé», «Lettre à un jeune comédien» et «Une certaine raison de vivre». «Que ce livre joyeux vous accompagne partout, qu'il essuie vos larmes afin d'en faire couler d'autres plus grosses et plus pleines, qu'il vous éclaire dans vos nuits de plein jour, qu'il vous dévoile un horizon d'événements, qu'il vous trahisse. Ce n'est pas un livre en fait mais un kit de survie en territoire hostile. Un couteau suisse. Écrivez dessus, cornez des pages, lâchez-y vos sanglots, il sert à ça, ce livre.» Philippe Torreton. Plus de 150 poètes, plus de 300 poèmes: Louise Labé, Richard Coeur de Lion, François Villon, Joachim du Bellay, Pierre de Ronsard, Paul Scarron, Jean de La Fontaine, Pierre Corneille, Nicolas Boileau, Molière, Denis Diderot, Marceline Desbordes-Valmore, Jean Racine, Voltaire, Jean-Jacques Rousseau, Victor Hugo, Gérard de Nerval, Alphonse de Lamartine, Germaine de Staël, Alfred Jarry, Théophile Gautier, Paul Verlaine, Stéphane Mallarmé, Charles Baudelaire, Arthur Rimbaud, Alphonse Allais, Anna de Noailles, Lautréamont, Paul Valéry, René Char, Tristan Tzara, Charles Péguy, Paul Éluard, André Breton, Blaise Cendrars,  Marguerite Yourcenar, Jean Cocteau, Jacques Prévert, Henri Michaux, Jean Genet, Boris Vian, Francis Ponge, Louis Aragon, Marguerite Duras, Barbara, Aimé Césaire, Jacques Brel, Georges Moustaki, François Cheng, Yves Bonnefoy, Andrée Chedid, Christian Bobin, Dominique Sampiero et bien d'autres. (Présentation des éditions Calmann-Levy)

Philippe Torreton a été sociétaire de la Comédie Française de 1994 à 1999. Il a joué les plus grands rôles sur les planches: Scapin, Tartuffe, Arlequin, Henri V, Richard III, Hamlet ou Galilée et obtient le Molière pour le rôle-titre de Cyrano de Bergerac. Grand acteur de théâtre et de cinéma, il a reçu un césar pour son rôle dans «Capitaine Conan» de Bertrand Tavernier. Il est également l'auteur d'une dizaine de livres dont «Mémé», «Lettre à un jeune comédien» et «Une certaine raison de vivre». «Que ce livre joyeux vous accompagne partout, qu'il essuie vos larmes afin d'en faire couler d'autres plus grosses et plus pleines, qu'il vous éclaire dans vos nuits de plein jour, qu'il vous dévoile un horizon d'événements, qu'il vous trahisse. Ce n'est pas un livre en fait, mais un kit de survie en territoire hostile. Un couteau suisse. Écrivez dessus, cornez des pages, lâchez-y vos sanglots, il sert à ça, ce livre.» Philippe Torreton. Plus de 150 poètes, plus de 300 poèmes: Louise Labé, Richard Coeur de Lion, François Villon, Joachim du Bellay, Pierre de Ronsard, Paul Scarron, Jean de La Fontaine, Pierre Corneille, Nicolas Boileau, Molière, Denis Diderot, Marceline Desbordes-Valmore, Jean Racine, Voltaire, Jean-Jacques Rousseau, Victor Hugo, Gérard de Nerval, Alphonse de Lamartine, Germaine de Staël, Alfred Jarry, Théophile Gautier, Paul Verlaine, Stéphane Mallarmé, Charles Baudelaire, Arthur Rimbaud, Alphonse Allais, Anna de Noailles, Lautréamont, Paul Valéry, René Char, Tristan Tzara, Charles Péguy, Paul Éluard, André Breton, Blaise Cendrars,  Marguerite Yourcenar, Jean Cocteau, Jacques Prévert, Henri Michaux, Jean Genet, Boris Vian, Francis Ponge, Louis Aragon, Marguerite Duras, Barbara, Aimé Césaire, Jacques Brel, Georges Moustaki, François Cheng, Yves Bonnefoy, Andrée Chedid, Christian Bobin, Dominique Sampiero et bien d'autres. (Présentation des éditions Calmann-Levy).

Vernichtung der Logik, Vernichtung des Gedächtnisses, Vernichtung der Archäologie, alle Individualitäten in ihrem Augenblickswahn achten sind nur ein paar der Forderungen, die Tristan Tzara in seinem Manifest des Dadaismus erhob. Mit Hans Arp und Hugo Ball gründete Tzara die Zürcher Gruppe des Dadaismus.

Un interviu realizat de Cosmin Blasciuc pe data de 22 august, 2022 în casa dramaturgului Matei Vișniec din Rădăuți. ▶LINKURI RELEVANTE: Videoul original: https://youtu.be/gXMWG943jic ▶DISCORD: – Comunitatea amatorilor de filosofie și literatură: https://discord.gg/meditatii ▶DIALOGURI FILOSOFICE: – Română: https://soundcloud.com/meditatii/sets/dialoguri-pe-discord – Engleză: https://www.youtube.com/playlist?list=PLLnaYpeWGNO8IdPaNYNkbJjNJeXrNHSaV ▶PODCAST INFO: – Website: https://podcastmeditatii.com – Newsletter: https://podcastmeditatii.com/aboneaza – YouTube: https://youtube.com/c/meditatii – Apple Podcasts: https://podcasts.apple.com/us/podcast/meditatii/id1434369028 – Spotify: https://open.spotify.com/show/1tBwmTZQHKaoXkDQjOWihm – RSS: https://feeds.soundcloud.com/users/soundcloud:users:373963613/sounds.rss ▶SUSȚINE-MĂ: – Patreon: https://www.patreon.com/meditatii – PayPal: https://paypal.me/meditatii ▶TWITCH: – LIVE: https://www.twitch.tv/meditatii – Rezumate: https://www.youtube.com/channel/UCK204s-jdiStZ5FoUm63Nig ▶SOCIAL MEDIA: – Instagram: https://www.instagram.com/meditatii.podcast – Facebook: https://www.facebook.com/meditatii.podcast – Goodreads: https://goodreads.com/avasilachi – Telegram (jurnal): https://t.me/andreivasilachi – Telegram (chat): https://t.me/podcastmeditatii ▶EMAIL: andrei@podcastmeditatii.com ▶CRONOLOGIE: 0:00 – Intro 1:24 – Între Franța și România 5:08 – Procesul comunismului prin teatru 9:17 – Războiul din Ucraina și renașterea ideologiilor toxice 16:27 – Un secol de ceață 19:06 – Lenin, Tristan Tzara și dadaismul 23:11 – Relația dintre teatru și societate 28:05 – Revoluția din 1989 și miracolul democrației

In this episode of Exploring Art Podcast, we will discuss the DADA Movement, sonnets, Tom Stoppard, Tristan Tzara, and the play Travesties, and a LOT of poetry. We hope you enjoy our podcast and learn more about art and poetry! #exploringart

In today's episode we will talk about the complexities of art, Tom Stoppard, Tristan Tzara, the DADA movement, and what we think art is. Music Credit: * 99.99-spum rhapsody *Night Lights (1965 version) - Gerry Mulligan

In this episode, we'll explore how in Tom Stoppard's play Travesties, Tristan Tzara, the well-known Dada poet, created poetry by cutting up Shakespeare's sonnets and using them as his own this can be considered as art or just a plain copy.

What is the connection between artists from different eras, backgrounds, and ideologies? The DADA movement focuses on the lack of meaning and the revolution against stereotypical art views and or forms. This includes visual art, music, and plays, Tom Stoppard is a Czech playwright whose work has been inspired by some ideas of this movement and mentioned Tristan Tzara and many other dadaist artists in one of his most famous plays -Travesties. He was also inspired by Shakespeare's sonnets and rearranged the original work to create a version of the truth from a comical standpoint rather than meaningful and severe.

Join us today to hear the insights of Alex, Iasmine, and Ian on the true background of the DADA movement and how it correlates with the artist Tristan Tzara and Tom Stoppard. If you want to learn about passionate humanitarians who fought for their rights through creative means, this is the episode for you. Join us soon, and remember to stay curious.

Most know that Vincenzo Peruggia stole the Mona Lisa for Italy for patriotic reasons. Still, no one talks about Tristan Tzara using Shakespeare's work as his own to bring light to the DADA. What makes one more famous than the other? Would Tzara's poetry still be considered original or plagiarism? Music Credit: Author: AleXZavesa https://www.tunepocket.com/royalty-free-music/technology-epic-logo-1/

In this episode of Exploring Art Podcast, we will discuss the DADA Movement, sonnets, Tom Stoppard, Tristan Tzara, and a LOT of poetry. We hope you enjoy our podcast and learn more about art and poetry!

The Dada art movement is regarded as a reactionary art movement in the early 20th century. During this, Tom Stoppard, a British playwright, created the play Travesties. In the play, Tristan Tzara creates a Dada poem that ignites a couple of essential questions about Dadaism and of the works themselves. Join us, Victor Alvarez, Joselys Llanes, and Francisco Mederos, as we tackle the essential questions about Dadaism and its sense of originality. Music Credit: All the music used in the recording is original work created by me, Victor Alvarez, and it is unpublished.

I translated Dada founder Tristan Tzara's surprisingly moving elegy to the important early French Modernist poet and artist Apollinaire. I then created/performed this musical setting. To hear more than 600 other combinations of various words with original music, go to frankhudson.org

Authors: Irina Botea Bucan & Jon Dean, 2021. A sonic portrait of Tescani through assembling all of the “da” sounds from our daily conversations and informal interviews facilitated during our residency period. The sound translates indistinctively as both an affirmation (da = yes) and doubt (da' is the shortcut sound for dar = but). In the context of Tescani (both village and George Enescu residency) two distinct temporalities co-exist: that of the short and temporary visits of invited artists alongside the repetitive working cycles of the local inhabitants; witnessed in the crops growing underneath high voltage electricity poles. All of these actions are situated in the vicinity of Tristan Tzara's birthplace. Oedaadaao is a title without registered meaning or definition… the choice of these letters represents the ongoing journey through Enescu's Oedipus and Tzara's sound poetry both of which have their origins within the local area. Sound piece created during the SONIC FUTURE RESIDENCIES organized by Asociația Jumătatea plină and SEMI SILENT at the George Enescu National Museum in Tescani Village, Bacău County, Romania in September 2021.

Tristan Tzara, nascido Samuel ou Samy Rosenstock foi um poeta romeno, judeu e francês, um dos iniciadores do Dadaísmo. Em 1916, em plena Primeira Guerra Mundial, um grupo de refugiados em Zurique, na Suíça, iniciou o movimento artístico e literário chamado Dadaísmo, com o intúito de chocar a burguesia. Nasceu em 1896 e faleceu em 1963. ►► Seja publicado! Ajude a poesia a se manter viva. https://apoia.se/tomaaiumpoema _________________________________ Tristan Tzara - As Janelas Se Abriam as janelas se abriam sobre uma erva de sonho confundidas entre os cursos da água no calor dos tijolos selvagens encharcavam no vinho os espessos triunfos de poentes partidos em breve a dor já não estará viva e o último luar ceifará e sua emoção e a dura amizade que uma mola em tensão ligava à sua sombra - eu era apenas sua sombra- Use #tomaaiumpoema Siga @tomaaiumpoema Poema: As Janelas Se Abriam Poeta: Tristan Tzara Tradução: Virna Teixeira Voz: Jéssica Iancoski https://tomaaiumpoema.com.br _________________________________ ATENÇÃO Somos um projeto social. Todo valor arrecadado é investido na literatura. FAÇA UM PIX DE QUALQUER VALOR tomaaiumpoema@gmail.com ou CNPJ 33.066.546/0001-02 Até mesmo um real ajuda a poesia a se manter viva! #poesia | #poemas | #podcast

“Alberto Giacometti – André Breton“Amitiés Surréalistesà l'Institut Giacometti, Parisdu 19 janvier au 10 avril 2022Interview de Serena Bucalo-Mussely, conservatrice à la Fondation Giacometti et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 17 janvier 2022, durée 24'36.© FranceFineArt.Communiqué de presseCommissaires :Serena Bucalo-Mussely, conservatrice, Fondation Giacometti,en collaboration avec Constance Krebs, directrice éditoriale, Association Atelier André BretonL'Institut Giacometti, en collaboration avec l'Association Atelier André Breton et le Centre Pompidou, Musée national d'art moderne, présente une exposition inédite « Alberto Giacometti – André Breton, amitiés surréalistes » du 19 janvier au 10 avril 2022.L'adhésion d'Alberto Giacometti au surréalisme dure à peine cinq ans (1930 – 1935) pendant lesquels ses recherches autour de l'érotisme, du jeu et de l'onirisme le distinguent comme l'un des artistes les plus innovants du mouvement. Il noue alors des liens forts avec ses compagnons artistes et intellectuels qu'il poursuivra bien après avoir pris ses distances avec le groupe.Fruit de recherches dans les archives personnelles de Giacometti et celles de Breton, cette exposition associe à une sélection d'œuvres surréalistes du sculpteur, un ensemble de chefs-d'œuvre prêtés exceptionnellement par le Centre Pompidou, le Musée d'art moderne de Paris (MAM), le Musée National Picasso-Paris, le Musée des Beaux-Arts de Bruxelles et le Moderna Museet de Stockholm, ainsi que par des collections privées. L'amitié forte entre Giacometti et Breton y est mise en lumière tout comme ses relations avec les artistes et intellectuels surréalistes dont il est le plus proche. Hans Arp, Victor Brauner, Claude Cahun, Leonora Carrington, Salvador Dalí, Max Ernst, André Masson, Joan Miró, Meret Oppenheim, Pablo Picasso, Yves Tanguy, mais aussi René Crevel, Lise Deharme, Paul Éluard, Georges Hugnet, Jacqueline Lamba, Tristan Tzara sont ainsi représentés.Pour accompagner l'exposition, un catalogue est co-édité par la Fondation Giacometti, Paris et FAGE édition, Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

YANN MARUSSICH Artiste, performeur Objet de lecture : « L'Homme approximatif » Tristan Tzara, 1925 Né en 1966, formé à la danse, Yann Marussich a évolué dans des compagnies françaises avant de participer à la création de la compagnie Vertical Danse avec Noemi Lapzeson. Depuis 1989, il présente ses propres pièces en Europe et au-delà. En 2001, il signe Bleu provisoire, sa première pièce totalement immobile. Dès lors, il se concentre sur l'introspection et la maîtrise de l'immobilité, confrontant son corps à diverses sollicitations, voire agressions, dans des performances à mi chemin entre body art et bio art. Des rétrospectives performatives de son oeuvre ont été présentées au Commun à Genève en 2015 et au Lieu Unique à Nantes en 2018. Lauréat du prix Ars Electronica dans la catégorie «hybrid art» avec Bleu Remix en 2008, il a reçu le prix de résidence artistique CERN Collide Geneva en 2019. Artiste pluriel, il se consacre également à l'écriture et au dessin et depuis 2018 à la création de vidéo-performances. Il anime régulièrement des workshops et des conférences.

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Tristan Tzara (born 1896, Moineşti, Rom.—died December 1963, Paris) was a Romanian-born French poet and essayist known mainly as the founder of Dada, a nihilistic revolutionary movement in the arts, the purpose of which was the demolition of all the values of modern civilization.The Dadaist movement originated in Zürich during World War I, with the participation of the artists Jean Arp, Francis Picabia, and Marcel Duchamp. Tzara wrote the first Dada texts—La Première Aventure céleste de Monsieur Antipyrine (1916; “The First Heavenly Adventure of Mr. Antipyrine”) and Vingtcinq poèmes (1918; “Twenty-Five Poems”)—and the movement's manifestos, Sept Manifestes Dada (1924; “Seven Dada Manifestos”). In Paris he engaged in tumultuous activities with André Breton, Philippe Soupault, and Louis Aragon to shock the public and to disintegrate the structures of language.In about 1930, weary of nihilism and destruction, he joined his friends in the more constructive activities of Surrealism. He devoted much time to the reconciliation of Surrealism and Marxism and joined the Communist Party in 1936 and the French Resistance movement during World War II. These political commitments brought him closer to his fellowmen, and he gradually matured into a lyrical poet. His poems revealed the anguish of his soul, caught between revolt and wonderment at the daily tragedy of the human condition. His mature works started with L'Homme approximatif (1931; “The Approximate Man”) and continued with Parler seul (1950; “Speaking Alone”) and La Face intérieure(1953; “The Inner Face”). In these, the anarchically scrambled words of Dada were replaced with a difficult but humanized language.From https://www.britannica.com/biography/Tristan-TzaraPreviously on The Quarantine Tapes:Ngũgĩ Wa Thiong'o about Tzara, at 04:50: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-137-ngg-wa-thiongoFor more information about Tristan Tzara:“How to Make a Dadaist Poem”: https://www.writing.upenn.edu/~afilreis/88v/tzara.html“Tristan Tzara exhibition: the man who made dada”: https://www.theguardian.com/artanddesign/2015/nov/28/dada-tristan-tzara-avant-garde-exhibition

Today's Quotation is care of Tristan Tzara.Listen in!Subscribe to the Quarantine Tapes at quarantinetapes.com or search for the Quarantine Tapes on your favorite podcast app! Tristan Tzara (born 1896, Moineşti, Rom.—died December 1963, Paris) was a Romanian-born French poet and essayist known mainly as the founder of Dada, a nihilistic revolutionary movement in the arts, the purpose of which was the demolition of all the values of modern civilization.The Dadaist movement originated in Zürich during World War I, with the participation of the artists Jean Arp, Francis Picabia, and Marcel Duchamp. Tzara wrote the first Dada texts—La Première Aventure céleste de Monsieur Antipyrine (1916; “The First Heavenly Adventure of Mr. Antipyrine”) and Vingtcinq poèmes (1918; “Twenty-Five Poems”)—and the movement's manifestos, Sept Manifestes Dada (1924; “Seven Dada Manifestos”). In Paris he engaged in tumultuous activities with André Breton, Philippe Soupault, and Louis Aragon to shock the public and to disintegrate the structures of language.In about 1930, weary of nihilism and destruction, he joined his friends in the more constructive activities of Surrealism. He devoted much time to the reconciliation of Surrealism and Marxism and joined the Communist Party in 1936 and the French Resistance movement during World War II. These political commitments brought him closer to his fellowmen, and he gradually matured into a lyrical poet. His poems revealed the anguish of his soul, caught between revolt and wonderment at the daily tragedy of the human condition. His mature works started with L'Homme approximatif (1931; “The Approximate Man”) and continued with Parler seul (1950; “Speaking Alone”) and La Face intérieure(1953; “The Inner Face”). In these, the anarchically scrambled words of Dada were replaced with a difficult but humanized language.From https://www.britannica.com/biography/Tristan-Tzara For more information about Tristan Tzara:“How to Make a Dadaist Poem”: https://www.writing.upenn.edu/~afilreis/88v/tzara.html“Tristan Tzara exhibition: the man who made dada”: https://www.theguardian.com/artanddesign/2015/nov/28/dada-tristan-tzara-avant-garde-exhibition

Dadaists made photomontages, sculptures, and readymades that were weird and absurd. Artists such as Hannah Höch, Baroness Elsa von Freytag-Loringhoven, and Marcel Duchamp pushed the boundaries of what could be considered art. If you've ever felt like the world doesn't make sense, then you'll want to tune in for Klaire Lockheart's explanation of Dada. Art and Artwork: Marcel Duchamp (Fountain ), Jean/Hans Arp (Collage Arranged According to the Laws of Chance), Sophie Tauber-Arp (Dada Head), Hannah Höch (Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic, Indian Dancer: From an Ethnographic Museum), Raoul Housmann, Alfred Stieglitz, Baroness Elsa von Freytag-Loringhoven (Enduring Ornament, God, Fountain), Morton Schamberg, and André Breton Additional Topics: Existential Crisis, World War I, Hugo Ball, Emmy Hennings, Cabaret Voltaire, Tristan Tzara, World War II, “The Painter,” American Society of Independent Artists, Beatrice Wood (“The Richard Mutt Case”), and Richard Mutt klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

Traduções : Virna Teixeira eu estou impregnado da tua presença eu me formo em tudo e me transformo eu me banho no perfume sedentário de teus vinhos mas mil cabras oscilam no vazio e se penduram nas paredes do teu canto quando se levanta a aurora da tua voz já não há mais a noite pois tudo é consciência e fervor cintilante é através de ti que as árvores florescem e a primavera já desperta tremendo do frio que passou todo esquecimento se enraiza no teu riso fronte erguida eu penetro na floresta estremecida da tua alegria

cabelos desfeitos sentem a nuvem de sangue do teu sangue frágil lenta ao presságio do amor lenta pelas veias rumo à vibração hospitaleira do teu sangue lenta febre frágil hipótese sem amor dorme sem pálpebras os pés de lado sobre a escala das costelas a tosse balbucia sua pequena repetição aritmética Descubra mais em www.jessicaiancoski.com Está servido? Fique! Que tal mais um poeminha? ___ >> Quer ter um poema seu aqui? É só preencher o formulário! Após o preenchimento, nossa equipe entrará em contato para informar a data agendada. https://forms.gle/nAEHJgd9u8B9zS3u7 CONTRIBUA! =P >> Formulário para Indicação de Autores, contribuição com declames, sugestões (...)! https://forms.gle/itY59kREnXhZpqjq7

¿Conoces el movimiento Dadá de principios del siglo XX? ¿Qué era el Cabaret Voltaire y qué relación tiene con el Dadaísmo? ¿Quién fue Tristan Tzara? ¿Conoces a Emmy Hennings, Mina Loy o Suzanne Duchamp? ¿Quién dibujó un bigote a la Mona Lisa de Da Vinci? Estas y más cuestiones acerca del Dadaísmo las abordamos con la polifacética artista Inés Peláez. ¿Dónde nos puedes encontrar?  Somos iVoox Originals Facebook: Mesokosmos Historia Twitter: @mesokosmos2019  Instagram: Mesokosmos Historia Linkedin: Mesokosmos Historia Correo electrónico: mesokomoshistoria@gmail.com   Patrocina el podcast a través de iVoox, en la pestaña azul de apoyar y tendrás acceso a sorteos, material adicional y podcast exclusivos. Cada jueves tienes una cita con la Historia a partir de las 20:00 hora española. Atribuciones musicales 1 Sonata by Men in Beat -- https://soundcloud.com/meninbeat1 2 Django Love by MagikStudio 3 En el Top 91 by MK Ortiz - https://soundcloud.com/mkortiz 4 Andante Cantabile. B minor by Matti Paalanen EL CABARET VOLTAIRE Y EL DADAÍSMO CON INÉS PELÁEZ Capítulo: 58; Conversaciones: 11; Temporada: 2 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

durée : 00:04:30 - Bulles de BD - par : Laetitia Gayet - L'histoire n'a retenu que Hugo Ball, Tristan Tzara et consort pour Dada. Pourtant, à l'aune de ce roman graphique, on découvre qu' Emmy Hennings joua un rôle non négligeable dans l'avènement de ce mouvement artistique au début XIXème siècle.

durée : 00:04:30 - Bulles de BD - par : Laetitia Gayet - L'histoire n'a retenu que Hugo Ball, Tristan Tzara et consort pour Dada. Pourtant, à l'aune de ce roman graphique, on découvre qu' Emmy Hennings joua un rôle non négligeable dans l'avènement de ce mouvement artistique au début XIXème siècle.

16. dubna 1896 se narodil Tristan Tzara - francouzský básník a dramatik, jeden ze zakladatelů dadaismu. Básně přeložil Zdeněk Lorenc, vyšlo v knize Daroval jsem svou duši bílému kameni, vydalo nakladatelství Concordia v roce 2007. Podcast "Báseň na každý den" poslouchejte na Anchor, Spotify, Apple Podcasts, Google Podcasts a na dalších platformách. Domovská stránka podcastu je na www.rogner.cz/basen-na-kazdy-den. --- Send in a voice message: https://anchor.fm/basennakazdyden/message

Tristan Tzara, nascido Samuel ou Samy Rosenstock foi um poeta romeno, judeu e francês, um dos iniciadores do Dadaísmo. Em 1916, em plena Primeira Guerra Mundial, um grupo de refugiados em Zurique, na Suíça, iniciou o movimento artístico e literário chamado Dadaísmo, com o intúito de chocar a burguesia. Nasceu em 1896 e faleceu em 1963. >> Apoie o projeto e nos ajude a espalhar mais poesia https://apoia.se/tomaaiumpoema Poema: Receita Para Fazer Um Poema Dadaísta Poeta: Tristan Tzara Voz: Jéssica Iancoski | @euiancoski Use #tomaaiumpoema Siga @tomaaiumpoema "Pegue um jornal. Pegue uma tesoura. Escolha no jornal um artigo com o comprimento que pensa dar ao seu poema. Recorte o artigo. Depois, recorte cuidadosamente todas as palavras que formam o artigo e meta-as num saco. Agite suavemente. Seguidamente, tire os recortes um por um. Copie conscienciosamente pela ordem em que saem do saco. O poema será parecido consigo. E pronto: será um escritor infinitamente original e duma adorável sensibilidade, embora incompreendido pelo vulgo." Descubra mais em www.jessicaiancoski.com Está servido? Fique! Que tal mais um poeminha? ___ >> Quer ter um poema seu aqui? É só preencher o formulário! Após o preenchimento, nossa equipe entrará em contato para informar a data agendada. https://forms.gle/nAEHJgd9u8B9zS3u7 CONTRIBUA! =P >> Formulário para Indicação de Autores, contribuição com declames, sugestões (...)! https://forms.gle/itY59kREnXhZpqjq7

Tristan Tzara, nascido Samuel ou Samy Rosenstock foi um poeta romeno, judeu e francês, um dos iniciadores do Dadaísmo. Em 1916, em plena Primeira Guerra Mundial, um grupo de refugiados em Zurique, na Suíça, iniciou o movimento artístico e literário chamado Dadaísmo, com o intúito de chocar a burguesia. Nasceu em 1896 e faleceu em 1963. >> Apoie o projeto e nos ajude a espalhar mais poesia https://apoia.se/tomaaiumpoema Poema: Sarrajão Poeta: Tristan Tzara Tradução: Sergio Maciel Voz: Jéssica Iancoski | @euiancoski Use #tomaaiumpoema Siga @tomaaiumpoema "a e ou tututu eu e ou o tututu drrrrrdrrrrdrrrrgrrrrgrrrrrgrrrrrrrr peças de dura verde voam em meu quarto a e o i ii i e a ou ii ii ventre mostra o centro eu quero o tomar ambran bran bran e tornar centro dos quatro b e n g b o n g b e n g b a n g onde cê-vai iiiiiiiiiipieft maquinista o oceano a o u ith a o u ith i o u ath a o u ith o u a ith os versos luzentes entre nós entre nossas entranhas e direções mas o capitão estuda os apontamentos da bússola e a concentração das cores torna-se louca cegonha litofania há minha memória e a ocarina na farmácia sericicultura horizontal dos batimentos pélagoscópicos a louca da vila cobre o bobo para a corte real o hospital torna-se canal e o canal torna-se violino sobre o violino há um navio e sobre o bombordo a rainha está entre os emigrantes para o méxico." Descubra mais em www.jessicaiancoski.com Está servido? Fique! Que tal mais um poeminha? ___ >> Quer ter um poema seu aqui? É só preencher o formulário! Após o preenchimento, nossa equipe entrará em contato para informar a data agendada. https://forms.gle/nAEHJgd9u8B9zS3u7 CONTRIBUA! =P >> Formulário para Indicação de Autores, contribuição com declames, sugestões (...)! https://forms.gle/itY59kREnXhZpqjq7

César Abaham Vallejo Mendoza, The Black Messengers, TrilceClayton Esthleman and José Rubia Barcia, The Complete Posthumous Poetry of César VallejoVicente Huidobro, Pablo Neruda, Tristan Tzara, Miguel de Unamuno, Federico García Lorca Universidad Nacional de TrujilloNorth GroupSanta María Calderón family GeorgetteUshttp://www.thebibliophiledailypodcast.carrd.cohttps://twitter.com/thebibliodailythebibliophiledailypodcast@gmail.comRoxiehttps://www.youtube.com/channel/UCyAfdi8Qagiiu8uYaop7Qvwhttp://www.chaoticbibliophile.comhttp://instagram.com/chaoticbibliophilehttps://twitter.com/NewAllegroBeat

Ciclos de conferencias: ¿Por qué las Islas Baleares? (II). Ibiza: entre viajeros y turistas. Vicente Valero. En los primeros años 30 del siglo XX la isla de Ibiza sale de su anonimato para convertirse en un destino turístico internacional con unas características propias que han venido conformando, a lo largo de las décadas siguientes, un espacio singular y atractivo, bien diferenciado de otros destinos turísticos. Hasta los años 80, esta imagen singular de la isla se debe en gran parte al fruto del trabajo de numerosos escritores, pintores, arquitectos y fotógrafos que la visitaron y dieron su visión personal de ella. Entre estos viajeros destacan los nombres de Walter Benjamin, Albert Camus, Rafael Alberti, Emil Cioran, María Teresa León, Pierre Drieu La Rochelle, Jacques Prévert, Raoul Hausmann, Tristan Tzara, Josep Lluís Sert, Ignacio Aldecoa, Rafael Azcona, Harry Mulish, Wols, Janet Frame, Gisèle Freund... Explore en www.march.es/conferencias/anteriores el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Oliverio Girondo nació y vivió su primera infancia en Buenos Aires, pero luego viajó periódicamente a Europa. Aunque se graduó como abogado, sus inquietudes artísticas y literarias lo desviaron de esa profesión. En 1911 fundó con un grupo de amigos el periódico Comoedia, de escasa duración. En Europa tomó contacto con los movimientos artísticos y literarios de vanguardia, como el cubismo de Picasso, el dadaísmo de Tristan Tzara o el futurismo de Marinetti, así como con la rompedora obra de Guillaume Apollinaire. Emprendió en 1926 una gira intercontinental llevando la representación de las revistas Martín Fierro, Proa, Valoraciones, Noticias Literarias e Inicial, para establecer relación entre los movimientos innovadores de habla hispánica. En 1943 se casó con la escritora Norah Lange. Girondo defendió la autonomía plena del lenguaje (rechazando ataduras que lo ligaran a sus funciones convencionales) para tratar de transmitir la pura esencialidad de la invención poética. Ese gesto de permanente desafío a la inercia y a la inmovilidad es acaso el que mejor caracterizó la personalidad del autor y su vocación por sobrepasar los límites de lo manifestable. En sus libros Veinte poemas para ser leídos en el tranvía (1922), Calcomanías (1925) y Espantapájaros (1933) demostró su maestría en el manejo de la metáfora y confianza absoluta (siguiendo en esto los postulados del ultraísmo) en el poder de la imagen poética para alcanzar la esencia de las cosas. Especialmente dotado para la experimentación con el lenguaje, Girondo poseyó una destreza singular en el manejo de la ironía. En tales obras reafirmó su actitud de irreverencia moral y estética, su sentido del humor y su óptica desquiciadora del lugar común. Sus poemas son emblemáticos de la nueva sensibilidad estética, que se caracterizaba por la búsqueda incesante de nuevos ángulos desde donde abordar la realidad, desde la más sublime a la más cotidiana. Así, las ciudades y los paisajes que con insistencia aparecen en sus textos son vistos a través de una lente que construye combinaciones inéditas entre los objetos, señalando lo que la mirada común no percibe y sólo la estratégica posición del ojo poético logra descubrir y nombrar. Posteriormente publicó Plenilunio (1937), Persuasión de los días (1942) y Campo nuestro (1946). Su última obra, En la masmédula (1954), es acaso la más audaz de todas por el caos verbal y alucinatorio que propone. En 1961 fue atropellado por un automóvil que lo dejó inválido. (Fuente: Biografíasyvidas.com)

“Giacometti / Beckett” Rater encore. Rater mieux.à l'Institut Giacometti, Parisdu 9 janvier au 28 mars 2021Extrait du communiqué de presse :Commissaire de l'exposition : Hugo Daniel, responsable de l'Ecole des Modernités, chargé de mission curatoriale.Parmi les amitiés littéraires d'Alberto Giacometti (1901-1966), celle qui le lie à Samuel Beckett (1906-1989) n'est pas la plus connue, mais c'est l'une des plus durables. Elle remonte à 1937 et se développe dans l'après-guerre. Les deux artistes aiment se retrouver dans les soirées sans fin des cafés de Montparnasse, puis arpenter Paris la nuit. De profondes parentés rapprochent leurs oeuvres, qui s'expriment dans une collaboration exceptionnelle : la réalisation par Giacometti d'un décor pour une mise en scène d'En attendant Godot en 1961.Pour la première fois, l'Institut Giacometti présente les liens qui ont rapproché l'artiste et l'écrivain. L'exposition aborde leur longue amitié, leur collaboration, et l'affinité entre leurs oeuvres qui ont croisé la trajectoire de l'Existentialisme.Samuel Beckett, Alberto Giacometti (Work) in progress par Hugo Daniel – extrait du catalogue co-édité par la Fondation Giacometti, Paris et FAGE éditionsCompagnieAu bord d'un chemin, sous les branches d'un arbre décharné, deux hommes tournent leur regard vers le croissant iridescent d'une lune. La petite toile mélancolique peinte par Caspar David Friedrich en 1819-1820 avait marqué Samuel Beckett au musée de Dresde, en 1937. Ce colloque silencieux est, selon Beckett, un antécédent à sa pièce En attendant Godot dont il a planté le décor avec laconisme : « Route à la campagne, avec arbre. / Soir. » On pourrait encore y voir l'illustration d'un échange artistique idéal tel qu'il a pu se mettre en place dans sa longue et mystérieuse relation avec Giacometti. La tentation est d'autant plus grande que leur rencontre date de la même année que la découverte de cette toile par Beckett et que leur seule collaboration aboutie fut l'arbre de Godot, en 1961. Mais cette relation appelle justement à dépasser l'illustration.La relation entre Beckett et Giacometti est régie par le silence et les hasards de leurs rencontres. Giacometti a reçu Beckett, comme de nombreux autres écrivains, dans son atelier. Il a réalisé un grand nombre d'illustrations pour ses amis poètes, de René Crevel et André Breton à Jacques Dupin, et ces derniers ont écrit sur son oeuvre. Il les a portraiturés. Beckett, qui avait une relation ambivalente à l'image, entre attraction et méfiance, possédait une grande culture artistique. Il a été l'ami de peintres comme les frères Bram et Geer Van Velde, Avigdor Arikha, Pierre Tal Coat, André Masson (amis également de Giacometti), auxquels il consacre après-guerre des textes remarqués. Mais, hormis l'arbre pour Godot, pièce de théâtre qui a fait connaître son auteur, pas d'ouvrage commun, pas de portrait de Beckett comme il en existe d'André Breton, de Simone de Beauvoir, de Jean-Paul Sartre, de Georges Bataille, de Jean Genet, de Jacques Dupin, d'Olivier Larronde, etc., pas de texte de Beckett sur Giacometti, à peine la maigre trace, dans la bibliothèque de l'écrivain, de deux catalogues d'exposition tardifs de l'oeuvre de Giacometti. Leur amitié, fuyante, est pourtant l'une des plus longues qu'ils connurent : elle s'étend de la fin des années 1930 à la mort de Giacometti, en 1966. Et leurs oeuvres offrent tellement d'échos qu'on les dirait soeurs. Entre eux, dont l'imaginaire est hanté par la solitude, plutôt qu'une amitié, il faut envisager une compagnie, dans le sens beckettien du « besoin de compagnie discontinu », de cet « autre imaginant le tout pour se tenir compagnie ». Ainsi, le dialogue ne se fait pas face à face mais en parallèle, dans un échange dans lequel le hasard a toute sa place – « lui et moi, toujours par hasard », a observé Giacometti. Comme si tout autre moyen de communication plus social eût empêché son fonctionnement singulier. Les conditions de leurs rencontres illustrent leur interrogation commune sur le pouvoir de l'expression face à un réel qui excède tout ; et pour bien comprendre cette relation, il faut la libérer des images d'Épinal du Paris d'après-guerre.Giacometti et Beckett appartiennent à la même génération de créateurs parvenus à cette « tour de Babel » qu'est Paris, le premier à l'académie de la Grande Chaumière en 1922, le second comme lecteur à l'École normale supérieure en 1928 . Ils fréquentent les mêmes cafés de Montparnasse : La Closerie des Lilas, Le Dôme, Le Sélect. Au tournant des années 1930, ils évoluent dans les cercles proches du surréalisme. Giacometti rejoint le groupe en 1930 et voit régulièrement André Breton, Georges Sadoul, Tristan Tzara, Max Ernst, Louis Aragon, René Crevel, etc. Beckett, proche de Philippe Soupault , les lit. Et il est notamment marqué par le Second Manifeste du surréalisme. En 1928, Beckett a une idylle avec Peggy Guggenheim, soutien du mouvement (elle visite dix ans plus tard l'atelier de Giacometti et achète ses oeuvres). Dans ce tourbillon d'échanges, leurs oeuvres cohabitent avant leur rencontre. La revue Transition, sous la direction d'Eugène Jolas, participe depuis 1927 à la diffusion du modernisme et du surréalisme . Dès juin 1929, Beckett en devient un contributeur régulier, tout comme Giacometti à partir de mars 1932.En 1931, Giacometti et Crevel se rapprochent et travaillent au frontispice du roman Les Pieds dans le plat, occasion pour Giacometti d'une première collaboration avec le graveur Stanley William Hayter de l'Atelier 17. Il est peu probable que cette publication échappe à Beckett qui traduit, en 1931, les textes des surréalistes pour Negro Anthology de Nancy Cunard , qui comprend notamment le manifeste « Murderous Humanitarianism » signé par le « Surrealist Group in Paris », mais écrit par Crevel, qui rédigea également pour l'occasion le pamphlet The Negress in the Brothel. Crevel n'est pas le seul lien entre les deux artistes. En 1934, alors que Beckett fait paraître ses premiers textes et qu'il travaille à son roman Murphy, l'éditeur et poète surréaliste George Reavey lui propose de l'éditer en français dans sa maison d'édition Europa Press. Reavey, qui a l'habitude d'illustrer les ouvrages qu'il imprime de frontispices, est proche de Hayter. Ceci explique que l'on trouve sur une enveloppe adressée par Beckett depuis Londres à Reavey la mention de l'adresse du sculpteur, écrite de la main de Giacometti: Reavey aurait invité Giacometti à réaliser le frontispice de l'ouvrage. Si le projet n'aboutit pas, la proximité des deux artistes est ainsi attestée.À cette date, leur création s'appuie sur l'expérience du surréalisme. Plus que des coïncidences ou des emprunts, la prolifération des résonances entre leurs oeuvres traduit la convergence de deux itinéraires intellectuels. Un exemple : la forme de la cage apparaît chez Giacometti avec Boule suspendue (1930). On la retrouve ensuite dans plusieurs oeuvres, dont les gravures préparatoires pour le frontispice des Pieds dans le plat (1933), où elle est associée à un corps qu'elle contient. Le roman Murphy, en gestation depuis 1934, s'ouvre sur la situation du personnage éponyme, qui vit dans une impasse de Londres : « Là, depuis des mois, peutêtre des années, il mangeait, buvait, dormait, s'habillait et se déshabillait, dans une cage de dimensions moyennes, exposée au nord-ouest, ayant sur d'autres cages de dimensions moyennes exposées au sud-est une vue ininterrompue. » L'impasse physique de Murphy est la métaphore de son impasse mentale qui traverse le roman. Infirmier dans un hospice psychiatrique, il se trouve bloqué dans un « va-et-vient ». « L'esprit de Murphy s'imaginait comme une grande sphère creuse, fermée hermétiquement à l'univers extérieur . » Ainsi est-il « fendu en deux, d'un côté un corps, de l'autre un esprit ». Ce rapport à l'esprit, sur fond de partie d'échecs entre le rationnel et l'irrationnel, explore la brèche ouverte par le surréalisme. Une note de Giacometti de 1934 y fait écho : « Même processus dans la formation des rêves et dans la formation de mes objets. » Mais, constate-t-il rétrospectivement, « tout ceci m'éloignait peu à peu de la réalité extérieure ». En 1935, un besoin impérieux le pousse à s'asseoir devant le modèle afin de revenir à une confrontation au réel. Ce mouvement lui vaut l'exclusion du groupe surréaliste, mais ce retour au réel n'est pas un pas en arrière. Il permet une combinaison, comme Giacometti le fait observer à Pierre Matisse : « Tout ceci alternait, se contredisait et continuait par contraste. » L'oscillation est la même que celle des romans de Beckett qui font délirer le réel. Avant leur rencontre, les deux artistes ont une compréhension de la « réalité » qui prend pour acquis le modernisme et le surréalisme. Celle-ci intègre la tension entre une réalité « intérieure » (mentale) et la réalité « extérieure », mais aussi la conviction que la manière d'en rendre compte doit s'affranchir du rationalisme. […] Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Way, Approach, Volt, Approximate Man, Monsieur AA, Antiphilosopher, A poem in Yellow

Un día como hoy, 25 de diciembre: 354, el papa Liberio decreta este día como la fiesta de nacimiento de Jesús. 1583, nace Orlando Gibbons. 1642, nace Isaac Newton. 1711, nace Jean-Joseph de Mondonville. 1771, nace Dorothy Wordsworth. 1899, nace Humphrey Bogart. 1911, nace Louise Bourgeois. 1954, nace Annie Lennox. 1921, fallece Vladímir Korolenko. 1950, fallece Xavier Villaurrutia. 1963, fallece Tristan Tzara. 1977, fallece Charles Chaplin. 2005, fallece Brigit Nilsson. Una producción de Sala Prisma Podcast. 2020

I Zürich i det neutrala Schweiz samlades under första världskriget personer som hade lämnat sina hemländer för att undvika krigstjänst. Några av dessa startade våren 2016 en kabaret på Spiegelgasse 1, Cabaret Voltaire. Under samlingsnamnet och slagordet dada framfördes experimentella dikter och visades experimentell bildkonst. Ledare var Hugo Ball, en tysk som snart kom att överge dada för att istället ägna sig åt kristen mystik. Andra närvarande tog efter krigsslutet med sig samlingsnamnet och slagordet till andra platser, så rumänen Tristan Tzara till Paris och tysken Richard Huelsenbeck till Berlin. Samma skrin stämdes upp i flera väderstreck: "Dada betyder ingenting", "Dada är mer än dada", "Världen är bara en filial till dada". Vad ville de skrikande poeterna, egentligen? Jonas Ellerström, bokförläggare, essäist och översättare, samtalar med Peter Luthersson.

no sabemos nada no sabemos nada del dolor la temporada amarga del frío nos abre largos surcos en los músculos él hubiera preferido la alegría de la victoria nosotros con prudencia en la calma tristeza presos no poder hacer nada Si la nieve cayera para arriba si el sol saliera en casa en mitad de la noche para darnos calor y los árboles colgaran con su corona –único llanto– si los pájaros estuvieran entre nosotros para verse reflejados en el plácido lago que tenemos arriba de la cabeza PODRÍAMOS ENTENDER la muerte sería una larga y hermosa travesía y una vacación ilimitada de la carne de las estructuras de los huesos

En 1916, en Zurich, meses antes de regresar a Rusia para hacer la revolución, Lenin jugó una partida de ajedrez con Tristan Tzara, el poeta rumano que inventó el dadaísmo. Apertura de Pablo Marchetti del programa 132 de AUNQUE ES DE NOCHE (18-8-2020). AUNQUE ES DE NOCHE. De lunes a viernes de 2 a 5 AM (hora Argentina) por Radio AM 750. Conducción: Pablo Marchetti Con Guadalupe Cuevas y Manuel Campi. Producción: Natalia Vicente.

Il Futurismo russo e Vladimir Majakovskij. Guillaume Apollinaire, Alcools e Calligrammi. Tristan Tzara e il Dadaismo. Analisi e commento del Manifesto del Dadaismo. Andre Breton e il Surrealismo. Analisi e commento del Manifesto del Surrealismo. --- Send in a voice message: https://anchor.fm/gabriele-peretti/message

Éveil in Midis Gagnés (1939), Tristan TzaraIllustration : Xabier Moingeon - https://xabiermoingeon.wordpress.com Hâte-toi vers la joie immense et terrestre, c'est la coupe des paupières qui cogne en dansant contre la paroi de nuit. Assez de la mort explicite, allègre mort utilisée jusqu'au vernis de l'ongle, jeunesse perdue dans les apostrophes de l'hypocrisie ! Assez des ternes souffles des cœurs tressés dans les paniers salubres ! Hâte-toi vers la joie humaine qui est inscrite sur ton front comme une dette indélébile !Une nouvelle forme de crudité estivale est en train de descendre sur la brume du monde en flocons d'herbe lente et de la couvrir d'une mince couche de joie, prévue d'un glorieux avenir pressenti dans l'acier. Hâte-toi, c'est de la joie humaine et brillante qui t'attend au détour de ce monde démembré, que l'on parle dans la langue de l'asphalte ! Il y a des revers, des sources scellés, des lèvres sur des tambourins et des yeux sans indifférence. Le sel et le feu t'attendent sur la colline minérale de l'incandescence de vivre.

Éveil in Midis Gagnés (1939), Tristan TzaraIllustration : Xabier Moingeon - https://xabiermoingeon.wordpress.com Hâte-toi vers la joie immense et terrestre, c'est la coupe des paupières qui cogne en dansant contre la paroi de nuit. Assez de la mort explicite, allègre mort utilisée jusqu'au vernis de l'ongle, jeunesse perdue dans les apostrophes de l'hypocrisie ! Assez des ternes souffles des cœurs tressés dans les paniers salubres ! Hâte-toi vers la joie humaine qui est inscrite sur ton front comme une dette indélébile !Une nouvelle forme de crudité estivale est en train de descendre sur la brume du monde en flocons d'herbe lente et de la couvrir d'une mince couche de joie, prévue d'un glorieux avenir pressenti dans l'acier. Hâte-toi, c'est de la joie humaine et brillante qui t'attend au détour de ce monde démembré, que l'on parle dans la langue de l'asphalte ! Il y a des revers, des sources scellés, des lèvres sur des tambourins et des yeux sans indifférence. Le sel et le feu t'attendent sur la colline minérale de l'incandescence de vivre.

Our lives today are pretty surreal, folks, so what better time than now to educate you all in a little art history, hmmm? Today, we get into the true weirdness [and the rise and fall] of the Dada and Surrealism movements. Later, take a quiz on Dadas and Papas! . . . [Music: 1) Daniel Varsano, Erik Satie’s “Gymnopédie No. 1,” orig. 1888, rec. 1979; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]

This week Kav is joined by Timothy Nelson one of Perth's premier songwriters today. This episode includes an unprecedented move, the use of a second Hat to create the lyrics In the style of cut-ups and surrealist legends Tristan Tzara the lyrics will be created on the spot at Kavs studio in Fremantle, Western Australia.[00:06:15] when do the ideas come?[00:10:30] Let the game begin[00:16:00] In an unprecedented move in HatJam we have a second hat to pull the lyrics out of much like how Andre Breton used cut ups. [00:35:45] How we got to the final resultyou can find Timothy Nelson on Facebook https://www.facebook.com/timothynelsonofficial/Instagram @timothynelsonmusicKav's Twitter @kavtemperleyKav's Facebook facebook.com/kavtemperleyKav's Instagram @kavtemperleyHatJam Facebook facebook.com/HatJam-PodcastHatJam Instagram @hatjam_podcastKav's Website kavtemperley.com.auPlanet's Website planetbroadcasting.com See acast.com/privacy for privacy and opt-out information.

In 1919, two competing art movements went head-to-head in Paris. One was the Return to Order, a movement about purity and harmony. The other was Dada, a movement about chaos and destruction. Their collision would change the trajectory of Western art. Hugo Ball established the Cabaret Voltaire in Zurich, where Dada came to life in February 1916. In this photo, he's dressed in his "magic bishop" costume. The costume was so stiff and ungainly that Ball had to be carried on and off stage. You can hear the entire text of Ball's "Karawane" on Youtube (https://www.youtube.com/watch?v=z_8Wg40F3yo). You can also read the text (https://poets.org/poem/karawane). Marcel Duchamp arrived in New York to a hero's welcome, a far cry from the disdainful treatment he was receiving in France. He was hailed for his success at the 1913 Armory Show, where his painting "Nude Descending a Staircase" was the hit of the show. "Nude Descending a Staircase" was considered radical art, but it was still oil paint on canvas. Duchamp would soon leave even that much tradition behind. Francis Picabia was handsome, rich, dashing, and about as faithful as an alley cat. That he wasn't court martialed for neglecting his diplomat mission to Cuba for artistic shenanigans in New York was entirely due to his family's wealth and influence. He was also well known in New York for his visit there during the Armory Show. Picabia abandoned traditional painting for meticulous line drawings of mass-produced items, including this work, titled "Young American Girl in a State of Nudity." Duchamp horrified New Yorkers when he presented "Fountain" to an art exhibit as a work of sculpture. A urinal may not seem particularly shocking now, but it violated any number of taboos in 1917. While "Fountain" is generally atttributed to Duchamp, it is possible, although by no mean certain, that it was actually created by the Baroness Else von Freytag-Loringhoven. A German ex-pat, she was creating art out of ready-made objects more than a year before Duchamp and lived her life as a kind of non-stop performance art. Whatever her role in "Fountain," she deserves to be better remembered as a pioneering modernist. After he returned to Europe, Picabia's art became less disciplined and more outlandish. He titled this ink-blot "The Virgin Saint." Picabia also published a Dadaist journal, in which he published this work by Duchamp. It's a cheap postcard of the "Mona Lisa" to which he added a mustache. The title "L.H.O.O.Q. is a pun in French; it sounds like "she has a hot ass." Tzara and other Dadaists in Paris devoted themselves to events and performances. This is a handbill for a "Festival Dada" that took place on May 26, 1920. Tzara and Picabia are listed as performing, along with several other prominent Dadaists including Andre Breton, Louis Aragon, and Paul Eluard. These evenings became increasingly frantic and nihilistic as Dada wore on. By 1919, Pablo Picasso part of the artistic establishment and no longer a radical on the edges of society. In 1911/1912, Picasso paintings looked like this--this is "Ma Jolie," a dense, complicated, frankly intimidating Cubist painting. Ten years later, he painted this work, Woman in White. With its clarity, beauty, and nods to tradition, it is a prime example of Picasso's embrace of neo-classicism after the Great War. The impulse to create clear, simple, ordered art existed in many European countries. In the Netherlands, Piet Mondrian worked in the Neoplasticist movement creating his iconic grid paintings. This is "Composition No. 2" from 1920. At the same time, in Germany the Bauhaus was established. As a school of arts and crafts, it taught a stripped-down, clean aesthetic that applied to everything from architecture to furniture design, industrial design to graphic design. This poster advertising a 1923 exhibition is a good example of Bauhaus design and typography. The Surrealist movement arose out of Dada's ashes in the mid- to late-1920s. It combined the traditional painting technique of neo-Classicism with the bizarre imagery of Dada. Salvador Dali's "Persistence of Memory," for example, is a technical masterpiece, with masterful execution. It's also impossible and, frankly, disturbing. T.S. Eliot's "The Waste Land" gives the impression of randomness, of lines picked out of a coat pocket. In fact, it is painstakingly constructed and shows as much technical skill as Dali's clocks. You can read the poem (https://www.poetryfoundation.org/poems/47311/the-waste-land), or listen to Alec Guinness read it (https://www.youtube.com/watch?v=Hcj4G45F9pw)--or maybe do both at the same time. This meme was created in 2013 by cartoonist KC Green. It captures the Dadaist attitude that shows up in popular culture a great deal here in 2019--a sense that the world is really weird right now. Please note that the links below to Amazon are affiliate links. That means that, at no extra cost to you, I can earn a commission if you click through and make a purchase. (Here's what, legally, I'm supposed to tell you: I am a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for me to earn fees by linking to Amazon.com and affiliated sites.) However, I only recommend books that I have used and genuinely highly recommend.

Stream podcast episodes on demand from www.bitesz.com (mobile friendly).Theatre First Episode 202Travesties (fortyfivedownstairs, Melbourne, Australia) (review)Based on the bizarre true story of James Joyce’s 1917 Zurich production of The Importance of Being Earnest, and celebrated as one of Tom Stoppard’s greatest comedies, Travesties puts Joyce, Vladimir Lenin and Tristan Tzara together.For more information visit  https://www.fortyfivedownstairs.com/wp2016/event/travesties-by-tom-stoppard/ Theatre First RSS feed:   https://feeds.megaphone.fm/ivetheatrereviews  Subscribe, rate and review Theatre First at all good podcatcher apps, including Google Podcasts, Apple Podcasts (formerly iTunes), Stitcher, Pocket Casts, CastBox.FM, Podbean, ACast etc.If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you.#theatre #stage #reviews #melbourne #australia Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

Much of the Western Front fighting in World War I took place in France, yet the cultural legacy of the war in France remains under-explored in the UK. This week, Juliet talks to Eric Robertson (Royal Holloway) and Peter Read (University of Kent) about how the experience of the war affected the Cubist and Surrealist movements and the development of French film, pushing some artists towards traditionalism, and others towards the avant-garde. SELECTED REFERENCES L’Affaire Dreyfus (dir. Georges Méliès, 1899) - https://www.youtube.com/watch?v=4_fbOIgvYsY NORMAN ANGELL, The Great Illusion (1909) GUILLAUME APOLLINAIRE, Calligrammes (1918) - https://ubutext.memoryoftheworld.org/Apollinaire_Calligrams.pdf GUILLAUME APOLLINAIRE, ‘Ocean of Earth’ - https://www.poetryfoundation.org/poetrymagazine/poems/58343/ocean-of-earth Louis Aragon - https://www.poetryfoundation.org/poets/louis-aragon Jean (Hans) Arp Antonin Artaud - https://en.wikipedia.org/wiki/Antonin_Artaud Hugo Ball HENRI BARBUSSE, Le Feu (1917) - https://www.theguardian.com/world/2008/nov/13/barbusse-feu-under-fire Maurice Barrès - http://www.dreyfus.culture.fr/en/bio/bio-html-maurice-barres.htm Charles Baudelaire The Birth of a Nation (dir. D. W. Griffith, 1915) Georges Braque André Breton - http://www.surrealists.co.uk/breton.php Cabiria (dir. Giovanni Pastrone, 1914) BLAISE CENDRARS, J’ai tué (I Have Killed, 1918) - https://literaryabsolute.files.wordpress.com/2016/01/3-0e28093bc-i_killed.pdf Salvador Dalí Sonia Delaunay André Derain Robert Desnos - https://en.wikipedia.org/wiki/Robert_Desnos Sergei Diaghilev Roland Dorgelès - https://encyclopedia.1914-1918-online.net/article/dorgeles_roland Georges Duhamel - https://en.wikipedia.org/wiki/Georges_Duhamel Paul Éluard - https://www.shmoop.com/surrealism/paul-eluard-author.html David Gascoyne (Surrealist poet) La Grande Illusion (dir. Jean Renoir, 1937) - https://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/greatest-films-all-time/great-escape-la-grande-illusion Joris-Karl Huysmans Auguste & Louis Lumière J’Accuse (dir. Abel Gance, 1919) - http://sensesofcinema.com/2009/dvd/abel-gance-jaccuse-la-roue/ Max Jacob Jean Jaurès Fernand Léger - http://roadstothegreatwar-ww1.blogspot.com/2014/06/war-artist-fernand-leger.html René Magritte Stéphane Mallarmé Napoléon (dir. Abel Gance, 1927) - https://www.bfi.org.uk/news-opinion/news-bfi/features/napoleon-highlights-abel-gance-silent-film Ron Padgett Parade (ballet, 1917) - http://www.openculture.com/2017/05/the-1917-ballet-parade-created-by-erik-satie-pablo-picasso-jean-cocteau.html BENJAMIN PÉRET, ‘Little Song of the Maimed’ - https://movehimintothesun.wordpress.com/2011/02/15/little-song-of-the-maimed-benjamin-peret/ Pablo Picasso Arthur Rimbaud René Schickele - https://en.wikipedia.org/wiki/René_Schickele Gino Severini - https://en.wikipedia.org/wiki/Gino_Severini GEORGES SOREL, The Illusion of Progress (1908) - https://en.wikipedia.org/wiki/Georges_Sorel Philippe Soupault - https://lareviewofbooks.org/article/a-beautiful-space-that-slips-away-philippe-soupault-and-the-french-avant-garde/ Tristan Tzara - http://www.dramainthehood.net/2013/08/the-gas-heart/ PAUL VALÉRY, La Jeune Parque (1917) - https://www.tabletmag.com/jewish-arts-and-culture/books/251734/paul-valery-and-the-last-centennial-of-1917 Verdun: Visions d’histoire (dir. Léon Poirier, 1928) - https://www.youtube.com/watch?v=NDC1Z8Pj0e8 Die Weißen Blätter (German journal) - https://en.wikipedia.org/wiki/Die_Weißen_Blätter JAY WINTER, Sites of Memory, Sites of Mourning (1995) - https://www.history.ac.uk/reviews/review/25 Wooden Crosses (dir. Raymond Bernard, 1932) - https://www.theguardian.com/film/2015/apr/26/philip-french-classic-dvd-wooden-crosses-raymond-bernard ÉMILE ZOLA, Germinal (1885) and J’Accuse (1898) - https://www.marxists.org/archive/zola/1898/jaccuse.htm

The Weimar Republic was born out of Germany's defeat in World War I, and the failed Communist revolution that followed the armistice in November 1918, and collapsed with the election of the Nazi Party in 1933. This week, Juliet talks to Tom Wilkinson (author of 'Bricks and Mortals: Ten Great Buildings and the People Who Made Them') about how the war and its aftermath changed German Expressionism, gave rise to Dada and the Neue Sachlichkeit movements, and brought about the most intense reaction against modernist culture. SELECTED REFERENCES Die Aktion - http://www.dada-companion.com/journals/per_aktion.php Arbeitsrat für Kunst - https://en.wikipedia.org/wiki/Arbeitsrat_für_Kunst Jean (Hans) Arp Bauhaus Der Blaue Reiter - https://www.tate.org.uk/art/art-terms/d/der-blaue-reiter Bertolt Brecht ARNOLT BRONNEN, Vatermord (1922) - https://en.wikipedia.org/wiki/Arnolt_Bronnen Die Brücke - https://en.wikipedia.org/wiki/Die_Brücke The Cabinet of Dr Caligari (dir. Robert Wiene, 1920) Otto Dix - https://www.ottodix.org/ ALFRED DÖBLIN, Berlin Alexanderplatz (1928) - https://www.nybooks.com/articles/2008/01/17/the-genius-of-berlin/ Kasimir Edschmid, 'Concerning Poetic Expressionism' (1917) Max Ernst George Grosz - http://www.redflag.org.uk/frontline/nine/09grosz.html WALTER HASENCLEVER, The Son (1912) - https://en.wikipedia.org/wiki/The_Son_(play) GERHART HAUPTMANN, The Weavers (1899) John Heartfield - https://www.johnheartfield.com/ Emmy Hennings - http://www.dada-companion.com/hennings/ Georg Heym - https://www.theguardian.com/books/2005/may/21/featuresreviews.guardianreview18 Hannah Höch - https://www.newstatesman.com/juliet-jacques/2014/01/new-woman-berlins-feminist-dadaist-pioneer-hannah-höch Richard Huelsenbeck Marcel Janco - https://en.wikipedia.org/wiki/Marcel_Janco Ernst Jünger - https://en.wikipedia.org/wiki/Ernst_Jünger GEORG KAISER, From Morning to Midnight (1916), The Coral (1917), Gas I (1918), Gas II (1920) - https://www.newstatesman.com/juliet-jacques/2013/12/morning-midnight-fiercely-anti-naturalistic-epitome-expressionist-style WASSILY KANDINSKY, Concerning the Spiritual in Art (1911) - https://www.wassilykandinsky.net/book-116.php Ernst Ludwig Kirchner Käthe Kollwitz - https://en.wikipedia.org/wiki/Käthe_Kollwitz OSKAR KOKOSCHKA, Murderer, Hope of Woman (1909) - https://en.wikipedia.org/wiki/Murderer,_the_Hope_of_Women SIEGFRIED KRACAUER, From Caligari to Hitler (1947) - https://monoskop.org/images/1/12/Kracauer_Siegfried_From_Caligari_to_Hitler_A_Psychological_History_of_the_German_Film.pdf M (dir. Fritz Lang, 1931) August Macke Thomas Mann Franz Marc Neue Jugend - http://www.dada-companion.com/journals/per_neue-jugend.php Friedrich Nietzsche - https://www.lrb.co.uk/v12/n16/jp-stern/impatience Emil Nolde Die Novembergruppe - https://www.rem.routledge.com/articles/die-novembergruppe-the-november-group-1918-1934 Pandora's Box (dir. G. W. Pabst, 1928) Christian Schad - https://www.tate.org.uk/art/artists/christian-schad-2331 Kurt Schwitters GEORG SIMMEL, The Metropolis and Mental Life (1903) - http://www.laits.utexas.edu/berlin/pdf/scholarship/Simmel_The%20Metropolis.pdf Carl Sternheim - https://en.wikipedia.org/wiki/Carl_Sternheim August Strindberg Der Sturm - https://www.moma.org/s/ge/collection_ge/objbyppib/objbyppib_ppib-25_sov.html Sophie Taeuber-Arp - https://frieze.com/tags/sophie-tauber-arp ERNST TOLLER, Masse-Mensch (1920), Hoppla! We're Alive! (1927) - https://spartacus-educational.com/FWWtoller.htm Ferdinand Tönnies Kurt Tucholsky - https://lareviewofbooks.org/article/fabulous-tragic-kurt-tucholsky/ TRISTAN TZARA, 'Dada Manifesto' (1918) - http://writing.upenn.edu/library/Tzara_Dada-Manifesto_1918.pdf Richard Wagner Max Weber Frank Wedekind

In this podcast, Cody Gough and Ashley Hamer discuss the following stories from Curiosity.com to help you get smarter and learn something new in just a few minutes: NEAT Is How Your Body Burns Calories Without Exercise A 15-Year-Old Girl Heard Amelia Earhart's Last Transmission This Is The Odd Writing Technique Used by David Bowie, Kurt Cobain, and Bob Dylan If you love our show and you're interested in hearing full-length interviews, then please considersupporting us on Patreon. You'll get exclusive episodes and access to our archives as soon as you become a Patron! Learn about these topics and more onCuriosity.com, and download our5-star app for Android and iOS. Then, join the conversation onFacebook,Twitter, andInstagram. Plus: Amazon smart speaker users, enable ourAlexa Flash Briefing to learn something new in just a few minutes every day! See omnystudio.com/listener for privacy information.

TRISTAN TZARA raccontato da Daria Galateria

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 30/10/2017, sexta de la 3.ª temporada, y segunda de las que dedicamos al músico checo Erwin Schulhoff. Marcado por su participación en la I Guerra Mundial, Schulhoff cambia sus paradigmas vitales y musicales, convirtiéndose en un pacifista radical y en el músico más importante del movimiento dadaísta. Como sugerencia de Tristan Tzara se embarca en la composición del ballet exótico y primitivista Ogelala, cuyo estreno será un gran escándalo.

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 30/10/2017, sexta de la 3.ª temporada, y segunda de las que dedicamos al músico checo Erwin Schulhoff. Marcado por su participación en la I Guerra Mundial, Schulhoff cambia sus paradigmas vitales y musicales, convirtiéndose en un pacifista radical y en el músico más importante del movimiento dadaísta. Como sugerencia de Tristan Tzara se embarca en la composición del ballet exótico y primitivista Ogelala, cuyo estreno será un gran escándalo.

Intervention de Estelle Pietrzyk, conservatrice au musée d'art moderne et contemporain de Strasbourg, et Serge Fauchereau, commissaire de l'exposition Du 24 septembre 2016 au 17 janvier 2017, le Musée d'Art Moderne et Contemporain de Strasbourg a présenté une exposition intitulée Tristan Tzara, l'Homme approximatif, poète, écrivain d'art. Proposer une exposition consacrée à un poète n'est pas un projet qui va de soi dans un musée d'art, de surcroît lorsqu'il s'agit d'une personnalité relativement mal connue : on associe, dans le meilleur des cas, le nom de Tristan Tzara à l'aventure dada ce qui représente un moment, certes, fondateur, de son parcours mais ce parcours s'avère beaucoup plus vaste et l'exposition se devait d'en rendre compte. Incarner le poète sans tomber dans le fétichisme, rendre compte des champs littéraires, artistiques et politiques investis par Tzara et enfin donner envie au visiteur de se plonger dans cette écriture d'une étonnante actualité, tels ont été les objectifs que se sont donnés les commissaires pour concevoir ce projet.

Kärlekskranka robotar och en skulptur gjord av 80 ton mänsklig avföring. Det är något av det man kan se på årets upplaga av den ambulerande, europeiska konstbiennalen Manifesta i Zürich. Zürich - staden där dadaismen uppstod för hundra år sedan - öppnar i sommar sina slutna rum för konsten på konstbiennalen Manifesta.Samtidigt firar staden dadaismens födelse: det var 1916 som Tristan Tzara, Hugo Ball och andra radikala konstnärer sökte skydd undan kriget här, och chockade Zürichs borgare med sina vilda upptåg på Cabaret Voltaire.Är dadaismen relevant för dagens konstnärer? Kulturredaktionens Mårten Arndtzén söker svaret på hundsalonger, universitet och laboratorier i Zürich.

391.org dadacast 39.3, featuring Anat Pick, Hox Vox, Tristan Tzara, Trio Excvoco, Peter K. Wehrli, Kevin Butler, Robert Baker, Barry Barnes, C. Goff III and babel. Read more at https://391.org/audio/391-org-dadacast-39-3/

I Zürich i det neutrala Schweiz samlades under första världskriget personer som hade lämnat sina hemländer för att undvika krigstjänst. Några av dessa startade våren 2016 en kabaret på Spiegelgasse 1, Cabaret Voltaire. Under samlingsnamnet och slagordet dada framfördes experimentella dikter och visades experimentell bildkonst. Ledare var Hugo Ball, en tysk som snart kom att överge dada för att istället ägna sig åt kristen mystik. Andra närvarande tog efter krigsslutet med sig samlingsnamnet och slagordet till andra platser, så rumänen Tristan Tzara till Paris och tysken Richard Huelsenbeck till Berlin. Samma skrin stämdes upp i flera väderstreck: "Dada betyder ingenting", "Dada är mer än dada", "Världen är bara en filial till dada". Vad ville de skrikande poeterna, egentligen? Jonas Ellerström, bokförläggare, essäist och översättare, samtalar med Peter Luthersson. Producerat av Svenska Filmbolaget 2015.

När första världskriget bröt ut blev Schweiz en fristad för upproriska konstnärer. På en restaurang i Zürich samlades dadaisterna genom Cabaret Voltaire. En plats för uppror och experimentlusta. Gunnar Bolin och Karsten Thurfjell återvänder till Restaurang Meiereis i Zürich den plats som dadaisterna gjorde till sin.Första Världskriget pågick i länderna runt om Schweiz. I Zürich samlade Hugo Ball och hans fru Emmy Hennings några konstnärer kring sig för att bryta med gammalmodiga estetiska ideal. Övriga medgrundare var Tristan Tzara, Marcel Janco och Jean Arp. Konsten skulle stå vid sidan av sociala hierarkier. Cabaret Voltaire blev samlingspunkten för den här konstnärliga explosionen där bullrig musik, diktuppläsning, och bisarra danser ramades in av bilder och kostymer under återkommande soaréer.

How great artists and thinkers responded to the horrors of the First World War in individual works of art.2.Stand-Up comedian Arthur Smith presents a suitably Dada-esque account of Tristan Tzara's Dada Manifesto.Arthur Smith has long been fascinated by the Dada movement, which began one hundred years ago in 1915. His interest was re-ignited by a recent visit to the Cabaret Voltaire in Zurich, where Tzara - a French writer and performance artist of Romanian-Jewish descent - first came to prominence. This visit led him to reflect both on the seriousness of the dadists' project - as a protest against the meaningless horrors of the First World War - and on their use of comedy to express their ideas.Juxtaposing the Dada Manifesto with his thoughts on that most conventional of War poets, Rupert Brooke, Arthur Smith's comic and thought-provoking Essay is a document of which Tristan Tzara himself - had he been a radio broadcaster - would have been proud.Producer: Beaty Rubens.

Listen[audio:http://media.rvanews.com/wp-content/uploads/2012/11/The-Bopst-Show-Hallucinations-Episode-218.mp3|titles=The Bopst Show -- Hallucinations -- Episode 218]SubscribeiTunes: The Bopst show podcastEverything else: The Bopst show podcastDownloadThe Bopst Show -- Hallucinations -- Episode 218— ∮∮∮ —Title: The Bopst Show: "Hallucinations (Episode 218)"Rating: PG-13 (Adult Situations & Language)Intent: To breathe a sigh of civic relief that my offspring doesn’t grow up in a world governed by a Romney baron…Random Richmond Diversion: The clock is tickingRandom USA Diversion: It won't kill the country if we raise taxes a little bit on millionairesRandom World Diversion: on the people who plan, incite to carry out, control and lure people to commit self-immolationRandom Image: Mission AccomplishedRandom Music Blog: Penguin Swimming HoleRandom Bopst Show: The Bopst Show: “The Numbers (Episode 76)"Mean-spirited, racist and uneducated:http://www.youtube.com/watch?v=HkX74P5xOm0Construction Date: Sunday November 11th, 2012Equipment: Mac G5, Free Audio Editor & Recorder Software from Audacity, Frontier US-122 USB Audio/MIDI Interface, Shure SM57 MicrophonePosted: November 12th, 2012Artists and Groups in order of appearance: The Beau Hunks, Faramarz Payvar & Ensemble, Bart A. Shefter & Paul Sawtell, Roni Size/Reprazent, Kilby Snow & Wade Ward, Marcel Duchamp, Richard Huelsenbeck &Tristan Tzara, Tony Allen, Radio Thailand: Transmissions From The Tropical Kingdom, George Adbo & The Flames of Araby Orchestra, Miss Tess & The Talkbacks, The Beau HunksLiner Notes As a young boy, I didn't know a Republican from a Democrat, only in one way: If some man or bunch of men rode up to the ranch to sit or stay all night, and my Father set me to watching 'em all the time they was there -- what they did and what they carried off -- I learned they were Republicans. Will RogersHere are some shows I’m hustling at Balliceaux this week...NEXT NEW SHOW: 11/19/12New show times. The Bopst Show airs Sundays, 11PM and Tuesdays, 6PM (EST-USA) on KAOS Radio Austin.Until Next Time:Stay clean,BOPSTHo there, reader of RSS feeds! Do you ever want to support RVANews in a real and tangible way? Or at least pay a small penance for reading ad-free content? If so, support us on Patreon for a couple bucks a month!

With Mark Lawson. Page One: A Year Inside the New York Times is a new cinema documentary in which the film-makers were given unprecedented access to the newsroom for a year, at a time when this American institution was undergoing a period of great change. Former newspaper editors Kelvin MacKenzie and Andreas Whittam Smith review. Tom Stoppard discusses a revival of his classic comedy Travesties, which depicts a fictional meeting between James Joyce, Lenin and Tristan Tzara. Over 30 years after its original performance, the playwright reflects on which of the jokes are lost to a modern audience. Sam Bain and Jesse Armstrong, the writers behind Peep Show, discuss their new TV comedy series Fresh Meat. It follows six ill-assorted student house-mates starting out at university, with a cast including stand-up comic Jack Whitehall. Producer Philippa Ritchie Presenter Mark Lawson.

We are indebted to Tristan Tzara and his followers for the newest and perhaps the most important doctrinary insistence as applied to art which has appeared in a long time. Dada-ism is the latest phase of modernism in painting as well as in literature, and carries with it all the passion for freedom of expression which Marinetti sponsored so loudly in his futuristic manifestos. It adds likewise an exhilarating quality of nihilism, imbibed, as it is said, directly from the author of Zarathustra. Reading a fragment of the documentary statement of Dada-ism, we find that the charm of the idea exists mainly in the fact that they wish all things levelled in the mind of man to the degree of commonplaceness which is typical and peculiar to it. Nothing is greater than anything else, is what the Dada believes... --Marsden Hartley, 1921  The Voice of Free Planet X theme was written and performed by Russell Collins of www.clockworkaudio.net