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Autori: ANCA SIMILAR.
VIEW PDF: À LA RECHERCHE DE L’IMPOSSIBLE THÉÂTRE DADA
In search of the impossible Dada theater. To research dada theater is to venture through time to the margins of the avant-gardes and to return to what is not yet dada, that is to say, the Dada spirit born in Europe in the early twentieth century and to approach the shores of what is no longer dada, but is still carrying a Dadaist sense. Through the Dada club of Berlin and the voluptuous and the dangerous folly of the Weimar Republic, the Dadaist Erwin Piscator creates the political theater, or Agitprop in 1924 at the very moment when Dada officially ceases to exist in Germany. The original strengths of Dada, those of the destruction of the old world, regenerate at the heart of a revolutionary dialectic, with the idea of making the world a theater without walls. Since the execution of Meyerhold in Soviet Russia in 1940, the cabaret Der Karussell of the Theresienstadt concentration camp, passing through the situationists and the punks, the impossible theater of Dada can exist only at the very moment when it ceases to exist.
Keywords: agitprop, alienation, Berlin, cabaret, cinema, club dada, Dadaism, Der Karrussell, epic, expressionism, futurism, war, new objectivity, Oberdada, punk, revolver, situationism, surrealism, Theatre, Theresienstadt, violence, Weimar, Zürich.
References:
Anderson J. A., Hugo Ball and the Theology of Zurich Dada, s.l.n.d.
Béhar Henri, Le théâtre Dada et Surréaliste, Paris, Gallimard, 1979.
Béhar Henri & Dufour C., Dossier H, Dada circuit total, Lausanne, L’Âge d’Homme, 2005.
Gordon M., Voluptuous Panic: The erotic world of Weimar Berlin, Feral House, 2008.
Herzog R., Rire et résistance, Humour sous le IIIe Reich, trad. R. Darquenne, Paris, Michalon, 2006.
Kracauer S., De Caligari à Hitler, Lausanne, L’Âge d’Homme, 2009.
Lessour T., Berlin Sampler, Paris, Ollendorff & Desseins, 2009.
Lista Giovanni, Théâtre futuriste italien, Lausanne, L’Âge d’Homme, 1976.
Marcus G., Lipstick Traces, une histoire secrète du vingtieme siècle, Paris, Folio, 2000.
Palmier J.-M., Berliner Requiem, Paris, Galilée, 1976.
Piscator Erwin, Le théâtre politique suivi de Supplément au théâtre politique, trad. A. A. Sebisch, Paris, L’Arche, 1962/1972.
Published Online: 2016-03
References:
Anderson J. A., Hugo Ball and the Theology of Zurich Dada, s.l.n.d.
Béhar Henri, Le théâtre Dada et Surréaliste, Paris, Gallimard, 1979.
Béhar Henri & Dufour C., Dossier H, Dada circuit total, Lausanne, L’Âge d’Homme, 2005.
Gordon M., Voluptuous Panic: The erotic world of Weimar Berlin, Feral House, 2008.
Herzog R., Rire et résistance, Humour sous le IIIe Reich, trad. R. Darquenne, Paris, Michalon, 2006.
Kracauer S., De Caligari à Hitler, Lausanne, L’Âge d’Homme, 2009.
Lessour T., Berlin Sampler, Paris, Ollendorff & Desseins, 2009.
Lista Giovanni, Théâtre futuriste italien, Lausanne, L’Âge d’Homme, 1976.
Marcus G., Lipstick Traces, une histoire secrète du vingtieme siècle, Paris, Folio, 2000.
Palmier J.-M., Berliner Requiem, Paris, Galilée, 1976.
Piscator Erwin, Le théâtre politique suivi de Supplément au théâtre politique, trad. A. A. Sebisch, Paris, L’Arche, 1962/1972.
Published Online: 2016-03
