Goldberg Chapter Four, Surrealism

      Returning to the review of Dada in chapter four by Goldberg brings back the feeling of confusion and despair the Dadaist seem to so enjoy. This review introducing Tzara in Paris kicks off in “January 1920” with the first event, and continues with a decline until the “foundation of the surrealist movement” begins in “1925”. (p. 88)

     Nevertheless, picture presentations and manifesto’s continued with the “destructive aspect of Dada” as the “vulgar” language and insults were expressed along with disturbingly loud noises “ending in an uproar” according to some critics. (p. 75) Many spectators seemed to have enjoyed the confrontations and were “lured by past performances”, where in most cases the performances ended in expected violence and rebellion. For example, at the “Salle Gaveau” the performers were bombarded with “eggs, veal cutlets and tomatoes” the spectators presumably premeditatedly brought with them. The “madness”…and “scandal”…”that manifested” was celebrated by the performers as a “great achievement”. (p. 85) Hostilities between the Dadaist were apparent over time and went public with “Tzara and Breton” in 1921. (p. 86) As Breton and others sought different views, Tzara fought to preserve Dada, and in 1923 a “physical battle” one again broke out on stage and one suffered a “broken arm” while another demanded money for damage as a result, and Brenton “announced” the “death” of Dada. (p. 88)

     Goldberg notes on page 89, in “1919” Breton was “obsessed with Freud” and his psychological study of “the unconscious”. These perspectives on dreams and “play of thought” for the new Surrealist may have provided clearer understanding in some perspectives, nevertheless, with the assistance of film, violence and horror appeared to be more emphasized with the excuse of labeling as a nightmare. For example, the “(‘The Jet of Blood’) of 1927” (p. 95) with its grotesque body parts and “blood shooting across the stage”. (p. 96)

     As an artist and performer, I believe in the freedom of expression, but also feel there must be a limitation to the types of expression. Furthermore, I don’t think the Futurist thought performing arts would evolve into such acts of violence and horror.     

Note: This was blog updated to correct the spelling of "Breton". 10/15/2015