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class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Early_life_and_Simbolul_years"> <div class="vector-toc-text"> 2.1 Early life and Simbolul years </div> </a> <ul id="toc-Early_life_and_Simbolul_years-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Chemarea_and_1915_departure" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Chemarea_and_1915_departure"> <div class="vector-toc-text"> 2.2 Chemarea and 1915 departure </div> </a> <ul id="toc-Chemarea_and_1915_departure-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Birth_of_Dada" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Birth_of_Dada"> <div class="vector-toc-text"> 2.3 Birth of Dada </div> </a> <ul id="toc-Birth_of_Dada-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dadaist_promoter" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dadaist_promoter"> <div class="vector-toc-text"> 2.4 Dadaist promoter </div> </a> <ul id="toc-Dadaist_promoter-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-End_of_World_War_I" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#End_of_World_War_I"> <div class="vector-toc-text"> 2.5 End of World War I </div> </a> <ul id="toc-End_of_World_War_I-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Paris_Dada" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Paris_Dada"> <div class="vector-toc-text"> 2.6 Paris Dada </div> </a> <ul id="toc-Paris_Dada-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dada_stagnation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dada_stagnation"> <div class="vector-toc-text"> 2.7 Dada stagnation </div> </a> <ul id="toc-Dada_stagnation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Evening_of_the_Bearded_Heart" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Evening_of_the_Bearded_Heart"> <div class="vector-toc-text"> 2.8 Evening of the Bearded Heart </div> </a> <ul id="toc-Evening_of_the_Bearded_Heart-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Transition_to_Surrealism" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Transition_to_Surrealism"> <div class="vector-toc-text"> 2.9 Transition to Surrealism </div> </a> <ul id="toc-Transition_to_Surrealism-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Affiliation_with_communism_and_Spanish_Civil_War" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Affiliation_with_communism_and_Spanish_Civil_War"> <div class="vector-toc-text"> 2.10 Affiliation with communism and Spanish Civil War </div> </a> <ul id="toc-Affiliation_with_communism_and_Spanish_Civil_War-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-World_War_II_and_Resistance" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#World_War_II_and_Resistance"> <div class="vector-toc-text"> 2.11 World War II and Resistance </div> </a> <ul id="toc-World_War_II_and_Resistance-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-International_leftism" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#International_leftism"> <div class="vector-toc-text"> 2.12 International leftism </div> </a> <ul id="toc-International_leftism-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-1956_protest_and_final_years" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#1956_protest_and_final_years"> <div class="vector-toc-text"> 2.13 1956 protest and final years </div> </a> <ul id="toc-1956_protest_and_final_years-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Literary_contributions" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Literary_contributions"> <div class="vector-toc-text"> 3 Literary contributions </div> </a> <button aria-controls="toc-Literary_contributions-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Literary contributions subsection </button> <ul id="toc-Literary_contributions-sublist" class="vector-toc-list"> <li id="toc-Identity_issues" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Identity_issues"> <div class="vector-toc-text"> 3.1 Identity issues </div> </a> <ul id="toc-Identity_issues-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Symbolist_poetry" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Symbolist_poetry"> <div class="vector-toc-text"> 3.2 Symbolist poetry </div> </a> <ul id="toc-Symbolist_poetry-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Collaboration_with_Vinea" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Collaboration_with_Vinea"> <div class="vector-toc-text"> 3.3 Collaboration with Vinea </div> </a> <ul id="toc-Collaboration_with_Vinea-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dada_synthesis_and_"simultaneism"" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dada_synthesis_and_"simultaneism""> <div class="vector-toc-text"> 3.4 Dada synthesis and "simultaneism" </div> </a> <ul id="toc-Dada_synthesis_and_"simultaneism"-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dada_and_anti-art" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dada_and_anti-art"> <div class="vector-toc-text"> 3.5 Dada and anti-art </div> </a> <ul id="toc-Dada_and_anti-art-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Plays_of_the_1920s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Plays_of_the_1920s"> <div class="vector-toc-text"> 3.6 Plays of the 1920s </div> </a> <ul id="toc-Plays_of_the_1920s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-The_Approximate_Man_and_later_works" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#The_Approximate_Man_and_later_works"> <div class="vector-toc-text"> 3.7 The Approximate Man and later works </div> </a> <ul id="toc-The_Approximate_Man_and_later_works-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Legacy" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Legacy"> <div class="vector-toc-text"> 4 Legacy </div> </a> <button aria-controls="toc-Legacy-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Legacy subsection </button> <ul id="toc-Legacy-sublist" class="vector-toc-list"> <li id="toc-Influence" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Influence"> <div class="vector-toc-text"> 4.1 Influence </div> </a> <ul id="toc-Influence-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Tributes_and_portrayals" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Tributes_and_portrayals"> <div class="vector-toc-text"> 4.2 Tributes and portrayals </div> </a> <ul id="toc-Tributes_and_portrayals-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Posthumous_controversies" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Posthumous_controversies"> <div class="vector-toc-text"> 4.3 Posthumous controversies </div> </a> <ul id="toc-Posthumous_controversies-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> 5 Notes </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> 6 References </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 7 External links </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Toggle the table of contents </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading">Tristan Tzara</h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 66 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-66" aria-hidden="true" > 66 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-als mw-list-item"><a href="https://als.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Alemannic" lang="gsw" hreflang="gsw" data-title="Tristan Tzara" data-language-autonym="Alemannisch" data-language-local-name="Alemannic" class="interlanguage-link-target">Alemannisch</a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%AA%D8%B1%D9%8A%D8%B3%D8%AA%D8%A7%D9%86_%D8%AA%D8%B2%D8%A7%D8%B1%D8%A7" title="تريستان تزارا – Arabic" lang="ar" hreflang="ar" data-title="تريستان تزارا" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-an mw-list-item"><a href="https://an.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Aragonese" lang="an" hreflang="an" data-title="Tristan Tzara" data-language-autonym="Aragonés" data-language-local-name="Aragonese" class="interlanguage-link-target">Aragonés</a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Asturian" lang="ast" hreflang="ast" data-title="Tristan Tzara" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target">Asturianu</a></li><li class="interlanguage-link interwiki-azb mw-list-item"><a href="https://azb.wikipedia.org/wiki/%D8%AA%D8%B1%DB%8C%D8%B3%D8%AA%D8%A7%D9%86_%D8%AA%D8%B2%D8%A7%D8%B1%D8%A7" title="تریستان تزارا – South Azerbaijani" lang="azb" hreflang="azb" data-title="تریستان تزارا" data-language-autonym="تۆرکجه" data-language-local-name="South Azerbaijani" class="interlanguage-link-target">تۆرکجه</a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%A2%D1%80%D1%8B%D1%81%D1%82%D0%B0%D0%BD_%D0%A2%D1%86%D0%B0%D1%80%D0%B0" title="Трыстан Тцара – Belarusian" lang="be" hreflang="be" data-title="Трыстан Тцара" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target">Беларуская</a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%A2%D1%80%D0%B8%D1%81%D1%82%D0%B0%D0%BD_%D0%A6%D0%B0%D1%80%D0%B0" title="Тристан Цара – Bulgarian" lang="bg" hreflang="bg" data-title="Тристан Цара" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target">Български</a></li><li class="interlanguage-link interwiki-br mw-list-item"><a href="https://br.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Breton" lang="br" hreflang="br" data-title="Tristan Tzara" data-language-autonym="Brezhoneg" data-language-local-name="Breton" class="interlanguage-link-target">Brezhoneg</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Catalan" lang="ca" hreflang="ca" data-title="Tristan Tzara" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Czech" lang="cs" hreflang="cs" data-title="Tristan Tzara" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target">Čeština</a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Danish" lang="da" hreflang="da" data-title="Tristan Tzara" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target">Dansk</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – German" lang="de" hreflang="de" data-title="Tristan Tzara" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Estonian" lang="et" hreflang="et" data-title="Tristan Tzara" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target">Eesti</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%A4%CF%81%CE%B9%CF%83%CF%84%CE%AC%CE%BD_%CE%A4%CE%B6%CE%B1%CF%81%CE%AC" title="Τριστάν Τζαρά – Greek" lang="el" hreflang="el" data-title="Τριστάν Τζαρά" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Spanish" lang="es" hreflang="es" data-title="Tristan Tzara" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Esperanto" lang="eo" hreflang="eo" data-title="Tristan Tzara" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Basque" lang="eu" hreflang="eu" data-title="Tristan Tzara" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%AA%D8%B1%DB%8C%D8%B3%D8%AA%D8%A7%D9%86_%D8%AA%D8%B2%D8%A7%D8%B1%D8%A7" title="تریستان تزارا – Persian" lang="fa" hreflang="fa" data-title="تریستان تزارا" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – French" lang="fr" hreflang="fr" data-title="Tristan Tzara" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-fy mw-list-item"><a href="https://fy.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Western Frisian" lang="fy" hreflang="fy" data-title="Tristan Tzara" data-language-autonym="Frysk" data-language-local-name="Western Frisian" class="interlanguage-link-target">Frysk</a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Galician" lang="gl" hreflang="gl" data-title="Tristan Tzara" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target">Galego</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%ED%8A%B8%EB%A6%AC%EC%8A%A4%ED%83%95_%EC%B0%A8%EB%9D%BC" title="트리스탕 차라 – Korean" lang="ko" hreflang="ko" data-title="트리스탕 차라" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%8F%D6%80%D5%AB%D5%BD%D5%BF%D5%A1%D5%B6_%D5%8F%D6%81%D5%A1%D6%80%D5%A1" title="Տրիստան Տցարա – Armenian" lang="hy" hreflang="hy" data-title="Տրիստան Տցարա" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target">Հայերեն</a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Croatian" lang="hr" hreflang="hr" data-title="Tristan Tzara" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target">Hrvatski</a></li><li class="interlanguage-link interwiki-io mw-list-item"><a href="https://io.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Ido" lang="io" hreflang="io" data-title="Tristan Tzara" data-language-autonym="Ido" data-language-local-name="Ido" class="interlanguage-link-target">Ido</a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Indonesian" lang="id" hreflang="id" data-title="Tristan Tzara" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target">Bahasa Indonesia</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Italian" lang="it" hreflang="it" data-title="Tristan Tzara" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%98%D7%A8%D7%99%D7%A1%D7%98%D7%9F_%D7%A6%D7%90%D7%A8%D7%94" title="טריסטן צארה – Hebrew" lang="he" hreflang="he" data-title="טריסטן צארה" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-jv mw-list-item"><a href="https://jv.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Javanese" lang="jv" hreflang="jv" data-title="Tristan Tzara" data-language-autonym="Jawa" data-language-local-name="Javanese" class="interlanguage-link-target">Jawa</a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%A2%E1%83%A0%E1%83%98%E1%83%A1%E1%83%A2%E1%83%90%E1%83%9C_%E1%83%AA%E1%83%90%E1%83%A0%E1%83%90" title="ტრისტან ცარა – Georgian" lang="ka" hreflang="ka" data-title="ტრისტან ცარა" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target">ქართული</a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Tristanus_Tzara" title="Tristanus Tzara – Latin" lang="la" hreflang="la" data-title="Tristanus Tzara" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target">Latina</a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/Tristans_Car%C4%81" title="Tristans Carā – Latvian" lang="lv" hreflang="lv" data-title="Tristans Carā" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target">Latviešu</a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Lithuanian" lang="lt" hreflang="lt" data-title="Tristan Tzara" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target">Lietuvių</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Hungarian" lang="hu" hreflang="hu" data-title="Tristan Tzara" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%A2%D1%80%D0%B8%D1%81%D1%82%D0%B0%D0%BD_%D0%A6%D0%B0%D1%80%D0%B0" title="Тристан Цара – Macedonian" lang="mk" hreflang="mk" data-title="Тристан Цара" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target">Македонски</a></li><li class="interlanguage-link interwiki-mg mw-list-item"><a href="https://mg.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Malagasy" lang="mg" hreflang="mg" data-title="Tristan Tzara" data-language-autonym="Malagasy" data-language-local-name="Malagasy" class="interlanguage-link-target">Malagasy</a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D8%AA%D8%B1%D9%8A%D8%B3%D8%AA%D8%A7%D9%86_%D8%AA%D8%B2%D8%A7%D8%B1%D8%A7" title="تريستان تزارا – Egyptian Arabic" lang="arz" hreflang="arz" data-title="تريستان تزارا" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target">مصرى</a></li><li class="interlanguage-link interwiki-mzn mw-list-item"><a href="https://mzn.wikipedia.org/wiki/%D8%AA%D8%B1%DB%8C%D8%B3%D8%AA%D8%A7%D9%86_%D8%AA%D8%B2%D8%A7%D8%B1%D8%A7" title="تریستان تزارا – Mazanderani" lang="mzn" hreflang="mzn" data-title="تریستان تزارا" data-language-autonym="مازِرونی" data-language-local-name="Mazanderani" class="interlanguage-link-target">مازِرونی</a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Malay" lang="ms" hreflang="ms" data-title="Tristan Tzara" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target">Bahasa Melayu</a></li><li class="interlanguage-link interwiki-min mw-list-item"><a href="https://min.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Minangkabau" lang="min" hreflang="min" data-title="Tristan Tzara" data-language-autonym="Minangkabau" data-language-local-name="Minangkabau" class="interlanguage-link-target">Minangkabau</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Dutch" lang="nl" hreflang="nl" data-title="Tristan Tzara" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%88%E3%83%AA%E3%82%B9%E3%82%BF%E3%83%B3%E3%83%BB%E3%83%84%E3%82%A1%E3%83%A9" title="トリスタン・ツァラ – Japanese" lang="ja" hreflang="ja" data-title="トリスタン・ツァラ" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Tristan Tzara" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Occitan" lang="oc" hreflang="oc" data-title="Tristan Tzara" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target">Occitan</a></li><li class="interlanguage-link interwiki-pa mw-list-item"><a href="https://pa.wikipedia.org/wiki/%E0%A8%A4%E0%A8%B0%E0%A8%BF%E0%A8%B8%E0%A8%A4%E0%A8%BE%E0%A8%82_%E0%A8%9C%E0%A8%BC%E0%A8%BE%E0%A8%B0%E0%A8%BE" title="ਤਰਿਸਤਾਂ ਜ਼ਾਰਾ – Punjabi" lang="pa" hreflang="pa" data-title="ਤਰਿਸਤਾਂ ਜ਼ਾਰਾ" data-language-autonym="ਪੰਜਾਬੀ" data-language-local-name="Punjabi" class="interlanguage-link-target">ਪੰਜਾਬੀ</a></li><li class="interlanguage-link interwiki-pnb mw-list-item"><a href="https://pnb.wikipedia.org/wiki/%D9%B9%D8%B1%D8%B3%D9%B9%D8%A7%D9%86_%D8%B2%D8%A7%D8%B1%D8%A7" title="ٹرسٹان زارا – Western Punjabi" lang="pnb" hreflang="pnb" data-title="ٹرسٹان زارا" data-language-autonym="پنجابی" data-language-local-name="Western Punjabi" class="interlanguage-link-target">پنجابی</a></li><li class="interlanguage-link interwiki-ps mw-list-item"><a href="https://ps.wikipedia.org/wiki/%D9%BC%D8%B1%DB%8C%D8%B3%D9%BC%D8%A7%D9%86_%D8%B2%D8%A7%D8%B1%D8%A7" title="ټریسټان زارا – Pashto" lang="ps" hreflang="ps" data-title="ټریسټان زارا" data-language-autonym="پښتو" data-language-local-name="Pashto" class="interlanguage-link-target">پښتو</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Polish" lang="pl" hreflang="pl" data-title="Tristan Tzara" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Portuguese" lang="pt" hreflang="pt" data-title="Tristan Tzara" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Romanian" lang="ro" hreflang="ro" data-title="Tristan Tzara" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A2%D1%80%D0%B8%D1%81%D1%82%D0%B0%D0%BD_%D0%A2%D1%86%D0%B0%D1%80%D0%B0" title="Тристан Тцара – Russian" lang="ru" hreflang="ru" data-title="Тристан Тцара" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Simple English" lang="en-simple" hreflang="en-simple" data-title="Tristan Tzara" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target">Simple English</a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D8%AA%D8%B1%DB%8C%D8%B3%D8%AA%D8%A7%D9%86_%D8%AA%D8%B2%D8%A7%D8%B1%D8%A7" title="تریستان تزارا – Central Kurdish" lang="ckb" hreflang="ckb" data-title="تریستان تزارا" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target">کوردی</a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/Tristan_Cara" title="Tristan Cara – Serbian" lang="sr" hreflang="sr" data-title="Tristan Cara" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target">Српски / srpski</a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Tristan Tzara" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target">Srpskohrvatski / српскохрватски</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Finnish" lang="fi" hreflang="fi" data-title="Tristan Tzara" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Swedish" lang="sv" hreflang="sv" data-title="Tristan Tzara" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%95%E0%B8%A3%E0%B8%B4%E0%B8%AA%E0%B8%95%E0%B8%B1%E0%B8%99_%E0%B8%8B%E0%B8%B2%E0%B8%A3%E0%B8%B2" title="ตริสตัน ซารา – Thai" lang="th" hreflang="th" data-title="ตริสตัน ซารา" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target">ไทย</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Turkish" lang="tr" hreflang="tr" data-title="Tristan Tzara" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-kcg mw-list-item"><a href="https://kcg.wikipedia.org/wiki/Ti%CC%B1ri%CC%B1si%CC%B1tan_Tsara" title="Ti̱ri̱si̱tan Tsara – Tyap" lang="kcg" hreflang="kcg" data-title="Ti̱ri̱si̱tan Tsara" data-language-autonym="Tyap" data-language-local-name="Tyap" class="interlanguage-link-target">Tyap</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%A2%D1%80%D1%96%D1%81%D1%82%D0%B0%D0%BD_%D0%A2%D1%86%D0%B0%D1%80%D0%B0" title="Трістан Тцара – Ukrainian" lang="uk" hreflang="uk" data-title="Трістан Тцара" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Vietnamese" lang="vi" hreflang="vi" data-title="Tristan Tzara" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-war mw-list-item"><a href="https://war.wikipedia.org/wiki/Tristan_Tzara" title="Tristan Tzara – Waray" lang="war" hreflang="war" data-title="Tristan Tzara" data-language-autonym="Winaray" data-language-local-name="Waray" class="interlanguage-link-target">Winaray</a></li><li class="interlanguage-link interwiki-wuu mw-list-item"><a href="https://wuu.wikipedia.org/wiki/%E7%89%B9%E9%87%8C%E6%96%AF%E5%94%90%C2%B7%E6%9F%A5%E6%8B%89" title="特里斯唐·查拉 – Wu" lang="wuu" hreflang="wuu" data-title="特里斯唐·查拉" data-language-autonym="吴语" data-language-local-name="Wu" class="interlanguage-link-target">吴语</a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E5%8D%93%E6%96%AF%E5%9D%A6%E6%9F%A5%E6%8B%89" title="卓斯坦查拉 – Cantonese" lang="yue" hreflang="yue" data-title="卓斯坦查拉" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target">粵語</a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%8D%93%E6%96%AF%E5%9D%A6%C2%B7%E6%9F%A5%E6%8B%89" title="卓斯坦·查拉 – Chinese" lang="zh" hreflang="zh" data-title="卓斯坦·查拉" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target">中文</a></li> </ul> <div class="after-portlet after-portlet-lang"><a 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Click here for more information." src="//upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/19px-Symbol_support_vote.svg.png" decoding="async" width="19" height="20" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/29px-Symbol_support_vote.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/39px-Symbol_support_vote.svg.png 2x" data-file-width="180" data-file-height="185" /></a></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Romanian-French poet (1896–1963)</div> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vcard"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:125%;"><div style="display:inline;" class="fn">Tristan Tzara</div></th></tr><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:Retrato_de_Tristan_Tzara_(Robert_Delaunay).jpg" class="mw-file-description" title="Portrait of Tristan Tzara, by Robert Delaunay (1923)"><img alt="Portrait of Tristan Tzara, by Robert Delaunay (1923)" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/23/Retrato_de_Tristan_Tzara_%28Robert_Delaunay%29.jpg/220px-Retrato_de_Tristan_Tzara_%28Robert_Delaunay%29.jpg" decoding="async" width="220" height="304" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/23/Retrato_de_Tristan_Tzara_%28Robert_Delaunay%29.jpg/330px-Retrato_de_Tristan_Tzara_%28Robert_Delaunay%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/23/Retrato_de_Tristan_Tzara_%28Robert_Delaunay%29.jpg/440px-Retrato_de_Tristan_Tzara_%28Robert_Delaunay%29.jpg 2x" data-file-width="1572" data-file-height="2173" /></a><div class="infobox-caption" style="line-height:1.4em;"><a href="/wiki/Portrait_of_Tristan_Tzara" title="Portrait of Tristan Tzara">Portrait of Tristan Tzara</a>, by <a href="/wiki/Robert_Delaunay" title="Robert Delaunay">Robert Delaunay</a> (1923)</div></td></tr><tr><th scope="row" class="infobox-label" style="line-height:1.2em; padding-right:0.65em;">Born</th><td class="infobox-data" style="line-height:1.4em;">Samuel (Samy) Rosenstock 28 April 1896 <a href="/wiki/Moine%C8%99ti" title="Moinești">Moinești</a>, <a href="/wiki/Kingdom_of_Romania" title="Kingdom of Romania">Romania</a></td></tr><tr><th scope="row" class="infobox-label" style="line-height:1.2em; padding-right:0.65em;">Died</th><td class="infobox-data" style="line-height:1.4em;">25 December 1963(1963-12-25) (aged 67) Paris, France</td></tr><tr><th scope="row" class="infobox-label" style="line-height:1.2em; padding-right:0.65em;">Pen name</th><td class="infobox-data nickname" style="line-height:1.4em;">S. Samyro, Tristan, Tristan Ruia, Tristan Țara, Tr. Tzara</td></tr><tr><th scope="row" class="infobox-label" style="line-height:1.2em; padding-right:0.65em;">Occupation</th><td class="infobox-data role" style="line-height:1.4em;">Poet, essayist, journalist, playwright, performance artist, composer, film director, politician, diplomat</td></tr><tr><th scope="row" class="infobox-label" style="line-height:1.2em; padding-right:0.65em;">Nationality</th><td class="infobox-data category" style="line-height:1.4em;">Romanian</td></tr><tr><th scope="row" class="infobox-label" style="line-height:1.2em; padding-right:0.65em;">Period</th><td class="infobox-data" style="line-height:1.4em;">1912–1963</td></tr><tr><th scope="row" class="infobox-label" style="line-height:1.2em; padding-right:0.65em;">Genre</th><td class="infobox-data category" style="line-height:1.4em;"><a href="/wiki/Lyric_poetry" title="Lyric poetry">Lyric poetry</a>, <a href="/wiki/Epic_poetry" title="Epic poetry">epic poetry</a>, <a href="/wiki/Free_verse" title="Free verse">free verse</a>, <a href="/wiki/Prose_poetry" title="Prose poetry">prose poetry</a>, <a href="/wiki/Parody" title="Parody">parody</a>, <a href="/wiki/Satire" title="Satire">satire</a>, <a href="/wiki/Utopian_and_dystopian_fiction" title="Utopian and dystopian fiction">utopian fiction</a></td></tr><tr><th scope="row" class="infobox-label" style="line-height:1.2em; padding-right:0.65em;">Subject</th><td class="infobox-data" style="line-height:1.4em;"><a href="/wiki/Art_criticism" title="Art criticism">Art criticism</a>, <a href="/wiki/Literary_criticism" title="Literary criticism">literary criticism</a>, <a href="/wiki/Social_criticism" title="Social criticism">social criticism</a></td></tr><tr><th scope="row" class="infobox-label" style="line-height:1.2em; padding-right:0.65em;">Literary movement</th><td class="infobox-data" style="line-height:1.4em;"><a href="/wiki/Symbolism_(arts)" class="mw-redirect" title="Symbolism (arts)">Symbolism</a> <a href="/wiki/Avant-garde" title="Avant-garde">Avant-garde</a> <a href="/wiki/Dada" title="Dada">Dada</a> <a href="/wiki/Surrealism" title="Surrealism">Surrealism</a></td></tr><tr><th colspan="2" class="infobox-header">Signature</th></tr><tr><td colspan="2" class="infobox-full-data" style="line-height:1.4em;"><a href="/wiki/File:Tristan_Tzara%27s_signature_1946-12-08.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Tristan_Tzara%27s_signature_1946-12-08.svg/150px-Tristan_Tzara%27s_signature_1946-12-08.svg.png" decoding="async" width="150" height="21" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Tristan_Tzara%27s_signature_1946-12-08.svg/225px-Tristan_Tzara%27s_signature_1946-12-08.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Tristan_Tzara%27s_signature_1946-12-08.svg/300px-Tristan_Tzara%27s_signature_1946-12-08.svg.png 2x" data-file-width="4015" data-file-height="559" /></a></td></tr></tbody></table> Tristan Tzara (<style data-mw-deduplicate="TemplateStyles:r1177148991">.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}</style>French: <a href="/wiki/Help:IPA/French" title="Help:IPA/French">[tʁistɑ̃ dzaʁa]</a>; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1177148991">Romanian: <a href="/wiki/Help:IPA/Romanian" title="Help:IPA/Romanian">[trisˈtan ˈt͡sara]</a>; born Samuel or Samy Rosenstock, also known as S. Samyro; 28 April [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 16 April] 1896<a href="#cite_note-1">[1]</a> – 25 December 1963) was a Romanian <a href="/wiki/Avant-garde" title="Avant-garde">avant-garde</a> poet, essayist and <a href="/wiki/Performance_art" title="Performance art">performance artist</a>. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the <a href="/wiki/Anti-establishment" title="Anti-establishment">anti-establishment</a> <a href="/wiki/Dada" title="Dada">Dada</a> movement. Under the influence of <a href="/wiki/Adrian_Maniu" title="Adrian Maniu">Adrian Maniu</a>, the adolescent Tzara became interested in <a href="/wiki/Symbolism_(arts)" class="mw-redirect" title="Symbolism (arts)">Symbolism</a> and co-founded the magazine <a href="/wiki/Simbolul" title="Simbolul">Simbolul</a> with <a href="/wiki/Ion_Vinea" title="Ion Vinea">Ion Vinea</a> (with whom he also wrote <a href="/wiki/Experimental_literature" title="Experimental literature">experimental</a> poetry) and painter <a href="/wiki/Marcel_Janco" title="Marcel Janco">Marcel Janco</a>. During <a href="/wiki/World_War_I" title="World War I">World War I</a>, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland. There, Tzara's shows at the <a href="/wiki/Cabaret_Voltaire_(Z%C3%BCrich)" title="Cabaret Voltaire (Zürich)">Cabaret Voltaire</a> and <a href="/wiki/Z%C3%BCnfte_of_Z%C3%BCrich" title="Zünfte of Zürich">Zunfthaus zur Waag</a>, as well as his poetry and <a href="/wiki/Art_manifesto" title="Art manifesto">art manifestos</a>, became a main feature of early Dadaism. His work represented Dada's <a href="/wiki/Nihilism" title="Nihilism">nihilistic</a> side, in contrast with the more moderate approach favored by <a href="/wiki/Hugo_Ball" title="Hugo Ball">Hugo Ball</a>. After moving to Paris in 1919, Tzara, by then one of the "presidents of Dada", joined the staff of <a href="/wiki/Litt%C3%A9rature" title="Littérature">Littérature</a> magazine, which marked the first step in the movement's evolution toward <a href="/wiki/Surrealism" title="Surrealism">Surrealism</a>. He was involved in the major polemics which led to Dada's split, defending his principles against <a href="/wiki/Andr%C3%A9_Breton" title="André Breton">André Breton</a> and <a href="/wiki/Francis_Picabia" title="Francis Picabia">Francis Picabia</a>, and, in Romania, against the <a href="/wiki/Eclecticism" title="Eclecticism">eclectic</a> <a href="/wiki/Modernism" title="Modernism">modernism</a> of Vinea and Janco. This personal vision on art defined his Dadaist plays <a href="/wiki/The_Gas_Heart" title="The Gas Heart">The Gas Heart</a> (1921) and <a href="/wiki/Handkerchief_of_Clouds" title="Handkerchief of Clouds">Handkerchief of Clouds</a> (1924). A forerunner of <a href="/wiki/Surrealist_automatism" title="Surrealist automatism">automatist techniques</a>, Tzara eventually aligned himself with Breton's Surrealism, and under its influence wrote his celebrated <a href="/wiki/Utopian_and_dystopian_fiction" title="Utopian and dystopian fiction">utopian poem</a> "The Approximate Man". During the final part of his career, Tzara combined his <a href="/wiki/Humanism" title="Humanism">humanist</a> and <a href="/wiki/Anti-fascism" title="Anti-fascism">anti-fascist</a> perspective with a <a href="/wiki/Communism" title="Communism">communist</a> vision, joining the <a href="/wiki/Second_Spanish_Republic" title="Second Spanish Republic">Republicans</a> in the <a href="/wiki/Spanish_Civil_War" title="Spanish Civil War">Spanish Civil War</a> and the <a href="/wiki/French_Resistance" title="French Resistance">French Resistance</a> during <a href="/wiki/World_War_II" title="World War II">World War II</a>, and serving a term in the <a href="/wiki/National_Assembly_of_France" class="mw-redirect" title="National Assembly of France">National Assembly</a>. Having spoken in favor of <a href="/wiki/Liberalization" title="Liberalization">liberalization</a> in the <a href="/wiki/People%27s_Republic_of_Hungary" class="mw-redirect" title="People's Republic of Hungary">People's Republic of Hungary</a> just before the <a href="/wiki/Hungarian_Revolution_of_1956" title="Hungarian Revolution of 1956">Revolution of 1956</a>, he distanced himself from the <a href="/wiki/French_Communist_Party" title="French Communist Party">French Communist Party</a>, of which he was by then a member. In 1960, he was among the intellectuals who protested against French actions in the <a href="/wiki/Algerian_War" title="Algerian War">Algerian War</a>. Tristan Tzara was an influential author and performer, whose contribution is credited with having created a connection from <a href="/wiki/Cubism" title="Cubism">Cubism</a> and <a href="/wiki/Futurism" title="Futurism">Futurism</a> to the <a href="/wiki/Beat_Generation" title="Beat Generation">Beat Generation</a>, <a href="/wiki/Situationist_International" title="Situationist International">Situationism</a> and various currents in <a href="/wiki/Rock_music" title="Rock music">rock music</a>. The friend and collaborator of many modernist figures, he was the lover of dancer <a href="/w/index.php?title=Maja_Kruscek&action=edit&redlink=1" class="new" title="Maja Kruscek (page does not exist)">Maja Kruscek</a> in his early youth and was later married to Swedish artist and poet <a href="/wiki/Greta_Knutson" title="Greta Knutson">Greta Knutson</a>. <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Name">Name</h2>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=1" title="Edit section: Name">edit</a>]</div> S. Samyro, a partial <a href="/wiki/Anagram" title="Anagram">anagram</a> of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s.<a href="#cite_note-Cernat,_p.108-109-2">[2]</a> A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan.<a href="#cite_note-pcern109-3">[3]</a><a href="#cite_note-jycmelusine-4">[4]</a> In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915.<a href="#cite_note-pcern109-3">[3]</a> Vinea also stated that Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Âne Tzara (<a href="/wiki/French_language" title="French language">French</a> for "Sad Donkey Tzara").<a href="#cite_note-pcern109-3">[3]</a> This version of events is uncertain, as manuscripts show that the writer may have already been using the full name, as well as the variations Tristan Țara and Tr. Tzara, in 1913–1914 (although there is a possibility that he was signing his texts long after committing them to paper).<a href="#cite_note-5">[5]</a> In 1972, art historian <a href="/wiki/Serge_Fauchereau" title="Serge Fauchereau">Serge Fauchereau</a>, based on information received from Colomba, the wife of avant-garde poet <a href="/wiki/Ilarie_Voronca" title="Ilarie Voronca">Ilarie Voronca</a>, recounted that Tzara had explained his chosen name was a pun in <a href="/wiki/Romanian_language" title="Romanian language">Romanian</a>, trist în țară, meaning "sad in the country"; Colomba Voronca was also dismissing rumors that Tzara had selected Tristan as a tribute to poet <a href="/wiki/Tristan_Corbi%C3%A8re" title="Tristan Corbière">Tristan Corbière</a> or to <a href="/wiki/Richard_Wagner" title="Richard Wagner">Richard Wagner</a>'s <a href="/wiki/Tristan_und_Isolde" title="Tristan und Isolde">Tristan und Isolde</a> opera.<a href="#cite_note-pcern110-6">[6]</a> Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's <a href="/wiki/Minister_of_Interior_and_Administrative_Reform_(Romania)" class="mw-redirect" title="Minister of Interior and Administrative Reform (Romania)">Ministry of the Interior</a>.<a href="#cite_note-pcern110-6">[6]</a> The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as țara ("the land", <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1177148991">Romanian pronunciation: <a href="/wiki/Help:IPA/Romanian" title="Help:IPA/Romanian">[ˈt͡sara]</a>).<a href="#cite_note-amcodrescu-7">[7]</a> <div class="mw-heading mw-heading2"><h2 id="Biography">Biography</h2>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=2" title="Edit section: Biography">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Early_life_and_Simbolul_years">Early life and Simbolul years</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=3" title="Edit section: Early life and Simbolul years">edit</a>]</div> Tzara was born in <a href="/wiki/Moine%C8%99ti" title="Moinești">Moinești</a>, <a href="/wiki/Bac%C4%83u_County" title="Bacău County">Bacău County</a>, in the <a href="/wiki/Historical_regions_of_Romania" title="Historical regions of Romania">historical region</a> of <a href="/wiki/Western_Moldavia" title="Western Moldavia">Western Moldavia</a>. His parents were <a href="/wiki/History_of_the_Jews_in_Romania" title="History of the Jews in Romania">Jewish Romanians</a> who reportedly spoke <a href="/wiki/Yiddish_language" class="mw-redirect" title="Yiddish language">Yiddish</a> as their first language;<a href="#cite_note-8">[8]</a> his father Filip and grandfather Ilie were entrepreneurs in the forestry business.<a href="#cite_note-iliv241-9">[9]</a><a href="#cite_note-vmttcl-10">[10]</a> Tzara's mother was Emilia Rosenstock (<a href="/wiki/Birth_name#Maiden_and_married_names" title="Birth name">née</a> Zibalis).<a href="#cite_note-vmttcl-10">[10]</a> Owing to the <a href="/wiki/Kingdom_of_Romania" title="Kingdom of Romania">Romanian Kingdom</a>'s discrimination laws, the Rosenstocks were not <a href="/wiki/Jewish_Emancipation" class="mw-redirect" title="Jewish Emancipation">emancipated</a>, and thus Tzara was not a full citizen of the country until after 1918.<a href="#cite_note-iliv241-9">[9]</a> He moved to <a href="/wiki/Bucharest" title="Bucharest">Bucharest</a> at the age of eleven, and attended the Schemitz-Tierin <a href="/wiki/Boarding_school" title="Boarding school">boarding school</a>.<a href="#cite_note-iliv241-9">[9]</a> It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the <a href="/wiki/Saint_Sava_National_College" title="Saint Sava National College">Saint Sava National College</a><a href="#cite_note-iliv241-9">[9]</a> or as the Sfântul Gheorghe High School.<a href="#cite_note-11">[11]</a> In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing <a href="/wiki/Simbolul" title="Simbolul">Simbolul</a>. Reputedly, Janco and Vinea provided the funds.<a href="#cite_note-pcern99-12">[12]</a> Like Vinea, Tzara was also close to their young colleague <a href="/w/index.php?title=Jacques_G._Costin&action=edit&redlink=1" class="new" title="Jacques G. Costin (page does not exist)">Jacques G. Costin</a>, who was later his self-declared promoter and admirer.<a href="#cite_note-13">[13]</a> Despite their young age, the three editors were able to attract collaborations from established <a href="/wiki/Symbolism_(arts)" class="mw-redirect" title="Symbolism (arts)">Symbolist</a> authors, active within <a href="/wiki/Symbolist_movement_in_Romania" title="Symbolist movement in Romania">Romania's own Symbolist movement</a>. Alongside their close friend and mentor <a href="/wiki/Adrian_Maniu" title="Adrian Maniu">Adrian Maniu</a> (an <a href="/wiki/Imagism" title="Imagism">Imagist</a> who had been Vinea's tutor),<a href="#cite_note-14">[14]</a> they included <a href="/wiki/N._Davidescu" class="mw-redirect" title="N. Davidescu">N. Davidescu</a>, <a href="/wiki/Alfred_Hefter" title="Alfred Hefter">Alfred Hefter-Hidalgo</a>, <a href="/wiki/Emil_Isac" title="Emil Isac">Emil Isac</a>, <a href="/wiki/Claudia_Millian" title="Claudia Millian">Claudia Millian</a>, <a href="/wiki/Ion_Minulescu" title="Ion Minulescu">Ion Minulescu</a>, <a href="/wiki/I._M._Ra%C8%99cu" title="I. M. Rașcu">I. M. Rașcu</a>, <a href="/wiki/Eugeniu_Sperantia" title="Eugeniu Sperantia">Eugeniu Sperantia</a>, <a href="/wiki/Al._T._Stamatiad" title="Al. T. Stamatiad">Al. T. Stamatiad</a>, <a href="/wiki/Eugeniu_%C8%98tef%C4%83nescu-Est" title="Eugeniu Ștefănescu-Est">Eugeniu Ștefănescu-Est</a>, and <a href="/wiki/Constantin_T._Stoika" title="Constantin T. Stoika">Constantin T. Stoika</a>, as well as journalist and lawyer <a href="/w/index.php?title=Poldi_Chapier&action=edit&redlink=1" class="new" title="Poldi Chapier (page does not exist)">Poldi Chapier</a>.<a href="#cite_note-pcern49-15">[15]</a> In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, <a href="/wiki/Alexandru_Macedonski" title="Alexandru Macedonski">Alexandru Macedonski</a>.<a href="#cite_note-pcern49-15">[15]</a> Simbolul also featured illustrations by Maniu, Millian and <a href="/wiki/Iosif_Iser" title="Iosif Iser">Iosif Iser</a>.<a href="#cite_note-16">[16]</a> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Tzara,_Maxy,_Vinea,_Costin_(1915).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Tzara%2C_Maxy%2C_Vinea%2C_Costin_%281915%29.jpg/300px-Tzara%2C_Maxy%2C_Vinea%2C_Costin_%281915%29.jpg" decoding="async" width="300" height="237" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Tzara%2C_Maxy%2C_Vinea%2C_Costin_%281915%29.jpg/450px-Tzara%2C_Maxy%2C_Vinea%2C_Costin_%281915%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Tzara%2C_Maxy%2C_Vinea%2C_Costin_%281915%29.jpg/600px-Tzara%2C_Maxy%2C_Vinea%2C_Costin_%281915%29.jpg 2x" data-file-width="790" data-file-height="623" /></a><figcaption>The <a href="/w/index.php?title=Chemarea&action=edit&redlink=1" class="new" title="Chemarea (page does not exist)">Chemarea</a> circle in 1915. From left: Tzara, <a href="/wiki/M._H._Maxy" class="mw-redirect" title="M. H. Maxy">M. H. Maxy</a>, <a href="/wiki/Ion_Vinea" title="Ion Vinea">Ion Vinea</a>, and <a href="/w/index.php?title=Jacques_G._Costin&action=edit&redlink=1" class="new" title="Jacques G. Costin (page does not exist)">Jacques G. Costin</a></figcaption></figure> Although the magazine ceased print in December 1912, it played an important part in shaping <a href="/wiki/Literature_of_Romania" class="mw-redirect" title="Literature of Romania">Romanian literature</a> of the period. Literary historian <a href="/wiki/Paul_Cernat" title="Paul Cernat">Paul Cernat</a> sees Simbolul as a main stage in Romania's <a href="/wiki/Modernism" title="Modernism">modernism</a>, and credits it with having brought about the first changes from Symbolism to the radical avant-garde.<a href="#cite_note-17">[17]</a> Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as <a href="/wiki/Ion_Minulescu" title="Ion Minulescu">Ion Minulescu</a> and <a href="/wiki/Tudor_Arghezi" title="Tudor Arghezi">Tudor Arghezi</a>.<a href="#cite_note-18">[18]</a> Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the <a href="/wiki/Black_Sea" title="Black Sea">Black Sea</a> coast or at the Rosenstock family property in <a href="/wiki/G%C3%A2rceni" title="Gârceni">Gârceni</a>, <a href="/wiki/Vaslui_County" title="Vaslui County">Vaslui County</a>; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another.<a href="#cite_note-19">[19]</a> <div class="mw-heading mw-heading3"><h3 id="Chemarea_and_1915_departure">Chemarea and 1915 departure</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=4" title="Edit section: Chemarea and 1915 departure">edit</a>]</div> Tzara's career changed course between 1914 and 1916, during a period when the <a href="/wiki/Kingdom_of_Romania" title="Kingdom of Romania">Romanian Kingdom</a> kept out of <a href="/wiki/World_War_I" title="World War I">World War I</a>. In autumn 1915, as founder and editor of the short-lived journal Chemarea, Vinea published two poems by his friend, the first printed works to bear the signature Tristan Tzara.<a href="#cite_note-20">[20]</a> At the time, the young poet and many of his friends were adherents of an <a href="/wiki/Anti-war" class="mw-redirect" title="Anti-war">anti-war</a> and anti-<a href="/wiki/Nationalism" title="Nationalism">nationalist</a> current, which progressively accommodated <a href="/wiki/Anti-establishment" title="Anti-establishment">anti-establishment</a> messages.<a href="#cite_note-21">[21]</a> Chemarea, which was a platform for this agenda and again attracted collaborations from Chapier, may also have been financed by Tzara and Vinea.<a href="#cite_note-pcern99-12">[12]</a> According to Romanian avant-garde writer <a href="/w/index.php?title=Claude_Sernet&action=edit&redlink=1" class="new" title="Claude Sernet (page does not exist)">Claude Sernet</a>, the journal was "totally different from everything that had been printed in Romania before that moment."<a href="#cite_note-22">[22]</a> During the period, Tzara's works were sporadically published in Hefter-Hidalgo's <a href="/wiki/Versuri_%C8%99i_Proz%C4%83" title="Versuri și Proză">Versuri și Proză</a>, and, in June 1915, <a href="/wiki/Constantin_R%C4%83dulescu-Motru" title="Constantin Rădulescu-Motru">Constantin Rădulescu-Motru</a>'s Noua Revistă Română published Samyro's known poem Verișoară, fată de pension ("Little Cousin, Boarding School Girl").<a href="#cite_note-Cernat,_p.108-109-2">[2]</a> Tzara had enrolled at the <a href="/wiki/University_of_Bucharest" title="University of Bucharest">University of Bucharest</a> in 1914, studying mathematics and philosophy, but did not graduate.<a href="#cite_note-iliv241-9">[9]</a><a href="#cite_note-ttunifi-23">[23]</a> In autumn 1915, he left Romania for Zürich, in neutral Switzerland. Janco, together with his brother Jules Janco, had settled there a few months before, and was later joined by his other brother, Georges Janco.<a href="#cite_note-24">[24]</a> Tzara, who may have applied to the Faculty of Philosophy at the <a href="/wiki/University_of_Zurich" title="University of Zurich">local university</a>,<a href="#cite_note-iliv241-9">[9]</a><a href="#cite_note-mrdada-25">[25]</a> shared lodging with Marcel Janco, who was a student at the <a href="/wiki/ETH_Zurich" title="ETH Zurich">Technische Hochschule</a>, in the Altinger Guest House<a href="#cite_note-26">[26]</a> (by 1918, Tzara had moved to the Limmatquai Hotel).<a href="#cite_note-27">[27]</a> His departure from Romania, like that of the Janco brothers, may have been in part a <a href="/wiki/Pacifism" title="Pacifism">pacifist</a> political statement.<a href="#cite_note-28">[28]</a> After settling in Switzerland, the young poet almost completely discarded Romanian as his language of expression, writing most of his subsequent works in French.<a href="#cite_note-ttunifi-23">[23]</a><a href="#cite_note-29">[29]</a> The poems he had written before, which were the result of poetic dialogues between him and his friend, were left in Vinea's care.<a href="#cite_note-pcern116-30">[30]</a> Most of these pieces were first printed only in the <a href="/wiki/Interwar_period" title="Interwar period">interwar period</a>.<a href="#cite_note-ttunifi-23">[23]</a><a href="#cite_note-31">[31]</a> It was in Zürich that the Romanian group met with the <a href="/wiki/German_Empire" title="German Empire">German</a> <a href="/wiki/Hugo_Ball" title="Hugo Ball">Hugo Ball</a>, an <a href="/wiki/Anarchism" title="Anarchism">anarchist</a> poet and pianist, and his young wife <a href="/wiki/Emmy_Hennings" title="Emmy Hennings">Emmy Hennings</a>, a <a href="/wiki/Music_hall" title="Music hall">music hall</a> performer. In February 1916, Ball had rented the <a href="/wiki/Cabaret_Voltaire_(Z%C3%BCrich)" title="Cabaret Voltaire (Zürich)">Cabaret Voltaire</a> from its owner, Jan Ephraim, and intended to use the venue for <a href="/wiki/Performance_art" title="Performance art">performance art</a> and exhibits.<a href="#cite_note-32">[32]</a> Hugo Ball recorded this period, noting that Tzara and Marcel Janco, like <a href="/wiki/Hans_Arp" class="mw-redirect" title="Hans Arp">Hans Arp</a>, <a href="/wiki/Arthur_Segal_(painter)" title="Arthur Segal (painter)">Arthur Segal</a>, <a href="/wiki/Otto_van_Rees" title="Otto van Rees">Otto van Rees</a>, and <a href="/wiki/Max_Oppenheimer" class="mw-redirect" title="Max Oppenheimer">Max Oppenheimer</a> "readily agreed to take part in the cabaret".<a href="#cite_note-Cernat,_p.111;_Richter,_p.14-33">[33]</a> According to Ball, among the performances of songs mimicking or taking inspiration from various national <a href="/wiki/Folklore" title="Folklore">folklores</a>, "Herr Tristan Tzara recited Rumanian poetry."<a href="#cite_note-34">[34]</a> In late March, Ball recounted, the group was joined by German writer and drummer <a href="/wiki/Richard_Huelsenbeck" title="Richard Huelsenbeck">Richard Huelsenbeck</a>.<a href="#cite_note-Cernat,_p.111;_Richter,_p.14-33">[33]</a> He was soon after involved in Tzara's "simultaneist verse" performance, "the first in Zürich and in the world", also including renditions of poems by two promoters of <a href="/wiki/Cubism" title="Cubism">Cubism</a>, <a href="/w/index.php?title=Fernand_Divoire&action=edit&redlink=1" class="new" title="Fernand Divoire (page does not exist)">Fernand Divoire</a> and <a href="/w/index.php?title=Henri_Barzun&action=edit&redlink=1" class="new" title="Henri Barzun (page does not exist)">Henri Barzun</a>.<a href="#cite_note-35">[35]</a> <div class="mw-heading mw-heading3"><h3 id="Birth_of_Dada">Birth of Dada</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=5" title="Edit section: Birth of Dada">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Placa_en_Cabaret_Voltaire_retouched.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Placa_en_Cabaret_Voltaire_retouched.jpg/260px-Placa_en_Cabaret_Voltaire_retouched.jpg" decoding="async" width="260" height="250" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Placa_en_Cabaret_Voltaire_retouched.jpg/390px-Placa_en_Cabaret_Voltaire_retouched.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Placa_en_Cabaret_Voltaire_retouched.jpg/520px-Placa_en_Cabaret_Voltaire_retouched.jpg 2x" data-file-width="1257" data-file-height="1211" /></a><figcaption><a href="/wiki/Cabaret_Voltaire_(Z%C3%BCrich)" title="Cabaret Voltaire (Zürich)">Cabaret Voltaire</a> plaque commemorating the birth of Dada</figcaption></figure> It was in this milieu that <a href="/wiki/Dada" title="Dada">Dada</a> was born, at some point before May 1916, when a publication of the same name first saw print. The story of its establishment was the subject of a disagreement between Tzara and his fellow writers. Cernat believes that the first Dadaist performance took place as early as February, when the nineteen-year-old Tzara, wearing a <a href="/wiki/Monocle" title="Monocle">monocle</a>, entered the Cabaret Voltaire stage singing sentimental melodies and handing paper wads to his "scandalized spectators", leaving the stage to allow room for masked actors on <a href="/wiki/Stilts" title="Stilts">stilts</a>, and returning in clown attire.<a href="#cite_note-pcern112-36">[36]</a> The same type of performances took place at the <a href="/wiki/Z%C3%BCnfte_of_Z%C3%BCrich" title="Zünfte of Zürich">Zunfthaus zur Waag</a> beginning in summer 1916, after the Cabaret Voltaire was forced to close down.<a href="#cite_note-37">[37]</a> According to music historian Bernard Gendron, for as long as it lasted, "the Cabaret Voltaire was dada. There was no alternative institution or site that could disentangle 'pure' dada from its mere accompaniment [...] nor was any such site desired."<a href="#cite_note-38">[38]</a> Other opinions link Dada's beginnings with much earlier events, including the experiments of <a href="/wiki/Alfred_Jarry" title="Alfred Jarry">Alfred Jarry</a>, <a href="/wiki/Andr%C3%A9_Gide" title="André Gide">André Gide</a>, <a href="/wiki/Christian_Morgenstern" title="Christian Morgenstern">Christian Morgenstern</a>, <a href="/wiki/Jean-Pierre_Brisset" title="Jean-Pierre Brisset">Jean-Pierre Brisset</a>, <a href="/wiki/Guillaume_Apollinaire" title="Guillaume Apollinaire">Guillaume Apollinaire</a>, <a href="/wiki/Jacques_Vach%C3%A9" title="Jacques Vaché">Jacques Vaché</a>, <a href="/wiki/Marcel_Duchamp" title="Marcel Duchamp">Marcel Duchamp</a>, and <a href="/wiki/Francis_Picabia" title="Francis Picabia">Francis Picabia</a>.<a href="#cite_note-39">[39]</a> In the first of the movement's manifestos, Ball wrote: "[The booklet] is intended to present to the Public the activities and interests of the Cabaret Voltaire, which has as its sole purpose to draw attention, across the barriers of war and nationalism, to the few independent spirits who live for other ideals. The next objective of the artists who are assembled here is to publish a revue internationale [French for 'international magazine']."<a href="#cite_note-hrich14-40">[40]</a> Ball completed his message in French, and the paragraph translates as: "The magazine shall be published in Zürich and shall carry the name 'Dada' ('Dada'). Dada Dada Dada Dada."<a href="#cite_note-hrich14-40">[40]</a> The view according to which Ball had created the movement was notably supported by writer <a href="/wiki/Walter_Serner" title="Walter Serner">Walter Serner</a>, who directly accused Tzara of having abused Ball's initiative.<a href="#cite_note-hrich123-41">[41]</a> A secondary point of contention between the founders of Dada regarded the paternity for the movement's name, which, according to visual artist and essayist <a href="/wiki/Hans_Richter_(artist)" title="Hans Richter (artist)">Hans Richter</a>, was first adopted in print in June 1916.<a href="#cite_note-hrich32-42">[42]</a> Ball, who claimed authorship and stated that he picked the word randomly from a dictionary, indicated that it stood for both the French-language equivalent of "<a href="/wiki/Hobby_horse_(toy)" title="Hobby horse (toy)">hobby horse</a>" and a <a href="/wiki/German_language" title="German language">German-language</a> term reflecting the joy of children being rocked to sleep.<a href="#cite_note-43">[43]</a> Tzara himself declined interest in the matter, but Marcel Janco credited him with having coined the term.<a href="#cite_note-44">[44]</a> Dada manifestos, written or co-authored by Tzara, record that the name shares its form with various other terms, including a word used in the <a href="/wiki/Kru_languages" title="Kru languages">Kru languages</a> of <a href="/wiki/West_Africa" title="West Africa">West Africa</a> to designate the tail of a sacred cow; a toy and the name for "mother" in an unspecified <a href="/wiki/Regional_Italian" title="Regional Italian">Italian dialect</a>; and the double affirmative in Romanian and in various <a href="/wiki/Slavic_languages" title="Slavic languages">Slavic languages</a>.<a href="#cite_note-45">[45]</a> <div class="mw-heading mw-heading3"><h3 id="Dadaist_promoter">Dadaist promoter</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=6" title="Edit section: Dadaist promoter">edit</a>]</div> Before the end of the war, Tzara had assumed a position as Dada's main promoter and manager, helping the Swiss group establish branches in other European countries.<a href="#cite_note-mrdada-25">[25]</a><a href="#cite_note-46">[46]</a> This period also saw the first conflict within the group: citing irreconcilable differences with Tzara, Ball left the group.<a href="#cite_note-47">[47]</a> With his departure, Gendron argues, Tzara was able to move Dada <a href="/wiki/Vaudeville" title="Vaudeville">vaudeville</a>-like performances into more of "an incendiary and yet jocularly provocative theater."<a href="#cite_note-bgend77-48">[48]</a> He is often credited with having inspired many young modernist authors from outside Switzerland to affiliate with the group, in particular the Frenchmen <a href="/wiki/Louis_Aragon" title="Louis Aragon">Louis Aragon</a>, <a href="/wiki/Andr%C3%A9_Breton" title="André Breton">André Breton</a>, <a href="/wiki/Paul_%C3%89luard" title="Paul Éluard">Paul Éluard</a>, <a href="/wiki/Georges_Ribemont-Dessaignes" title="Georges Ribemont-Dessaignes">Georges Ribemont-Dessaignes</a> and <a href="/wiki/Philippe_Soupault" title="Philippe Soupault">Philippe Soupault</a>.<a href="#cite_note-jycmelusine-4">[4]</a><a href="#cite_note-hrich33-49">[49]</a> Richter, who also came into contact with Dada at this stage in its history, notes that these intellectuals often had a "very cool and distant attitude to this new movement" before being approached by the Romanian author.<a href="#cite_note-hrich33-49">[49]</a> In June 1916, he began editing and managing the periodical Dada as a successor of the short-lived magazine Cabaret Voltaire—Richter describes his "energy, passion and talent for the job", which he claims satisfied all Dadaists.<a href="#cite_note-50">[50]</a> He was at the time the lover of <a href="/w/index.php?title=Maja_Kruscek&action=edit&redlink=1" class="new" title="Maja Kruscek (page does not exist)">Maja Kruscek</a>, who was a student of <a href="/wiki/Rudolf_Laban" class="mw-redirect" title="Rudolf Laban">Rudolf Laban</a>; in Richter's account, their relationship was always tottering.<a href="#cite_note-51">[51]</a> As early as 1916, Tristan Tzara took distance from the Italian <a href="/wiki/Futurism" title="Futurism">Futurists</a>, rejecting the <a href="/wiki/Militarism" title="Militarism">militarist</a> and proto-<a href="/wiki/Italian_fascism" title="Italian fascism">fascist</a> stance of their leader <a href="/wiki/Filippo_Tommaso_Marinetti" title="Filippo Tommaso Marinetti">Filippo Tommaso Marinetti</a>.<a href="#cite_note-52">[52]</a> Richter notes that, by then, Dada had replaced Futurism as the leader of modernism, while continuing to build on its influence: "we had swallowed Futurism—bones, feathers and all. It is true that in the process of digestion all sorts of bones and feathers had been regurgitated."<a href="#cite_note-hrich33-49">[49]</a> Despite this and the fact that Dada did not make any gains in Italy, Tzara could count poets <a href="/wiki/Giuseppe_Ungaretti" title="Giuseppe Ungaretti">Giuseppe Ungaretti</a> and <a href="/wiki/Alberto_Savinio" title="Alberto Savinio">Alberto Savinio</a>, painters <a href="/wiki/Gino_Cantarelli" title="Gino Cantarelli">Gino Cantarelli</a> and <a href="/w/index.php?title=Aldo_Fiozzi&action=edit&redlink=1" class="new" title="Aldo Fiozzi (page does not exist)">Aldo Fiozzi</a>, as well as a few other Italian Futurists, among the Dadaists.<a href="#cite_note-53">[53]</a> Among the Italian authors supporting Dadaist manifestos and rallying with the Dada group was the poet, painter and in the future a fascist racial theorist <a href="/wiki/Julius_Evola" title="Julius Evola">Julius Evola</a>, who became a personal friend of Tzara.<a href="#cite_note-buddevo-54">[54]</a> The next year, Tzara and Ball opened the Galerie Dada permanent exhibit, through which they set contacts with the independent Italian visual artist <a href="/wiki/Giorgio_de_Chirico" title="Giorgio de Chirico">Giorgio de Chirico</a> and with the German <a href="/wiki/Expressionism" title="Expressionism">Expressionist</a> journal <a href="/wiki/Der_Sturm" title="Der Sturm">Der Sturm</a>, all of whom were described as "fathers of Dada".<a href="#cite_note-55">[55]</a> During the same months, and probably owing to Tzara's intervention, the Dada group organized a performance of Sphinx and Strawman, a puppet play by the <a href="/wiki/Austria-Hungary" title="Austria-Hungary">Austro-Hungarian</a> Expressionist <a href="/wiki/Oskar_Kokoschka" title="Oskar Kokoschka">Oskar Kokoschka</a>, whom he advertised as an example of "Dada theater".<a href="#cite_note-56">[56]</a> He was also in touch with <a href="/w/index.php?title=Nord-Sud&action=edit&redlink=1" class="new" title="Nord-Sud (page does not exist)">Nord-Sud</a>, the magazine of French poet <a href="/wiki/Pierre_Reverdy" title="Pierre Reverdy">Pierre Reverdy</a> (who sought to unify all avant-garde trends),<a href="#cite_note-jycmelusine-4">[4]</a> and contributed articles on <a href="/wiki/African_art" title="African art">African art</a> to both Nord-Sud and <a href="/wiki/Pierre_Albert-Birot" title="Pierre Albert-Birot">Pierre Albert-Birot</a>'s SIC magazine.<a href="#cite_note-hrich167-57">[57]</a> In early 1918, through Huelsenbeck, Zürich Dadaists established contacts with their more explicitly <a href="/wiki/Left-wing" class="mw-redirect" title="Left-wing">left-wing</a> disciples in the German Empire — <a href="/wiki/George_Grosz" title="George Grosz">George Grosz</a>, <a href="/wiki/John_Heartfield" title="John Heartfield">John Heartfield</a>, <a href="/wiki/Johannes_Baader" title="Johannes Baader">Johannes Baader</a>, <a href="/wiki/Kurt_Schwitters" title="Kurt Schwitters">Kurt Schwitters</a>, <a href="/wiki/Walter_Mehring" title="Walter Mehring">Walter Mehring</a>, <a href="/wiki/Raoul_Hausmann" title="Raoul Hausmann">Raoul Hausmann</a>, <a href="/wiki/Carl_Einstein" title="Carl Einstein">Carl Einstein</a>, <a href="/wiki/Franz_Jung" title="Franz Jung">Franz Jung</a>, and Heartfield's brother <a href="/wiki/Wieland_Herzfelde" title="Wieland Herzfelde">Wieland Herzfelde</a>.<a href="#cite_note-58">[58]</a> With Breton, Soupault and Aragon, Tzara traveled <a href="/wiki/Cologne" title="Cologne">Cologne</a>, where he became familiarized with the elaborate <a href="/wiki/Collage" title="Collage">collage</a> works of Schwitters and <a href="/wiki/Max_Ernst" title="Max Ernst">Max Ernst</a>, which he showed to his colleagues in Switzerland.<a href="#cite_note-59">[59]</a> Huelsenbeck nonetheless declined to Schwitters membership in Berlin Dada.<a href="#cite_note-60">[60]</a> As a result of his campaigning, Tzara created a list of so-called "Dada presidents", who represented various regions of Europe. According to Hans Richter, it included, alongside Tzara, figures ranging from Ernst, Arp, Baader, Breton and Aragon to Kruscek, Evola, <a href="/wiki/Rafael_Lasso_de_la_Vega" title="Rafael Lasso de la Vega">Rafael Lasso de la Vega</a>, <a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Igor Stravinsky</a>, <a href="/wiki/Vicente_Huidobro" title="Vicente Huidobro">Vicente Huidobro</a>, <a href="/w/index.php?title=Francesco_Meriano&action=edit&redlink=1" class="new" title="Francesco Meriano (page does not exist)">Francesco Meriano</a> and <a href="/w/index.php?title=Th%C3%A9odore_Fraenkel&action=edit&redlink=1" class="new" title="Théodore Fraenkel (page does not exist)">Théodore Fraenkel</a>.<a href="#cite_note-61">[61]</a> Richter notes: "I'm not sure if all the names who appear here would agree with the description."<a href="#cite_note-62">[62]</a> <div class="mw-heading mw-heading3"><h3 id="End_of_World_War_I">End of World War I</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=7" title="Edit section: End of World War I">edit</a>]</div> The shows Tzara staged in Zürich often turned into scandals or riots, and he was in permanent conflict with the <a href="/wiki/Law_enforcement_in_Switzerland" title="Law enforcement in Switzerland">Swiss law enforcers</a>.<a href="#cite_note-63">[63]</a> Hans Richter speaks of a "pleasure of letting fly at the <a href="/wiki/Bourgeoisie" title="Bourgeoisie">bourgeois</a>, which in Tristan Tzara took the form of coldly (or hotly) calculated insolence" (see <a href="/wiki/%C3%89pater_la_bourgeoisie" title="Épater la bourgeoisie">Épater la bourgeoisie</a>).<a href="#cite_note-64">[64]</a> In one instance, as part of a series of events in which Dadaists mocked established authors, Tzara and Arp falsely publicized that they were going to fight a <a href="/wiki/Duel" title="Duel">duel</a> in Rehalp, near Zürich, and that they were going to have the popular novelist <a href="/wiki/Jakob_Christoph_Heer" title="Jakob Christoph Heer">Jakob Christoph Heer</a> for their witness.<a href="#cite_note-65">[65]</a> Richter also reports that his Romanian colleague profited from Swiss neutrality to play the <a href="/wiki/Allies_of_World_War_I" title="Allies of World War I">Allies</a> and <a href="/wiki/Central_Powers" title="Central Powers">Central Powers</a> against each other, obtaining art works and funds from both, making use of their need to stimulate their respective <a href="/wiki/Propaganda" title="Propaganda">propaganda</a> efforts.<a href="#cite_note-66">[66]</a> While active as a promoter, Tzara also published his first volume of collected poetry, the 1918 Vingt-cinq poèmes ("Twenty-five Poems").<a href="#cite_note-rcard530-67">[67]</a> A major event took place in autumn 1918, when <a href="/wiki/Francis_Picabia" title="Francis Picabia">Francis Picabia</a>, who was then publisher of <a href="/wiki/391_(magazine)" title="391 (magazine)">391</a> magazine and a distant Dada affiliate, visited Zürich and introduced his colleagues there to his <a href="/wiki/Nihilism" title="Nihilism">nihilistic</a> views on art and reason.<a href="#cite_note-68">[68]</a> In the <a href="/wiki/United_States" title="United States">United States</a>, Picabia, <a href="/wiki/Man_Ray" title="Man Ray">Man Ray</a> and <a href="/wiki/Marcel_Duchamp" title="Marcel Duchamp">Marcel Duchamp</a> had earlier set up their own version of Dada. This circle, based in New York City, sought affiliation with Tzara's only in 1921, when they jokingly asked him to grant them permission to use "Dada" as their own name (to which Tzara replied: "Dada belongs to everybody").<a href="#cite_note-69">[69]</a> The visit was credited by Richter with boosting the Romanian author's status, but also with making Tzara himself "switch suddenly from a position of balance between art and <a href="/wiki/Anti-art" title="Anti-art">anti-art</a> into the <a href="/wiki/Stratosphere" title="Stratosphere">stratospheric</a> regions of pure and joyful nothingness."<a href="#cite_note-70">[70]</a> The movement subsequently organized its last major Swiss show, held at the Saal zur Kaufleutern, with choreography by <a href="/w/index.php?title=Susanne_Perrottet&action=edit&redlink=1" class="new" title="Susanne Perrottet (page does not exist)">Susanne Perrottet</a>, <a href="/wiki/Sophie_Taeuber-Arp" title="Sophie Taeuber-Arp">Sophie Taeuber-Arp</a>, and with the participation of <a href="/wiki/K%C3%A4the_Wulff" class="mw-redirect" title="Käthe Wulff">Käthe Wulff</a>, <a href="/w/index.php?title=Hans_Heusser&action=edit&redlink=1" class="new" title="Hans Heusser (page does not exist)">Hans Heusser</a>, Tzara, Hans Richter and <a href="/wiki/Walter_Serner" title="Walter Serner">Walter Serner</a>.<a href="#cite_note-71">[71]</a> It was there that Serner read from his 1918 essay, whose very title advocated Letzte Lockerung ("Final Dissolution"): this part is believed to have caused the subsequent mêlée, during which the public attacked the performers and succeeded in interrupting, but not canceling, the show.<a href="#cite_note-72">[72]</a> Following the November 1918 <a href="/wiki/Armistice_with_Germany_(Compi%C3%A8gne)" class="mw-redirect" title="Armistice with Germany (Compiègne)">Armistice with Germany</a>, Dada's evolution was marked by political developments. In October 1919, Tzara, Arp and <a href="/wiki/Otto_Flake" title="Otto Flake">Otto Flake</a> began publishing <a href="/w/index.php?title=Der_Zeltweg&action=edit&redlink=1" class="new" title="Der Zeltweg (page does not exist)">Der Zeltweg</a>, a journal aimed at further popularizing Dada in a post-war world were the borders were again accessible.<a href="#cite_note-Richter,_p.80-73">[73]</a> Richter, who admits that the magazine was "rather tame", also notes that Tzara and his colleagues were dealing with the impact of <a href="/wiki/Communist_revolution" title="Communist revolution">communist revolutions</a>, in particular the <a href="/wiki/October_Revolution" title="October Revolution">October Revolution</a> and the <a href="/wiki/German_Revolution_of_1918%E2%80%931919" class="mw-redirect" title="German Revolution of 1918–1919">German revolts of 1918</a>, which "had stirred men's minds, divided men's interests and diverted energies in the direction of political change."<a href="#cite_note-Richter,_p.80-73">[73]</a> The same commentator, however, dismisses those accounts which, he believes, led readers to believe that Der Zeltweg was "an association of revolutionary artists."<a href="#cite_note-Richter,_p.80-73">[73]</a> According to one account rendered by historian Robert Levy, Tzara shared company with a group of Romanian <a href="/wiki/Communism" title="Communism">communist</a> students, and, as such, may have met with <a href="/wiki/Ana_Pauker" title="Ana Pauker">Ana Pauker</a>, who was later one of the <a href="/wiki/Romanian_Communist_Party" title="Romanian Communist Party">Romanian Communist Party</a>'s most prominent activists.<a href="#cite_note-74">[74]</a> Arp and Janco drifted away from the movement ca. 1919, when they created the <a href="/wiki/Constructivism_(art)" title="Constructivism (art)">Constructivist</a>-inspired workshop <a href="/w/index.php?title=Das_Neue_Leben&action=edit&redlink=1" class="new" title="Das Neue Leben (page does not exist)">Das Neue Leben</a>.<a href="#cite_note-pcern115-75">[75]</a> In Romania, Dada was awarded an ambiguous reception from Tzara's former associate Vinea. Although he was sympathetic to its goals, treasured Hugo Ball and Hennings and promised to adapt his own writings to its requirements, Vinea cautioned Tzara and the Jancos in favor of lucidity.<a href="#cite_note-76">[76]</a> When Vinea submitted his poem Doleanțe ("Grievances") to be published by Tzara and his associates, he was turned down, an incident which critics attribute to a contrast between the reserved tone of the piece and the revolutionary tenets of Dada.<a href="#cite_note-77">[77]</a> <div class="mw-heading mw-heading3"><h3 id="Paris_Dada">Paris Dada</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=8" title="Edit section: Paris Dada">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Jane_Heap,_John_Rodker,_Martha_Dennison,_Tristan_Tzara,_Margaret_Anderson,_ca._1920s.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/Jane_Heap%2C_John_Rodker%2C_Martha_Dennison%2C_Tristan_Tzara%2C_Margaret_Anderson%2C_ca._1920s.jpg/330px-Jane_Heap%2C_John_Rodker%2C_Martha_Dennison%2C_Tristan_Tzara%2C_Margaret_Anderson%2C_ca._1920s.jpg" decoding="async" width="330" height="249" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/Jane_Heap%2C_John_Rodker%2C_Martha_Dennison%2C_Tristan_Tzara%2C_Margaret_Anderson%2C_ca._1920s.jpg/495px-Jane_Heap%2C_John_Rodker%2C_Martha_Dennison%2C_Tristan_Tzara%2C_Margaret_Anderson%2C_ca._1920s.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/0/03/Jane_Heap%2C_John_Rodker%2C_Martha_Dennison%2C_Tristan_Tzara%2C_Margaret_Anderson%2C_ca._1920s.jpg 2x" data-file-width="597" data-file-height="450" /></a><figcaption>Tzara (second from right) in the 1920s, with <a href="/wiki/Margaret_C._Anderson" title="Margaret C. Anderson">Margaret C. Anderson</a>, <a href="/wiki/Jane_Heap" title="Jane Heap">Jane Heap</a>, and <a href="/wiki/John_Rodker" title="John Rodker">John Rodker</a></figcaption></figure> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Tristan_Tzara_lisant_L%27Action_Fran%C3%A7aise.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/18/Tristan_Tzara_lisant_L%27Action_Fran%C3%A7aise.jpg/280px-Tristan_Tzara_lisant_L%27Action_Fran%C3%A7aise.jpg" decoding="async" width="280" height="454" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/1/18/Tristan_Tzara_lisant_L%27Action_Fran%C3%A7aise.jpg 1.5x" data-file-width="370" data-file-height="600" /></a><figcaption>Tzara reading <a href="/w/index.php?title=L%27Action_fran%C3%A7aise_(quotidien)&action=edit&redlink=1" class="new" title="L'Action française (quotidien) (page does not exist)">L'Action Française</a>, French nationalist newspaper in the 1920s, <a href="/w/index.php?title=Archives_Charmet&action=edit&redlink=1" class="new" title="Archives Charmet (page does not exist)">archives Charmet</a>.</figcaption></figure> In late 1919, Tristan Tzara left Switzerland to join Breton, Soupault and <a href="/wiki/Claude_Rivi%C3%A8re" title="Claude Rivière">Claude Rivière</a> in editing the Paris-based magazine <a href="/wiki/Litt%C3%A9rature" title="Littérature">Littérature</a>.<a href="#cite_note-mrdada-25">[25]</a><a href="#cite_note-78">[78]</a> Already a mentor for the French avant-garde, he was, according to Hans Richter, perceived as an "Anti-<a href="/wiki/Messiah" title="Messiah">Messiah</a>" and a "prophet".<a href="#cite_note-hrich168-79">[79]</a> Reportedly, Dada mythology had it that he entered the French capital in a snow-white or lilac-colored car, passing down <a href="/wiki/Boulevard_Raspail" title="Boulevard Raspail">Boulevard Raspail</a> through a <a href="/wiki/Triumphal_arch" title="Triumphal arch">triumphal arch</a> made from his own pamphlets, being greeted by cheering crowds and a fireworks display.<a href="#cite_note-hrich168-79">[79]</a> Richter dismisses this account, indicating that Tzara actually walked from <a href="/wiki/Gare_de_l%27Est" title="Gare de l'Est">Gare de l'Est</a> to Picabia's home, without anyone expecting him to arrive.<a href="#cite_note-hrich168-79">[79]</a> He is often described as the main figure in the Littérature circle, and credited with having more firmly set its artistic principles in the line of Dada.<a href="#cite_note-mrdada-25">[25]</a><a href="#cite_note-80">[80]</a> When Picabia began publishing a new series of 391 in Paris, Tzara seconded him and, Richter says, produced issues of the magazine "decked out [...] in all the colors of Dada."<a href="#cite_note-hrich167-57">[57]</a> He was also issuing his Dada magazine, printed in Paris but using the same format, renaming it Bulletin Dada and later Dadaphone.<a href="#cite_note-81">[81]</a> At around that time, he met American author <a href="/wiki/Gertrude_Stein" title="Gertrude Stein">Gertrude Stein</a>, who wrote about him in <a href="/wiki/The_Autobiography_of_Alice_B._Toklas" title="The Autobiography of Alice B. Toklas">The Autobiography of Alice B. Toklas</a>,<a href="#cite_note-82">[82]</a> and the artist couple <a href="/wiki/Robert_Delaunay" title="Robert Delaunay">Robert</a> and <a href="/wiki/Sonia_Delaunay" title="Sonia Delaunay">Sonia Delaunay</a> (with whom he worked in tandem for "poem-dresses" and other simultaneist literary pieces).<a href="#cite_note-tgdelau-83">[83]</a> Tzara became involved in a number of Dada experiments, on which he collaborated with Breton, Aragon, Soupault, Picabia or <a href="/wiki/Paul_%C3%89luard" title="Paul Éluard">Paul Éluard</a>.<a href="#cite_note-jycmelusine-4">[4]</a><a href="#cite_note-enotestt-84">[84]</a><a href="#cite_note-85">[85]</a> Other authors who came into contact with Dada at that stage were <a href="/wiki/Jean_Cocteau" title="Jean Cocteau">Jean Cocteau</a>, <a href="/wiki/Paul_Derm%C3%A9e" title="Paul Dermée">Paul Dermée</a> and <a href="/wiki/Raymond_Radiguet" title="Raymond Radiguet">Raymond Radiguet</a>.<a href="#cite_note-86">[86]</a> The performances staged by Dada were often meant to popularize its principles, and Dada continued to draw attention on itself by <a href="/wiki/Hoax" title="Hoax">hoaxes</a> and <a href="/wiki/False_advertising" title="False advertising">false advertising</a>, announcing that the <a href="/wiki/Cinema_of_the_United_States" title="Cinema of the United States">Hollywood</a> film star <a href="/wiki/Charlie_Chaplin" title="Charlie Chaplin">Charlie Chaplin</a> was going to appear on stage at its show,<a href="#cite_note-bgend77-48">[48]</a> or that its members were going to have their heads shaved or their hair cut off on stage.<a href="#cite_note-87">[87]</a> In another instance, Tzara and his associates lectured at the <a href="/wiki/Universit%C3%A9_populaire" class="mw-redirect" title="Université populaire">Université populaire</a> in front of industrial workers, who were reportedly less than impressed.<a href="#cite_note-Richter,_p.175-176-88">[88]</a> Richter believes that, ideologically, Tzara was still in tribute to Picabia's nihilistic and anarchic views (which made the Dadaists attack all political and cultural ideologies), but that this also implied a measure of sympathy for the <a href="/wiki/Working_class" title="Working class">working class</a>.<a href="#cite_note-Richter,_p.175-176-88">[88]</a> Dada activities in Paris culminated in the March 1920 <a href="/wiki/Variety_show" title="Variety show">variety show</a> at the <a href="/wiki/Th%C3%A9%C3%A2tre_de_l%27%C5%92uvre" title="Théâtre de l'Œuvre">Théâtre de l'Œuvre</a>, which featured readings from Breton, Picabia, Dermée and Tzara's earlier work, La Première aventure céleste de M. Antipyrine ("The First Heavenly Adventure of Mr. Antipyrine").<a href="#cite_note-89">[89]</a> Tzara's melody, Vaseline symphonique ("Symphonic Vaseline"), which required ten or twenty people to shout "cra" and "cri" on a rising scale, was also performed.<a href="#cite_note-90">[90]</a> A scandal erupted when Breton read Picabia's Manifeste cannibale ("Cannibal Manifesto"), lashing out at the audience and mocking them, to which they answered by aiming rotten fruit at the stage.<a href="#cite_note-91">[91]</a> The Dada phenomenon was only noticed in Romania beginning in 1920, and its overall reception was negative. Traditionalist historian <a href="/wiki/Nicolae_Iorga" title="Nicolae Iorga">Nicolae Iorga</a>, Symbolist promoter <a href="/wiki/Ovid_Densusianu" title="Ovid Densusianu">Ovid Densusianu</a>, the more reserved modernists <a href="/wiki/Camil_Petrescu" title="Camil Petrescu">Camil Petrescu</a> and <a href="/wiki/Benjamin_Fondane" title="Benjamin Fondane">Benjamin Fondane</a> all refused to accept it as a valid artistic manifestation.<a href="#cite_note-92">[92]</a> Although he rallied with tradition, Vinea defended the subversive current in front of more serious criticism, and rejected the widespread rumor that Tzara had acted as an <a href="/wiki/Agent_of_influence" title="Agent of influence">agent of influence</a> for the <a href="/wiki/Central_Powers" title="Central Powers">Central Powers</a> during the war.<a href="#cite_note-93">[93]</a> <a href="/wiki/Eugen_Lovinescu" title="Eugen Lovinescu">Eugen Lovinescu</a>, editor of <a href="/wiki/Sbur%C4%83torul" title="Sburătorul">Sburătorul</a> and one of Vinea's rivals on the modernist scene, acknowledged the influence exercised by Tzara on the younger avant-garde authors, but analyzed his work only briefly, using as an example one of his pre-Dada poems, and depicting him as an advocate of literary "extremism".<a href="#cite_note-94">[94]</a> <div class="mw-heading mw-heading3"><h3 id="Dada_stagnation">Dada stagnation</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=9" title="Edit section: Dada stagnation">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:St-Julien-le-Pauvre_%26_houses.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/St-Julien-le-Pauvre_%26_houses.jpg/260px-St-Julien-le-Pauvre_%26_houses.jpg" decoding="async" width="260" height="195" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/St-Julien-le-Pauvre_%26_houses.jpg/390px-St-Julien-le-Pauvre_%26_houses.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/33/St-Julien-le-Pauvre_%26_houses.jpg/520px-St-Julien-le-Pauvre_%26_houses.jpg 2x" data-file-width="4416" data-file-height="3312" /></a><figcaption><a href="/wiki/Saint-Julien-le-Pauvre" title="Saint-Julien-le-Pauvre">Saint-Julien-le-Pauvre</a>, site of the 1921 "Dada excursion"</figcaption></figure> By 1921, Tzara had become involved in conflicts with other figures in the movement, whom he claimed had parted with the spirit of Dada.<a href="#cite_note-95">[95]</a> He was targeted by the Berlin-based Dadaists, in particular by Huelsenbeck and Serner, the former of whom was also involved in a conflict with <a href="/wiki/Raoul_Hausmann" title="Raoul Hausmann">Raoul Hausmann</a> over leadership status.<a href="#cite_note-hrich123-41">[41]</a> According to Richter, tensions between Breton and Tzara had surfaced in 1920, when Breton first made known his wish to do away with musical performances altogether and alleged that the Romanian was merely repeating himself.<a href="#cite_note-96">[96]</a> The Dada shows themselves were by then such common occurrences that audiences expected to be insulted by the performers.<a href="#cite_note-rcard530-67">[67]</a> A more serious crisis occurred in May, when Dada organized a mock trial of <a href="/wiki/Maurice_Barr%C3%A8s" title="Maurice Barrès">Maurice Barrès</a>, whose early affiliation with the Symbolists had been shadowed by his <a href="/wiki/Antisemitism" title="Antisemitism">antisemitism</a> and <a href="/wiki/Reactionary" title="Reactionary">reactionary</a> stance: <a href="/wiki/Georges_Ribemont-Dessaignes" title="Georges Ribemont-Dessaignes">Georges Ribemont-Dessaignes</a> was the prosecutor, Aragon and Soupault the defense attorneys, with Tzara, Ungaretti, <a href="/wiki/Benjamin_P%C3%A9ret" title="Benjamin Péret">Benjamin Péret</a> and others as witnesses (a <a href="/wiki/Mannequin" title="Mannequin">mannequin</a> stood in for Barrès).<a href="#cite_note-97">[97]</a> Péret immediately upset Picabia and Tzara by refusing to make the trial an absurd one, and by introducing a political subtext with which Breton nevertheless agreed.<a href="#cite_note-98">[98]</a> In June, Tzara and Picabia clashed with each other, after Tzara expressed an opinion that his former mentor was becoming too radical.<a href="#cite_note-99">[99]</a> During the same season, Breton, Arp, Ernst, <a href="/w/index.php?title=Maja_Kruschek&action=edit&redlink=1" class="new" title="Maja Kruschek (page does not exist)">Maja Kruschek</a> and Tzara were in Austria, at <a href="/wiki/Imst" title="Imst">Imst</a>, where they published their last manifesto as a group, Dada au grand air ("Dada in the Open Air") or Der Sängerkrieg in Tirol ("The Battle of the Singers in <a href="/wiki/German_Tyrol" title="German Tyrol">Tyrol</a>").<a href="#cite_note-100">[100]</a> Tzara also visited <a href="/wiki/History_of_Czechoslovakia_(1918%E2%80%931938)" title="History of Czechoslovakia (1918–1938)">Czechoslovakia</a>, where he reportedly hoped to gain adherents to his cause.<a href="#cite_note-101">[101]</a> Also in 1921, Ion Vinea wrote an article for the Romanian newspaper <a href="/wiki/Adev%C4%83rul" title="Adevărul">Adevărul</a>, arguing that the movement had exhausted itself (although, in his letters to Tzara, he continued to ask his friend to return home and spread his message there).<a href="#cite_note-102">[102]</a> After July 1922, Marcel Janco rallied with Vinea in editing <a href="/wiki/Contimporanul" title="Contimporanul">Contimporanul</a>, which published some of Tzara's earliest poems but never offered space to any Dadaist manifesto.<a href="#cite_note-103">[103]</a> Reportedly, the conflict between Tzara and Janco had a personal note: Janco later mentioned "some dramatic quarrels" between his colleague and him.<a href="#cite_note-104">[104]</a> They avoided each other for the rest of their lives and Tzara even struck out the dedications to Janco from his early poems.<a href="#cite_note-105">[105]</a> <a href="/wiki/Julius_Evola" title="Julius Evola">Julius Evola</a> also grew disappointed by the movement's total rejection of tradition and began his personal search for an alternative, pursuing a path which later led him to <a href="/wiki/Esotericism" class="mw-redirect" title="Esotericism">esotericism</a> and fascism.<a href="#cite_note-buddevo-54">[54]</a> <div class="mw-heading mw-heading3"><h3 id="Evening_of_the_Bearded_Heart">Evening of the Bearded Heart</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=10" title="Edit section: Evening of the Bearded Heart">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Theo_van_Doesburg_kleine_Dada_soir%C3%A9e.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Theo_van_Doesburg_kleine_Dada_soir%C3%A9e.jpg/230px-Theo_van_Doesburg_kleine_Dada_soir%C3%A9e.jpg" decoding="async" width="230" height="230" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Theo_van_Doesburg_kleine_Dada_soir%C3%A9e.jpg/345px-Theo_van_Doesburg_kleine_Dada_soir%C3%A9e.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Theo_van_Doesburg_kleine_Dada_soir%C3%A9e.jpg/460px-Theo_van_Doesburg_kleine_Dada_soir%C3%A9e.jpg 2x" data-file-width="845" data-file-height="846" /></a><figcaption><a href="/wiki/Theo_van_Doesburg" title="Theo van Doesburg">Theo van Doesburg</a>'s poster for a Dada soirée (ca.1923)</figcaption></figure> Tzara was openly attacked by Breton in a February 1922 article for <a href="/w/index.php?title=Le_Journal_de_Peuple&action=edit&redlink=1" class="new" title="Le Journal de Peuple (page does not exist)">Le Journal de Peuple</a>, where the Romanian writer was denounced as "an impostor" avid for "publicity".<a href="#cite_note-106">[106]</a> In March, Breton initiated the Congress for the Determination and Defense of the Modern Spirit. The French writer used the occasion to strike out Tzara's name from among the Dadaists, citing in his support Dada's Huelsenbeck, Serner, and <a href="/wiki/Christian_Schad" title="Christian Schad">Christian Schad</a>.<a href="#cite_note-pcern114-107">[107]</a> Basing his statement on a note supposedly authored by Huelsenbeck, Breton also accused Tzara of opportunism, claiming that he had planned wartime editions of Dada works in such a manner as not to upset actors on the political stage, making sure that German Dadaists were not made available to the public in countries subject to the <a href="/wiki/Supreme_War_Council" title="Supreme War Council">Supreme War Council</a>.<a href="#cite_note-pcern114-107">[107]</a> Tzara, who attended the Congress only as a means to subvert it,<a href="#cite_note-108">[108]</a> responded to the accusations the same month, arguing that Huelsenbeck's note was fabricated and that Schad had not been one of the original Dadaists.<a href="#cite_note-pcern114-107">[107]</a> Rumors reported much later by American writer <a href="/wiki/Brion_Gysin" title="Brion Gysin">Brion Gysin</a> had it that Breton's claims also depicted Tzara as an informer for the <a href="/wiki/Prefecture_of_Police" title="Prefecture of Police">Prefecture of Police</a>.<a href="#cite_note-nzgysin-109">[109]</a> In May 1922, Dada staged its own funeral.<a href="#cite_note-Londré,_p.398;_Richter,_p.191-110">[110]</a> According to Hans Richter, the main part of this took place in <a href="/wiki/Weimar" title="Weimar">Weimar</a>, where the Dadaists attended a festival of the <a href="/wiki/Bauhaus" title="Bauhaus">Bauhaus</a> art school, during which Tzara proclaimed the elusive nature of his art: "Dada is useless, like everything else in life. [...] Dada is a virgin microbe which penetrates with the insistence of air into all those spaces that reason has failed to fill with words and conventions."<a href="#cite_note-111">[111]</a> In "The Bearded Heart" manifesto a number of artists backed the marginalization of Breton in support of Tzara. Alongside Cocteau, Arp, Ribemont-Dessaignes, and Éluard, the pro-Tzara faction included <a href="/wiki/Erik_Satie" title="Erik Satie">Erik Satie</a>, <a href="/wiki/Theo_van_Doesburg" title="Theo van Doesburg">Theo van Doesburg</a>, <a href="/wiki/Serge_Charchoune" title="Serge Charchoune">Serge Charchoune</a>, <a href="/wiki/Louis-Ferdinand_C%C3%A9line" title="Louis-Ferdinand Céline">Louis-Ferdinand Céline</a>, <a href="/wiki/Marcel_Duchamp" title="Marcel Duchamp">Marcel Duchamp</a>, <a href="/wiki/Ossip_Zadkine" title="Ossip Zadkine">Ossip Zadkine</a>, <a href="/wiki/Jean_Metzinger" title="Jean Metzinger">Jean Metzinger</a>, <a href="/wiki/Ilia_Zdanevich" title="Ilia Zdanevich">Ilia Zdanevich</a>, and <a href="/wiki/Man_Ray" title="Man Ray">Man Ray</a>.<a href="#cite_note-112">[112]</a> During an associated soirée, Evening of the Bearded Heart, which began on 6 July 1923, Tzara presented a re-staging of his play <a href="/wiki/The_Gas_Heart" title="The Gas Heart">The Gas Heart</a> (which had been first performed two years earlier to howls of derision from its audience), for which <a href="/wiki/Sonia_Delaunay" title="Sonia Delaunay">Sonia Delaunay</a> designed the costumes.<a href="#cite_note-tgdelau-83">[83]</a> Breton interrupted its performance and reportedly fought with several of his former associates and broke furniture, prompting a theatre riot that only the intervention of the police halted.<a href="#cite_note-113">[113]</a> Dada's vaudeville declined in importance and disappeared altogether after that date.<a href="#cite_note-114">[114]</a> Picabia took Breton's side against Tzara,<a href="#cite_note-115">[115]</a> and replaced the staff of his 391, enlisting collaborations from <a href="/wiki/Cl%C3%A9ment_Pansaers" title="Clément Pansaers">Clément Pansaers</a> and <a href="/wiki/Ezra_Pound" title="Ezra Pound">Ezra Pound</a>.<a href="#cite_note-116">[116]</a> Breton marked the end of Dada in 1924, when he issued the first <a href="/wiki/Surrealist_Manifesto" title="Surrealist Manifesto">Surrealist Manifesto</a>. Richter suggests that "Surrealism devoured and digested Dada."<a href="#cite_note-Londré,_p.398;_Richter,_p.191-110">[110]</a> Tzara distanced himself from the new trend, disagreeing with its methods and, increasingly, with its politics.<a href="#cite_note-mrdada-25">[25]</a><a href="#cite_note-rcard530-67">[67]</a><a href="#cite_note-enotestt-84">[84]</a><a href="#cite_note-117">[117]</a> In 1923, he and a few other former Dadaists collaborated with Richter and the <a href="/wiki/Constructivism_(art)" title="Constructivism (art)">Constructivist</a> artist <a href="/wiki/El_Lissitzky" title="El Lissitzky">El Lissitzky</a> on the magazine G,<a href="#cite_note-118">[118]</a> and, the following year, he wrote pieces for the <a href="/wiki/Kingdom_of_Yugoslavia" title="Kingdom of Yugoslavia">Yugoslav</a>-<a href="/wiki/Slovenia" title="Slovenia">Slovenian</a> magazine Tank (edited by <a href="/w/index.php?title=Ferdinand_Delak&action=edit&redlink=1" class="new" title="Ferdinand Delak (page does not exist)">Ferdinand Delak</a>).<a href="#cite_note-119">[119]</a> <div class="mw-heading mw-heading3"><h3 id="Transition_to_Surrealism">Transition to Surrealism</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=11" title="Edit section: Transition to Surrealism">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Paris_18_-_Maison_Tristan_Tzara_-1.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/98/Paris_18_-_Maison_Tristan_Tzara_-1.JPG/230px-Paris_18_-_Maison_Tristan_Tzara_-1.JPG" decoding="async" width="230" height="323" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/98/Paris_18_-_Maison_Tristan_Tzara_-1.JPG/345px-Paris_18_-_Maison_Tristan_Tzara_-1.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/98/Paris_18_-_Maison_Tristan_Tzara_-1.JPG/460px-Paris_18_-_Maison_Tristan_Tzara_-1.JPG 2x" data-file-width="2599" data-file-height="3648" /></a><figcaption>Maison Tzara, designed by <a href="/wiki/Adolf_Loos" title="Adolf Loos">Adolf Loos</a></figcaption></figure> Tzara continued to write, becoming more seriously interested in the theater. In 1924, he published and staged the play <a href="/wiki/Handkerchief_of_Clouds" title="Handkerchief of Clouds">Handkerchief of Clouds</a>, which was soon included in the repertoire of <a href="/wiki/Serge_Diaghilev" class="mw-redirect" title="Serge Diaghilev">Serge Diaghilev</a>'s <a href="/wiki/Ballets_Russes" title="Ballets Russes">Ballets Russes</a>.<a href="#cite_note-120">[120]</a> He also collected his earlier Dada texts as the Seven Dada Manifestos. <a href="/wiki/Marxism" title="Marxism">Marxist</a> thinker <a href="/wiki/Henri_Lefebvre" title="Henri Lefebvre">Henri Lefebvre</a> reviewed them enthusiastically; he later became one of the author's friends.<a href="#cite_note-121">[121]</a> In Romania, Tzara's work was partly recuperated by Contimporanul, which notably staged public readings of his works during the international art exhibit it organized in 1924, and again during the "new art demonstration" of 1925.<a href="#cite_note-122">[122]</a> In parallel, the short-lived magazine Integral, where <a href="/wiki/Ilarie_Voronca" title="Ilarie Voronca">Ilarie Voronca</a> and <a href="/wiki/Ion_C%C4%83lug%C4%83ru" title="Ion Călugăru">Ion Călugăru</a> were the main animators, took significant interest in Tzara's work.<a href="#cite_note-123">[123]</a> In a 1927 interview with the publication, he voiced his opposition to the Surrealist group's adoption of communism, indicating that such politics could only result in a "new bourgeoisie" being created, and explaining that he had opted for a personal "<a href="/wiki/Permanent_revolution" title="Permanent revolution">permanent revolution</a>", which would preserve "the holiness of the ego".<a href="#cite_note-124">[124]</a> In 1925, Tristan Tzara was in <a href="/wiki/Stockholm" title="Stockholm">Stockholm</a>, where he married <a href="/wiki/Greta_Knutson" title="Greta Knutson">Greta Knutson</a>, with whom he had a son, Christophe (born 1927).<a href="#cite_note-jycmelusine-4">[4]</a> A former student of painter <a href="/wiki/Andr%C3%A9_Lhote" title="André Lhote">André Lhote</a>, she was known for her interest in <a href="/wiki/Phenomenology_(philosophy)" title="Phenomenology (philosophy)">phenomenology</a> and <a href="/wiki/Abstract_art" title="Abstract art">abstract art</a>.<a href="#cite_note-prsurrgk-125">[125]</a> Around the same period, with funds from Knutson's inheritance, Tzara commissioned <a href="/wiki/Austria" title="Austria">Austrian</a> architect <a href="/wiki/Adolf_Loos" title="Adolf Loos">Adolf Loos</a>, a former representative of the <a href="/wiki/Vienna_Secession" title="Vienna Secession">Vienna Secession</a> whom he had met in Zürich, to build him a house in Paris.<a href="#cite_note-jycmelusine-4">[4]</a> The rigidly <a href="/wiki/Functionalism_(architecture)" title="Functionalism (architecture)">functionalist</a> Maison Tristan Tzara, built in <a href="/wiki/Montmartre" title="Montmartre">Montmartre</a>, was designed following Tzara's specific requirements and decorated with samples of <a href="/wiki/African_art" title="African art">African art</a>.<a href="#cite_note-jycmelusine-4">[4]</a> It was Loos' only major contribution in his Parisian years.<a href="#cite_note-jycmelusine-4">[4]</a> In 1929, he reconciled with Breton, and sporadically attended the Surrealists' meetings in Paris.<a href="#cite_note-rcard530-67">[67]</a><a href="#cite_note-enotestt-84">[84]</a> The same year, he issued the poetry book De nos oiseaux ("Of Our Birds").<a href="#cite_note-rcard530-67">[67]</a> This period saw the publication of <a href="/w/index.php?title=The_Approximate_Man&action=edit&redlink=1" class="new" title="The Approximate Man (page does not exist)">The Approximate Man</a> (1931), alongside the volumes L'Arbre des voyageurs ("The Travelers' Tree", 1930), Où boivent les loups ("Where Wolves Drink", 1932), L'Antitête ("The Antihead", 1933) and Grains et issues ("Seed and Bran", 1935).<a href="#cite_note-enotestt-84">[84]</a> By then, it was also announced that Tzara had started work on a screenplay.<a href="#cite_note-pcern277-126">[126]</a> In 1930, he directed and produced a cinematic version of Le Cœur à barbe, starring Breton and other leading Surrealists.<a href="#cite_note-ttzimdb-127">[127]</a> Five years later, he signed his name to The Testimony against <a href="/wiki/Gertrude_Stein" title="Gertrude Stein">Gertrude Stein</a>, published by <a href="/wiki/Eugene_Jolas" title="Eugene Jolas">Eugene Jolas</a>'s magazine <a href="/wiki/Transition_(literary_journal)" title="Transition (literary journal)">transition</a> in reply to Stein's memoir <a href="/wiki/The_Autobiography_of_Alice_B._Toklas" title="The Autobiography of Alice B. Toklas">The Autobiography of Alice B. Toklas</a>, in which he accused his former friend of being a <a href="https://en.wiktionary.org/wiki/megalomaniac" class="extiw" title="wikt:megalomaniac">megalomaniac</a>.<a href="#cite_note-128">[128]</a> The poet became involved in further developing <a href="/wiki/Surrealist_techniques" title="Surrealist techniques">Surrealist techniques</a>, and, together with Breton and <a href="/wiki/Valentine_Hugo" title="Valentine Hugo">Valentine Hugo</a>, drew one of the better-known examples of "<a href="/wiki/Exquisite_corpse" title="Exquisite corpse">exquisite corpses</a>".<a href="#cite_note-129">[129]</a> Tzara also prefaced a 1934 collection of Surrealist poems by his friend <a href="/wiki/Ren%C3%A9_Char" title="René Char">René Char</a>, and the following year he and Greta Knutson visited Char in <a href="/wiki/L%27Isle-sur-la-Sorgue" title="L'Isle-sur-la-Sorgue">L'Isle-sur-la-Sorgue</a>.<a href="#cite_note-130">[130]</a> Tzara's wife was also affiliated with the Surrealist group at around the same time.<a href="#cite_note-jycmelusine-4">[4]</a><a href="#cite_note-prsurrgk-125">[125]</a> This association ended when she parted with Tzara late in the 1930s.<a href="#cite_note-jycmelusine-4">[4]</a><a href="#cite_note-prsurrgk-125">[125]</a> At home, Tzara's works were collected and edited by the Surrealist promoter <a href="/wiki/Sa%C8%99a_Pan%C4%83" title="Sașa Pană">Sașa Pană</a>, who corresponded with him over several years.<a href="#cite_note-131">[131]</a> The first such edition saw print in 1934, and featured the 1913–1915 poems Tzara had left in Vinea's care.<a href="#cite_note-pcern116-30">[30]</a> In 1928–1929, Tzara exchanged letters with his friend <a href="/w/index.php?title=Jacques_G._Costin&action=edit&redlink=1" class="new" title="Jacques G. Costin (page does not exist)">Jacques G. Costin</a>, a Contimporanul affiliate who did not share all of Vinea's views on literature, who offered to organize his visit to Romania and asked him to translate his work into French.<a href="#cite_note-132">[132]</a> <div class="mw-heading mw-heading3"><h3 id="Affiliation_with_communism_and_Spanish_Civil_War">Affiliation with communism and Spanish Civil War</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=12" title="Edit section: Affiliation with communism and Spanish Civil War">edit</a>]</div> Alarmed by the establishment of <a href="/wiki/Adolf_Hitler" title="Adolf Hitler">Adolf Hitler</a>'s <a href="/wiki/Nazi_Germany" title="Nazi Germany">Nazi regime</a>, which also signified the end of Berlin's avant-garde, he merged his activities as an art promoter with the cause of <a href="/wiki/Anti-fascism" title="Anti-fascism">anti-fascism</a>, and was close to the <a href="/wiki/French_Communist_Party" title="French Communist Party">French Communist Party</a> (PCF). In 1936, Richter recalled, he published a series of photographs secretly taken by <a href="/wiki/Kurt_Schwitters" title="Kurt Schwitters">Kurt Schwitters</a> in <a href="/wiki/Hanover" title="Hanover">Hanover</a>, works which documented the destruction of Nazi propaganda by the locals, <a href="/wiki/Ration_stamp" class="mw-redirect" title="Ration stamp">ration stamp</a> with reduced quantities of food, and other hidden aspects of Hitler's rule.<a href="#cite_note-133">[133]</a> After the outbreak of the <a href="/wiki/Spanish_Civil_War" title="Spanish Civil War">Spanish Civil War</a>, he briefly left France and joined the <a href="/wiki/Second_Spanish_Republic" title="Second Spanish Republic">Republican forces</a>.<a href="#cite_note-enotestt-84">[84]</a><a href="#cite_note-134">[134]</a> Alongside <a href="/wiki/Soviet_Union" title="Soviet Union">Soviet</a> reporter <a href="/wiki/Ilya_Ehrenburg" title="Ilya Ehrenburg">Ilya Ehrenburg</a>, Tzara visited <a href="/wiki/Madrid" title="Madrid">Madrid</a>, which was besieged by the <a href="/wiki/Spain_under_Franco" class="mw-redirect" title="Spain under Franco">Nationalists</a> (see <a href="/wiki/Siege_of_Madrid" title="Siege of Madrid">Siege of Madrid</a>).<a href="#cite_note-iliv246-135">[135]</a> Upon his return, he published the collection of poems Midis gagnés ("Conquered Southern Regions").<a href="#cite_note-enotestt-84">[84]</a> Some of them had previously been printed in the brochure Les poètes du monde défendent le peuple espagnol ("The Poets of the World Defend the Spanish People", 1937), which was edited by two prominent authors and activists, <a href="/wiki/Nancy_Cunard" title="Nancy Cunard">Nancy Cunard</a> and the Chilean poet <a href="/wiki/Pablo_Neruda" title="Pablo Neruda">Pablo Neruda</a>.<a href="#cite_note-136">[136]</a> Tzara had also signed Cunard's June 1937 call to intervention against <a href="/wiki/Francisco_Franco" title="Francisco Franco">Francisco Franco</a>.<a href="#cite_note-137">[137]</a> Reportedly, he and Nancy Cunard were romantically involved.<a href="#cite_note-138">[138]</a> Although the poet was moving away from Surrealism,<a href="#cite_note-rcard530-67">[67]</a> his adherence to strict <a href="/wiki/Marxism-Leninism" class="mw-redirect" title="Marxism-Leninism">Marxism-Leninism</a> was reportedly questioned by both the PCF and the Soviet Union.<a href="#cite_note-pbeit49-139">[139]</a> <a href="/wiki/Semiotics" title="Semiotics">Semiotician</a> Philip Beitchman places their attitude in connection with Tzara's own vision of <a href="/wiki/Utopia" title="Utopia">Utopia</a>, which combined communist messages with <a href="/wiki/Freudo-Marxism" title="Freudo-Marxism">Freudo-Marxist</a> <a href="/wiki/Psychoanalysis" title="Psychoanalysis">psychoanalysis</a> and made use of particularly violent imagery.<a href="#cite_note-140">[140]</a> Reportedly, Tzara refused to be enlisted in supporting the <a href="/wiki/Party_line_(politics)" title="Party line (politics)">party line</a>, maintaining his independence and refusing to take the forefront at public rallies.<a href="#cite_note-spbuot-141">[141]</a> However, others note that the former Dadaist leader would often show himself a follower of political guidelines. As early as 1934, Tzara, together with Breton, Éluard and communist writer <a href="/wiki/Ren%C3%A9_Crevel" title="René Crevel">René Crevel</a>, organized an informal trial of independent-minded Surrealist <a href="/wiki/Salvador_Dal%C3%AD" title="Salvador Dalí">Salvador Dalí</a>, who was at the time a confessed admirer of Hitler, and whose portrait of <a href="/wiki/William_Tell" title="William Tell">William Tell</a> had alarmed them because it shared likeness with <a href="/wiki/Bolshevik" class="mw-redirect" title="Bolshevik">Bolshevik</a> leader <a href="/wiki/Vladimir_Lenin" title="Vladimir Lenin">Vladimir Lenin</a>.<a href="#cite_note-142">[142]</a> Historian <a href="/wiki/Irina_Livezeanu" title="Irina Livezeanu">Irina Livezeanu</a> notes that Tzara, who agreed with <a href="/wiki/Stalinism" title="Stalinism">Stalinism</a> and shunned <a href="/wiki/Trotskyism" title="Trotskyism">Trotskyism</a>, submitted to the PCF cultural demands during the writers' congress of 1935, even when his friend Crevel committed suicide to protest the adoption of <a href="/wiki/Socialist_realism" title="Socialist realism">socialist realism</a>.<a href="#cite_note-iliv251-143">[143]</a> At a later stage, Livezeanu remarks, Tzara reinterpreted Dada and Surrealism as revolutionary currents, and presented them as such to the public.<a href="#cite_note-144">[144]</a> This stance she contrasts with that of Breton, who was more reserved in his attitudes.<a href="#cite_note-iliv251-143">[143]</a> <div class="mw-heading mw-heading3"><h3 id="World_War_II_and_Resistance">World War II and Resistance</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=13" title="Edit section: World War II and Resistance">edit</a>]</div> During <a href="/wiki/World_War_II" title="World War II">World War II</a>, Tzara took refuge from the <a href="/wiki/German_occupation_of_France_during_World_War_II" class="mw-redirect" title="German occupation of France during World War II">German occupation forces</a>, moving to the southern areas, controlled by the <a href="/wiki/Vichy_France" title="Vichy France">Vichy regime</a>.<a href="#cite_note-jycmelusine-4">[4]</a><a href="#cite_note-enotestt-84">[84]</a> On one occasion, the <a href="/wiki/Antisemitism" title="Antisemitism">antisemitic</a> and <a href="/wiki/Collaboration_with_Nazi_Germany_and_Fascist_Italy" title="Collaboration with Nazi Germany and Fascist Italy">collaborationist</a> publication <a href="/wiki/Je_Suis_Partout" class="mw-redirect" title="Je Suis Partout">Je Suis Partout</a> made his whereabouts known to the <a href="/wiki/Gestapo" title="Gestapo">Gestapo</a>.<a href="#cite_note-mrnnradi-145">[145]</a> After having secure his book collection and african art collection, Tzara fled in 1940 towards south of France, and hide first in a village called Sanary, then after being expelled by the police, in Saint-Tropez. In 1941, he is arrested but he managed to escape thanks to the complancency of a policeman.<a href="#cite_note-146">[146]</a> Tzara joined the <a href="/wiki/French_Resistance" title="French Resistance">French Resistance</a>, rallying with the <a href="/wiki/Maquis_(World_War_II)" title="Maquis (World War II)">Maquis</a>. A contributor to magazines published by the Resistance, Tzara also took charge of the cultural broadcast for the <a href="/wiki/Free_French_Forces" class="mw-redirect" title="Free French Forces">Free French Forces</a> clandestine radio station.<a href="#cite_note-jycmelusine-4">[4]</a><a href="#cite_note-enotestt-84">[84]</a> He lived in <a href="/wiki/Aix-en-Provence" title="Aix-en-Provence">Aix-en-Provence</a>, then in <a href="/wiki/Souillac,_Lot" title="Souillac, Lot">Souillac</a>, and ultimately in <a href="/wiki/Toulouse" title="Toulouse">Toulouse</a>.<a href="#cite_note-jycmelusine-4">[4]</a> His son Cristophe was at the time a Resistant in northern France, having joined the <a href="/wiki/Francs-Tireurs_et_Partisans" title="Francs-Tireurs et Partisans">Francs-Tireurs et Partisans</a>.<a href="#cite_note-mrnnradi-145">[145]</a> In <a href="/wiki/Axis_Powers" class="mw-redirect" title="Axis Powers">Axis</a>-allied and antisemitic Romania (see <a href="/wiki/Romania_during_World_War_II" class="mw-redirect" title="Romania during World War II">Romania during World War II</a>), the regime of <a href="/wiki/Ion_Antonescu" title="Ion Antonescu">Ion Antonescu</a> ordered bookstores not to sell works by Tzara and 44 other Jewish-Romanian authors.<a href="#cite_note-147">[147]</a> In 1942, with the generalization of antisemitic measures, Tzara was also stripped of his Romanian citizenship rights.<a href="#cite_note-148">[148]</a> In December 1944, five months after the <a href="/wiki/Liberation_of_Paris" title="Liberation of Paris">Liberation of Paris</a>, he was contributing to <a href="/w/index.php?title=L%27%C3%89ternelle_Revue&action=edit&redlink=1" class="new" title="L'Éternelle Revue (page does not exist)">L'Éternelle Revue</a>, a pro-communist newspaper edited by philosopher <a href="/wiki/Jean-Paul_Sartre" title="Jean-Paul Sartre">Jean-Paul Sartre</a>, through which Sartre was publicizing the heroic image of a France united in resistance, as opposed to the perception that it had passively accepted German control.<a href="#cite_note-srsmemor-149">[149]</a> Other contributors included writers Aragon, Char, Éluard, <a href="/wiki/Elsa_Triolet" title="Elsa Triolet">Elsa Triolet</a>, <a href="/wiki/Eug%C3%A8ne_Guillevic" title="Eugène Guillevic">Eugène Guillevic</a>, <a href="/wiki/Raymond_Queneau" title="Raymond Queneau">Raymond Queneau</a>, <a href="/wiki/Francis_Ponge" title="Francis Ponge">Francis Ponge</a>, <a href="/wiki/Jacques_Pr%C3%A9vert" title="Jacques Prévert">Jacques Prévert</a> and painter <a href="/wiki/Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>.<a href="#cite_note-srsmemor-149">[149]</a> Upon the end of the war and the restoration of French independence, Tzara was <a href="/wiki/Naturalization" title="Naturalization">naturalized</a> a French citizen.<a href="#cite_note-enotestt-84">[84]</a> During 1945, under the <a href="/wiki/Provisional_Government_of_the_French_Republic" title="Provisional Government of the French Republic">Provisional Government of the French Republic</a>, he was a representative of the Sud-Ouest region to the <a href="/wiki/National_Assembly_of_France" class="mw-redirect" title="National Assembly of France">National Assembly</a>.<a href="#cite_note-iliv246-135">[135]</a> According to Livezeanu, he "helped reclaim the <a href="/wiki/Southern_France" title="Southern France">South</a> from the cultural figures who had associated themselves to Vichy [France]."<a href="#cite_note-iliv251-143">[143]</a> In April 1946, his early poems, alongside similar pieces by Breton, Éluard, Aragon and Dalí, were the subject of a midnight broadcast on <a href="/wiki/Radio_in_Paris" title="Radio in Paris">Parisian Radio</a>.<a href="#cite_note-150">[150]</a> In 1947, he became a full member of the PCF<a href="#cite_note-rcard530-67">[67]</a> (according to some sources, he had been one since 1934).<a href="#cite_note-enotestt-84">[84]</a> <div class="mw-heading mw-heading3"><h3 id="International_leftism">International leftism</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=14" title="Edit section: International leftism">edit</a>]</div> Over the following decade, Tzara lent his support to political causes. Pursuing his interest in <a href="/wiki/Primitivism" title="Primitivism">primitivism</a>, he became a critic of the <a href="/wiki/French_Fourth_Republic" title="French Fourth Republic">Fourth Republic</a>'s <a href="/wiki/French_colonial_empires" class="mw-redirect" title="French colonial empires">colonial policy</a>, and joined his voice to those who supported <a href="/wiki/Decolonization" title="Decolonization">decolonization</a>.<a href="#cite_note-spbuot-141">[141]</a> Nevertheless, he was appointed <a href="/wiki/Cultural_ambassador" class="mw-redirect" title="Cultural ambassador">cultural ambassador</a> of the Republic by the <a href="/wiki/Paul_Ramadier" title="Paul Ramadier">Paul Ramadier</a> cabinet.<a href="#cite_note-151">[151]</a> He also participated in the PCF-organized Congress of Writers, but, unlike Éluard and Aragon, again avoided adapting his style to <a href="/wiki/Socialist_realism" title="Socialist realism">socialist realism</a>.<a href="#cite_note-mrnnradi-145">[145]</a> He returned to Romania on an official visit in late 1946-early 1947,<a href="#cite_note-152">[152]</a><a href="#cite_note-jfapung-153">[153]</a> as part of a tour of the emerging <a href="/wiki/Eastern_Bloc" title="Eastern Bloc">Eastern Bloc</a> during which he also stopped in <a href="/wiki/History_of_Czechoslovakia_(1945%E2%80%931948)" class="mw-redirect" title="History of Czechoslovakia (1945–1948)">Czechoslovakia</a>, <a href="/wiki/Hungary" title="Hungary">Hungary</a>, and the <a href="/wiki/Socialist_Federal_Republic_of_Yugoslavia" title="Socialist Federal Republic of Yugoslavia">Federal People's Republic of Yugoslavia</a>.<a href="#cite_note-jfapung-153">[153]</a> The speeches he and <a href="/wiki/Sa%C8%99a_Pan%C4%83" title="Sașa Pană">Sașa Pană</a> gave on the occasion, published by <a href="/wiki/Orizont" title="Orizont">Orizont</a> journal, were noted for condoning official positions of the PCF and the <a href="/wiki/Romanian_Communist_Party" title="Romanian Communist Party">Romanian Communist Party</a>, and are credited by Irina Livezeanu with causing a rift between Tzara and young Romanian avant-gardists such as Victor Brauner and <a href="/wiki/Gherasim_Luca" title="Gherasim Luca">Gherasim Luca</a> (who rejected communism and were alarmed by the <a href="/wiki/Iron_Curtain" title="Iron Curtain">Iron Curtain</a> having fallen over Europe).<a href="#cite_note-154">[154]</a> In September of the same year, he was present at the conference of the pro-communist <a href="/wiki/International_Union_of_Students" title="International Union of Students">International Union of Students</a> (where he was a guest of the French-based <a href="/wiki/Union_of_Communist_Students" title="Union of Communist Students">Union of Communist Students</a>, and met with similar organizations from Romania and other countries).<a href="#cite_note-155">[155]</a> In 1949–1950, Tzara answered Aragon's call and become active in the international campaign to liberate <a href="/wiki/Naz%C4%B1m_Hikmet" class="mw-redirect" title="Nazım Hikmet">Nazım Hikmet</a>, a <a href="/wiki/Turkey" title="Turkey">Turkish</a> poet whose 1938 arrest for communist activities had created a <a href="/wiki/Cause_c%C3%A9l%C3%A8bre" title="Cause célèbre">cause célèbre</a> for the pro-Soviet public opinion.<a href="#cite_note-156">[156]</a><a href="#cite_note-mcmusic-157">[157]</a> Tzara chaired the Committee for the Liberation of Nazım Hikmet, which issued petitions to national governments<a href="#cite_note-mcmusic-157">[157]</a><a href="#cite_note-158">[158]</a> and commissioned works in honor of Hikmet (including musical pieces by <a href="/wiki/Louis_Durey" title="Louis Durey">Louis Durey</a> and <a href="/wiki/Serge_Nigg" title="Serge Nigg">Serge Nigg</a>).<a href="#cite_note-mcmusic-157">[157]</a> Hikmet was eventually released in July 1950, and publicly thanked Tzara during his subsequent visit to Paris.<a href="#cite_note-159">[159]</a> His works of the period include, among others: Le Signe de vie ("Sign of Life", 1946), Terre sur terre ("Earth on Earth", 1946), Sans coup férir ("Without a Need to Fight", 1949), De mémoire d'homme ("From a Man's Memory", 1950), Parler seul ("Speaking Alone", 1950), and La Face intérieure ("The Inner Face", 1953), followed in 1955 by À haute flamme ("Flame out Loud") and Le Temps naissant ("The Nascent Time"), and the 1956 Le Fruit permis ("The Permitted Fruit").<a href="#cite_note-enotestt-84">[84]</a><a href="#cite_note-imjbokks-160">[160]</a> Tzara continued to be an active promoter of modernist culture. Around 1949, having read <a href="/wiki/Ireland" title="Ireland">Irish</a> author <a href="/wiki/Samuel_Beckett" title="Samuel Beckett">Samuel Beckett</a>'s manuscript of <a href="/wiki/Waiting_for_Godot" title="Waiting for Godot">Waiting for Godot</a>, Tzara facilitated the play's staging by approaching producer <a href="/wiki/Roger_Blin" title="Roger Blin">Roger Blin</a>.<a href="#cite_note-dbgodot-161">[161]</a> He also translated into French some poems by Hikmet<a href="#cite_note-162">[162]</a> and the Hungarian author <a href="/wiki/Attila_J%C3%B3zsef" title="Attila József">Attila József</a>.<a href="#cite_note-jfapung-153">[153]</a> In 1949, he introduced Picasso to art dealer <a href="/wiki/Heinz_Berggruen" title="Heinz Berggruen">Heinz Berggruen</a> (thus helping start their lifelong partnership),<a href="#cite_note-163">[163]</a> and, in 1951, wrote the catalog for an exhibit of works by his friend <a href="/wiki/Max_Ernst" title="Max Ernst">Max Ernst</a>; the text celebrated the artist's "free use of stimuli" and "his discovery of a new kind of humor."<a href="#cite_note-164">[164]</a> <div class="mw-heading mw-heading3"><h3 id="1956_protest_and_final_years">1956 protest and final years</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=15" title="Edit section: 1956 protest and final years">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Tristan_Tzara_grave.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Tristan_Tzara_grave.jpg/240px-Tristan_Tzara_grave.jpg" decoding="async" width="240" height="160" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Tristan_Tzara_grave.jpg/360px-Tristan_Tzara_grave.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Tristan_Tzara_grave.jpg/480px-Tristan_Tzara_grave.jpg 2x" data-file-width="1200" data-file-height="800" /></a><figcaption>Tzara's grave in the <a href="/wiki/Cimeti%C3%A8re_du_Montparnasse" class="mw-redirect" title="Cimetière du Montparnasse">Cimetière du Montparnasse</a></figcaption></figure> In October 1956, Tzara visited the <a href="/wiki/People%27s_Republic_of_Hungary" class="mw-redirect" title="People's Republic of Hungary">People's Republic of Hungary</a>, where the government of <a href="/wiki/Imre_Nagy" title="Imre Nagy">Imre Nagy</a> was coming into conflict with the <a href="/wiki/Soviet_Union" title="Soviet Union">Soviet Union</a>.<a href="#cite_note-mrnnradi-145">[145]</a><a href="#cite_note-jfapung-153">[153]</a> This followed an invitation on the part of Hungarian writer <a href="/wiki/Gyula_Illy%C3%A9s" title="Gyula Illyés">Gyula Illyés</a>, who wanted his colleague to be present at ceremonies marking the <a href="/wiki/Rehabilitation_(Soviet)" title="Rehabilitation (Soviet)">rehabilitation</a> of <a href="/wiki/L%C3%A1szl%C3%B3_Rajk" title="László Rajk">László Rajk</a> (a local communist leader whose prosecution had been ordered by <a href="/wiki/Joseph_Stalin" title="Joseph Stalin">Joseph Stalin</a>).<a href="#cite_note-jfapung-153">[153]</a> Tzara was receptive of the Hungarians' demand for <a href="/wiki/Liberalization" title="Liberalization">liberalization</a>,<a href="#cite_note-mrnnradi-145">[145]</a><a href="#cite_note-jfapung-153">[153]</a> contacted the anti-<a href="/wiki/Stalinism" title="Stalinism">Stalinist</a> and former Dadaist <a href="/wiki/Lajos_Kass%C3%A1k" title="Lajos Kassák">Lajos Kassák</a>, and deemed the anti-Soviet movement "revolutionary".<a href="#cite_note-jfapung-153">[153]</a> However, unlike much of Hungarian public opinion, the poet did not recommend emancipation from Soviet control, and described the independence demanded by local writers as "an abstract notion".<a href="#cite_note-jfapung-153">[153]</a> The statement he issued, widely quoted in the Hungarian and international press, forced a reaction from the PCF: through Aragon's reply, the party deplored the fact that one of its members was being used in support of "<a href="/wiki/Anti-communism" title="Anti-communism">anti-communist</a> and anti-Soviet campaigns."<a href="#cite_note-jfapung-153">[153]</a> His return to France coincided with the outbreak of the <a href="/wiki/Hungarian_Revolution_of_1956" title="Hungarian Revolution of 1956">Hungarian Revolution</a>, which ended with a Soviet military intervention. On 24 October, Tzara was ordered to a PCF meeting, where activist <a href="/wiki/Laurent_Casanova" title="Laurent Casanova">Laurent Casanova</a> reportedly ordered him to keep silent, which Tzara did.<a href="#cite_note-jfapung-153">[153]</a> Tzara's apparent dissidence and the crisis he helped provoke within the Communist Party were celebrated by Breton, who had adopted a pro-Hungarian stance, and who defined his friend and rival as "the first spokesman of the Hungarian demand."<a href="#cite_note-jfapung-153">[153]</a> He was thereafter mostly withdrawn from public life, dedicating himself to researching the work of 15th-century poet <a href="/wiki/Fran%C3%A7ois_Villon" title="François Villon">François Villon</a>,<a href="#cite_note-spbuot-141">[141]</a> and, like his fellow Surrealist <a href="/wiki/Michel_Leiris" title="Michel Leiris">Michel Leiris</a>, to promoting <a href="/wiki/Primitivism" title="Primitivism">primitive</a> and <a href="/wiki/African_art" title="African art">African art</a>, which he had been collecting for years.<a href="#cite_note-mrnnradi-145">[145]</a> In early 1957, Tzara attended a Dada retrospective on the <a href="/wiki/Rive_Gauche" title="Rive Gauche">Rive Gauche</a>, which ended in a riot caused by the rival avant-garde <a href="/w/index.php?title=Mouvement_Jariviste&action=edit&redlink=1" class="new" title="Mouvement Jariviste (page does not exist)">Mouvement Jariviste</a>, an outcome which reportedly pleased him.<a href="#cite_note-165">[165]</a> In August 1960, one year after the <a href="/wiki/French_Fifth_Republic" title="French Fifth Republic">Fifth Republic</a> had been established by <a href="/wiki/President_of_France" title="President of France">President</a> <a href="/wiki/Charles_de_Gaulle" title="Charles de Gaulle">Charles de Gaulle</a>, French forces were confronting the Algerian rebels (see <a href="/wiki/Algerian_War" title="Algerian War">Algerian War</a>). Together with <a href="/wiki/Simone_de_Beauvoir" title="Simone de Beauvoir">Simone de Beauvoir</a>, <a href="/wiki/Marguerite_Duras" title="Marguerite Duras">Marguerite Duras</a>, <a href="/w/index.php?title=J%C3%A9r%C3%B4me_Lindon&action=edit&redlink=1" class="new" title="Jérôme Lindon (page does not exist)">Jérôme Lindon</a>, <a href="/wiki/Alain_Robbe-Grillet" title="Alain Robbe-Grillet">Alain Robbe-Grillet</a> and other intellectuals, he addressed <a href="/wiki/Prime_Minister_of_France" title="Prime Minister of France">Premier</a> <a href="/wiki/Michel_Debr%C3%A9" title="Michel Debré">Michel Debré</a> a letter of protest, concerning France's refusal to grant Algeria its independence.<a href="#cite_note-laduras-166">[166]</a> As a result, <a href="/wiki/Minister_of_Culture_(France)" class="mw-redirect" title="Minister of Culture (France)">Minister of Culture</a> <a href="/wiki/Andr%C3%A9_Malraux" title="André Malraux">André Malraux</a> announced that his cabinet would not subsidize any films to which Tzara and the others might contribute, and the signatories could no longer appear on stations managed by the state-owned <a href="/wiki/Radiodiffusion-T%C3%A9l%C3%A9vision_Fran%C3%A7aise" title="Radiodiffusion-Télévision Française">French Broadcasting Service</a>.<a href="#cite_note-laduras-166">[166]</a> In 1961, as recognition for his work as a poet, Tzara was awarded the prestigious <a href="/w/index.php?title=Taormina_Prize&action=edit&redlink=1" class="new" title="Taormina Prize (page does not exist)">Taormina Prize</a>.<a href="#cite_note-enotestt-84">[84]</a> One of his final public activities took place in 1962, when he attended the <a href="/w/index.php?title=International_Congress_on_African_Culture&action=edit&redlink=1" class="new" title="International Congress on African Culture (page does not exist)">International Congress on African Culture</a>, organized by English curator <a href="/wiki/Frank_McEwen" title="Frank McEwen">Frank McEwen</a> and held at the <a href="/wiki/National_Gallery_of_Zimbabwe" title="National Gallery of Zimbabwe">National Gallery</a> in <a href="/wiki/Harare" title="Harare">Salisbury</a>, <a href="/wiki/Southern_Rhodesia" title="Southern Rhodesia">Southern Rhodesia</a>.<a href="#cite_note-167">[167]</a> He died one year later in his Paris home, and was buried at the <a href="/wiki/Cimeti%C3%A8re_du_Montparnasse" class="mw-redirect" title="Cimetière du Montparnasse">Cimetière du Montparnasse</a>.<a href="#cite_note-jycmelusine-4">[4]</a> <div class="mw-heading mw-heading2"><h2 id="Literary_contributions">Literary contributions</h2>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=16" title="Edit section: Literary contributions">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Identity_issues">Identity issues</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=17" title="Edit section: Identity issues">edit</a>]</div> Much critical commentary about Tzara surrounds the measure to which the poet identified with the national cultures which he represented. Paul Cernat notes that the association between Samyro and the Jancos, who were Jews, and their <a href="/wiki/Romanians" title="Romanians">ethnic Romanian</a> colleagues, was one sign of a cultural dialogue, in which "the openness of Romanian environments toward artistic modernity" was stimulated by "young emancipated Jewish writers."<a href="#cite_note-168">[168]</a> <a href="/wiki/Salomon_Schulman" title="Salomon Schulman">Salomon Schulman</a>, a Swedish researcher of <a href="/wiki/Yiddish_literature" title="Yiddish literature">Yiddish literature</a>, argues that the combined influence of Yiddish folklore and <a href="/wiki/Hasidic_philosophy" title="Hasidic philosophy">Hasidic philosophy</a> shaped European modernism in general and Tzara's style in particular,<a href="#cite_note-169">[169]</a> while American poet <a href="/wiki/Andrei_Codrescu" title="Andrei Codrescu">Andrei Codrescu</a> speaks of Tzara as one in a <a href="/wiki/Balkans" title="Balkans">Balkan</a> line of "absurdist writing", which also includes the Romanians <a href="/wiki/Urmuz" title="Urmuz">Urmuz</a>, <a href="/wiki/Eug%C3%A8ne_Ionesco" title="Eugène Ionesco">Eugène Ionesco</a> and <a href="/wiki/Emil_Cioran" title="Emil Cioran">Emil Cioran</a>.<a href="#cite_note-170">[170]</a> According to literary historian <a href="/wiki/George_C%C4%83linescu" title="George Călinescu">George Călinescu</a>, Samyro's early poems deal with "the voluptuousness over the strong scents of rural life, which is typical among Jews compressed into <a href="/wiki/Ghetto" title="Ghetto">ghettos</a>."<a href="#cite_note-gcal887-171">[171]</a> Tzara himself used elements alluding to his homeland in his early Dadaist performances. His collaboration with <a href="/w/index.php?title=Maja_Kruscek&action=edit&redlink=1" class="new" title="Maja Kruscek (page does not exist)">Maja Kruscek</a> at <a href="/wiki/Z%C3%BCnfte_of_Z%C3%BCrich" title="Zünfte of Zürich">Zuntfhaus zür Waag</a> featured samples of <a href="/wiki/African_literature" title="African literature">African literature</a>, to which Tzara added Romanian-language fragments.<a href="#cite_note-pcern115-75">[75]</a> He is also known to have mixed elements of <a href="/wiki/Romanian_folklore" class="mw-redirect" title="Romanian folklore">Romanian folklore</a>, and to have sung the native suburban <a href="/wiki/Romance_(music)" title="Romance (music)">romanza</a> La moară la Hârța ("At the Mill in Hârța") during at least one staging for Cabaret Voltaire.<a href="#cite_note-172">[172]</a> Addressing the Romanian public in 1947, he claimed to have been captivated by "the sweet language of <a href="/wiki/Western_Moldavia" title="Western Moldavia">Moldavian</a> peasants".<a href="#cite_note-iliv246-135">[135]</a> Tzara nonetheless rebelled against his birthplace and upbringing. His earliest poems depict provincial Moldavia as a desolate and unsettling place. In Cernat's view, this imagery was in common use among Moldavian-born writers who also belonged to the avant-garde trend, notably <a href="/wiki/Benjamin_Fondane" title="Benjamin Fondane">Benjamin Fondane</a> and <a href="/wiki/George_Bacovia" title="George Bacovia">George Bacovia</a>.<a href="#cite_note-173">[173]</a> Like in the cases of Eugène Ionesco and Fondane, Cernat proposes, Samyro sought self-exile to <a href="/wiki/Western_Europe" title="Western Europe">Western Europe</a> as a "modern, <a href="/wiki/Voluntarism_(metaphysics)" class="mw-redirect" title="Voluntarism (metaphysics)">voluntarist</a>" means of breaking with "the peripheral condition",<a href="#cite_note-174">[174]</a> which may also serve to explain the pun he selected for a pseudonym.<a href="#cite_note-pcern110-6">[6]</a> According to the same author, two important elements in this process were "a maternal attachment and a break with paternal authority", an "<a href="/wiki/Oedipus_complex" title="Oedipus complex">Oedipus complex</a>" which he also argued was evident in the biographies of other Symbolist and avant-garde Romanian authors, from Urmuz to <a href="/wiki/Mateiu_Caragiale" title="Mateiu Caragiale">Mateiu Caragiale</a>.<a href="#cite_note-175">[175]</a> Unlike Vinea and the <a href="/wiki/Contimporanul" title="Contimporanul">Contimporanul</a> group, Cernat proposes, Tzara stood for radicalism and insurgency, which would also help explain their impossibility to communicate.<a href="#cite_note-176">[176]</a> In particular, Cernat argues, the writer sought to emancipate himself from competing nationalisms, and addressed himself directly to the center of European culture, with <a href="/wiki/Z%C3%BCrich" class="mw-redirect" title="Zürich">Zürich</a> serving as a stage on his way to Paris.<a href="#cite_note-pcern115-75">[75]</a> The 1916 Monsieur's Antipyrine's Manifesto featured a <a href="/wiki/Cosmopolitanism" title="Cosmopolitanism">cosmopolitan</a> appeal: "DADA remains within the framework of European weaknesses, it's still shit, but from now on we want to shit in different colors so as to adorn the zoo of art with all the flags of all the consulates."<a href="#cite_note-pcern115-75">[75]</a> With time, Tristan Tzara came to be regarded by his Dada associates as an exotic character, whose attitudes were intrinsically linked with <a href="/wiki/Eastern_Europe" title="Eastern Europe">Eastern Europe</a>. Early on, Ball referred to him and the Janco brothers as "Orientals".<a href="#cite_note-pcern112-36">[36]</a> <a href="/wiki/Hans_Richter_(artist)" title="Hans Richter (artist)">Hans Richter</a> believed him to be a fiery and impulsive figure, having little in common with his German collaborators.<a href="#cite_note-177">[177]</a> According to Cernat, Richter's perspective seems to indicate a vision of Tzara having a "<a href="/wiki/Italic_peoples" title="Italic peoples">Latin</a>" temperament.<a href="#cite_note-pcern112-36">[36]</a> This type of perception also had negative implications for Tzara, particularly after the 1922 split within Dada. In the 1940s, <a href="/wiki/Richard_Huelsenbeck" title="Richard Huelsenbeck">Richard Huelsenbeck</a> alleged that his former colleague had always been separated from other Dadaists by his failure to appreciate the legacy of "<a href="/wiki/Humanism_in_Germany" class="mw-redirect" title="Humanism in Germany">German humanism</a>", and that, compared to his German colleagues, he was "a barbarian".<a href="#cite_note-pcern114-107">[107]</a> In his polemic with Tzara, Breton also repeatedly placed stress on his rival's foreign origin.<a href="#cite_note-178">[178]</a> At home, Tzara was occasionally targeted for his Jewishness, culminating in the ban enforced by the <a href="/wiki/Ion_Antonescu" title="Ion Antonescu">Ion Antonescu</a> regime. In 1931, <a href="/w/index.php?title=Const._I._Emilian&action=edit&redlink=1" class="new" title="Const. I. Emilian (page does not exist)">Const. I. Emilian</a>, the first Romanian to write an academic study on the avant-garde, attacked him from a <a href="/wiki/Conservatism" title="Conservatism">conservative</a> and <a href="/wiki/Antisemitism" title="Antisemitism">antisemitic</a> position. He depicted Dadaists as "<a href="/wiki/Jewish_Bolshevism" title="Jewish Bolshevism">Judaeo-Bolsheviks</a>" who corrupted <a href="/wiki/Culture_of_Romania" title="Culture of Romania">Romanian culture</a>, and included Tzara among the main proponents of "literary anarchism".<a href="#cite_note-179">[179]</a> Alleging that Tzara's only merit was to establish a literary fashion, while recognizing his "formal virtuosity and artistic intelligence", he claimed to prefer Tzara in his <a href="/wiki/Simbolul" title="Simbolul">Simbolul</a> stage.<a href="#cite_note-180">[180]</a> This perspective was deplored early on by the modernist critic <a href="/wiki/Perpessicius" title="Perpessicius">Perpessicius</a>.<a href="#cite_note-181">[181]</a> Nine years after Emilian's polemic text, <a href="/wiki/Fascism" title="Fascism">fascist</a> poet and journalist <a href="/wiki/Radu_Gyr" title="Radu Gyr">Radu Gyr</a> published an article in <a href="/wiki/Convorbiri_Literare" title="Convorbiri Literare">Convorbiri Literare</a>, in which he attacked Tzara as a representative of the "<a href="/wiki/Judaism" title="Judaism">Judaic</a> spirit", of the "foreign plague" and of "<a href="/wiki/Dialectical_materialism" title="Dialectical materialism">materialist</a>-<a href="/wiki/Historical_materialism" title="Historical materialism">historical dialectics</a>".<a href="#cite_note-182">[182]</a> <div class="mw-heading mw-heading3"><h3 id="Symbolist_poetry">Symbolist poetry</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=18" title="Edit section: Symbolist poetry">edit</a>]</div> Tzara's earliest <a href="/wiki/Symbolism_(movement)" title="Symbolism (movement)">Symbolist poems</a>, published in Simbolul during 1912, were later rejected by their author, who asked <a href="/wiki/Sa%C8%99a_Pan%C4%83" title="Sașa Pană">Sașa Pană</a> not to include them in editions of his works.<a href="#cite_note-pcern49-15">[15]</a> The influence of French Symbolists on the young Samyro was particularly important, and surfaced in both his <a href="/wiki/Lyric_poetry" title="Lyric poetry">lyric</a> and <a href="/wiki/Prose_poetry" title="Prose poetry">prose poems</a>.<a href="#cite_note-mrdada-25">[25]</a><a href="#cite_note-enotestt-84">[84]</a><a href="#cite_note-183">[183]</a> Attached to Symbolist <a href="/wiki/Musicality" title="Musicality">musicality</a> at that stage, he was indebted to his Simbolul colleague <a href="/wiki/Ion_Minulescu" title="Ion Minulescu">Ion Minulescu</a><a href="#cite_note-184">[184]</a> and the Belgian <a href="/wiki/Maurice_Maeterlinck" title="Maurice Maeterlinck">Maurice Maeterlinck</a>.<a href="#cite_note-pcern49-15">[15]</a> Philip Beitchman argues that "Tristan Tzara is one of the writers of the twentieth century who was most profoundly influenced by symbolism—and utilized many of its methods and ideas in the pursuit of his own artistic and social ends."<a href="#cite_note-185">[185]</a> However, Cernat believes, the young poet was by then already breaking with the <a href="/wiki/Syntax" title="Syntax">syntax</a> of conventional poetry, and that, in subsequent experimental pieces, he progressively stripped his style of its Symbolist elements.<a href="#cite_note-186">[186]</a> During the 1910s, Samyro experimented with Symbolist imagery, in particular with the "hanged man" motif, which served as the basis for his poem Se spânzură un om ("A Man Hangs Himself"), and which built on the legacy of similar pieces authored by <a href="/wiki/Christian_Morgenstern" title="Christian Morgenstern">Christian Morgenstern</a> and <a href="/wiki/Jules_Laforgue" title="Jules Laforgue">Jules Laforgue</a>.<a href="#cite_note-pcern52-187">[187]</a> Se spânzură un om was also in many ways similar to ones authored by his collaborators <a href="/wiki/Adrian_Maniu" title="Adrian Maniu">Adrian Maniu</a> (Balada spânzuratului, "The Hanged Man's Ballad") and Vinea (Visul spânzuratului, "The Hanged Man's Dream"): all three poets, who were all in the process of discarding Symbolism, interpreted the theme from a <a href="/wiki/Tragicomedy" title="Tragicomedy">tragicomic</a> and <a href="/wiki/Iconoclastic" class="mw-redirect" title="Iconoclastic">iconoclastic</a> perspective.<a href="#cite_note-pcern52-187">[187]</a> These pieces also include Vacanță în provincie ("Provincial Holiday") and the <a href="/wiki/Anti-war" class="mw-redirect" title="Anti-war">anti-war</a> fragment Furtuna și cântecul dezertorului ("The Storm and the Deserter's Song"), which Vinea published in his Chemarea.<a href="#cite_note-188">[188]</a> The series is seen by Cernat as "the general rehearsal for the Dada adventure."<a href="#cite_note-189">[189]</a> The complete text of Furtuna și cântecul dezertorului was published at a later stage, after the missing text was discovered by Pană.<a href="#cite_note-190">[190]</a> At the time, he became interested in the <a href="/wiki/Free_verse" title="Free verse">free verse</a> work of the American <a href="/wiki/Walt_Whitman" title="Walt Whitman">Walt Whitman</a>, and his translation of Whitman's <a href="/wiki/Epic_poetry" title="Epic poetry">epic poem</a> <a href="/wiki/Song_of_Myself" title="Song of Myself">Song of Myself</a>, probably completed before <a href="/wiki/World_War_I" title="World War I">World War I</a>, was published by <a href="/wiki/Alfred_Hefter-Hidalgo" class="mw-redirect" title="Alfred Hefter-Hidalgo">Alfred Hefter-Hidalgo</a> in his magazine <a href="/wiki/Versuri_%C8%99i_Proz%C4%83" title="Versuri și Proză">Versuri și Proză</a> (1915).<a href="#cite_note-191">[191]</a> Beitchman notes that, throughout his life, Tzara used Symbolist elements against the doctrines of Symbolism. Thus, he argues, the poet did not cultivate a memory of historical events, "since it deludes man into thinking that there was something when there was nothing."<a href="#cite_note-pbeit29-192">[192]</a> Cernat notes: "That which essentially unifies, during [the 1910s], the poetic output of Adrian Maniu, Ion Vinea and Tristan Tzara is an acute awareness of literary conventions, a satiety [...] in respect to <a href="/wiki/Aestheticism" title="Aestheticism">calophile</a> literature, which they perceived as exhausted."<a href="#cite_note-193">[193]</a> In Beitchman's view, the revolt against cultivated beauty was a constant in Tzara's years of maturity, and his visions of social change continued to be inspired by <a href="/wiki/Arthur_Rimbaud" title="Arthur Rimbaud">Arthur Rimbaud</a> and the <a href="/wiki/Comte_de_Lautr%C3%A9amont" title="Comte de Lautréamont">Comte de Lautréamont</a>.<a href="#cite_note-194">[194]</a> According to Beitchman, Tzara uses the Symbolist message, "the birthright [of humans] has been sold for a mess of porridge", taking it "into the streets, cabarets and trains where he denounces the deal and asks for his birthright back."<a href="#cite_note-195">[195]</a> <div class="mw-heading mw-heading3"><h3 id="Collaboration_with_Vinea">Collaboration with Vinea</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=19" title="Edit section: Collaboration with Vinea">edit</a>]</div> The transition to a more radical form of poetry seems to have taken place in 1913–1915, during the periods when Tzara and Vinea were vacationing together. The pieces share a number of characteristics and subjects, and the two poets even use them to allude to one another (or, in one case, to Tzara's sister).<a href="#cite_note-196">[196]</a> In addition to the lyrics were they both speak of provincial holidays and love affairs with local girls, both friends intended to reinterpret <a href="/wiki/William_Shakespeare" title="William Shakespeare">William Shakespeare</a>'s <a href="/wiki/Hamlet" title="Hamlet">Hamlet</a> from a modernist perspective, and wrote incomplete texts with this as their subject.<a href="#cite_note-197">[197]</a> However, Paul Cernat notes, the texts also evidence a difference in approach, with Vinea's work being "meditative and melancholic", while Tzara's is "<a href="/wiki/Hedonism" title="Hedonism">hedonistic</a>".<a href="#cite_note-pcern117-198">[198]</a> Tzara often appealed to revolutionary and ironic images, portraying provincial and <a href="/wiki/Middle_class" title="Middle class">middle class</a> environments as places of artificiality and decay, demystifying <a href="/wiki/Pastoral" title="Pastoral">pastoral</a> themes and evidencing a will to break free.<a href="#cite_note-199">[199]</a> His literature took a more radical perspective on life, and featured lyrics with subversive intent: <style data-mw-deduplicate="TemplateStyles:r1157697682">.mw-parser-output .verse_translation .translated{padding-left:2em!important}@media only screen and (max-width:43.75em){.mw-parser-output .verse_translation.wrap_when_small td{display:block;padding-left:0.5em}.mw-parser-output .verse_translation.wrap_when_small .translated{padding-left:0.5em!important}}</style> <table role="presentation" class="verse_translation" style="margin-left:1em !important"> <tbody><tr style="vertical-align:top"> <td><div style="font-style:roman;text-align:left" lang="" class="poem"> să ne coborâm în râpa, care-i Dumnezeu când cască<a href="#cite_note-200">[200]</a> </div> </td> <td class="translated"><div style="font-style:roman;text-align:left" lang="" class="poem"> let's descend into the precipice that is God yawning </div> </td></tr></tbody></table> In his Înserează (roughly, "Night Falling"), probably authored in <a href="/wiki/Mangalia" title="Mangalia">Mangalia</a>, Tzara writes: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1157697682"> <table role="presentation" class="verse_translation" style="margin-left:1em !important"> <tbody><tr style="vertical-align:top"> <td><div style="font-style:roman;text-align:left" lang="" class="poem"> [...] deschide-te fereastră, prin urmare și ieși noapte din odaie ca din piersică sâmburul, ca preotul din biserică [...] hai în parcul communal până o cânta cocoșul să se scandalizeze orașul [...].<a href="#cite_note-pcern117-198">[198]</a> </div> </td> <td class="translated"><div style="font-style:roman;text-align:left" lang="" class="poem"> [...] open yourself therefore, window and you night, spring out of the room like a kernel from the peach, like a priest from the church [...] let's go to the community park before the rooster starts crowing so that the city will be scandalized [...] </div> </td></tr></tbody></table> Vinea's similar poem, written in <a href="/wiki/Tuzla,_Constan%C8%9Ba" title="Tuzla, Constanța">Tuzla</a> and named after that village, reads: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1157697682"> <table role="presentation" class="verse_translation" style="margin-left:1em !important"> <tbody><tr style="vertical-align:top"> <td><div style="font-style:roman;text-align:left" lang="" class="poem"> seara bate semne pe far peste goarnele vagi de apă când se întorc pescarii cu stele pe mâini și trec vapoarele și planetele<a href="#cite_note-pcern117-198">[198]</a> </div> </td> <td class="translated"><div style="font-style:roman;text-align:left" lang="" class="poem"> the evening stamps signs on the lighthouse over the vague bugles of water when fishermen return with stars on their arms and ships and planets pass by </div> </td></tr></tbody></table> Cernat notes that Nocturnă ("Nocturne") and Înserează were the pieces originally performed at <a href="/wiki/Cabaret_Voltaire_(Z%C3%BCrich)" title="Cabaret Voltaire (Zürich)">Cabaret Voltaire</a>, identified by <a href="/wiki/Hugo_Ball" title="Hugo Ball">Hugo Ball</a> as "Rumanian poetry", and that they were recited in Tzara's own spontaneous French translation.<a href="#cite_note-201">[201]</a> Although they are noted for their radical break with the traditional form of Romanian verse,<a href="#cite_note-ddintoarc-202">[202]</a> Ball's diary entry of 5 February 1916, indicates that Tzara's works were still "conservative in style".<a href="#cite_note-hrich16-203">[203]</a> In Călinescu's view, they announce Dadaism, given that "bypassing the relations which lead to a realistic vision, the poet associates unimaginably dissipated images that will surprise consciousness."<a href="#cite_note-gcal887-171">[171]</a> In 1922, Tzara himself wrote: "As early as 1914, I tried to strip the words of their proper meaning and use them in such a way as to give the verse a completely new, general, meaning [...]."<a href="#cite_note-ddintoarc-202">[202]</a> Alongside pieces depicting a Jewish cemetery in which graves "crawl like worms" on the edge of a town, chestnut trees "heavy-laden like people returning from hospitals", or wind wailing "with all the hopelessness of an orphanage",<a href="#cite_note-gcal887-171">[171]</a> Samyro's poetry includes Verișoară, fată de pension, which, Cernat argues, displays "playful detachment [for] the musicality of <a href="/wiki/Internal_rhyme" title="Internal rhyme">internal rhymes</a>".<a href="#cite_note-pcern49-15">[15]</a> It opens with the lyrics: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1157697682"> <table role="presentation" class="verse_translation" style="margin-left:1em !important"> <tbody><tr style="vertical-align:top"> <td><div style="font-style:roman;text-align:left" lang="" class="poem"> Verișoară, fată de pension, îmbrăcată în negru, guler alb, Te iubesc pentru că ești simplă și visezi Și ești bună, plângi, și rupi scrisori ce nu au înțeles Și-ți pare rău că ești departe de ai tăi și că înveți La Călugărițe unde noaptea nu e cald.<a href="#cite_note-gcal887-171">[171]</a> </div> </td> <td class="translated"><div style="font-style:roman;text-align:left" lang="" class="poem"> Little cousin, boarding school girl, dressed in black, white collar, I love you because you are simple and you dream And you are kind, you cry, you tear up letters that have no meaning And you feel bad because you are far from yours and you study At the Nuns where at night it's not warm. </div> </td></tr></tbody></table> The <a href="/wiki/G%C3%A2rceni" title="Gârceni">Gârceni</a> pieces were treasured by the moderate wing of the Romanian avant-garde movement. In contrast to his previous rejection of Dada, <a href="/wiki/Contimporanul" title="Contimporanul">Contimporanul</a> collaborator <a href="/wiki/Benjamin_Fondane" title="Benjamin Fondane">Benjamin Fondane</a> used them as an example of "pure poetry", and compared them to the elaborate writings of French poet <a href="/wiki/Paul_Val%C3%A9ry" title="Paul Valéry">Paul Valéry</a>, thus recuperating them in line with the magazine's ideology.<a href="#cite_note-204">[204]</a> <div class="mw-heading mw-heading3"><h3 id="Dada_synthesis_and_"simultaneism"">Dada synthesis and "simultaneism"</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=20" title="Edit section: Dada synthesis and "simultaneism"">edit</a>]</div> Tzara the Dadaist was inspired by the contributions of his experimental modernist predecessors. Among them were the literary promoters of <a href="/wiki/Cubism" title="Cubism">Cubism</a>: in addition to <a href="/w/index.php?title=Henri_Barzun&action=edit&redlink=1" class="new" title="Henri Barzun (page does not exist)">Henri Barzun</a> and <a href="/w/index.php?title=Fernand_Divoire&action=edit&redlink=1" class="new" title="Fernand Divoire (page does not exist)">Fernand Divoire</a>, Tzara cherished the works of <a href="/wiki/Guillaume_Apollinaire" title="Guillaume Apollinaire">Guillaume Apollinaire</a>.<a href="#cite_note-mrnnradi-145">[145]</a><a href="#cite_note-205">[205]</a> Despite Dada's condemnation of <a href="/wiki/Futurism" title="Futurism">Futurism</a>, various authors note the influence <a href="/wiki/Filippo_Tommaso_Marinetti" title="Filippo Tommaso Marinetti">Filippo Tommaso Marinetti</a> and his circle exercised on Tzara's group.<a href="#cite_note-206">[206]</a> In 1917, he was in correspondence with both Apollinaire<a href="#cite_note-207">[207]</a> and Marinetti.<a href="#cite_note-208">[208]</a> Traditionally, Tzara is also seen as indebted to the early avant-garde and <a href="/wiki/Black_comedy" title="Black comedy">black comedy</a> writings of Romania's <a href="/wiki/Urmuz" title="Urmuz">Urmuz</a>.<a href="#cite_note-ddintoarc-202">[202]</a><a href="#cite_note-209">[209]</a> For a large part, Dada focused on performances and <a href="/wiki/Satire" title="Satire">satire</a>, with shows that often had Tzara, Marcel Janco and Huelsenbeck for their main protagonists. Often dressed up as <a href="/wiki/German_Tyrol" title="German Tyrol">Tyrolian</a> peasants or wearing dark robes, they improvised poetry sessions at the Cabaret Voltaire, reciting the works of others or their spontaneous creations, which were or pretended to be in <a href="/wiki/Esperanto" title="Esperanto">Esperanto</a> or <a href="/wiki/M%C4%81ori_language" title="Māori language">Māori language</a>.<a href="#cite_note-210">[210]</a> Bernard Gendron describes these soirées as marked by "heterogeneity and <a href="/wiki/Eclecticism" title="Eclecticism">eclecticism</a>",<a href="#cite_note-211">[211]</a> and Richter notes that the songs, often punctuated by loud shrieks or other unsettling sounds, built on the legacy of <a href="/wiki/Noise_music" title="Noise music">noise music</a> and <a href="/wiki/Futurism_(music)" title="Futurism (music)">Futurist compositions</a>.<a href="#cite_note-212">[212]</a> With time, Tristan Tzara merged his performances and his literature, taking part in developing Dada's "simultaneist poetry", which was meant to be read out loud and involved a collaborative effort, being, according to <a href="/wiki/Hans_Arp" class="mw-redirect" title="Hans Arp">Hans Arp</a>, the first instance of <a href="/wiki/Surrealist_automatism" title="Surrealist automatism">Surrealist automatism</a>.<a href="#cite_note-hrich16-203">[203]</a> Ball stated that the subject of such pieces was "the value of the human voice."<a href="#cite_note-213">[213]</a> Together with Arp, Tzara and <a href="/wiki/Walter_Serner" title="Walter Serner">Walter Serner</a> produced the <a href="/wiki/German_language" title="German language">German-language</a> Die Hyperbel vom Krokodilcoiffeur und dem Spazierstock ("The Hyperbole of the Crocodile's Hairdresser and the Walking-Stick"), in which, Arp stated, "the poet crows, curses, sighs, stutters, <a href="/wiki/Yodeling" title="Yodeling">yodels</a>, as he pleases. His poems are like Nature [where] a tiny particle is as beautiful and important as a star."<a href="#cite_note-214">[214]</a> Another noted simultaneist poem was L'Amiral cherche une maison à louer ("The Admiral Is Looking for a House to Rent"), co-authored by Tzara, Marcel Janco and Huelsenbach.<a href="#cite_note-gcal887-171">[171]</a> Art historian Roger Cardinal describes Tristan Tzara's Dada poetry as marked by "extreme semantic and syntactic incoherence".<a href="#cite_note-rcard530-67">[67]</a> Tzara, who recommended destroying just as it is created,<a href="#cite_note-215">[215]</a> had devised a personal system for writing poetry, which implied a seemingly chaotic reassembling of words that had been randomly cut out of newspapers.<a href="#cite_note-nzgysin-109">[109]</a><a href="#cite_note-216">[216]</a><a href="#cite_note-rlword-217">[217]</a> <div class="mw-heading mw-heading3"><h3 id="Dada_and_anti-art">Dada and anti-art</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=21" title="Edit section: Dada and anti-art">edit</a>]</div> The Romanian writer also spent the Dada period issuing a long series of manifestos, which were often authored as <a href="/wiki/Prose_poetry" title="Prose poetry">prose poetry</a>,<a href="#cite_note-enotestt-84">[84]</a> and, according to Cardinal, were characterized by "rumbustious tomfoolery and astringent wit", which reflected "the language of a sophisticated savage".<a href="#cite_note-rcard530-67">[67]</a> Huelsenbeck credited Tzara with having discovered in them the format for "compress[ing] what we think and feel",<a href="#cite_note-218">[218]</a> and, according to Hans Richter, the genre "suited Tzara perfectly."<a href="#cite_note-hrich33-49">[49]</a> Despite its production of seemingly theoretical works, Richter indicates, Dada lacked any form of program, and Tzara tried to perpetuate this state of affairs.<a href="#cite_note-219">[219]</a> His Dada manifesto of 1918 stated: "Dada means nothing", adding "Thought is produced in the mouth."<a href="#cite_note-220">[220]</a> Tzara indicated: "I am against systems; the most acceptable system is on principle to have none."<a href="#cite_note-jycmelusine-4">[4]</a> In addition, Tzara, who once stated that "<a href="/wiki/Logic" title="Logic">logic</a> is always false",<a href="#cite_note-ipuranus-221">[221]</a> probably approved of Serner's vision of a "final dissolution".<a href="#cite_note-222">[222]</a> According to Philip Beitchman, a core concept in Tzara's thought was that "as long as we do things the way we think we once did them we will be unable to achieve any kind of livable society."<a href="#cite_note-pbeit29-192">[192]</a> Despite adopting such <a href="/wiki/Anti-art" title="Anti-art">anti-artistic</a> principles, Richter argues, Tzara, like many of his fellow Dadaists, did not initially discard the mission of "furthening the cause of art."<a href="#cite_note-Richter,_p.54-223">[223]</a> He saw this evident in La Revue Dada 2, a poem "as exquisite as freshly-picked flowers", which included the lyrics: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1157697682"> <table role="presentation" class="verse_translation" style="margin-left:1em !important"> <tbody><tr style="vertical-align:top"> <td><div style="font-style:roman;text-align:left" lang="" class="poem"> Cinq négresses dans une auto ont explosé suivant les 5 directions de mes doigts quand je pose la main sur la poitrine pour prier Dieu (parfois) autour de ma tête il y a la lumière humide des vieux oiseaux lunaires<a href="#cite_note-Richter,_p.54-223">[223]</a> </div> </td> <td class="translated"><div style="font-style:roman;text-align:left" lang="" class="poem"> Five Negro women in a car exploded following the 5 directions of my fingers when I pose my hand on my chest to pray God (sometimes) around my head there is the humid light of old lunar birds </div> </td></tr></tbody></table> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Guillaume_Apollinaire_Calligramme.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fc/Guillaume_Apollinaire_Calligramme.JPG/190px-Guillaume_Apollinaire_Calligramme.JPG" decoding="async" width="190" height="256" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fc/Guillaume_Apollinaire_Calligramme.JPG/285px-Guillaume_Apollinaire_Calligramme.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/f/fc/Guillaume_Apollinaire_Calligramme.JPG 2x" data-file-width="327" data-file-height="440" /></a><figcaption>One of <a href="/wiki/Guillaume_Apollinaire" title="Guillaume Apollinaire">Guillaume Apollinaire</a>'s <a href="/wiki/Calligram" title="Calligram">calligrams</a>, shaped like the <a href="/wiki/Eiffel_Tower" title="Eiffel Tower">Eiffel Tower</a></figcaption></figure> La Revue Dada 2, which also includes the <a href="/wiki/Onomatopoeia" title="Onomatopoeia">onomatopoeic</a> line tralalalalalalalalalalala, is one example where Tzara applies his principles of chance to sounds themselves.<a href="#cite_note-Richter,_p.54-223">[223]</a> This sort of arrangement, treasured by many Dadaists, was probably connected with Apollinaire's <a href="/wiki/Calligram" title="Calligram">calligrams</a>, and with his announcement that "Man is in search of a new language."<a href="#cite_note-mlsconcr-224">[224]</a> Călinescu proposed that Tzara willingly limited the impact of chance: taking as his example a short <a href="/wiki/Parody" title="Parody">parody</a> piece which depicts the love affair between cyclist and a Dadaist, which ends with their decapitation by a jealous husband, the critic notes that Tzara transparently intended to "shock the <a href="/wiki/Bourgeoisie" title="Bourgeoisie">bourgeois</a>".<a href="#cite_note-gcal887-171">[171]</a> Late in his career, Huelsenbeck alleged that Tzara never actually applied the experimental methods he had devised.<a href="#cite_note-hrich123-41">[41]</a> The Dada series makes ample use of contrast, <a href="/wiki/Ellipse_(figure_of_speech)" class="mw-redirect" title="Ellipse (figure of speech)">ellipses</a>, ridiculous imagery and nonsensical verdicts.<a href="#cite_note-enotestt-84">[84]</a> Tzara was aware that the public could find it difficult to follow his intentions, and, in a piece titled Le géant blanc lépreux du paysage ("The White Leprous Giant in the Landscape") even alluded to the "skinny, idiotic, dirty" reader who "does not understand my poetry."<a href="#cite_note-enotestt-84">[84]</a> He called some of his own poems lampisteries, from a French word designating storage areas for light fixtures.<a href="#cite_note-225">[225]</a> The <a href="/wiki/Lettrism" title="Lettrism">Lettrist</a> poet <a href="/wiki/Isidore_Isou" title="Isidore Isou">Isidore Isou</a> included such pieces in a succession of experiments inaugurated by <a href="/wiki/Charles_Baudelaire" title="Charles Baudelaire">Charles Baudelaire</a> with the "destruction of the anecdote for the form of the poem", a process which, with Tzara, became "destruction of the word for nothing".<a href="#cite_note-dwslettr-226">[226]</a> According to American literary historian <a href="/wiki/Mary_Ann_Caws" title="Mary Ann Caws">Mary Ann Caws</a>, Tzara's poems may be seen as having an "internal order", and read as "a simple spectacle, as creation complete in itself and completely obvious."<a href="#cite_note-enotestt-84">[84]</a> <div class="mw-heading mw-heading3"><h3 id="Plays_of_the_1920s">Plays of the 1920s</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=22" title="Edit section: Plays of the 1920s">edit</a>]</div> Tristan Tzara's first play, <a href="/wiki/The_Gas_Heart" title="The Gas Heart">The Gas Heart</a>, dates from the final period of Paris Dada. Created with what Enoch Brater calls a "peculiar verbal strategy", it is a dialogue between characters called Ear, Mouth, Eye, Nose, Neck, and Eyebrow.<a href="#cite_note-ebra25-227">[227]</a> They seem unwilling to actually communicate to each other and their reliance on proverbs and idiotisms willingly creates confusion between metaphorical and literal speech.<a href="#cite_note-ebra25-227">[227]</a> The play ends with a dance performance that recalls similar devices used by the proto-Dadaist <a href="/wiki/Alfred_Jarry" title="Alfred Jarry">Alfred Jarry</a>. The text culminates in a series of doodles and illegible words.<a href="#cite_note-ebra26-228">[228]</a> Brater describes The Gas Heart as a "parod[y] of theatrical conventions".<a href="#cite_note-ebra26-228">[228]</a> In his 1924 play <a href="/wiki/Handkerchief_of_Clouds" title="Handkerchief of Clouds">Handkerchief of Clouds</a>, Tzara explores the relation between perception, the <a href="/wiki/Subconscious" title="Subconscious">subconscious</a> and memory. Largely through exchanges between commentators who act as third parties, the text presents the tribulations of a <a href="/wiki/Love_triangle" title="Love triangle">love triangle</a> (a poet, a bored woman, and her banker husband, whose character traits borrow the clichés of conventional drama), and in part reproduces settings and lines from <a href="/wiki/Hamlet" title="Hamlet">Hamlet</a>.<a href="#cite_note-229">[229]</a> Tzara mocks classical theater, which demands from characters to be inspiring, believable, and to function as a whole: Handkerchief of Clouds requires actors in the role of commentators to address each other by their real names,<a href="#cite_note-230">[230]</a> and their lines include dismissive comments on the play itself, while the <a href="/wiki/Protagonist" title="Protagonist">protagonist</a>, who in the end dies, is not assigned any name.<a href="#cite_note-231">[231]</a> Writing for Integral, Tzara defined his play as a note on "the relativity of things, sentiments and events."<a href="#cite_note-232">[232]</a> Among the conventions ridiculed by the dramatist, Philip Beitchman notes, is that of a "privileged position for art": in what Beitchman sees as a comment on <a href="/wiki/Marxism" title="Marxism">Marxism</a>, poet and banker are interchangeable <a href="/wiki/Capitalism" title="Capitalism">capitalists</a> who invest in different fields.<a href="#cite_note-233">[233]</a> Writing in 1925, Fondane rendered a pronouncement by <a href="/wiki/Jean_Cocteau" title="Jean Cocteau">Jean Cocteau</a>, who, while commenting that Tzara was one of his "most beloved" writers and a "great poet", argued: "Handkerchief of Clouds was poetry, and great poetry for that matter—but not theater."<a href="#cite_note-234">[234]</a> The work was nonetheless praised by <a href="/wiki/Ion_C%C4%83lug%C4%83ru" title="Ion Călugăru">Ion Călugăru</a> at Integral, who saw in it one example that modernist performance could rely not just on props, but also on a solid text.<a href="#cite_note-pcern277-126">[126]</a> <div class="mw-heading mw-heading3"><h3 id="The_Approximate_Man_and_later_works">The Approximate Man and later works</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=23" title="Edit section: The Approximate Man and later works">edit</a>]</div> After 1929, with the adoption of Surrealism, Tzara's literary works discard much of their satirical purpose, and begin to explore universal themes relating to the <a href="/wiki/Human_condition" title="Human condition">human condition</a>.<a href="#cite_note-enotestt-84">[84]</a> According to Cardinal, the period also signified the definitive move from "a studied inconsequentiality" and "unreadable gibberish" to "a seductive and fertile surrealist idiom."<a href="#cite_note-rcard530-67">[67]</a> The critic also remarks: "Tzara arrived at a mature style of transparent simplicity, in which disparate entities could be held together in a unifying vision."<a href="#cite_note-rcard530-67">[67]</a> In a 1930 essay, Fondane had given a similar verdict: arguing that Tzara had infused his work with "suffering", had discovered humanity, and had become a "<a href="/wiki/Clairvoyance" title="Clairvoyance">clairvoyant</a>" among poets.<a href="#cite_note-235">[235]</a> This period in Tzara's creative activity centers on <a href="/w/index.php?title=The_Approximate_Man&action=edit&redlink=1" class="new" title="The Approximate Man (page does not exist)">The Approximate Man</a>, an <a href="/wiki/Epic_poetry" title="Epic poetry">epic poem</a> which is reportedly recognized as his most accomplished contribution to <a href="/wiki/French_literature" title="French literature">French literature</a>.<a href="#cite_note-rcard530-67">[67]</a><a href="#cite_note-enotestt-84">[84]</a> While maintaining some of Tzara's preoccupation with language experimentation, it is mainly a study in <a href="/wiki/Social_alienation" title="Social alienation">social alienation</a> and the search for an escape.<a href="#cite_note-enotestt-84">[84]</a><a href="#cite_note-236">[236]</a> Cardinal calls the piece "an extended meditation on mental and elemental impulses [...] with images of stunning beauty",<a href="#cite_note-rcard530-67">[67]</a> while Breitchman, who notes Tzara's rebellion against the "excess baggage of [man's] past and the notions [...] with which he has hitherto tried to control his life", remarks his portrayal of poets as voices who can prevent human beings from destroying themselves with their own intellects.<a href="#cite_note-237">[237]</a> The goal is a new man who lets intuition and spontaneity guide him through life, and who rejects measure.<a href="#cite_note-238">[238]</a> One of the appeals in the text reads: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1157697682"> <table role="presentation" class="verse_translation" style="margin-left:1em !important"> <tbody><tr style="vertical-align:top"> <td><div style="font-style:roman;text-align:left" lang="" class="poem"> je parle de qui parle qui parle je suis seul je ne suis qu'un petit bruit j'ai plusieurs bruits en moi un bruit glacé froissé au carrefour jeté sur le trottoir humide aux pieds des hommes pressés courant avec leurs morts autour de la mort qui étend ses bras sur le cadran de l'heure seule vivante au soleil.<a href="#cite_note-jycmelusine-4">[4]</a> </div> </td> <td class="translated"><div style="font-style:roman;text-align:left" lang="" class="poem"> I speak of the one who speaks who speaks I am alone I am but a small noise I have several noises in me a ruffled noise frozen with the crossroads thrown on the wet pavement with the feet of the men in a hurry running with their dead around death which extends its arms on the dial of the hour only alive in the sun </div> </td></tr></tbody></table> The next stage in Tzara's career saw a merger of his literary and political views. His poems of the period blend a <a href="/wiki/Humanism" title="Humanism">humanist</a> vision with <a href="/wiki/Communism" title="Communism">communist</a> theses.<a href="#cite_note-enotestt-84">[84]</a><a href="#cite_note-pbeit49-139">[139]</a> The 1935 Grains et issues, described by Beitchman as "fascinating",<a href="#cite_note-239">[239]</a> was a prose poem of <a href="/wiki/Social_criticism" title="Social criticism">social criticism</a> connected with The Approximate Man, expanding on the vision of a possible society, in which haste has been abandoned in favor of <a href="/wiki/Oblivion_(eternal)" class="mw-redirect" title="Oblivion (eternal)">oblivion</a>. The world imagined by Tzara abandons symbols of the past, from literature to public transportation and currency, while, like psychologists <a href="/wiki/Sigmund_Freud" title="Sigmund Freud">Sigmund Freud</a> and <a href="/wiki/Wilhelm_Reich" title="Wilhelm Reich">Wilhelm Reich</a>, the poet depicts violence as a natural means of human expression.<a href="#cite_note-240">[240]</a> People of the future live in a state which combines waking life and the realm of dreams, and life itself turns into revery.<a href="#cite_note-241">[241]</a> Grains et issues was accompanied by Personage d'insomnie ("Personage of Insomnia"), which went unpublished.<a href="#cite_note-242">[242]</a> Cardinal notes: "In retrospect, harmony and contact had been Tzara's goals all along."<a href="#cite_note-rcard530-67">[67]</a> The post-<a href="/wiki/World_War_II" title="World War II">World War II</a> volumes in the series focus on political subjects related to the conflict.<a href="#cite_note-enotestt-84">[84]</a> In his last writings, Tzara toned down experimentation, exercising more control over the lyrical aspects.<a href="#cite_note-enotestt-84">[84]</a> He was by then undertaking a <a href="/wiki/Hermeneutics" title="Hermeneutics">hermeutic</a> research into the work of <a href="/wiki/Goliard" class="mw-redirect" title="Goliard">Goliards</a> and <a href="/wiki/Fran%C3%A7ois_Villon" title="François Villon">François Villon</a>, whom he deeply admired.<a href="#cite_note-spbuot-141">[141]</a><a href="#cite_note-mrnnradi-145">[145]</a> <div class="mw-heading mw-heading2"><h2 id="Legacy">Legacy</h2>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=24" title="Edit section: Legacy">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Influence">Influence</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=25" title="Edit section: Influence">edit</a>]</div> Beside the many authors who were attracted into Dada through his promotional activities, Tzara was able to influence successive generations of writers. This was the case in his homeland during 1928, when the first avant-garde manifesto issued by <a href="/wiki/Unu" title="Unu">unu</a> magazine, written by <a href="/wiki/Sa%C8%99a_Pan%C4%83" title="Sașa Pană">Sașa Pană</a> and <a href="/w/index.php?title=Moldov&action=edit&redlink=1" class="new" title="Moldov (page does not exist)">Moldov</a>, cited as its mentors Tzara, writers Breton, Ribemont-Dessaignes, Vinea, <a href="/wiki/Filippo_Tommaso_Marinetti" title="Filippo Tommaso Marinetti">Filippo Tommaso Marinetti</a>, and <a href="/wiki/Tudor_Arghezi" title="Tudor Arghezi">Tudor Arghezi</a>, as well as artists <a href="/wiki/Constantin_Br%C3%A2ncu%C8%99i" title="Constantin Brâncuși">Constantin Brâncuși</a> and <a href="/wiki/Theo_van_Doesburg" title="Theo van Doesburg">Theo van Doesburg</a>.<a href="#cite_note-243">[243]</a> One of the Romanian writers to claim inspiration from Tzara was <a href="/w/index.php?title=Jacques_G._Costin&action=edit&redlink=1" class="new" title="Jacques G. Costin (page does not exist)">Jacques G. Costin</a>, who nevertheless offered an equally good reception to both Dadaism and <a href="/wiki/Futurism" title="Futurism">Futurism</a>,<a href="#cite_note-244">[244]</a> while <a href="/wiki/Ilarie_Voronca" title="Ilarie Voronca">Ilarie Voronca</a>'s Zodiac cycle, first published in France, is traditionally seen as indebted to The Approximate Man.<a href="#cite_note-245">[245]</a> The <a href="/wiki/Kabbalah" title="Kabbalah">Kabbalist</a> and Surrealist author <a href="/w/index.php?title=Mihail_(Marcel)_Avramescu&action=edit&redlink=1" class="new" title="Mihail (Marcel) Avramescu (page does not exist)">Marcel Avramescu</a>, who wrote during the 1930s, also appears to have been directly inspired by Tzara's views on art.<a href="#cite_note-ipuranus-221">[221]</a> Other authors from that generation to have been inspired by Tzara were <a href="/wiki/Poland" title="Poland">Polish</a> Futurist writer <a href="/wiki/Bruno_Jasie%C5%84ski" title="Bruno Jasieński">Bruno Jasieński</a>,<a href="#cite_note-246">[246]</a> <a href="/wiki/Japan" title="Japan">Japanese</a> poet and <a href="/wiki/Zen" title="Zen">Zen</a> thinker <a href="/w/index.php?title=Takahashi_Shinkichi&action=edit&redlink=1" class="new" title="Takahashi Shinkichi (page does not exist)">Takahashi Shinkichi</a>,<a href="#cite_note-247">[247]</a> and <a href="/wiki/Chile" title="Chile">Chilean</a> poet and Dadaist sympathizer <a href="/wiki/Vicente_Huidobro" title="Vicente Huidobro">Vicente Huidobro</a>, who cited him as a precursor for his own <a href="/wiki/Creacionismo" class="mw-redirect" title="Creacionismo">Creacionismo</a>.<a href="#cite_note-248">[248]</a> An immediate precursor of <a href="/wiki/Theater_of_the_Absurd" class="mw-redirect" title="Theater of the Absurd">Absurdism</a>, he was acknowledged as a mentor by <a href="/wiki/Eug%C3%A8ne_Ionesco" title="Eugène Ionesco">Eugène Ionesco</a>, who developed on his principles for his early essays of literary and social criticism, as well as in tragic farces such as <a href="/wiki/The_Bald_Soprano" title="The Bald Soprano">The Bald Soprano</a>.<a href="#cite_note-249">[249]</a> Tzara's poetry influenced <a href="/wiki/Samuel_Beckett" title="Samuel Beckett">Samuel Beckett</a> (who translated some of it into English);<a href="#cite_note-dbgodot-161">[161]</a> the Irish author's 1972 play <a href="/wiki/Not_I" title="Not I">Not I</a> shares some elements with <a href="/wiki/The_Gas_Heart" title="The Gas Heart">The Gas Heart</a>.<a href="#cite_note-250">[250]</a> In the United States, the Romanian author is cited as an influence on <a href="/wiki/Beat_Generation" title="Beat Generation">Beat Generation</a> members. Beat writer <a href="/wiki/Allen_Ginsberg" title="Allen Ginsberg">Allen Ginsberg</a>, who made his acquaintance in Paris, cites him among the Europeans who influenced him and <a href="/wiki/William_S._Burroughs" title="William S. Burroughs">William S. Burroughs</a>.<a href="#cite_note-251">[251]</a> The latter also mentioned Tzara's use of chance in writing poetry as an early example of what became the <a href="/wiki/Cut-up_technique" title="Cut-up technique">cut-up technique</a>, adopted by <a href="/wiki/Brion_Gysin" title="Brion Gysin">Brion Gysin</a> and Burroughs himself.<a href="#cite_note-rlword-217">[217]</a> Gysin, who conversed with Tzara in the late 1950s, records the latter's indignation that Beat poets were "going back over the ground we [Dadaists] covered in 1920", and accuses Tzara of having consumed his creative energies into becoming a "Communist Party bureaucrat".<a href="#cite_note-nzgysin-109">[109]</a> Among the late 20th-century writers who acknowledged Tzara as an inspiration are <a href="/wiki/Jerome_Rothenberg" title="Jerome Rothenberg">Jerome Rothenberg</a>,<a href="#cite_note-camroth-252">[252]</a> <a href="/wiki/Isidore_Isou" title="Isidore Isou">Isidore Isou</a> and <a href="/wiki/Andrei_Codrescu" title="Andrei Codrescu">Andrei Codrescu</a>. The former <a href="/wiki/Situationist_International" title="Situationist International">Situationist</a> Isou, whose experiments with sounds and poetry come in succession to Apollinaire and Dada,<a href="#cite_note-mlsconcr-224">[224]</a> declared his <a href="/wiki/Lettrism" title="Lettrism">Lettrism</a> to be the last connection in the <a href="/wiki/Charles_Baudelaire" title="Charles Baudelaire">Charles Baudelaire</a>-Tzara cycle, with the goal of arranging "a nothing [...] for the creation of the anecdote."<a href="#cite_note-dwslettr-226">[226]</a> For a short period, Codrescu even adopted the pen name Tristan Tzara.<a href="#cite_note-amcodrescu-7">[7]</a><a href="#cite_note-253">[253]</a> He recalled the impact of having discovered Tzara's work in his youth, and credited him with being "the most important French poet after Rimbaud."<a href="#cite_note-amcodrescu-7">[7]</a> In retrospect, various authors describe Tzara's Dadaist shows and street performances as "<a href="/wiki/Happening" title="Happening">happenings</a>", with a word employed by post-Dadaists and Situationists, which was coined in the 1950s.<a href="#cite_note-254">[254]</a> Some also credit Tzara with having provided an ideological source for the development of <a href="/wiki/Rock_music" title="Rock music">rock music</a>, including <a href="/wiki/Punk_rock" title="Punk rock">punk rock</a>, <a href="/wiki/Punk_subculture" title="Punk subculture">punk subculture</a> and <a href="/wiki/Post-punk" title="Post-punk">post-punk</a>.<a href="#cite_note-amcodrescu-7">[7]</a><a href="#cite_note-255">[255]</a> Tristan Tzara has inspired the songwriting technique of <a href="/wiki/Radiohead" title="Radiohead">Radiohead</a>,<a href="#cite_note-256">[256]</a> and is one of the avant-garde authors whose voices were mixed by <a href="/wiki/DJ_Spooky" title="DJ Spooky">DJ Spooky</a> on his <a href="/wiki/Trip_hop" title="Trip hop">trip hop</a> album Rhythm Science.<a href="#cite_note-257">[257]</a> Romanian <a href="/wiki/Contemporary_classical_music" title="Contemporary classical music">contemporary classical musician</a> <a href="/wiki/Cornel_%C8%9A%C4%83ranu" title="Cornel Țăranu">Cornel Țăranu</a> set to music five of Tzara's poems, all of which date from the post-Dada period.<a href="#cite_note-258">[258]</a> Țăranu, <a href="/wiki/Anatol_Vieru" title="Anatol Vieru">Anatol Vieru</a> and ten other composers contributed to the album La Clé de l'horizon, inspired by Tzara's work.<a href="#cite_note-ocprofesor-259">[259]</a> <div class="mw-heading mw-heading3"><h3 id="Tributes_and_portrayals">Tributes and portrayals</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=26" title="Edit section: Tributes and portrayals">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Tzara_by_Tihanyi.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Tzara_by_Tihanyi.jpg/210px-Tzara_by_Tihanyi.jpg" decoding="async" width="210" height="297" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Tzara_by_Tihanyi.jpg/315px-Tzara_by_Tihanyi.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Tzara_by_Tihanyi.jpg/420px-Tzara_by_Tihanyi.jpg 2x" data-file-width="848" data-file-height="1200" /></a><figcaption>1927 portrait by <a href="/wiki/Lajos_Tihanyi" title="Lajos Tihanyi">Lajos Tihanyi</a></figcaption></figure> In France, Tzara's work was collected as Oeuvres complètes ("Complete Works"), of which the first volume saw print in 1975,<a href="#cite_note-rcard530-67">[67]</a> and an international poetry award is named after him (Prix International de Poésie Tristan Tzara). An international periodical titled Caietele Tristan Tzara, edited by the Tristan Tzara Cultural-Literary Foundation, has been published in <a href="/wiki/Moine%C8%99ti" title="Moinești">Moinești</a> since 1998.<a href="#cite_note-ocprofesor-259">[259]</a><a href="#cite_note-260">[260]</a> According to Paul Cernat, Aliluia, one of the few avant-garde texts authored by Ion Vinea features a "transparent allusion" to Tristan Tzara.<a href="#cite_note-261">[261]</a> Vinea's fragment speaks of "the <a href="/wiki/Wandering_Jew" title="Wandering Jew">Wandering Jew</a>", a character whom people notice because he sings La moară la Hârța, "a suspicious song from <a href="/wiki/Greater_Romania" title="Greater Romania">Greater Romania</a>."<a href="#cite_note-262">[262]</a> The poet is a character in <a href="/wiki/India" title="India">Indian</a> novelist <a href="/wiki/Mulk_Raj_Anand" title="Mulk Raj Anand">Mulk Raj Anand</a>'s Thieves of Fire, part four of his The Bubble (1984),<a href="#cite_note-263">[263]</a> as well as in The Prince of West End Avenue, a 1994 book by the American <a href="/wiki/Alan_Isler" title="Alan Isler">Alan Isler</a>.<a href="#cite_note-264">[264]</a> Rothenberg dedicated several of his poems to Tzara,<a href="#cite_note-camroth-252">[252]</a> as did the <a href="/wiki/Neo-Dada" title="Neo-Dada">Neo-Dadaist</a> <a href="/wiki/Valery_Oi%C8%99teanu" class="mw-redirect" title="Valery Oișteanu">Valery Oișteanu</a>.<a href="#cite_note-265">[265]</a> Tzara's legacy in literature also covers specific episodes of his biography, beginning with <a href="/wiki/Gertrude_Stein" title="Gertrude Stein">Gertrude Stein</a>'s controversial memoir. One of his performances is enthusiastically recorded by <a href="/wiki/Malcolm_Cowley" title="Malcolm Cowley">Malcolm Cowley</a> in his autobiographical book of 1934, Exile's Return,<a href="#cite_note-266">[266]</a> and he is also mentioned in <a href="/wiki/Harold_Loeb" title="Harold Loeb">Harold Loeb</a>'s memoir The Way It Was.<a href="#cite_note-267">[267]</a> Among his biographers is the French author François Buot, who records some of the lesser-known aspects of Tzara's life.<a href="#cite_note-spbuot-141">[141]</a> At some point between 1915 and 1917, Tzara is believed to have played chess in a coffeehouse that was also frequented by <a href="/wiki/Bolshevik" class="mw-redirect" title="Bolshevik">Bolshevik</a> leader <a href="/wiki/Vladimir_Lenin" title="Vladimir Lenin">Vladimir Lenin</a>.<a href="#cite_note-268">[268]</a> While Richter himself recorded the incidental proximity of Lenin's lodging to the Dadaist milieu,<a href="#cite_note-hrich16-203">[203]</a> no record exists of an actual conversation between the two figures.<a href="#cite_note-kols43-269">[269]</a><a href="#cite_note-jstsbh-270">[270]</a> Andrei Codrescu believes that Lenin and Tzara did play against each other, noting that an image of their encounter would be "the proper icon of the beginning of [modern] times."<a href="#cite_note-kols43-269">[269]</a> This meeting is mentioned as a fact in Harlequin at the Chessboard, a poem by Tzara's acquaintance <a href="/wiki/Kurt_Schwitters" title="Kurt Schwitters">Kurt Schwitters</a>.<a href="#cite_note-271">[271]</a> German playwright and novelist <a href="/wiki/Peter_Weiss" title="Peter Weiss">Peter Weiss</a>, who has introduced Tzara as a character in his 1969 play about <a href="/wiki/Leon_Trotsky" title="Leon Trotsky">Leon Trotsky</a> (Trotzki im Exil), recreated the scene in his 1975–1981 cycle <a href="/wiki/The_Aesthetics_of_Resistance" title="The Aesthetics of Resistance">The Aesthetics of Resistance</a>.<a href="#cite_note-272">[272]</a> The imagined episode also inspired much of <a href="/wiki/Tom_Stoppard" title="Tom Stoppard">Tom Stoppard</a>'s 1974 play <a href="/wiki/Travesties" title="Travesties">Travesties</a>, which also depicts conversations between Tzara, Lenin, and the Irish modernist author <a href="/wiki/James_Joyce" title="James Joyce">James Joyce</a> (who is also known to have resided in Zürich after 1915).<a href="#cite_note-jstsbh-270">[270]</a><a href="#cite_note-mcovusu-273">[273]</a><a href="#cite_note-cilenin-274">[274]</a> His role was notably played by <a href="/wiki/David_Westhead" title="David Westhead">David Westhead</a> in the 1993 British production,<a href="#cite_note-mcovusu-273">[273]</a> and by <a href="/wiki/Tom_Hewitt_(actor)" title="Tom Hewitt (actor)">Tom Hewitt</a> in the 2005 American version.<a href="#cite_note-cilenin-274">[274]</a> Alongside his collaborations with Dada artists on various pieces, Tzara himself was a subject for visual artists. <a href="/wiki/Max_Ernst" title="Max Ernst">Max Ernst</a> depicts him as the only mobile character in the Dadaists' group portrait Au Rendez-vous des Amis ("A Friends' Reunion", 1922),<a href="#cite_note-spbuot-141">[141]</a> while, in one of <a href="/wiki/Man_Ray" title="Man Ray">Man Ray</a>'s photographs, he is shown kneeling to kiss the hand of an <a href="/wiki/Androgynous" class="mw-redirect" title="Androgynous">androgynous</a> <a href="/wiki/Nancy_Cunard" title="Nancy Cunard">Nancy Cunard</a>.<a href="#cite_note-275">[275]</a> Years before their split, <a href="/wiki/Francis_Picabia" title="Francis Picabia">Francis Picabia</a> used Tzara's <a href="/wiki/Calligraphy" title="Calligraphy">calligraphed</a> name in Moléculaire ("Molecular"), a composition printed on the cover of <a href="/wiki/391_(magazine)" title="391 (magazine)">391</a>.<a href="#cite_note-276">[276]</a> The same artist also completed his schematic portrait, which showed a series of circles connected by two perpendicular arrows.<a href="#cite_note-277">[277]</a> In 1949, <a href="/wiki/Switzerland" title="Switzerland">Swiss</a> artist <a href="/wiki/Alberto_Giacometti" title="Alberto Giacometti">Alberto Giacometti</a> made Tzara the subject of one of his first experiments with <a href="/wiki/Lithography" title="Lithography">lithography</a>.<a href="#cite_note-278">[278]</a> Portraits of Tzara were also made by <a href="/wiki/Greta_Knutson" title="Greta Knutson">Greta Knutson</a>,<a href="#cite_note-279">[279]</a> <a href="/wiki/Robert_Delaunay" title="Robert Delaunay">Robert Delaunay</a>,<a href="#cite_note-280">[280]</a> and the <a href="/wiki/Cubism" title="Cubism">Cubist</a> painters <a href="/wiki/M._H._Maxy" class="mw-redirect" title="M. H. Maxy">M. H. Maxy</a><a href="#cite_note-281">[281]</a> and <a href="/wiki/Lajos_Tihanyi" title="Lajos Tihanyi">Lajos Tihanyi</a>. As an homage to Tzara the performer, <a href="/wiki/Art_rock" title="Art rock">art rocker</a> <a href="/wiki/David_Bowie" title="David Bowie">David Bowie</a> adopted his accessories and mannerisms during a number of public appearances.<a href="#cite_note-282">[282]</a> In 1996, he was depicted on a series of Romanian stamps, and, the same year, a concrete and steel monument dedicated to the writer was erected in Moinești.<a href="#cite_note-ocprofesor-259">[259]</a> Several of Tzara's Dadaist editions had illustrations by Picabia, Janco and <a href="/wiki/Hans_Arp" class="mw-redirect" title="Hans Arp">Hans Arp</a>.<a href="#cite_note-imjbokks-160">[160]</a> In its 1925 edition, Handkerchief of Clouds featured etchings by <a href="/wiki/Juan_Gris" title="Juan Gris">Juan Gris</a>, while his late writings Parler seul, Le Signe de vie, De mémoire d'homme, Le Temps naissant, and Le Fruit permis were illustrated with works by, respectively, <a href="/wiki/Joan_Mir%C3%B3" title="Joan Miró">Joan Miró</a>,<a href="#cite_note-283">[283]</a> <a href="/wiki/Henri_Matisse" title="Henri Matisse">Henri Matisse</a>, <a href="/wiki/Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>, <a href="/w/index.php?title=Nejad_Devrim&action=edit&redlink=1" class="new" title="Nejad Devrim (page does not exist)">Nejad Devrim</a><a href="#cite_note-imjbokks-160">[160]</a> and <a href="/wiki/Sonia_Delaunay" title="Sonia Delaunay">Sonia Delaunay</a>.<a href="#cite_note-284">[284]</a> Tzara was the subject of a 1949 eponymous <a href="/wiki/Documentary_film" title="Documentary film">documentary film</a> directed by Danish filmmaker <a href="/w/index.php?title=J%C3%B8rgen_Roos&action=edit&redlink=1" class="new" title="Jørgen Roos (page does not exist)">Jørgen Roos</a>, and footage of him featured prominently in the 1953 production Les statues meurent aussi ("Statues Also Die"), jointly directed by <a href="/wiki/Chris_Marker" title="Chris Marker">Chris Marker</a> and <a href="/wiki/Alain_Resnais" title="Alain Resnais">Alain Resnais</a>.<a href="#cite_note-ttzimdb-127">[127]</a> <div class="mw-heading mw-heading3"><h3 id="Posthumous_controversies">Posthumous controversies</h3>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=27" title="Edit section: Posthumous controversies">edit</a>]</div> The many polemics which surrounded Tzara in his lifetime left traces after his death, and determine contemporary perceptions of his work. The controversy regarding Tzara's role as a founder of Dada extended into several milieus, and continued long after the writer died. Richter, who discusses the lengthy conflict between Huelsenbeck and Tzara over the issue of Dada foundation, speaks of the movement as being torn apart by "petty jealousies".<a href="#cite_note-hrich32-42">[42]</a> In Romania, similar debates often involved the supposed founding role of <a href="/wiki/Urmuz" title="Urmuz">Urmuz</a>, who wrote his avant-garde texts before <a href="/wiki/World_War_I" title="World War I">World War I</a>, and Tzara's status as a communicator between Romania and the rest of Europe. Vinea, who claimed that Dada had been invented by Tzara in <a href="/wiki/G%C3%A2rceni" title="Gârceni">Gârceni</a> ca. 1915 and thus sought to legitimize his own modernist vision, also saw Urmuz as the ignored precursor of radical modernism, from Dada to Surrealism.<a href="#cite_note-285">[285]</a> In 1931 the young, modernist literary critic <a href="/wiki/Lucian_Boz" title="Lucian Boz">Lucian Boz</a> evidenced that he partly shared Vinea's perspective on the matter, crediting Tzara and <a href="/wiki/Constantin_Br%C3%A2ncu%C8%99i" title="Constantin Brâncuși">Constantin Brâncuși</a> with having, each on his own, invented the avant-garde.<a href="#cite_note-286">[286]</a> <a href="/wiki/Eug%C3%A8ne_Ionesco" title="Eugène Ionesco">Eugène Ionesco</a> argued that "before Dadaism there was Urmuzianism", and, after <a href="/wiki/World_War_II" title="World War II">World War II</a>, sought to popularize Urmuz's work among aficionados of Dada.<a href="#cite_note-287">[287]</a> Rumors in the literary community had it that Tzara successfully sabotaged Ionesco's initiative to publish a French edition of Urmuz's texts, allegedly because the public could then question his claim to have initiated the avant-garde experiment in Romania and the world (the edition saw print in 1965, two years after Tzara's death).<a href="#cite_note-288">[288]</a> A more radical questioning of Tzara's influence came from Romanian essayist <a href="/wiki/Petre_Pandrea" title="Petre Pandrea">Petre Pandrea</a>. In his personal diary, published long after he and Tzara had died, Pandrea depicted the poet as an opportunist, accusing him of adapting his style to political requirements, of dodging military service during <a href="/wiki/World_War_I" title="World War I">World War I</a>, and of being a "<a href="/wiki/Lumpenproletariat" title="Lumpenproletariat">Lumpenproletarian</a>".<a href="#cite_note-pcern113-289">[289]</a> Pandrea's text, completed just after Tzara's visit to Romania, claimed that his founding role within the avant-garde was an "illusion [...] which has swelled up like a multicolored balloon", and denounced him as "the <a href="/wiki/Balkans" title="Balkans">Balkan</a> provider of interlope <a href="/wiki/Odalisque" title="Odalisque">odalisques</a>, [together] with narcotics and a sort of scandalous literature."<a href="#cite_note-pcern113-289">[289]</a> Himself an adherent to communism, Pandrea grew disillusioned with the ideology, and later became a <a href="/wiki/Political_prisoner" title="Political prisoner">political prisoner</a> in <a href="/wiki/Communist_Romania" class="mw-redirect" title="Communist Romania">Communist Romania</a>. Vinea's own grudge probably shows up in his 1964 novel Lunatecii, where Tzara is identifiable as "Dr. Barbu", a thick-hided charlatan.<a href="#cite_note-290">[290]</a> From the 1960s to 1989, after a period when it ignored or attacked the avant-garde movement, the Romanian communist regime sought to recuperate Tzara, in order to validate its newly adopted emphasis on nationalist and <a href="/wiki/National_communism" title="National communism">national communist</a> tenets. In 1977, literary historian <a href="/wiki/Edgar_Papu" title="Edgar Papu">Edgar Papu</a>, whose controversial theories were linked to "<a href="/wiki/Protochronism" class="mw-redirect" title="Protochronism">protochronism</a>", which presumes that Romanians took precedence in various areas of world culture, mentioned Tzara, Urmuz, Ionesco and Isou as representatives of "Romanian initiatives" and "road openers at a universal level."<a href="#cite_note-291">[291]</a> Elements of protochronism in this area, Paul Cernat argues, could be traced back to Vinea's claim that his friend had single-handedly created the worldwide avant-garde movement on the basis of models already present at home.<a href="#cite_note-292">[292]</a> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=28" title="Edit section: Notes">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> Hentea, pp. 1–2 </li> <li id="cite_note-Cernat,_p.108-109-2">^ <a href="#cite_ref-Cernat,_p.108-109_2-0">a</a> <a href="#cite_ref-Cernat,_p.108-109_2-1">b</a> Cernat, p.108-109 </li> <li id="cite_note-pcern109-3">^ <a href="#cite_ref-pcern109_3-0">a</a> <a href="#cite_ref-pcern109_3-1">b</a> <a href="#cite_ref-pcern109_3-2">c</a> Cernat, p.109 </li> <li id="cite_note-jycmelusine-4">^ <a href="#cite_ref-jycmelusine_4-0">a</a> <a href="#cite_ref-jycmelusine_4-1">b</a> <a href="#cite_ref-jycmelusine_4-2">c</a> <a href="#cite_ref-jycmelusine_4-3">d</a> <a href="#cite_ref-jycmelusine_4-4">e</a> <a href="#cite_ref-jycmelusine_4-5">f</a> <a href="#cite_ref-jycmelusine_4-6">g</a> <a href="#cite_ref-jycmelusine_4-7">h</a> <a href="#cite_ref-jycmelusine_4-8">i</a> <a href="#cite_ref-jycmelusine_4-9">j</a> <a href="#cite_ref-jycmelusine_4-10">k</a> <a href="#cite_ref-jycmelusine_4-11">l</a> <a href="#cite_ref-jycmelusine_4-12">m</a> <a href="#cite_ref-jycmelusine_4-13">n</a> <a href="#cite_ref-jycmelusine_4-14">o</a> <a href="#cite_ref-jycmelusine_4-15">p</a> (in French) Jacques-Yves Conrad, <a rel="nofollow" class="external text" href="http://melusine.univ-paris3.fr/Association/Conrad.htm">Promenade surréaliste sur la colline de Montmartre</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080915053946/http://melusine.univ-paris3.fr/Association/Conrad.htm">Archived</a> 15 September 2008 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, at the <a href="/wiki/University_of_Paris_III:_Sorbonne_Nouvelle" class="mw-redirect" title="University of Paris III: Sorbonne Nouvelle">University of Paris III: Sorbonne Nouvelle</a> <a rel="nofollow" class="external text" href="http://melusine.univ-paris3.fr/">Center for the Study of Surrealism</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080327041319/http://melusine.univ-paris3.fr/">Archived</a> 27 March 2008 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>; retrieved 23 April 2008 </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> Cernat, p.109-110 </li> <li id="cite_note-pcern110-6">^ <a href="#cite_ref-pcern110_6-0">a</a> <a href="#cite_ref-pcern110_6-1">b</a> <a href="#cite_ref-pcern110_6-2">c</a> Cernat, p.110 </li> <li id="cite_note-amcodrescu-7">^ <a href="#cite_ref-amcodrescu_7-0">a</a> <a href="#cite_ref-amcodrescu_7-1">b</a> <a href="#cite_ref-amcodrescu_7-2">c</a> <a href="#cite_ref-amcodrescu_7-3">d</a> (in Romanian) Andra Matzal, <a rel="nofollow" class="external text" href="http://clubliteratura.cotidianul.ro/node/2948">"România-fantomă o să mai existe în forma unei suferințe psihice" (interview with Andrei Codrescu)</a>[<a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot">dead link</a>‍], at <a rel="nofollow" class="external text" href="http://clubliteratura.cotidianul.ro/">Club Literatura</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090613075708/http://clubliteratura.cotidianul.ro/">Archived</a> 13 June 2009 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Cotidianul" title="Cotidianul">Cotidianul</a>; retrieved 29 June 2009 </li> <li id="cite_note-8"><a href="#cite_ref-8">^</a> Cernat, pg. 35 </li> <li id="cite_note-iliv241-9">^ <a href="#cite_ref-iliv241_9-0">a</a> <a href="#cite_ref-iliv241_9-1">b</a> <a href="#cite_ref-iliv241_9-2">c</a> <a href="#cite_ref-iliv241_9-3">d</a> <a href="#cite_ref-iliv241_9-4">e</a> <a href="#cite_ref-iliv241_9-5">f</a> Livezeanu, pg. 241 </li> <li id="cite_note-vmttcl-10">^ <a href="#cite_ref-vmttcl_10-0">a</a> <a href="#cite_ref-vmttcl_10-1">b</a> (in Romanian) Victor Macarie, <a rel="nofollow" class="external text" href="http://convorbiri-literare.dntis.ro/MACARIEnov4.html">"Inedit: Tristan Tzara"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090309001230/http://convorbiri-literare.dntis.ro/MACARIEnov4.html">Archived</a> 9 March 2009 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, in <a href="/wiki/Convorbiri_Literare" title="Convorbiri Literare">Convorbiri Literare</a>, November 2004. </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> Cernat, pp. 48-51 </li> <li id="cite_note-pcern99-12">^ <a href="#cite_ref-pcern99_12-0">a</a> <a href="#cite_ref-pcern99_12-1">b</a> Cernat, pg. 99 </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> Cernat, pp. 186-194 </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> Cernat, pg. 51 </li> <li id="cite_note-pcern49-15">^ <a href="#cite_ref-pcern49_15-0">a</a> <a href="#cite_ref-pcern49_15-1">b</a> <a href="#cite_ref-pcern49_15-2">c</a> <a href="#cite_ref-pcern49_15-3">d</a> <a href="#cite_ref-pcern49_15-4">e</a> Cernat, pg. 49 </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> Cernat, pp. 50, 100. </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> Cernat, pp. 49-54, 397–398, 412 </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> Cernat, pg. 47 </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> Cernat, pp. 116-121. </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> Cernat, pp. 97, 106, 108–109 </li> <li id="cite_note-21"><a href="#cite_ref-21">^</a> Cernat, pp. 99–108. </li> <li id="cite_note-22"><a href="#cite_ref-22">^</a> Cernat, pg. 100 </li> <li id="cite_note-ttunifi-23">^ <a href="#cite_ref-ttunifi_23-0">a</a> <a href="#cite_ref-ttunifi_23-1">b</a> <a href="#cite_ref-ttunifi_23-2">c</a> (in Italian) <a rel="nofollow" class="external text" href="http://www.unifi.it/letrum/CMpro-v-p-1020.html">"Tristan Tzara"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110605084429/http://www.unifi.it/letrum/CMpro-v-p-1020.html">Archived</a> 5 June 2011 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, biographical note in <a rel="nofollow" class="external text" href="http://www.unifi.it/letrum/">Cronologia della letteratura rumena moderna (1780–1914) database</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20211018010504/https://www.clrm.unifi.it/">Archived</a> 18 October 2021 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, at the <a href="/wiki/University_of_Florence" title="University of Florence">University of Florence</a>'s Department of Neo-Latin Languages and Literatures; retrieved 23 April 2008. </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> Cernat, pp. 110-111 </li> <li id="cite_note-mrdada-25">^ <a href="#cite_ref-mrdada_25-0">a</a> <a href="#cite_ref-mrdada_25-1">b</a> <a href="#cite_ref-mrdada_25-2">c</a> <a href="#cite_ref-mrdada_25-3">d</a> <a href="#cite_ref-mrdada_25-4">e</a> <a href="#cite_ref-mrdada_25-5">f</a> Marta Ragozzino, "Tristan Tzara", in Art e Dossier, March 1994, Giunti, pg. 48 </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> Cernat, pg. 111 </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> Richter, pg. 137 </li> <li id="cite_note-28"><a href="#cite_ref-28">^</a> Cernat, pg. 132; Livezeanu, pp. 241, 249. </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> Răileanu & Carassou, pg. 13 </li> <li id="cite_note-pcern116-30">^ <a href="#cite_ref-pcern116_30-0">a</a> <a href="#cite_ref-pcern116_30-1">b</a> Cernat, pg. 116 </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> Cernat, pp. 116, 130, 138, 153 </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> Cernat, pp. 110-111; Hofman, pg. 2; Richter, pp. 12-14. </li> <li id="cite_note-Cernat,_p.111;_Richter,_p.14-33">^ <a href="#cite_ref-Cernat,_p.111;_Richter,_p.14_33-0">a</a> <a href="#cite_ref-Cernat,_p.111;_Richter,_p.14_33-1">b</a> Cernat, pg. 111; Richter, pg. 14 </li> <li id="cite_note-34"><a href="#cite_ref-34">^</a> Cernat, pg.111; Gendron, pg. 73; Richter, pg. 14 </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> Cernat, pg. 111; Richter, pg. 14, 28–30. </li> <li id="cite_note-pcern112-36">^ <a href="#cite_ref-pcern112_36-0">a</a> <a href="#cite_ref-pcern112_36-1">b</a> <a href="#cite_ref-pcern112_36-2">c</a> Cernat, pg. 112 </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> Cernat, pg. 115; Gendron, pp. 73-75; Hofman, pg. 3; Richter, pp. 39, 41–44, 48. </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> Gendron, pg. 75. </li> <li id="cite_note-39"><a href="#cite_ref-39">^</a> Richter, pp 11, 71–72, 81–100, 168–173. </li> <li id="cite_note-hrich14-40">^ <a href="#cite_ref-hrich14_40-0">a</a> <a href="#cite_ref-hrich14_40-1">b</a> Richter, pg. 14 </li> <li id="cite_note-hrich123-41">^ <a href="#cite_ref-hrich123_41-0">a</a> <a href="#cite_ref-hrich123_41-1">b</a> <a href="#cite_ref-hrich123_41-2">c</a> Richter, pg. 123 </li> <li id="cite_note-hrich32-42">^ <a href="#cite_ref-hrich32_42-0">a</a> <a href="#cite_ref-hrich32_42-1">b</a> Richter, pg. 32 </li> <li id="cite_note-43"><a href="#cite_ref-43">^</a> Cernat, pp. 115-116; Richter, pp. 31-32. </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> Cernat, pp. 115-116. </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> Cernat, pg. 116; Londré, pg. 397; Richter, pp. 31-32. </li> <li id="cite_note-46"><a href="#cite_ref-46">^</a> Cardinal, p.529; Hofman, pp. 3-4; Cernat, pg. 115; Livezeanu, pp. 249-251; Londré, pg. 396; Richter, pg. 33 </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> Cernat, pg. 115; Richter, pp. 43, 59. </li> <li id="cite_note-bgend77-48">^ <a href="#cite_ref-bgend77_48-0">a</a> <a href="#cite_ref-bgend77_48-1">b</a> Gendron, pg. 77 </li> <li id="cite_note-hrich33-49">^ <a href="#cite_ref-hrich33_49-0">a</a> <a href="#cite_ref-hrich33_49-1">b</a> <a href="#cite_ref-hrich33_49-2">c</a> <a href="#cite_ref-hrich33_49-3">d</a> Richter, pg. 33 </li> <li id="cite_note-50"><a href="#cite_ref-50">^</a> Hofman, pg. 4; Richter, pg. 33 </li> <li id="cite_note-51"><a href="#cite_ref-51">^</a> Richter, pp. 45, 69–70. </li> <li id="cite_note-52"><a href="#cite_ref-52">^</a> Cernat, pg. 193 </li> <li id="cite_note-53"><a href="#cite_ref-53">^</a> Richter, pp. 199, 201 (Haftmann, in Richter, pg. 217) </li> <li id="cite_note-buddevo-54">^ <a href="#cite_ref-buddevo_54-0">a</a> <a href="#cite_ref-buddevo_54-1">b</a> S. Batchelor, "Existence, Enlightenment and Suicide: The Dilemma of Nanavira Thera", in Tadeusz Skorupski (ed.), The Buddhist Forum, Vol. IV (Seminar Papers 1994–1996), <a href="/wiki/Routledge" title="Routledge">Routledge</a>, London, 1996, pp. 11-13; <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7286-0255-5" title="Special:BookSources/0-7286-0255-5">0-7286-0255-5</a> </li> <li id="cite_note-55"><a href="#cite_ref-55">^</a> Richter, pp. 39-40, 46. </li> <li id="cite_note-56"><a href="#cite_ref-56">^</a> Grigorescu, pp. 173-174. </li> <li id="cite_note-hrich167-57">^ <a href="#cite_ref-hrich167_57-0">a</a> <a href="#cite_ref-hrich167_57-1">b</a> Richter, pg. 167 </li> <li id="cite_note-58"><a href="#cite_ref-58">^</a> Hofman, pp. 7-8; Richter, pp. 102-114. </li> <li id="cite_note-59"><a href="#cite_ref-59">^</a> Richter, pp. 137, 155, 159. </li> <li id="cite_note-60"><a href="#cite_ref-60">^</a> Londré, pg. 397; Richter, pp. 137-138. </li> <li id="cite_note-61"><a href="#cite_ref-61">^</a> Richter, pg. 201 </li> <li id="cite_note-62"><a href="#cite_ref-62">^</a> Richter, pp. 200-201. </li> <li id="cite_note-63"><a href="#cite_ref-63">^</a> Cernat, pg. 115; Richter, pp. 16, 19, 39. </li> <li id="cite_note-64"><a href="#cite_ref-64">^</a> Richter, pg. 24 </li> <li id="cite_note-65"><a href="#cite_ref-65">^</a> Richter, pp. 66-67 </li> <li id="cite_note-66"><a href="#cite_ref-66">^</a> Richter, pp. 47-48. </li> <li id="cite_note-rcard530-67">^ <a href="#cite_ref-rcard530_67-0">a</a> <a href="#cite_ref-rcard530_67-1">b</a> <a href="#cite_ref-rcard530_67-2">c</a> <a href="#cite_ref-rcard530_67-3">d</a> <a href="#cite_ref-rcard530_67-4">e</a> <a href="#cite_ref-rcard530_67-5">f</a> <a href="#cite_ref-rcard530_67-6">g</a> <a href="#cite_ref-rcard530_67-7">h</a> <a href="#cite_ref-rcard530_67-8">i</a> <a href="#cite_ref-rcard530_67-9">j</a> <a href="#cite_ref-rcard530_67-10">k</a> <a href="#cite_ref-rcard530_67-11">l</a> <a href="#cite_ref-rcard530_67-12">m</a> <a href="#cite_ref-rcard530_67-13">n</a> <a href="#cite_ref-rcard530_67-14">o</a> Cardinal, pg. 530 </li> <li id="cite_note-68"><a href="#cite_ref-68">^</a> Richter, pp. 70-74. </li> <li id="cite_note-69"><a href="#cite_ref-69">^</a> Hofman, pg. 12 </li> <li id="cite_note-70"><a href="#cite_ref-70">^</a> Richter, pg. 71 </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> Richter, pp. 74-78. </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> Richter, pp. 78-80. </li> <li id="cite_note-Richter,_p.80-73">^ <a href="#cite_ref-Richter,_p.80_73-0">a</a> <a href="#cite_ref-Richter,_p.80_73-1">b</a> <a href="#cite_ref-Richter,_p.80_73-2">c</a> Richter, pg. 80. </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> Robert Levy, Ana Pauker: The Rise and Fall of a Jewish Communist, <a href="/wiki/University_of_California_Press" title="University of California Press">University of California Press</a>, Berkeley, pg. 37. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-22395-0" title="Special:BookSources/0-520-22395-0">0-520-22395-0</a> </li> <li id="cite_note-pcern115-75">^ <a href="#cite_ref-pcern115_75-0">a</a> <a href="#cite_ref-pcern115_75-1">b</a> <a href="#cite_ref-pcern115_75-2">c</a> <a href="#cite_ref-pcern115_75-3">d</a> Cernat, pg. 115 </li> <li id="cite_note-76"><a href="#cite_ref-76">^</a> Cernat, pp. 121-123, 181–183 </li> <li id="cite_note-77"><a href="#cite_ref-77">^</a> Cernat, pp.123-124. </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> Cardinal, pp. 529-530; Hofman, pp. 12-14; Richter, pp. 167, 173. </li> <li id="cite_note-hrich168-79">^ <a href="#cite_ref-hrich168_79-0">a</a> <a href="#cite_ref-hrich168_79-1">b</a> <a href="#cite_ref-hrich168_79-2">c</a> Richter, pg. 168 </li> <li id="cite_note-80"><a href="#cite_ref-80">^</a> Hofman, pg. 13; Richter, pg. 167 </li> <li id="cite_note-81"><a href="#cite_ref-81">^</a> Hofman, pp. 13-14; Richter, pp. 173, 179–180. </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> "Autobiography of Alice B. Toklas", in The Cambridge Handbook of American Literature, <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a>, Cambridge, 1986 pg. 13; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-30703-1" title="Special:BookSources/0-521-30703-1">0-521-30703-1</a> Armstrong, pg. 496. </li> <li id="cite_note-tgdelau-83">^ <a href="#cite_ref-tgdelau_83-0">a</a> <a href="#cite_ref-tgdelau_83-1">b</a> Tag Gronberg, "Sonia Delaunay's Simultaneous Fashions and the Modern Woman", in Whitney Chadwick, Tirza True Latimer (eds.), The Modern Woman Revisited: Paris between the Wars, <a href="/wiki/Rutgers_University_Press" title="Rutgers University Press">Rutgers University Press</a>, Piscataway, pp. 114-115; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8135-3292-2" title="Special:BookSources/0-8135-3292-2">0-8135-3292-2</a> </li> <li id="cite_note-enotestt-84">^ <a href="#cite_ref-enotestt_84-0">a</a> <a href="#cite_ref-enotestt_84-1">b</a> <a href="#cite_ref-enotestt_84-2">c</a> <a href="#cite_ref-enotestt_84-3">d</a> <a href="#cite_ref-enotestt_84-4">e</a> <a href="#cite_ref-enotestt_84-5">f</a> <a href="#cite_ref-enotestt_84-6">g</a> <a href="#cite_ref-enotestt_84-7">h</a> <a href="#cite_ref-enotestt_84-8">i</a> <a href="#cite_ref-enotestt_84-9">j</a> <a href="#cite_ref-enotestt_84-10">k</a> <a href="#cite_ref-enotestt_84-11">l</a> <a href="#cite_ref-enotestt_84-12">m</a> <a href="#cite_ref-enotestt_84-13">n</a> <a href="#cite_ref-enotestt_84-14">o</a> <a href="#cite_ref-enotestt_84-15">p</a> <a href="#cite_ref-enotestt_84-16">q</a> <a href="#cite_ref-enotestt_84-17">r</a> <a href="#cite_ref-enotestt_84-18">s</a> <a href="#cite_ref-enotestt_84-19">t</a> <a href="#cite_ref-enotestt_84-20">u</a> <a href="#cite_ref-enotestt_84-21">v</a> <a href="#cite_ref-enotestt_84-22">w</a> <a rel="nofollow" class="external text" href="http://www.enotes.com/poetry-criticism/tzara-tristan">"Tristan Tzara 1896–1963"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20111019020831/http://www.enotes.com/poetry-criticism/tzara-tristan">Archived</a> 19 October 2011 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, in Susan Salas, Laura Wisner-Broyles, Poetry Criticism, Vol. 27, Gale Group Inc., 2000, <a rel="nofollow" class="external text" href="http://www.enotes.com/">eNotes.com</a>; retrieved 23 April 2008 </li> <li id="cite_note-85"><a href="#cite_ref-85">^</a> Hofman, pg. 13; Richter, pp. 173-176 </li> <li id="cite_note-86"><a href="#cite_ref-86">^</a> Richter, pp. 173-174 </li> <li id="cite_note-87"><a href="#cite_ref-87">^</a> Gendron, pg. 77; Richter, pg. 181. </li> <li id="cite_note-Richter,_p.175-176-88">^ <a href="#cite_ref-Richter,_p.175-176_88-0">a</a> <a href="#cite_ref-Richter,_p.175-176_88-1">b</a> Richter, pp. 175-176 </li> <li id="cite_note-89"><a href="#cite_ref-89">^</a> Londré, pg. 398; Richter, pp. 179-183. </li> <li id="cite_note-90"><a href="#cite_ref-90">^</a> Gendron, pg. 77; Richter, pg. 182 </li> <li id="cite_note-91"><a href="#cite_ref-91">^</a> Richter, pp. 180-182. </li> <li id="cite_note-92"><a href="#cite_ref-92">^</a> Cernat, pg. 125 </li> <li id="cite_note-93"><a href="#cite_ref-93">^</a> Cernat, pg. 127 </li> <li id="cite_note-94"><a href="#cite_ref-94">^</a> Cernat, pp. 126-127, 299 </li> <li id="cite_note-95"><a href="#cite_ref-95">^</a> Cernat, pp. 127-128; Richter, pp. 122-123. </li> <li id="cite_note-96"><a href="#cite_ref-96">^</a> Richter, pp. 182-183, 192–193. </li> <li id="cite_note-97"><a href="#cite_ref-97">^</a> Richter, pp. 184-186. </li> <li id="cite_note-98"><a href="#cite_ref-98">^</a> Richter, pp. 184, 186. </li> <li id="cite_note-99"><a href="#cite_ref-99">^</a> Richter, pp. 184-185. </li> <li id="cite_note-100"><a href="#cite_ref-100">^</a> Richter, pg. 186 (illustration 96) </li> <li id="cite_note-101"><a href="#cite_ref-101">^</a> Cernat, pg. 128 </li> <li id="cite_note-102"><a href="#cite_ref-102">^</a> Cernat, pp. 127-128. </li> <li id="cite_note-103"><a href="#cite_ref-103">^</a> Cernat, pp. 130, 138, 153. </li> <li id="cite_note-104"><a href="#cite_ref-104">^</a> Răileanu & Carassou, pg. 151 </li> <li id="cite_note-105"><a href="#cite_ref-105">^</a> Cernat, pp. 115, 137. </li> <li id="cite_note-106"><a href="#cite_ref-106">^</a> Cernat, p.114; Richter, p.188 </li> <li id="cite_note-pcern114-107">^ <a href="#cite_ref-pcern114_107-0">a</a> <a href="#cite_ref-pcern114_107-1">b</a> <a href="#cite_ref-pcern114_107-2">c</a> <a href="#cite_ref-pcern114_107-3">d</a> Cernat, p.114 </li> <li id="cite_note-108"><a href="#cite_ref-108">^</a> Richter, p.187 </li> <li id="cite_note-nzgysin-109">^ <a href="#cite_ref-nzgysin_109-0">a</a> <a href="#cite_ref-nzgysin_109-1">b</a> <a href="#cite_ref-nzgysin_109-2">c</a> <a href="/w/index.php?title=Nicholas_Zurbrugg&action=edit&redlink=1" class="new" title="Nicholas Zurbrugg (page does not exist)">Nicholas Zurbrugg</a>, "Brion Gysin", in Art, Performance, Media: 31 Interviews, <a href="/wiki/University_of_Minnesota_Press" title="University of Minnesota Press">University of Minnesota Press</a>, Minneapolis, p.190. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8166-3832-2" title="Special:BookSources/0-8166-3832-2">0-8166-3832-2</a> </li> <li id="cite_note-Londré,_p.398;_Richter,_p.191-110">^ <a href="#cite_ref-Londré,_p.398;_Richter,_p.191_110-0">a</a> <a href="#cite_ref-Londré,_p.398;_Richter,_p.191_110-1">b</a> Londré, p.398; Richter, p.191 </li> <li id="cite_note-111"><a href="#cite_ref-111">^</a> Richter, p.191 </li> <li id="cite_note-112"><a href="#cite_ref-112">^</a> Richter, p.188 </li> <li id="cite_note-113"><a href="#cite_ref-113">^</a> Richter, p.190-191 </li> <li id="cite_note-114"><a href="#cite_ref-114">^</a> Gendron, p.78 </li> <li id="cite_note-115"><a href="#cite_ref-115">^</a> Hofman, p.15; Richter, p.188, 190 </li> <li id="cite_note-116"><a href="#cite_ref-116">^</a> Richter, p.188, 190 </li> <li id="cite_note-117"><a href="#cite_ref-117">^</a> Cernat, p.239-240 </li> <li id="cite_note-118"><a href="#cite_ref-118">^</a> Haftmann, in Richter, p.221 </li> <li id="cite_note-119"><a href="#cite_ref-119">^</a> Grigorescu, p.315 </li> <li id="cite_note-120"><a href="#cite_ref-120">^</a> Lynn Garafola, Legacies of Twentieth-century Dance, <a href="/wiki/Wesleyan_University_Press" title="Wesleyan University Press">Wesleyan University Press</a>, Middletown, 2005, p.172. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8195-6674-8" title="Special:BookSources/0-8195-6674-8">0-8195-6674-8</a> </li> <li id="cite_note-121"><a href="#cite_ref-121">^</a> <a href="/wiki/Martin_Jay" title="Martin Jay">Martin Jay</a>, Marxism and Totality: the Adventures of a Concept from Lukács to Habermas, <a href="/wiki/University_of_California_Press" title="University of California Press">University of California Press</a>, Berkeley, 1984, p.293 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-05742-2" title="Special:BookSources/0-520-05742-2">0-520-05742-2</a> </li> <li id="cite_note-122"><a href="#cite_ref-122">^</a> Cernat, p.153, 156, 159, 186 </li> <li id="cite_note-123"><a href="#cite_ref-123">^</a> Cernat, p.239-240, 277, 279, 287 </li> <li id="cite_note-124"><a href="#cite_ref-124">^</a> Cernat, p.239 </li> <li id="cite_note-prsurrgk-125">^ <a href="#cite_ref-prsurrgk_125-0">a</a> <a href="#cite_ref-prsurrgk_125-1">b</a> <a href="#cite_ref-prsurrgk_125-2">c</a> "Greta Knutson", in <a href="/wiki/Penelope_Rosemont" title="Penelope Rosemont">Penelope Rosemont</a>, <a href="/wiki/Surrealist_Women" title="Surrealist Women">Surrealist Women</a>, <a href="/wiki/Continuum_International_Publishing_Group" title="Continuum International Publishing Group">Continuum International Publishing Group</a>, London & New York, 1998, p.69. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-485-30088-5" title="Special:BookSources/0-485-30088-5">0-485-30088-5</a> </li> <li id="cite_note-pcern277-126">^ <a href="#cite_ref-pcern277_126-0">a</a> <a href="#cite_ref-pcern277_126-1">b</a> Cernat, p.277 </li> <li id="cite_note-ttzimdb-127">^ <a href="#cite_ref-ttzimdb_127-0">a</a> <a href="#cite_ref-ttzimdb_127-1">b</a> <a rel="nofollow" class="external text" href="https://www.imdb.com/name/nm0879262/">Tristan Tzara</a> at <a href="/wiki/IMDb_(identifier)" class="mw-redirect" title="IMDb (identifier)">IMDb</a> </li> <li id="cite_note-128"><a href="#cite_ref-128">^</a> Armstrong, p.496 </li> <li id="cite_note-129"><a href="#cite_ref-129">^</a> <a href="/wiki/Ion_Biberi" title="Ion Biberi">Ion Biberi</a>, Arta suprarealistă, Editura Meridiane, Bucharest, 1973, p.53. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/22905196">22905196</a> </li> <li id="cite_note-130"><a href="#cite_ref-130">^</a> "René Char Bio-Bibliography", in Selected Poems of René Char (edited by <a href="/wiki/Mary_Ann_Caws" title="Mary Ann Caws">Mary Ann Caws</a> and Tina Jolas), <a href="/wiki/New_Directions_Publishers" class="mw-redirect" title="New Directions Publishers">New Directions Publishers</a>, New York, 1992, p.xii. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8112-1191-6" title="Special:BookSources/0-8112-1191-6">0-8112-1191-6</a> </li> <li id="cite_note-131"><a href="#cite_ref-131">^</a> Cernat, p.49, 106, 109, 116; Răileanu & Carassou, p.154-155 </li> <li id="cite_note-132"><a href="#cite_ref-132">^</a> Cernat, p.192-194 </li> <li id="cite_note-133"><a href="#cite_ref-133">^</a> Richter, p.153 </li> <li id="cite_note-134"><a href="#cite_ref-134">^</a> Livezeanu, p.245-246 </li> <li id="cite_note-iliv246-135">^ <a href="#cite_ref-iliv246_135-0">a</a> <a href="#cite_ref-iliv246_135-1">b</a> <a href="#cite_ref-iliv246_135-2">c</a> Livezeanu, p.246 </li> <li id="cite_note-136"><a href="#cite_ref-136">^</a> Susan Robin Suleiman, "Committed Painting", in Denis Hollier (ed.), A New History of French Literature, <a href="/wiki/Harvard_University_Press" title="Harvard University Press">Harvard University Press</a>, Cambridge, 1994, p.938. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-674-61566-2" title="Special:BookSources/0-674-61566-2">0-674-61566-2</a> </li> <li id="cite_note-137"><a href="#cite_ref-137">^</a> Marie-Jaqueline Lancaster, Brian Howard: Portrait of a Failure, Timewell Press, London, 2005, p.221. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-85725-211-X" title="Special:BookSources/1-85725-211-X">1-85725-211-X</a> </li> <li id="cite_note-138"><a href="#cite_ref-138">^</a> Caroline Weber, "Nancy Cunard: a Troubled Heiress with an Ideological Mission", in <a href="/wiki/Int._Her._Trib." class="mw-redirect" title="Int. Her. Trib.">The International Herald Tribune</a>, 30 March 2007 </li> <li id="cite_note-pbeit49-139">^ <a href="#cite_ref-pbeit49_139-0">a</a> <a href="#cite_ref-pbeit49_139-1">b</a> Beitchman, p.49 </li> <li id="cite_note-140"><a href="#cite_ref-140">^</a> Beitchman, p.48-49 </li> <li id="cite_note-spbuot-141">^ <a href="#cite_ref-spbuot_141-0">a</a> <a href="#cite_ref-spbuot_141-1">b</a> <a href="#cite_ref-spbuot_141-2">c</a> <a href="#cite_ref-spbuot_141-3">d</a> <a href="#cite_ref-spbuot_141-4">e</a> <a href="#cite_ref-spbuot_141-5">f</a> (in Romanian) Sorin Pop, <a rel="nofollow" class="external text" href="http://www.observatorcultural.ro/*articleID_9669-articles_details.html">"François Buot, Tristan Tzara. Omul care a pus la cale revoluția Dada"</a> (book review), in <a href="/wiki/Observator_Cultural" title="Observator Cultural">Observator Cultural</a>, Nr. 195, November 2003 </li> <li id="cite_note-142"><a href="#cite_ref-142">^</a> Carlos Rojas, Salvador Dalí, or the Art of Spitting on Your Mother's Portrait, <a href="/wiki/Penn_State_University_Press" title="Penn State University Press">Penn State University Press</a>, University Park, 1993, p.98. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-271-00842-3" title="Special:BookSources/0-271-00842-3">0-271-00842-3</a> </li> <li id="cite_note-iliv251-143">^ <a href="#cite_ref-iliv251_143-0">a</a> <a href="#cite_ref-iliv251_143-1">b</a> <a href="#cite_ref-iliv251_143-2">c</a> Livezeanu, p.251 </li> <li id="cite_note-144"><a href="#cite_ref-144">^</a> Livezeanu, p.247-249 </li> <li id="cite_note-mrnnradi-145">^ <a href="#cite_ref-mrnnradi_145-0">a</a> <a href="#cite_ref-mrnnradi_145-1">b</a> <a href="#cite_ref-mrnnradi_145-2">c</a> <a href="#cite_ref-mrnnradi_145-3">d</a> <a href="#cite_ref-mrnnradi_145-4">e</a> <a href="#cite_ref-mrnnradi_145-5">f</a> <a href="#cite_ref-mrnnradi_145-6">g</a> <a href="#cite_ref-mrnnradi_145-7">h</a> (in French) <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080607172341/http://www.marianne2.fr/Tristan-Tzara,-radical,-mondain-et-anticonformiste_a41229.html">"Tristan Tzara, radical, mondain et anticonformiste"</a>, in <a href="/wiki/Marianne_(magazine)" title="Marianne (magazine)">Marianne</a>, 13 January 2003 </li> <li id="cite_note-146"><a href="#cite_ref-146">^</a> François Buot, Tristan Tzara, Paris, Grasset, 2002, p.350 </li> <li id="cite_note-147"><a href="#cite_ref-147">^</a> Radu Ioanid, "The Romanian Press: Preparing the Ground for the Holocaust and Reporting on Its Implementation", in Robert Moses Shapiro, Why Didn't the Press Shout?: American and International Journalism during the Holocaust, Ktav, Hoboken, 2003, p.404. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-88125-775-3" title="Special:BookSources/0-88125-775-3">0-88125-775-3</a>; (in Romanian) Liviu Rotman (ed.), <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110818231335/http://jewishfed.ro/fcer/public_html/downloads/carti/Demnitate.pdf">Demnitate în vremuri de restriște</a>, Editura Hasefer, <a href="/wiki/Federation_of_Jewish_Communities_of_Romania" class="mw-redirect" title="Federation of Jewish Communities of Romania">Federation of Jewish Communities of Romania</a> & <a href="/wiki/Elie_Wiesel_National_Institute_for_Studying_the_Holocaust_in_Romania" title="Elie Wiesel National Institute for Studying the Holocaust in Romania">Elie Wiesel National Institute for Studying the Holocaust in Romania</a>, Bucharest, 2008, p.174-175. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-973-630-189-6" title="Special:BookSources/978-973-630-189-6">978-973-630-189-6</a> </li> <li id="cite_note-148"><a href="#cite_ref-148">^</a> (in Romanian) Adrian Niculescu, <a rel="nofollow" class="external text" href="http://www.observatorcultural.ro/index.html/articles%7Cdetails?articleID=23639">"Destinul excepțional al lui Alexandru Șafran"</a> <a rel="nofollow" class="external text" href="https://archive.today/20120906134321/http://www.observatorcultural.ro/index.html/articles">Archived</a> 6 September 2012 at <a href="/wiki/Archive.today" title="Archive.today">archive.today</a>, in <a href="/wiki/Observator_Cultural" title="Observator Cultural">Observator Cultural</a>, Nr. 523, May 2010 </li> <li id="cite_note-srsmemor-149">^ <a href="#cite_ref-srsmemor_149-0">a</a> <a href="#cite_ref-srsmemor_149-1">b</a> <a href="/wiki/Susan_Rubin_Suleiman" title="Susan Rubin Suleiman">Susan Rubin Suleiman</a>, Crises of Memory and the Second World War, <a href="/wiki/Harvard_University_Press" title="Harvard University Press">Harvard University Press</a>, Cambridge, 2006, p.30-31. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-674-02206-8" title="Special:BookSources/0-674-02206-8">0-674-02206-8</a> </li> <li id="cite_note-150"><a href="#cite_ref-150">^</a> "Drop Everything, Drop Dado", in <a href="/wiki/Time_(magazine)" title="Time (magazine)">Time</a>, 8 April 1946 </li> <li id="cite_note-151"><a href="#cite_ref-151">^</a> Livezeanu, p.244, 246, 247 </li> <li id="cite_note-152"><a href="#cite_ref-152">^</a> Cernat, p.113; Livezeanu, passim </li> <li id="cite_note-jfapung-153">^ <a href="#cite_ref-jfapung_153-0">a</a> <a href="#cite_ref-jfapung_153-1">b</a> <a href="#cite_ref-jfapung_153-2">c</a> <a href="#cite_ref-jfapung_153-3">d</a> <a href="#cite_ref-jfapung_153-4">e</a> <a href="#cite_ref-jfapung_153-5">f</a> <a href="#cite_ref-jfapung_153-6">g</a> <a href="#cite_ref-jfapung_153-7">h</a> <a href="#cite_ref-jfapung_153-8">i</a> <a href="#cite_ref-jfapung_153-9">j</a> <a href="#cite_ref-jfapung_153-10">k</a> (in Romanian) János Farkas, <a rel="nofollow" class="external text" href="http://www.revista-apostrof.ro/articole.php?id=154">"Tristan Tzara în Ungaria. Octombrie 1956"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20161025050140/http://www.revista-apostrof.ro/articole.php?id=154">Archived</a> 25 October 2016 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, in <a href="/wiki/Apostrof" title="Apostrof">Apostrof</a>, Vol. XVII, Nr. 12 (199) </li> <li id="cite_note-154"><a href="#cite_ref-154">^</a> Livezeanu, p.252 </li> <li id="cite_note-155"><a href="#cite_ref-155">^</a> G. Brătescu, Ce-a fost să fie. Notații autobiografice, <a href="/wiki/Humanitas_publishing_house" class="mw-redirect" title="Humanitas publishing house">Humanitas</a>, Bucharest, 2003, p.207-208. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/973-50-0425-9" title="Special:BookSources/973-50-0425-9">973-50-0425-9</a> </li> <li id="cite_note-156"><a href="#cite_ref-156">^</a> Göksu & Timms, p.212, 318 </li> <li id="cite_note-mcmusic-157">^ <a href="#cite_ref-mcmusic_157-0">a</a> <a href="#cite_ref-mcmusic_157-1">b</a> <a href="#cite_ref-mcmusic_157-2">c</a> Mark Carroll, Music and Ideology in Cold War Europe, <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a>, Cambridge, 2003, p.52. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-82072-3" title="Special:BookSources/0-521-82072-3">0-521-82072-3</a> </li> <li id="cite_note-158"><a href="#cite_ref-158">^</a> Göksu & Timms, p.212 </li> <li id="cite_note-159"><a href="#cite_ref-159">^</a> Göksu & Timms, p.318 </li> <li id="cite_note-imjbokks-160">^ <a href="#cite_ref-imjbokks_160-0">a</a> <a href="#cite_ref-imjbokks_160-1">b</a> <a href="#cite_ref-imjbokks_160-2">c</a> <a rel="nofollow" class="external text" href="http://www.imj.org.il/imagine/dada_surrealism/pdf/books%20from%20schwarz%20catalog-3.pdf">Books in the Vera and Arturo Schwarz Collection</a>, at the <a href="/wiki/Israel_Museum" title="Israel Museum">Israel Museum</a>; retrieved 23 April 2008 </li> <li id="cite_note-dbgodot-161">^ <a href="#cite_ref-dbgodot_161-0">a</a> <a href="#cite_ref-dbgodot_161-1">b</a> <a href="/wiki/David_Bradby" title="David Bradby">David Bradby</a>, Beckett: Waiting for Godot, <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a>, Cambridge, 2001, p.46. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-59510-X" title="Special:BookSources/0-521-59510-X">0-521-59510-X</a> </li> <li id="cite_note-162"><a href="#cite_ref-162">^</a> Bernard Vargaftig (ed.), Poésies de Résistence, J'ai lu, Paris, 1994. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/2-277-23767-1" title="Special:BookSources/2-277-23767-1">2-277-23767-1</a> </li> <li id="cite_note-163"><a href="#cite_ref-163">^</a> Alan Riding "Obituary: Heinz Berggruen, Noted Art Dealer and Collector", in <a href="/wiki/Int._Her._Trib." class="mw-redirect" title="Int. Her. Trib.">The International Herald Tribune</a>, 26 February 2007 </li> <li id="cite_note-164"><a href="#cite_ref-164">^</a> Richter, p.164 </li> <li id="cite_note-165"><a href="#cite_ref-165">^</a> "Battle of the Nihilists", in <a href="/wiki/Time_(magazine)" title="Time (magazine)">Time</a>, 8 April 1957 </li> <li id="cite_note-laduras-166">^ <a href="#cite_ref-laduras_166-0">a</a> <a href="#cite_ref-laduras_166-1">b</a> <a href="/wiki/Laure_Adler" title="Laure Adler">Laure Adler</a>, Marguerite Duras: A Life, <a href="/wiki/University_of_Chicago_Press" title="University of Chicago Press">University of Chicago Press</a>, Chicago, 2000, p.233-234. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-226-00758-8" title="Special:BookSources/0-226-00758-8">0-226-00758-8</a> </li> <li id="cite_note-167"><a href="#cite_ref-167">^</a> <a href="/wiki/Johannesburg_Art_Gallery" title="Johannesburg Art Gallery">Johannesburg Art Gallery</a>, Africa Remix: Contemporary Art of a Continent, Jacana Media, 2007, p.227. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-77009-363-X" title="Special:BookSources/1-77009-363-X">1-77009-363-X</a> </li> <li id="cite_note-168"><a href="#cite_ref-168">^</a> Cernat, p.34 </li> <li id="cite_note-169"><a href="#cite_ref-169">^</a> Cernat, p.35-36 </li> <li id="cite_note-170"><a href="#cite_ref-170">^</a> Olson, p.40 </li> <li id="cite_note-gcal887-171">^ <a href="#cite_ref-gcal887_171-0">a</a> <a href="#cite_ref-gcal887_171-1">b</a> <a href="#cite_ref-gcal887_171-2">c</a> <a href="#cite_ref-gcal887_171-3">d</a> <a href="#cite_ref-gcal887_171-4">e</a> <a href="#cite_ref-gcal887_171-5">f</a> Călinescu, p.887 </li> <li id="cite_note-172"><a href="#cite_ref-172">^</a> Cernat, p.182, 405 </li> <li id="cite_note-173"><a href="#cite_ref-173">^</a> Cernat, p.37-38 </li> <li id="cite_note-174"><a href="#cite_ref-174">^</a> Cernat, p.38 </li> <li id="cite_note-175"><a href="#cite_ref-175">^</a> Cernat, p.18 </li> <li id="cite_note-176"><a href="#cite_ref-176">^</a> Cernat, p.398, 403–405 </li> <li id="cite_note-177"><a href="#cite_ref-177">^</a> Cernat, p.112; Richter, p.18-20, 24, 36, 37, 59 </li> <li id="cite_note-178"><a href="#cite_ref-178">^</a> Cernat, p.114, 115; Răileanu & Carassou, p.35 </li> <li id="cite_note-179"><a href="#cite_ref-179">^</a> Cernat, p.296, 299, 307, 309–310, 329 </li> <li id="cite_note-180"><a href="#cite_ref-180">^</a> Cernat, p.310 </li> <li id="cite_note-181"><a href="#cite_ref-181">^</a> Cernat, p.329 </li> <li id="cite_note-182"><a href="#cite_ref-182">^</a> <a href="/wiki/Z._Ornea" class="mw-redirect" title="Z. Ornea">Z. Ornea</a>, Anii treizeci. Extrema dreaptă românească, <a href="/wiki/Editura_Funda%C8%9Biei_Culturale_Rom%C3%A2ne" class="mw-redirect" title="Editura Fundației Culturale Române">Editura Fundației Culturale Române</a>, Bucharest, 1995, p.457. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/973-9155-43-X" title="Special:BookSources/973-9155-43-X">973-9155-43-X</a> </li> <li id="cite_note-183"><a href="#cite_ref-183">^</a> Cernat, p.49, 52 </li> <li id="cite_note-184"><a href="#cite_ref-184">^</a> Cernat, p.49; Emil Manu, "Actualitatea lui Ion Minulescu", in <a href="/wiki/Ion_Minulescu" title="Ion Minulescu">Ion Minulescu</a>, Versuri și proză, Editura Eminescu, Bucharest, 1986, p.8. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/18090790">18090790</a> </li> <li id="cite_note-185"><a href="#cite_ref-185">^</a> Beitchman, p.27 </li> <li id="cite_note-186"><a href="#cite_ref-186">^</a> Cernat, p.49, 52–53 </li> <li id="cite_note-pcern52-187">^ <a href="#cite_ref-pcern52_187-0">a</a> <a href="#cite_ref-pcern52_187-1">b</a> Cernat, p.52 </li> <li id="cite_note-188"><a href="#cite_ref-188">^</a> Cernat, p.97-98, 106 </li> <li id="cite_note-189"><a href="#cite_ref-189">^</a> Cernat, p.98 </li> <li id="cite_note-190"><a href="#cite_ref-190">^</a> Cernat, p.106 </li> <li id="cite_note-191"><a href="#cite_ref-191">^</a> Cernat, p.55 </li> <li id="cite_note-pbeit29-192">^ <a href="#cite_ref-pbeit29_192-0">a</a> <a href="#cite_ref-pbeit29_192-1">b</a> Beitchman, p.29 </li> <li id="cite_note-193"><a href="#cite_ref-193">^</a> Cernat, p.54 </li> <li id="cite_note-194"><a href="#cite_ref-194">^</a> Beitchman, p.38-39, 46 </li> <li id="cite_note-195"><a href="#cite_ref-195">^</a> Beitchman, p.52 </li> <li id="cite_note-196"><a href="#cite_ref-196">^</a> Cernat, p.117, 119 </li> <li id="cite_note-197"><a href="#cite_ref-197">^</a> Cernat, p.109, 119, 160 </li> <li id="cite_note-pcern117-198">^ <a href="#cite_ref-pcern117_198-0">a</a> <a href="#cite_ref-pcern117_198-1">b</a> <a href="#cite_ref-pcern117_198-2">c</a> Cernat, p.117 </li> <li id="cite_note-199"><a href="#cite_ref-199">^</a> Cernat, p.117-119 </li> <li id="cite_note-200"><a href="#cite_ref-200">^</a> Cernat, p.119 </li> <li id="cite_note-201"><a href="#cite_ref-201">^</a> Cernat, p.111, 120 </li> <li id="cite_note-ddintoarc-202">^ <a href="#cite_ref-ddintoarc_202-0">a</a> <a href="#cite_ref-ddintoarc_202-1">b</a> <a href="#cite_ref-ddintoarc_202-2">c</a> (in Romanian) <a href="/wiki/Dennis_Deletant" title="Dennis Deletant">Dennis Deletant</a>, <a rel="nofollow" class="external text" href="http://www.revista22.ro/html/index.php?nr=2007-01-12&art=3373">"Întoarcerea României în Europa: între politică și cultură"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20071021120445/http://www.revista22.ro/html/index.php?art=3373&nr=2007-01-12">Archived</a> 21 October 2007 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, in <a href="/wiki/Revista_22" title="Revista 22">Revista 22</a>, Nr. 879, January 2007 </li> <li id="cite_note-hrich16-203">^ <a href="#cite_ref-hrich16_203-0">a</a> <a href="#cite_ref-hrich16_203-1">b</a> <a href="#cite_ref-hrich16_203-2">c</a> Richter, p.16 </li> <li id="cite_note-204"><a href="#cite_ref-204">^</a> Cernat, p.153, 288; Răileanu & Carassou, p.62-67 </li> <li id="cite_note-205"><a href="#cite_ref-205">^</a> Haftmann, in Richter, p.216 </li> <li id="cite_note-206"><a href="#cite_ref-206">^</a> Londré, p.396; Richter, p.19, 191 (Haftmann, in Richter, p.216-217) </li> <li id="cite_note-207"><a href="#cite_ref-207">^</a> Cardinal, p.529; Richter, p.167 </li> <li id="cite_note-208"><a href="#cite_ref-208">^</a> Cardinal, p.529 </li> <li id="cite_note-209"><a href="#cite_ref-209">^</a> Cernat, p.128-129, 341, 343, 346; Amy D. Colin, "Paul Celan's Poetics of Destruction", in Amy D. Colin (ed.), Argumentum E Silentio, <a href="/wiki/Walter_de_Gruyter" class="mw-redirect" title="Walter de Gruyter">Walter de Gruyter</a>, Berlin, 1987, p.158. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/3-11-010555-1" title="Special:BookSources/3-11-010555-1">3-11-010555-1</a> </li> <li id="cite_note-210"><a href="#cite_ref-210">^</a> Cernat, p.113, 115 </li> <li id="cite_note-211"><a href="#cite_ref-211">^</a> Gendron, p.73 </li> <li id="cite_note-212"><a href="#cite_ref-212">^</a> Richter, p.19 </li> <li id="cite_note-213"><a href="#cite_ref-213">^</a> Richter, p.31 </li> <li id="cite_note-214"><a href="#cite_ref-214">^</a> Richter, p.30-31 </li> <li id="cite_note-215"><a href="#cite_ref-215">^</a> Londré, p.396-397 </li> <li id="cite_note-216"><a href="#cite_ref-216">^</a> Călinescu, p.887; Londré, p.397; Richter, p.54, 60, 123 </li> <li id="cite_note-rlword-217">^ <a href="#cite_ref-rlword_217-0">a</a> <a href="#cite_ref-rlword_217-1">b</a> Robin Lydenberg, Word Cultures: Radical Theory and Practice in William S. Burroughs, <a href="/wiki/University_of_Illinois_Press" title="University of Illinois Press">University of Illinois Press</a>, Urbana & Chicago, p.45. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-252-01413-8" title="Special:BookSources/0-252-01413-8">0-252-01413-8</a> </li> <li id="cite_note-218"><a href="#cite_ref-218">^</a> Richter, p.103 </li> <li id="cite_note-219"><a href="#cite_ref-219">^</a> Richter, p.33-35 </li> <li id="cite_note-220"><a href="#cite_ref-220">^</a> Londré, p.396, 397; Richter, p.35 </li> <li id="cite_note-ipuranus-221">^ <a href="#cite_ref-ipuranus_221-0">a</a> <a href="#cite_ref-ipuranus_221-1">b</a> (in Romanian) Ion Pop, <a rel="nofollow" class="external text" href="http://www.revistatribuna.ro/arhiva/tribuna96.pdf">"Un urmuzian: Ionathan X. Uranus"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090327074348/http://www.revistatribuna.ro/arhiva/tribuna96.pdf">Archived</a> 27 March 2009 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, in Tribuna, Vol. V, Nr. 96, September 2006 </li> <li id="cite_note-222"><a href="#cite_ref-222">^</a> Richter, p.48, 49 </li> <li id="cite_note-Richter,_p.54-223">^ <a href="#cite_ref-Richter,_p.54_223-0">a</a> <a href="#cite_ref-Richter,_p.54_223-1">b</a> <a href="#cite_ref-Richter,_p.54_223-2">c</a> Richter, p.54 </li> <li id="cite_note-mlsconcr-224">^ <a href="#cite_ref-mlsconcr_224-0">a</a> <a href="#cite_ref-mlsconcr_224-1">b</a> Mary Lewis Shaw, "Concrete and Abstract Poetry: The World as Text and the Text as World", in Leonard M. Trawick (ed.), World, Self, Poem: Essays on Contemporary Poetry from the "Jubliation of Poets", <a href="/wiki/Kent_State_University_Press" class="mw-redirect" title="Kent State University Press">Kent State University Press</a>, Kent, 1990, p.169. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87338-419-9" title="Special:BookSources/0-87338-419-9">0-87338-419-9</a> </li> <li id="cite_note-225"><a href="#cite_ref-225">^</a> Cardinal, p.530; Hofman, p.7 </li> <li id="cite_note-dwslettr-226">^ <a href="#cite_ref-dwslettr_226-0">a</a> <a href="#cite_ref-dwslettr_226-1">b</a> David W. Seaman, "French Lettrisme—Discontinuity and the Nature of the Avant-Garde", in Freeman G. Henry (ed.), Discontinuity and Fragmentation, <a href="/wiki/Rodopi_Publishers" class="mw-redirect" title="Rodopi Publishers">Rodopi</a>, Amsterdam, 1994, p.163. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/90-5183-634-1" title="Special:BookSources/90-5183-634-1">90-5183-634-1</a> </li> <li id="cite_note-ebra25-227">^ <a href="#cite_ref-ebra25_227-0">a</a> <a href="#cite_ref-ebra25_227-1">b</a> Brater, p.25 </li> <li id="cite_note-ebra26-228">^ <a href="#cite_ref-ebra26_228-0">a</a> <a href="#cite_ref-ebra26_228-1">b</a> Brater, p.26 </li> <li id="cite_note-229"><a href="#cite_ref-229">^</a> Beitchman, p.31-32 </li> <li id="cite_note-230"><a href="#cite_ref-230">^</a> Beitchman, p.32-34; Cernat, p.279 </li> <li id="cite_note-231"><a href="#cite_ref-231">^</a> Beitchman, p.32-34 </li> <li id="cite_note-232"><a href="#cite_ref-232">^</a> Cernat, p.279 </li> <li id="cite_note-233"><a href="#cite_ref-233">^</a> Beitchman, p.34-35 </li> <li id="cite_note-234"><a href="#cite_ref-234">^</a> Răileanu & Carassou, p.34 </li> <li id="cite_note-235"><a href="#cite_ref-235">^</a> Răileanu & Carassou, p.65 </li> <li id="cite_note-236"><a href="#cite_ref-236">^</a> Beitchman, p.37-42 </li> <li id="cite_note-237"><a href="#cite_ref-237">^</a> Beitchman, p.37-38 </li> <li id="cite_note-238"><a href="#cite_ref-238">^</a> Beitchman, p.40-45 </li> <li id="cite_note-239"><a href="#cite_ref-239">^</a> Beitchman, p.45 </li> <li id="cite_note-240"><a href="#cite_ref-240">^</a> Beitchman, p.46-50 </li> <li id="cite_note-241"><a href="#cite_ref-241">^</a> Beitchman, p.48 </li> <li id="cite_note-242"><a href="#cite_ref-242">^</a> Beitchman, p.51 </li> <li id="cite_note-243"><a href="#cite_ref-243">^</a> Călinescu, p.889 </li> <li id="cite_note-244"><a href="#cite_ref-244">^</a> Cernat, p.174, 193, 409 </li> <li id="cite_note-245"><a href="#cite_ref-245">^</a> Cernat, p.328 </li> <li id="cite_note-246"><a href="#cite_ref-246">^</a> Nina Kolesnikoff, Bruno Jasieński: His Evolution from Futurism to Socialist Realism, <a href="/wiki/Wilfrid_Laurier_University_Press" title="Wilfrid Laurier University Press">Wilfrid Laurier University Press</a>, Waterloo, 1982, p.15. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-88920-110-2" title="Special:BookSources/0-88920-110-2">0-88920-110-2</a> </li> <li id="cite_note-247"><a href="#cite_ref-247">^</a> <a href="/wiki/Makoto_Ueda_(poetry_critic)" title="Makoto Ueda (poetry critic)">Makoto Ueda</a>, Modern Japanese Poets and the Nature of Literature, <a href="/wiki/Stanford_University_Press" title="Stanford University Press">Stanford University Press</a>, Palo Alto, 1983, p.335-336. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8047-1166-6" title="Special:BookSources/0-8047-1166-6">0-8047-1166-6</a> </li> <li id="cite_note-248"><a href="#cite_ref-248">^</a> (in Spanish) <a href="/wiki/Vicente_Huidobro" title="Vicente Huidobro">Vicente Huidobro</a>, <a rel="nofollow" class="external text" href="http://www.vicentehuidobro.uchile.cl/manifiesto1.htm">El Creacionismo</a>, at the <a href="/wiki/University_of_Chile" title="University of Chile">University of Chile</a> <a rel="nofollow" class="external text" href="http://www.vicentehuidobro.uchile.cl/">Vicente Huidobro site</a>; retrieved 4 May 2008 </li> <li id="cite_note-249"><a href="#cite_ref-249">^</a> Rosette C. Lamont, Ionesco's Imperatives: The Politics of Culture, <a href="/wiki/University_of_Michigan_Press" title="University of Michigan Press">University of Michigan Press</a>, Ann Arbor, 1993, p.4. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-472-10310-5" title="Special:BookSources/0-472-10310-5">0-472-10310-5</a> </li> <li id="cite_note-250"><a href="#cite_ref-250">^</a> Brater, p.25-26 </li> <li id="cite_note-251"><a href="#cite_ref-251">^</a> Josef Jařab, "When All Met Together in One Room: Josef Jařab Interviews Allen Ginsberg", in Heather Hathaway, Josef Jařab, Jeffrey Melnick (eds.), Race and the Modern Artist, <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>, New York, p.242-243. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-512324-7" title="Special:BookSources/0-19-512324-7">0-19-512324-7</a> </li> <li id="cite_note-camroth-252">^ <a href="#cite_ref-camroth_252-0">a</a> <a href="#cite_ref-camroth_252-1">b</a> Christine A. Meilick, Jerome Rothenberg's Experimental Poetry and Jewish Tradition, <a href="/wiki/Lehigh_University_Press" title="Lehigh University Press">Lehigh University Press</a>, Bethlehem, 2005, p.46-47, 85sqq. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-934223-76-9" title="Special:BookSources/0-934223-76-9">0-934223-76-9</a> </li> <li id="cite_note-253"><a href="#cite_ref-253">^</a> Noemi Marin, "The Rhetoric of Andrei Codrescu: A Reading in Exilic Fragmentation", in Domnica Rădulescu (ed.), Realms of Exile: Nomadism, Diasporas, and Eastern European Voices, Lexington Books, New York, p.102. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7391-0333-4" title="Special:BookSources/0-7391-0333-4">0-7391-0333-4</a> </li> <li id="cite_note-254"><a href="#cite_ref-254">^</a> Beitchman, p.44; Londré, p.397 </li> <li id="cite_note-255"><a href="#cite_ref-255">^</a> Beitchman, p.36; Thomas McLaughlin, Street Smarts and Critical Theory: Listening to the Vernacular, <a href="/wiki/University_of_Wisconsin_Press" title="University of Wisconsin Press">University of Wisconsin Press</a>, Madison, 1997, p.67. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-299-15170-0" title="Special:BookSources/0-299-15170-0">0-299-15170-0</a> </li> <li id="cite_note-256"><a href="#cite_ref-256">^</a> Joseph Tate, The Music and Art of Radiohead, <a href="/wiki/Ashgate_Publishing" title="Ashgate Publishing">Ashgate Publishing</a>, London etc., 2005, p.195. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7546-3980-0" title="Special:BookSources/0-7546-3980-0">0-7546-3980-0</a> </li> <li id="cite_note-257"><a href="#cite_ref-257">^</a> Colin Buttimer, <a rel="nofollow" class="external text" href="https://www.bbc.co.uk/music/release/jx8c/">"DJ Spooky. Rhythm Science. Review"</a>, 20 November 2002, at <a href="/wiki/BBC" title="BBC">BBC</a> <a rel="nofollow" class="external text" href="https://www.bbc.co.uk/music/">/Music</a>; retrieved 23 April 2008 </li> <li id="cite_note-258"><a href="#cite_ref-258">^</a> (in Romanian) Radu Constantinescu, <a rel="nofollow" class="external text" href="http://www.zf.ro/articol_99716/cornel_taranu__ii___m_au_inspirat_atat_tzara__cat_si_armatele_romane_din_secolul_al_ii_lea___.html">"Cornel Țăranu (II): 'M-au inspirat atât Tzara, cât și armatele romane din secolul al II-lea...' "</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080512083911/http://www.zf.ro/articol_99716/cornel_taranu__ii___m_au_inspirat_atat_tzara__cat_si_armatele_romane_din_secolul_al_ii_lea___.html">Archived</a> 12 May 2008 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, in <a href="/wiki/Ziarul_Financiar" title="Ziarul Financiar">Ziarul Financiar</a>, 27 October 2006 </li> <li id="cite_note-ocprofesor-259">^ <a href="#cite_ref-ocprofesor_259-0">a</a> <a href="#cite_ref-ocprofesor_259-1">b</a> <a href="#cite_ref-ocprofesor_259-2">c</a> (in Romanian) Oltița Cîntec, <a rel="nofollow" class="external text" href="http://www.evenimentul.ro/articol/un-profesor-inimos-din.html">"Un profesor inimos din Moinești și o societate cultural-literară atrag atenția întregii lumii asupra României"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070927213452/http://www.evenimentul.ro/articol/un-profesor-inimos-din.html">Archived</a> 27 September 2007 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, in Evenimentul, 10 March 2003 </li> <li id="cite_note-260"><a href="#cite_ref-260">^</a> (in Romanian) Oana Tănase, <a rel="nofollow" class="external text" href="http://www.observatorcultural.ro/Pic-Adrian-artist-esentialist*articleID_9309-articles_details.html">"Pic Adrian: artist esențialist"</a>, in <a href="/wiki/Observator_Cultural" title="Observator Cultural">Observator Cultural</a>, Nr. 189, October 2003 </li> <li id="cite_note-261"><a href="#cite_ref-261">^</a> Cernat, p.181 </li> <li id="cite_note-262"><a href="#cite_ref-262">^</a> Cernat, p.181-182 </li> <li id="cite_note-263"><a href="#cite_ref-263">^</a> Suresh Chandra, Fresh Perspectives on Fiction, Anmol Publications, New Delhi, 2005, p.78. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/81-261-2126-2" title="Special:BookSources/81-261-2126-2">81-261-2126-2</a> </li> <li id="cite_note-264"><a href="#cite_ref-264">^</a> Bette Pesetsky, "Shakespeare Meets Emma Lazarus", in <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>, 29 May 1994 </li> <li id="cite_note-265"><a href="#cite_ref-265">^</a> (in Romanian) <a href="/wiki/Valery_Oi%C8%99teanu" class="mw-redirect" title="Valery Oișteanu">Valery Oișteanu</a>, <a rel="nofollow" class="external text" href="http://www.respiro.org/Issue10/poezie_oisteanu.htm">"Poeme din exil"</a> in <a rel="nofollow" class="external text" href="http://www.respiro.org/">Respiro</a>, Issue 10/2002 </li> <li id="cite_note-266"><a href="#cite_ref-266">^</a> "Lost Generation", in <a href="/wiki/Time_(magazine)" title="Time (magazine)">Time</a>, 4 June 1934 </li> <li id="cite_note-267"><a href="#cite_ref-267">^</a> "The Sun Also Rises (Contd.)", in <a href="/wiki/Time_(magazine)" title="Time (magazine)">Time</a>, 22 June 1959 </li> <li id="cite_note-268"><a href="#cite_ref-268">^</a> <a href="/wiki/J._Hoberman" title="J. Hoberman">J. Hoberman</a>, The Red Atlantis: Communist Culture in the Absence of Communism, <a href="/wiki/Temple_University_Press" title="Temple University Press">Temple University Press</a>, Philadelphia, p.100. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-56639-767-7" title="Special:BookSources/1-56639-767-7">1-56639-767-7</a>; Olson, p.43 </li> <li id="cite_note-kols43-269">^ <a href="#cite_ref-kols43_269-0">a</a> <a href="#cite_ref-kols43_269-1">b</a> Olson, p.43 </li> <li id="cite_note-jstsbh-270">^ <a href="#cite_ref-jstsbh_270-0">a</a> <a href="#cite_ref-jstsbh_270-1">b</a> Jenna Scherer, <a rel="nofollow" class="external text" href="http://www.bostonherald.com/entertainment/arts_culture/view.bg?articleid=1087112">"Travesties Shows Importance of Being Stoppard"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110522015710/http://www.bostonherald.com/entertainment/arts_culture/view.bg?articleid=1087112">Archived</a> 22 May 2011 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, in <a href="/wiki/Boston_Herald" title="Boston Herald">Boston Herald</a>, 15 April 2008 </li> <li id="cite_note-271"><a href="#cite_ref-271">^</a> <a rel="nofollow" class="external text" href="http://capa.conncoll.edu/morton.merzbook.html">The Merzbook: Kurt Schwitters Poems</a>, translated by <a href="/wiki/Colin_Morton" title="Colin Morton">Colin Morton</a>, at the <a rel="nofollow" class="external text" href="http://capa.conncoll.edu/">Contemporary American Poetry Archive</a>; retrieved 23 April 2008 </li> <li id="cite_note-272"><a href="#cite_ref-272">^</a> <a href="/wiki/Robert_Cohen_(playwright)" title="Robert Cohen (playwright)">Robert Cohen</a>, Understanding Peter Weiss, <a href="/wiki/University_of_South_Carolina_Press" title="University of South Carolina Press">University of South Carolina Press</a>, Columbia, 1993, p.130. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87249-898-0" title="Special:BookSources/0-87249-898-0">0-87249-898-0</a> </li> <li id="cite_note-mcovusu-273">^ <a href="#cite_ref-mcovusu_273-0">a</a> <a href="#cite_ref-mcovusu_273-1">b</a> <a href="/wiki/Michael_Coveney" title="Michael Coveney">Michael Coveney</a>, "Usurpation Supreme", in <a href="/wiki/The_Observer" title="The Observer">The Observer</a>, 19 March 1993 </li> <li id="cite_note-cilenin-274">^ <a href="#cite_ref-cilenin_274-0">a</a> <a href="#cite_ref-cilenin_274-1">b</a> Charles Isherwood, "Lenin, Joyce and Philosophy with Vaudevillian Verve", in <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>, 27 May 2005 </li> <li id="cite_note-275"><a href="#cite_ref-275">^</a> Maureen Moynagh, introduction to <a href="/wiki/Nancy_Cunard" title="Nancy Cunard">Nancy Cunard</a>, Essays on Race and Empire, Broadview Press, Peterborough & Orchard Park, p.24. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-55111-230-2" title="Special:BookSources/1-55111-230-2">1-55111-230-2</a> </li> <li id="cite_note-276"><a href="#cite_ref-276">^</a> Richter, p.73 </li> <li id="cite_note-277"><a href="#cite_ref-277">^</a> Richter, p.76 </li> <li id="cite_note-278"><a href="#cite_ref-278">^</a> (in French) <a rel="nofollow" class="external text" href="http://www.bnf.fr/PAGES/presse/dossiers/giacometti.pdf">Dossier de presse. Exposition 19 octobre 2007 – 13 janvier 2008. Alberto Giacometti, œuvre gravé</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080528181729/http://www.bnf.fr/PAGES/presse/dossiers/giacometti.pdf">Archived</a> 28 May 2008 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Biblioth%C3%A8que_nationale_de_France" title="Bibliothèque nationale de France">Bibliothèque nationale de France</a>, <a rel="nofollow" class="external text" href="http://www.bnf.fr/PAGES/presse/">Rélations presse</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090624171010/http://www.bnf.fr/pages/presse/">Archived</a> 24 June 2009 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, p.2, 4, 7, 10; retrieved 2 May 2008 </li> <li id="cite_note-279"><a href="#cite_ref-279">^</a> <a href="/wiki/Sotheby%27s" title="Sotheby's">Sotheby's</a> Catalogues of Sales, 1985 Nov 29 – 18 Dec, item 131 </li> <li id="cite_note-280"><a href="#cite_ref-280">^</a> Florence Callu, Sonia et Robert Delaunay: exposition, <a href="/wiki/Biblioth%C3%A8que_nationale_de_France" title="Bibliothèque nationale de France">Bibliothèque nationale de France</a>, Paris, 1977, p.16, 91. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/2-7177-1388-3" title="Special:BookSources/2-7177-1388-3">2-7177-1388-3</a> </li> <li id="cite_note-281"><a href="#cite_ref-281">^</a> Grigorescu, p.442-443 </li> <li id="cite_note-282"><a href="#cite_ref-282">^</a> Ingrid Sischy, "The Artist Who Fell to Earth" (interview with David Bowie), in <a href="/wiki/Interview_(magazine)" title="Interview (magazine)">Interview</a>, 2 January 1997 </li> <li id="cite_note-283"><a href="#cite_ref-283">^</a> Jacques Lassaigne, Miró: Biographical and Critical Study, SKIRA, New York, 1963, p.128 </li> <li id="cite_note-284"><a href="#cite_ref-284">^</a> <a rel="nofollow" class="external text" href="http://www.kb.nl/bc/koopman/1951-1960/c06-en.html">Le fruit permis</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20060901224641/http://www.kb.nl/bc/koopman/1951-1960/c06-en.html">Archived</a> 1 September 2006 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, at the <a href="/wiki/Koninklijke_Bibliotheek,_National_Library_of_the_Netherlands" class="mw-redirect" title="Koninklijke Bibliotheek, National Library of the Netherlands">National Library of the Netherlands</a>'s <a rel="nofollow" class="external text" href="http://www.kb.nl/bc/koopman/">Koopman Collectie</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110608071921/http://www.kb.nl/bc/koopman/">Archived</a> 8 June 2011 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>; retrieved 26 April 2008 </li> <li id="cite_note-285"><a href="#cite_ref-285">^</a> Cernat, p.121-122, 128–129, 177, 212, 343, 346, 359, 409 </li> <li id="cite_note-286"><a href="#cite_ref-286">^</a> Cernat, p.331 </li> <li id="cite_note-287"><a href="#cite_ref-287">^</a> Cernat, p.367 </li> <li id="cite_note-288"><a href="#cite_ref-288">^</a> Cernat, p.110, 367–368 </li> <li id="cite_note-pcern113-289">^ <a href="#cite_ref-pcern113_289-0">a</a> <a href="#cite_ref-pcern113_289-1">b</a> Cernat, p.113 </li> <li id="cite_note-290"><a href="#cite_ref-290">^</a> (in Romanian) Sanda Cordoș, <a rel="nofollow" class="external text" href="http://www.observatorcultural.ro/Lunatecii-un-mare-roman-de-redescoperit*articleID_28954-articles_details.html">"Lunatecii – un mare roman de redescoperit"</a>, in <a href="/wiki/Observator_Cultural" title="Observator Cultural">Observator Cultural</a>, Nr. 683, July 2013 </li> <li id="cite_note-291"><a href="#cite_ref-291">^</a> Cernat, p.359 </li> <li id="cite_note-292"><a href="#cite_ref-292">^</a> Cernat, p.129 </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=29" title="Edit section: References">edit</a>]</div> <ul><li>Alice Armstrong, "Stein, Gertrude" and Roger Cardinal, "Tzara, Tristan", in <a href="/wiki/Justin_Wintle" title="Justin Wintle">Justin Wintle</a> (ed.), Makers of Modern Culture, <a href="/wiki/Routledge" title="Routledge">Routledge</a>, London, 2002. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-415-26583-5" title="Special:BookSources/0-415-26583-5">0-415-26583-5</a></li> <li>Philip Beitchman, "Symbolism in the Streets", in I Am a Process with No Subject, <a href="/wiki/University_Press_of_Florida" title="University Press of Florida">University of Florida Press</a>, Gainesville, 1988. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8130-0888-3" title="Special:BookSources/0-8130-0888-3">0-8130-0888-3</a></li> <li>Enoch Brater, Beyond Minimalism: Beckett's Late Style in the Theater, <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>, Oxford, 1987. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-506655-3" title="Special:BookSources/0-19-506655-3">0-19-506655-3</a></li> <li><a href="/wiki/Paul_Cernat" title="Paul Cernat">Paul Cernat</a>, Avangarda românească și complexul periferiei: primul val, <a href="/wiki/Cartea_Rom%C3%A2neasc%C4%83" title="Cartea Românească">Cartea Românească</a>, Bucharest, 2007. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-973-23-1911-6" title="Special:BookSources/978-973-23-1911-6">978-973-23-1911-6</a></li> <li>Bernard Gendron, Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde, <a href="/wiki/University_of_Chicago_Press" title="University of Chicago Press">University of Chicago Press</a>, Chicago, 2002. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-226-28735-1" title="Special:BookSources/0-226-28735-1">0-226-28735-1</a></li> <li>Saime Göksu, Edward Timms, Romantic Communist: The Life and Work of Nazım Hikmet, <a href="/wiki/C._Hurst_%26_Co." title="C. Hurst & Co.">C. Hurst & Co.</a>, London, 1999. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-85065-371-2" title="Special:BookSources/1-85065-371-2">1-85065-371-2</a></li> <li>Dan Grigorescu, Istoria unei generații pierdute: expresioniștii, Editura Eminescu, Bucharest, 1980. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/7463753">7463753</a></li> <li>Marius Hentea, TaTa Dada: The Real Life and Celestial Adventures of Tristan Tzara, MIT Press, Cambridge, 2014. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/1090828679">1090828679</a></li> <li>Irene E. Hofman, <a rel="nofollow" class="external text" href="http://www.artic.edu/reynolds/essays/hofmann.PDF">Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection</a>, <a href="/wiki/Art_Institute_of_Chicago" title="Art Institute of Chicago">Art Institute of Chicago</a>, <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090815044817/http://www.artic.edu/aic/libraries/">Ryerson and Burnham Libraries</a>, 2001</li> <li><a href="/wiki/Irina_Livezeanu" title="Irina Livezeanu">Irina Livezeanu</a>, " 'From Dada to Gaga': The Peripatetic Romanian Avant-Garde Confronts Communism", in Mihai Dinu Gheorghiu, Lucia Dragomir (eds.), Littératures et pouvoir symbolique. Colloque tenu à Bucarest (Roumanie), 30 et 31 mai 2003, Maison des Sciences de l'homme, Editura Paralela 45, Paris, 2005. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/2-7351-1084-2" title="Special:BookSources/2-7351-1084-2">2-7351-1084-2</a></li> <li><a href="/wiki/Felicia_Hardison_Londr%C3%A9" title="Felicia Hardison Londré">Felicia Hardison Londré</a>, The History of World Theatre: From the English Restoration to the Present, <a href="/wiki/Continuum_International_Publishing_Group" title="Continuum International Publishing Group">Continuum International Publishing Group</a>, London & New York, 1999. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8264-1167-3" title="Special:BookSources/0-8264-1167-3">0-8264-1167-3</a></li> <li>Kirby Olson, Andrei Codrescu and the Myth of America, <a href="/wiki/McFarland_%26_Company" title="McFarland & Company">McFarland & Company</a>, Jefferson, 2005. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7864-2137-1" title="Special:BookSources/0-7864-2137-1">0-7864-2137-1</a></li> <li>Petre Răileanu, Michel Carassou, Fundoianu/Fondane et l'avant-garde, <a href="/wiki/Editura_Funda%C8%9Biei_Culturale_Rom%C3%A2ne" class="mw-redirect" title="Editura Fundației Culturale Române">Fondation Culturelle Roumaine</a>, Éditions Paris-Méditerranée, Bucharest & Paris, 1999. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/2-84272-057-1" title="Special:BookSources/2-84272-057-1">2-84272-057-1</a></li> <li><a href="/wiki/Hans_Richter_(artist)" title="Hans Richter (artist)">Hans Richter</a>, Dada. Art and Anti-art (with a postscript by Werner Haftmann), <a href="/wiki/Thames_%26_Hudson" title="Thames & Hudson">Thames & Hudson</a>, London & New York, 2004. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-500-20039-4" title="Special:BookSources/0-500-20039-4">0-500-20039-4</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Tristan_Tzara&action=edit&section=30" title="Edit section: External links">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 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Tzara</a>.</div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237033735"><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png" decoding="async" width="34" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/51px-Wikiquote-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/68px-Wikiquote-logo.svg.png 2x" data-file-width="300" data-file-height="355" /></div> <div class="side-box-text plainlist">Wikiquote has quotations related to <a href="https://en.wikiquote.org/wiki/Special:Search/Tristan_Tzara" class="extiw" title="q:Special:Search/Tristan Tzara">Tristan Tzara</a>.</div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237033735"><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/38px-Wikisource-logo.svg.png" decoding="async" width="38" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/57px-Wikisource-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/76px-Wikisource-logo.svg.png 2x" data-file-width="410" data-file-height="430" /></div> <div class="side-box-text plainlist"><a href="/wiki/Wikisource" title="Wikisource">Wikisource</a> has original works by or about: <a href="https://en.wikisource.org/wiki/Author:Tristan_Tzara" class="extiw" title="s:Author:Tristan Tzara">Tristan Tzara</a></div></div> </div> <ul><li><a rel="nofollow" class="external text" href="https://www.gutenberg.org/ebooks/author/48499">Works by Tristan Tzara</a> at <a href="/wiki/Project_Gutenberg" title="Project Gutenberg">Project Gutenberg</a></li> <li><a rel="nofollow" class="external text" href="http://exhibitions.europeana.eu/exhibits/show/dada-to-surrealism-en">From Dada to Surrealism, Judaica Europeana virtual exhibition</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130125193300/http://exhibitions.europeana.eu/exhibits/show/dada-to-surrealism-en">Archived</a> 25 January 2013 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Europeana" title="Europeana">Europeana</a> database</li> <li><a rel="nofollow" class="external text" href="http://www.lilithgallery.com/arthistory/dada/Tristan-Tzara.html">Tristan Tzara: The Art History Archive</a> at The Lilith Gallery of Toronto</li> <li><a rel="nofollow" class="external text" href="http://www.ubu.com/sound/tzara.html">Recordings of Tzara</a>, <a rel="nofollow" class="external text" href="http://www.ubuweb.com/historical/dada/index.html">Dada Magazine</a>, <a rel="nofollow" class="external text" href="http://www.ubu.com/ethno/discourses/tzara.html">A Note On Negro Poetry</a> and <a rel="nofollow" class="external text" href="http://www.ubu.com/ethno/poems/01.html">Tzara's renditions of African poetry</a>, at <a href="/wiki/UbuWeb" title="UbuWeb">UbuWeb</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist 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</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Simbolul" title="Simbolul">Simbolul</a></li> <li><a href="/wiki/Greta_Knutson" title="Greta Knutson">Greta Knutson (wife)</a></li> <li><a href="/wiki/Tristan_Tzara_bibliography" title="Tristan Tzara bibliography">Bibliography</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Surrealism" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link 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<ul><li><a href="/wiki/Eileen_Agar" title="Eileen Agar">Eileen Agar</a></li> <li><a href="/wiki/Jean_Arp" title="Jean Arp">Jean Arp</a></li> <li><a href="/wiki/Eug%C3%A8ne_Atget" title="Eugène Atget">Eugène Atget</a></li> <li><a href="/wiki/Hans_Bellmer" title="Hans Bellmer">Hans Bellmer</a></li> <li><a href="/wiki/Jacques-Andr%C3%A9_Boiffard" title="Jacques-André Boiffard">Jacques-André Boiffard</a></li> <li><a href="/wiki/Bill_Brandt" title="Bill Brandt">Bill Brandt</a></li> <li><a href="/wiki/Victor_Brauner" title="Victor Brauner">Victor Brauner</a></li> <li><a href="/wiki/Fanny_Brennan" title="Fanny Brennan">Fanny Brennan</a></li> <li><a href="/wiki/Emmy_Bridgwater" title="Emmy Bridgwater">Emmy Bridgwater</a></li> <li><a href="/wiki/Jacques_Brunius" title="Jacques Brunius">Jacques Brunius</a></li> <li><a href="/wiki/Luis_Bu%C3%B1uel" title="Luis Buñuel">Luis Buñuel</a></li> <li><a href="/wiki/Claude_Cahun" title="Claude Cahun">Claude Cahun</a></li> <li><a href="/wiki/Leonora_Carrington" title="Leonora Carrington">Leonora Carrington</a></li> <li><a href="/wiki/Ithell_Colquhoun" title="Ithell Colquhoun">Ithell Colquhoun</a></li> <li><a href="/wiki/Gala_Dal%C3%AD" title="Gala Dalí">Gala Dalí</a></li> <li><a href="/wiki/Salvador_Dal%C3%AD" title="Salvador Dalí">Salvador Dalí</a></li> <li><a href="/wiki/Jean_Dallaire" title="Jean Dallaire">Jean Dallaire</a></li> <li><a href="/wiki/Paul_Delvaux" title="Paul Delvaux">Paul Delvaux</a></li> <li><a href="/wiki/%C3%93scar_Dom%C3%ADnguez" title="Óscar Domínguez">Óscar Domínguez</a></li> <li><a href="/wiki/Christian_Dotremont" title="Christian Dotremont">Christian Dotremont</a></li> <li><a href="/wiki/Marcel_Duchamp" title="Marcel Duchamp">Marcel Duchamp</a></li> <li><a href="/wiki/Marcel_Duhamel" title="Marcel Duhamel">Marcel Duhamel</a></li> <li><a href="/wiki/Curt_Echtermeyer" title="Curt Echtermeyer">Curt Echtermeyer</a></li> <li><a href="/wiki/Max_Ernst" title="Max Ernst">Max Ernst</a></li> <li><a href="/wiki/Leonor_Fini" title="Leonor Fini">Leonor Fini</a></li> <li><a href="/wiki/Gordon_Onslow_Ford" title="Gordon Onslow Ford">Gordon Onslow Ford</a></li> <li><a href="/wiki/Esteban_Franc%C3%A9s" title="Esteban Francés">Esteban Francés</a></li> <li><a href="/wiki/Alberto_Giacometti" title="Alberto Giacometti">Alberto Giacometti</a></li> <li><a href="/wiki/Julio_Gonz%C3%A1lez_(sculptor)" title="Julio González (sculptor)">Julio González</a></li> <li><a href="/wiki/Jane_Graverol" title="Jane Graverol">Jane Graverol</a></li> <li><a href="/wiki/Jacques_H%C3%A9rold" title="Jacques Hérold">Jacques Hérold</a></li> <li><a href="/wiki/Valentine_Hugo" title="Valentine Hugo">Valentine Hugo</a></li> <li><a href="/wiki/Frida_Kahlo" title="Frida Kahlo">Frida Kahlo</a></li> <li><a href="/wiki/Gerome_Kamrowski" title="Gerome Kamrowski">Gerome Kamrowski</a></li> <li><a href="/wiki/Wifredo_Lam" title="Wifredo Lam">Wifredo Lam</a></li> <li><a href="/wiki/Jacqueline_Lamba" title="Jacqueline Lamba">Jacqueline Lamba</a></li> <li><a href="/wiki/Dora_Maar" title="Dora Maar">Dora Maar</a></li> <li><a href="/wiki/Conroy_Maddox" title="Conroy Maddox">Conroy Maddox</a></li> <li><a href="/wiki/Ren%C3%A9_Magritte" title="René Magritte">René Magritte</a></li> <li><a href="/wiki/Georges_Malkine" title="Georges Malkine">Georges Malkine</a></li> <li><a href="/wiki/Marcel_Mari%C3%ABn" title="Marcel Mariën">Marcel Mariën</a></li> <li><a href="/wiki/Andr%C3%A9_Masson" title="André Masson">André Masson</a></li> <li><a href="/wiki/Roberto_Matta" title="Roberto Matta">Roberto Matta</a></li> <li><a href="/wiki/Mikul%C3%A1%C5%A1_Medek" title="Mikuláš Medek">Mikuláš Medek</a></li> <li><a href="/wiki/Oscar_Mellor" title="Oscar Mellor">Oscar Mellor</a></li> <li><a href="/wiki/John_Melville" title="John Melville">John Melville</a></li> <li><a href="/wiki/E._L._T._Mesens" title="E. L. T. Mesens">E. L. T. Mesens</a></li> <li><a href="/wiki/Lee_Miller" title="Lee Miller">Lee Miller</a></li> <li><a href="/wiki/Desmond_Morris" title="Desmond Morris">Desmond Morris</a></li> <li><a href="/wiki/Joan_Mir%C3%B3" title="Joan Miró">Joan Miró</a></li> <li><a href="/wiki/M%C3%A9ret_Oppenheim" title="Méret Oppenheim">Méret Oppenheim</a></li> <li><a href="/wiki/Wolfgang_Paalen" title="Wolfgang Paalen">Wolfgang Paalen</a></li> <li><a href="/wiki/Benjam%C3%ADn_Palencia" title="Benjamín Palencia">Benjamín Palencia</a></li> <li><a href="/wiki/Roland_Penrose" title="Roland Penrose">Roland Penrose</a></li> <li><a href="/wiki/Man_Ray" title="Man Ray">Man Ray</a></li> <li><a href="/wiki/Toni_del_Renzio" title="Toni del Renzio">Toni del Renzio</a></li> <li><a href="/wiki/Aminollah_Rezaei" title="Aminollah Rezaei">Aminollah Rezaei</a></li> <li><a href="/wiki/Kay_Sage" title="Kay Sage">Kay Sage</a></li> <li><a href="/wiki/Kurt_Seligmann" title="Kurt Seligmann">Kurt Seligmann</a></li> <li><a href="/wiki/Andr%C3%A9_Souris" title="André Souris">André Souris</a></li> <li><a href="/wiki/Martin_Stejskal" title="Martin Stejskal">Martin Stejskal</a></li> <li><a href="/wiki/Jind%C5%99ich_%C5%A0tyrsk%C3%BD" title="Jindřich Štyrský">Jindřich Štyrský</a></li> <li><a href="/wiki/Maurice_Tabard" title="Maurice Tabard">Maurice Tabard</a></li> <li><a href="/wiki/Yves_Tanguy" title="Yves Tanguy">Yves Tanguy</a></li> <li><a href="/wiki/Dorothea_Tanning" title="Dorothea Tanning">Dorothea Tanning</a></li> <li><a href="/wiki/Karel_Teige" title="Karel Teige">Karel Teige</a></li> <li><a href="/wiki/Kristians_Tonny" title="Kristians Tonny">Kristians Tonny</a></li> <li><a href="/wiki/Toyen" title="Toyen">Toyen</a></li> <li><a href="/wiki/Albert_Valentin" title="Albert Valentin">Albert Valentin</a></li> <li><a href="/wiki/Remedios_Varo" title="Remedios Varo">Remedios Varo</a></li> <li><a href="/wiki/James_F._Walker" title="James F. Walker">James F. Walker</a></li> <li><a href="/wiki/Radojica_%C5%BDivanovi%C4%87_Noe" title="Radojica Živanović Noe">Radojica Živanović Noe</a></li> <li><a href="/wiki/Unica_Z%C3%BCrn" title="Unica Zürn">Unica Zürn</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Writers and theorists</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Maxime_Moses_Alexandre" title="Maxime Moses Alexandre">Maxime Moses Alexandre</a></li> <li><a href="/wiki/Guillaume_Apollinaire" title="Guillaume Apollinaire">Guillaume Apollinaire</a></li> <li><a href="/wiki/Louis_Aragon" title="Louis Aragon">Louis Aragon</a></li> <li><a href="/wiki/Antonin_Artaud" title="Antonin Artaud">Antonin Artaud</a></li> <li><a href="/wiki/Jacques_Baron" title="Jacques Baron">Jacques Baron</a></li> <li><a href="/wiki/Georges_Bataille" title="Georges Bataille">Georges Bataille</a></li> <li><a href="/wiki/Monny_de_Boully" title="Monny de Boully">Monny de Boully</a></li> <li><a href="/wiki/Andr%C3%A9_Breton" title="André Breton">André Breton</a></li> <li><a href="/wiki/Roger_Caillois" title="Roger Caillois">Roger Caillois</a></li> <li><a href="/wiki/Nicolas_Calas" title="Nicolas Calas">Nicolas Calas</a></li> <li><a href="/wiki/Ren%C3%A9_Crevel" title="René Crevel">René Crevel</a></li> <li><a href="/wiki/Ren%C3%A9_Daumal" title="René Daumal">René Daumal</a></li> <li><a href="/wiki/Robert_Desnos" title="Robert Desnos">Robert Desnos</a></li> <li><a href="/wiki/Vratislav_Effenberger" title="Vratislav Effenberger">Vratislav Effenberger</a></li> <li><a href="/wiki/Paul_%C3%89luard" title="Paul Éluard">Paul Éluard</a></li> <li><a href="/wiki/Ren%C3%A9e_Gauthier" title="Renée Gauthier">Renée Gauthier</a></li> <li><a href="/wiki/Roger_Gilbert-Lecomte" title="Roger Gilbert-Lecomte">Roger Gilbert-Lecomte</a></li> <li><a href="/wiki/Yvan_Goll" title="Yvan Goll">Yvan Goll</a></li> <li><a href="/wiki/Julien_Gracq" title="Julien Gracq">Julien Gracq</a></li> <li><a href="/wiki/Ir%C3%A8ne_Hamoir" title="Irène Hamoir">Irène Hamoir</a></li> <li><a href="/wiki/Georges_Hugnet" title="Georges Hugnet">Georges Hugnet</a></li> <li><a href="/wiki/Alfred_Jarry" title="Alfred Jarry">Alfred Jarry</a></li> <li><a href="/wiki/Nelly_Kaplan" title="Nelly Kaplan">Nelly Kaplan</a></li> <li><a href="/wiki/Petr_Kr%C3%A1l" title="Petr Král">Petr Král</a></li> <li><a href="/wiki/Jacques_Lacan" title="Jacques Lacan">Jacques Lacan</a></li> <li><a href="/wiki/Philip_Lamantia" title="Philip Lamantia">Philip Lamantia</a></li> <li><a href="/wiki/Comte_de_Lautr%C3%A9amont" title="Comte de Lautréamont">Comte de Lautréamont</a></li> <li><a href="/wiki/Marcel_Lecomte" title="Marcel Lecomte">Marcel Lecomte</a></li> <li><a href="/wiki/Michel_Leiris" title="Michel Leiris">Michel Leiris</a></li> <li><a href="/wiki/Georges_Limbour" title="Georges Limbour">Georges Limbour</a></li> <li><a href="/wiki/L%C3%A9o_Malet" title="Léo Malet">Léo Malet</a></li> <li><a href="/wiki/Joyce_Mansour" title="Joyce Mansour">Joyce Mansour</a></li> <li><a href="/wiki/Du%C5%A1an_Mati%C4%87" title="Dušan Matić">Dušan Matić</a></li> <li><a href="/wiki/Robert_Melville_(art_critic)" title="Robert Melville (art critic)">Robert Melville</a></li> <li><a href="/wiki/Ren%C3%A9_M%C3%A9nil" title="René Ménil">René Ménil</a></li> <li><a href="/wiki/Max_Morise" title="Max Morise">Max Morise</a></li> <li><a href="/wiki/Pierre_Naville" title="Pierre Naville">Pierre Naville</a></li> <li><a href="/wiki/V%C3%ADt%C4%9Bzslav_Nezval" title="Vítězslav Nezval">Vítězslav Nezval</a></li> <li><a href="/wiki/Paul_Noug%C3%A9" title="Paul Nougé">Paul Nougé</a></li> <li><a href="/wiki/Paul_P%C4%83un" title="Paul Păun">Paul Păun</a></li> <li><a href="/wiki/Benjamin_P%C3%A9ret" title="Benjamin Péret">Benjamin Péret</a></li> <li><a href="/wiki/Rastko_Petrovi%C4%87" title="Rastko Petrović">Rastko Petrović</a></li> <li><a href="/wiki/Francis_Ponge" title="Francis Ponge">Francis Ponge</a></li> <li><a href="/wiki/Jacques_Pr%C3%A9vert" title="Jacques Prévert">Jacques Prévert</a></li> <li><a href="/wiki/Raymond_Queneau" title="Raymond Queneau">Raymond Queneau</a></li> <li><a href="/wiki/Herbert_Read" title="Herbert Read">Herbert Read</a></li> <li><a href="/wiki/Pierre_Reverdy" title="Pierre Reverdy">Pierre Reverdy</a></li> <li><a href="/wiki/Marko_Risti%C4%87_(surrealist)" title="Marko Ristić (surrealist)">Marko Ristić</a></li> <li><a href="/wiki/Georges_Sadoul" title="Georges Sadoul">Georges Sadoul</a></li> <li><a href="/wiki/Louis_Scutenaire" title="Louis Scutenaire">Louis Scutenaire</a></li> <li><a href="/wiki/Philippe_Soupault" title="Philippe Soupault">Philippe Soupault</a></li> <li><a href="/wiki/Simon_Watson_Taylor_(surrealist)" title="Simon Watson Taylor (surrealist)">Simon Watson Taylor</a></li> <li><a href="/wiki/Andr%C3%A9_Thirion" title="André Thirion">André Thirion</a></li> <li><a href="/wiki/Dylan_Thomas" title="Dylan Thomas">Dylan Thomas</a></li> <li><a class="mw-selflink selflink">Tristan Tzara</a></li> <li><a href="/wiki/Jacques_Vach%C3%A9" title="Jacques Vaché">Jacques Vaché</a></li> <li><a href="/wiki/Marianne_Van_Hirtum" title="Marianne Van Hirtum">Marianne Van Hirtum</a></li> <li><a href="/wiki/Roger_Vitrac" title="Roger Vitrac">Roger Vitrac</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Groups</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ac%C3%A9phale" title="Acéphale">Acéphale</a></li> <li><a href="/wiki/Les_Automatistes" title="Les Automatistes">Les Automatistes</a></li> <li><a href="/wiki/Birmingham_Surrealists" title="Birmingham Surrealists">Birmingham Surrealists</a></li> <li><a href="/wiki/British_Surrealist_Group" title="British Surrealist Group">British Surrealist Group</a></li> <li><a href="/wiki/Bureau_of_Surrealist_Research" title="Bureau of Surrealist Research">Bureau of Surrealist Research</a></li> <li><a href="/wiki/Chicago_Imagists" title="Chicago Imagists">Chicago Imagists</a></li> <li><a href="/wiki/Chicago_Surrealist_Group" title="Chicago Surrealist Group">Chicago Surrealist Group</a></li> <li><a href="/wiki/Dau_al_Set" title="Dau al Set">Dau al Set</a></li> <li><a href="/wiki/Fighting_Cock_Society" title="Fighting Cock Society">Fighting Cock Society</a></li> <li><a href="/wiki/The_Firesign_Theatre" title="The Firesign Theatre">The Firesign Theatre</a></li> <li><a href="/wiki/The_Goon_Show" title="The Goon Show">The Goons</a></li> <li><a href="/wiki/Grup_d%27Elx" title="Grup d'Elx">Grup d'Elx</a></li> <li><a href="/wiki/La_Mandr%C3%A1gora" title="La Mandrágora">La Mandrágora</a></li> <li><a href="/wiki/Monty_Python" title="Monty Python">Monty Python</a></li> <li><a href="/wiki/Refus_Global" title="Refus Global">Refus Global</a></li> <li><a href="/wiki/The_Surrealist_Group_in_Stockholm" title="The Surrealist Group in Stockholm">The Surrealist Group in Stockholm</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Surrealist_Manifesto" title="Surrealist Manifesto">Surrealist Manifesto</a></li> <li><a href="/wiki/Surrealist_automatism" title="Surrealist automatism">Surrealist automatism</a></li> <li><a href="/wiki/Surrealist_cinema" title="Surrealist cinema">Surrealist cinema</a></li> <li><a href="/wiki/Surrealist_music" title="Surrealist music">Surrealist music</a></li> <li><a href="/wiki/Surrealist_techniques" title="Surrealist techniques">Surrealist techniques</a></li> <li><a href="/wiki/Surreal_humour" title="Surreal humour">Surreal humour</a></li> <li><a href="/wiki/Exposition_Internationale_du_Surr%C3%A9alisme" title="Exposition Internationale du Surréalisme">Exposition Internationale du Surréalisme</a></li> <li><a href="/wiki/London_International_Surrealist_Exhibition" title="London International Surrealist Exhibition">London International Surrealist Exhibition</a></li> <li><a href="/wiki/Women_surrealists" title="Women surrealists">Women surrealists</a></li> <li><a href="/wiki/Dada" title="Dada">Dada</a></li> <li><a href="/wiki/Abstract_expressionism" title="Abstract expressionism">Abstract expressionism</a></li> <li><a href="/wiki/Paranoiac-critical_method" title="Paranoiac-critical method">Paranoiac-critical method</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Dada" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="3"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Dada" title="Template:Dada"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Dada" title="Template talk:Dada"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Dada" title="Special:EditPage/Template:Dada"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Dada" style="font-size:114%;margin:0 4em"><a href="/wiki/Dada" title="Dada">Dada</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/New_York_Dada" title="New York Dada">New York Dada</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Marcel_Duchamp" title="Marcel Duchamp">Marcel Duchamp</a></li> <li><a href="/wiki/Francis_Picabia" title="Francis Picabia">Francis Picabia</a></li> <li><a href="/wiki/Man_Ray" title="Man Ray">Man Ray</a></li> <li><a href="/wiki/Beatrice_Wood" title="Beatrice Wood">Beatrice Wood</a></li> <li><a href="/wiki/Louise_Var%C3%A8se" title="Louise Varèse">Louise Norton</a></li> <li><a href="/wiki/Elsa_von_Freytag-Loringhoven" title="Elsa von Freytag-Loringhoven">Elsa von Freytag-Loringhoven</a></li> <li><a href="/wiki/Juliette_Roche" title="Juliette Roche">Juliette Roche Gleizes</a></li> <li><a href="/wiki/Jean_Crotti" title="Jean Crotti">Jean Crotti</a></li></ul> </div></td><td class="noviewer navbox-image" rowspan="7" style="width:1px;padding:0 0 0 2px"><div><a href="/wiki/File:Theo_van_Doesburg_Dadamatin%C3%A9e.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Theo_van_Doesburg_Dadamatin%C3%A9e.jpg/100px-Theo_van_Doesburg_Dadamatin%C3%A9e.jpg" decoding="async" width="100" height="72" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Theo_van_Doesburg_Dadamatin%C3%A9e.jpg/150px-Theo_van_Doesburg_Dadamatin%C3%A9e.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/50/Theo_van_Doesburg_Dadamatin%C3%A9e.jpg/200px-Theo_van_Doesburg_Dadamatin%C3%A9e.jpg 2x" data-file-width="727" data-file-height="525" /></a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">European Dada</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Dragan_Aleksi%C4%87" title="Dragan Aleksić">Dragan Aleksić</a></li> <li><a href="/wiki/Louis_Aragon" title="Louis Aragon">Louis Aragon</a></li> <li><a href="/wiki/Jean_Arp" title="Jean Arp">Jean Arp</a></li> <li><a href="/wiki/Johannes_Baader" title="Johannes Baader">Johannes Baader</a></li> <li><a href="/wiki/Alice_Bailly" title="Alice Bailly">Alice Bailly</a></li> <li><a href="/wiki/Hugo_Ball" title="Hugo Ball">Hugo Ball</a></li> <li><a href="/wiki/Andr%C3%A9_Breton" title="André Breton">André Breton</a></li> <li><a href="/wiki/Gabri%C3%A8le_Buffet-Picabia" title="Gabrièle Buffet-Picabia">Gabrièle Buffet-Picabia</a></li> <li><a href="/wiki/Serge_Charchoune" title="Serge Charchoune">Serge Charchoune</a></li> <li><a href="/wiki/Arthur_Cravan" title="Arthur Cravan">Arthur Cravan</a></li> <li><a href="/wiki/Jean_Crotti" title="Jean Crotti">Jean Crotti</a></li> <li><a href="/wiki/Otto_Dix" title="Otto Dix">Otto Dix</a></li> <li><a href="/wiki/Theo_van_Doesburg" title="Theo van Doesburg">Theo van Doesburg</a></li> <li><a href="/wiki/Marcel_Duchamp" title="Marcel Duchamp">Marcel Duchamp</a></li> <li><a href="/wiki/Suzanne_Duchamp" title="Suzanne Duchamp">Suzanne Duchamp</a></li> <li><a href="/wiki/Paul_%C3%89luard" title="Paul Éluard">Paul Éluard</a></li> <li><a href="/wiki/Max_Ernst" title="Max Ernst">Max Ernst</a></li> <li><a href="/wiki/Julius_Evola" title="Julius Evola">Julius Evola</a></li> <li><a href="/wiki/George_Grosz" title="George Grosz">George Grosz</a></li> <li><a href="/wiki/Raoul_Hausmann" title="Raoul Hausmann">Raoul Hausmann</a></li> <li><a href="/wiki/John_Heartfield" title="John Heartfield">John Heartfield</a></li> <li><a href="/wiki/Emmy_Hennings" title="Emmy Hennings">Emmy Hennings</a></li> <li><a href="/wiki/Hannah_H%C3%B6ch" title="Hannah Höch">Hannah Höch</a></li> <li><a href="/wiki/Richard_Huelsenbeck" title="Richard Huelsenbeck">Richard Huelsenbeck</a></li> <li><a href="/wiki/Ilya_Zdanevich" class="mw-redirect" title="Ilya Zdanevich">Iliazd</a></li> <li><a href="/wiki/Marcel_Janco" title="Marcel Janco">Marcel Janco</a></li> <li><a href="/wiki/Elsa_von_Freytag-Loringhoven" title="Elsa von Freytag-Loringhoven">Elsa von Freytag-Loringhoven</a></li> <li><a href="/wiki/Cl%C3%A9ment_Pansaers" title="Clément Pansaers">Clément Pansaers</a></li> <li><a href="/wiki/Francis_Picabia" title="Francis Picabia">Francis Picabia</a></li> <li><a href="/wiki/Man_Ray" title="Man Ray">Man Ray</a></li> <li><a href="/wiki/Georges_Ribemont-Dessaignes" title="Georges Ribemont-Dessaignes">Georges Ribemont-Dessaignes</a></li> <li><a href="/wiki/Jacques_Rigaut" title="Jacques Rigaut">Jacques Rigaut</a></li> <li><a href="/wiki/Henri-Pierre_Roch%C3%A9" title="Henri-Pierre Roché">Henri-Pierre Roché</a></li> <li><a href="/wiki/Kurt_Schwitters" title="Kurt Schwitters">Kurt Schwitters</a></li> <li><a href="/wiki/Walter_Serner" title="Walter Serner">Walter Serner</a></li> <li><a href="/wiki/Philippe_Soupault" title="Philippe Soupault">Philippe Soupault</a></li> <li><a href="/wiki/Sophie_Taeuber-Arp" title="Sophie Taeuber-Arp">Sophie Taeuber-Arp</a></li> <li><a href="/wiki/Julien_Torma" title="Julien Torma">Julien Torma</a></li> <li><a class="mw-selflink selflink">Tristan Tzara</a></li> <li><a href="/wiki/Jacques_Vach%C3%A9" title="Jacques Vaché">Jacques Vaché</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Works</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bicycle_Wheel" title="Bicycle Wheel">Bicycle Wheel</a></li> <li><a href="/wiki/Bottle_Rack" title="Bottle Rack">Bottle Rack</a></li> <li><a href="/wiki/Fountain_(Duchamp)" title="Fountain (Duchamp)">Fountain</a></li> <li><a href="/wiki/Dada-Review" title="Dada-Review">Dada-Review</a></li> <li><a href="/wiki/Prelude_to_a_Broken_Arm" class="mw-redirect" title="Prelude to a Broken Arm">Prelude to a Broken Arm</a></li> <li><a href="/wiki/Why_Not_Sneeze,_Rose_S%C3%A9lavy%3F" title="Why Not Sneeze, Rose Sélavy?">Why Not Sneeze, Rose Sélavy?</a></li> <li><a href="/wiki/L.H.O.O.Q." title="L.H.O.O.Q.">L.H.O.O.Q.</a></li> <li><a href="/wiki/Tulip_Hysteria_Co-ordinating" title="Tulip Hysteria Co-ordinating">Tulip Hysteria Co-ordinating</a></li> <li><a href="/wiki/Rrose_S%C3%A9lavy" class="mw-redirect" title="Rrose Sélavy">Rrose Sélavy</a></li> <li><a href="/wiki/Readymades_of_Marcel_Duchamp" title="Readymades of Marcel Duchamp">Readymades of Marcel Duchamp</a></li> <li><a href="/wiki/The_Gas_Heart" title="The Gas Heart">The Gas Heart</a> (1921 play)</li> <li><a href="/wiki/Handkerchief_of_Clouds" title="Handkerchief of Clouds">Handkerchief of Clouds</a> (1924 play)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Publications</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Dada_Manifesto" title="Dada Manifesto">Dada Manifesto</a></li> <li><a href="/wiki/291_(magazine)" title="291 (magazine)">291 (magazine)</a></li> <li><a href="/wiki/391_(magazine)" title="391 (magazine)">391 (magazine)</a></li> <li><a href="/wiki/The_Blind_Man" title="The Blind Man">The Blind Man</a> (magazine)</li> <li><a href="/wiki/Dadaglobe" title="Dadaglobe">Dadaglobe</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Influences</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Alfred_Jarry" title="Alfred Jarry">Alfred Jarry</a></li> <li><a href="/wiki/Incoherents" title="Incoherents">Incoherents</a></li> <li><a href="https://fr.wikipedia.org/wiki/Eug%C3%A8ne_Bataille" class="extiw" title="fr:Eugène Bataille">Eugène Bataille</a> (aka Sapeck)</li> <li><a href="/wiki/Parade_(ballet)" title="Parade (ballet)">Parade (ballet)</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Influenced</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Conceptual_art" title="Conceptual art">Conceptual art</a></li> <li><a href="/wiki/Surrealism" title="Surrealism">Surrealism</a></li> <li><a href="/wiki/Nouveau_r%C3%A9alisme" title="Nouveau réalisme">Nouveau réalisme</a></li> <li><a href="/wiki/Pop_art" title="Pop art">Pop art</a></li> <li><a href="/wiki/Fluxus" title="Fluxus">Fluxus</a></li> <li><a href="/wiki/Monochrome_painting" title="Monochrome painting">Monochrome painting</a></li> <li><a href="/wiki/Downtown_music" title="Downtown music">Downtown music</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Alfred_Stieglitz" title="Alfred Stieglitz">Alfred Stieglitz</a> (photographer, art promoter)</li> <li><a href="/wiki/Walter_Conrad_Arensberg" title="Walter Conrad Arensberg">Walter Conrad Arensberg</a> (art collector)</li> <li><a href="/wiki/291_(art_gallery)" title="291 (art gallery)">291 (art gallery)</a></li> <li><a href="/wiki/Galeries_Dalmau" title="Galeries Dalmau">Galeries Dalmau</a></li> <li><a href="/wiki/Found_object" title="Found object">Found object</a></li> <li><a href="/wiki/Anti-art" title="Anti-art">Anti-art</a></li> <li><a href="/wiki/Anarchism_and_the_arts" title="Anarchism and the arts">Anarchism and the arts</a></li> <li><a href="/wiki/Anti-anti-art" class="mw-redirect" title="Anti-anti-art">Anti-anti-art</a></li> <li><a href="/wiki/Anti-poetry" title="Anti-poetry">Anti-poetry</a></li> <li><a href="/wiki/Appropriation_(art)" title="Appropriation (art)">Appropriation (art)</a></li> <li><a href="/wiki/Art_intervention" title="Art intervention">Art intervention</a></li> <li><a href="/wiki/Cabaret_Voltaire_(Z%C3%BCrich)" title="Cabaret Voltaire (Zürich)">Cabaret Voltaire</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise music</a></li> <li><a href="/wiki/%C3%89pater_la_bourgeoisie" title="Épater la bourgeoisie">Épater la bourgeoisie</a></li> <li><a href="/wiki/Shock_art" title="Shock art">Shock art</a></li> <li><a href="/wiki/Beatrice_Wood:_Mama_of_Dada" title="Beatrice Wood: Mama of Dada">Beatrice Wood: Mama of Dada</a> (1993 documentary)</li> <li><a href="/wiki/Man_and_Boy:_Dada" title="Man and Boy: Dada">Man and Boy: Dada</a> (2006 opera)</li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q16409#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q16409#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a> <a href="https://www.wikidata.org/wiki/Q16409#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">International</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://isni.org/isni/0000000121251536">ISNI</a><ul><li><a rel="nofollow" class="external text" href="https://isni.org/isni/0000000368639153">2</a></li><li><a rel="nofollow" class="external text" href="https://isni.org/isni/0000000407121155">3</a></li></ul></li><li><a rel="nofollow" class="external text" href="https://viaf.org/viaf/27072443">VIAF</a><ul><li><a rel="nofollow" class="external text" href="https://viaf.org/viaf/2021159248248604870006">2</a></li><li><a rel="nofollow" class="external text" href="https://viaf.org/viaf/4552159248076004870007">3</a></li><li><a rel="nofollow" class="external text" href="https://viaf.org/viaf/2373153063165019320008">4</a></li></ul></li><li><a rel="nofollow" class="external text" href="http://id.worldcat.org/fast/43298/">FAST</a></li><li><a rel="nofollow" class="external text" href="https://id.oclc.org/worldcat/entity/E39PBJmTmMYJM4v9D9WDkBj6Kd">WorldCat</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/118624938">Germany</a></li><li><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/n79111430">United States</a></li><li><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb119273045">France</a></li><li><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb119273045">BnF data</a></li><li><a rel="nofollow" class="external text" href="https://id.ndl.go.jp/auth/ndlna/00459325">Japan</a></li><li><a rel="nofollow" class="external text" href="https://opac.sbn.it/nome/CFIV094528">Italy</a></li><li><a rel="nofollow" class="external text" href="https://nla.gov.au/anbd.aut-an35560042">Australia</a></li><li><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=jn20000605372&CON_LNG=ENG">Czech Republic</a></li><li><a rel="nofollow" class="external text" href="http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX1721688">Spain</a></li><li><a rel="nofollow" class="external text" href="http://id.bnportugal.gov.pt/aut/catbnp/153055">Portugal</a></li><li><a rel="nofollow" class="external text" href="http://data.bibliotheken.nl/id/thes/p068922426">Netherlands</a></li><li><a rel="nofollow" class="external text" href="https://authority.bibsys.no/authority/rest/authorities/html/90327374">Norway</a></li><li><a rel="nofollow" class="external text" href="https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000104049&P_CON_LNG=ENG">Latvia</a></li><li><a rel="nofollow" class="external text" href="http://katalog.nsk.hr/F/?func=direct&doc_number=000130240&local_base=nsk10">Croatia</a></li><li><a rel="nofollow" class="external text" href="http://www.bncatalogo.cl/F?func=direct&local_base=red10&doc_number=000255373">Chile</a></li><li><a rel="nofollow" class="external text" href="https://lod.nl.go.kr/resource/KAC2018N1923">Korea</a></li><li><a rel="nofollow" class="external text" href="https://libris.kb.se/b8nqtwcv0mg5njb">Sweden</a></li><li><a rel="nofollow" class="external text" href="https://dbn.bn.org.pl/descriptor-details/9810595895505606">Poland</a></li><li><a rel="nofollow" class="external text" href="http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007269281805171">Israel</a></li><li><a rel="nofollow" class="external text" href="https://cantic.bnc.cat/registre/981058510974206706">Catalonia</a></li><li><a rel="nofollow" class="external text" href="https://opac.kbr.be/LIBRARY/doc/AUTHORITY/14147792">Belgium</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Academics</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://ci.nii.ac.jp/author/DA02111498?l=en">CiNii</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500175780">ULAN</a></li><li><a rel="nofollow" class="external text" href="https://musicbrainz.org/artist/4f3fe3d6-ff99-4b4b-926c-baec6d2bfd25">MusicBrainz</a></li><li><a rel="nofollow" class="external text" href="https://rkd.nl/en/explore/artists/105573">RKD Artists</a></li><li><a rel="nofollow" class="external text" href="http://www.sikart.ch/KuenstlerInnen.aspx?id=13161760&lng=en">SIKART</a></li><li><a rel="nofollow" class="external text" href="https://www.moma.org/artists/13398">Museum of Modern Art</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://trove.nla.gov.au/people/995982">Trove</a></li><li><a rel="nofollow" class="external text" href="https://www.deutsche-biographie.de/pnd118624938.html?language=en">Deutsche Biographie</a></li><li><a rel="nofollow" class="external text" href="https://www.deutsche-digitale-bibliothek.de/person/gnd/118624938">DDB</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://www.idref.fr/027172058">IdRef</a></li><li><a rel="nofollow" class="external text" href="https://hls-dhs-dss.ch/fr/articles/046853">Historical Dictionary of Switzerland</a></li><li><a rel="nofollow" class="external text" href="https://snaccooperative.org/ark:/99166/w67p9j6m">SNAC</a></li><li><a rel="nofollow" class="external text" href="https://elmcip.net/node/3505">ELMCIP</a></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Tristan_Tzara&oldid=1248404218">https://en.wikipedia.org/w/index.php?title=Tristan_Tzara&oldid=1248404218</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Tristan_Tzara" title="Category:Tristan Tzara">Tristan Tzara</a></li><li><a href="/wiki/Category:1896_births" title="Category:1896 births">1896 births</a></li><li><a href="/wiki/Category:1963_deaths" title="Category:1963 deaths">1963 deaths</a></li><li><a href="/wiki/Category:People_from_Moine%C8%99ti" title="Category:People from Moinești">People from Moinești</a></li><li><a href="/wiki/Category:Moldavian_Jews" title="Category:Moldavian Jews">Moldavian Jews</a></li><li><a href="/wiki/Category:Romanian_emigrants_to_France" title="Category:Romanian emigrants to France">Romanian emigrants to France</a></li><li><a href="/wiki/Category:French_people_of_Romanian-Jewish_descent" title="Category:French people of Romanian-Jewish descent">French people of Romanian-Jewish descent</a></li><li><a href="/wiki/Category:20th-century_French_poets" title="Category:20th-century French poets">20th-century French poets</a></li><li><a href="/wiki/Category:20th-century_Romanian_poets" title="Category:20th-century Romanian poets">20th-century Romanian poets</a></li><li><a href="/wiki/Category:French_male_poets" title="Category:French 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