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The Revolution heralded softly, with a note in the “Neue Zürcher Zeitung”. “The principle of the artists’ bar is supposed to be,” it says in the announcement formulated by Hugo Ball, “that during the daily gatherings musical and recitation lectures train running as guest artists take place, and it goes out to the young artistic community Zurich the invitation, with proposals einzufinden and contributions. “ball, a German theater dramaturge and writer, who lived in Switzerland since 1915, ringmaster wanted to be in a literary-artistic-political arena. Only lacked a few artists.
The “star of the cabaret” sings the “Totentanz”
As soon called Künstlerkneipe Voltaire Cabaret Voltaire on 5 February 1916 in the Zurich Spiegelgasse opened, standing beside the Great Zampano Hugo ball and his partner, the cabaret artist Emmy Hennings, the writer Tristan Tzara and the painter and sculptor Hans Arp, Marcel Janco and Max Oppenheimer on stage. They recite, recite, sing, dance, sometimes sequentially and sometimes confusion. We will read verses from Kandinsky and Else Lasker-Schüler, Hennings, “star of the cabaret,” sings Balls war-weary “Totentanz”: “So if we die, we die / We die every day / Because it makes so cozy dying.” An the walls are freshly painted expressionist, cubist, futurist images. “On the connection that counts and that it will advance a bit broken,” says Ball, who wants to make his stage to a “living magazine”
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“the audience screams for us, laughing and his hands above his head,” Arp writes about a late evening. “We respond with love sighs, with belching, with poems, with, Muh, Muh ‘and, Meow, Meow’ medieval Bruitisten. Tzara leaves his backside bounce like the belly of an oriental dancer “So begins one hundred years ago the history of Dadaism. As chaos and coven. You have to take apart the world and re-assemble, this postulate of ball became the main principle of a movement that would shape from Surrealism to the punk with her cheerful activism all Vanguards of the 20th century.
Dada is the best soap
the term Dada invented the activists until later in the year. He sounded international and meant absolutely nothing. “Dada is the world soul, dada is the kicker. Dada is the best lily-milk soap in the world “, says the first Dadaist manifesto. The Mona Lisa, Grammofonschlager, a Bach concert, newspaper advertising: all equally beautiful. From George Grosz, a protagonist of the second Dada generation, it is said that he spend hours displaying the “Saturday Evening Post” studied. They are “the most honest form of expression that produced the human species” have.
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In northeastern France rages 1916 battle of Verdun, when 800,000 soldiers die without causing a major shift in the front lines. In Zurich, the richest metropolis neutral Switzerland, there is peace. People from around the world are in the city, the Bahnhofstrasse is called Balkan road. French and German greet each other friendly. By streets run even James Joyce and Vladimir Ilyich Lenin, “stone face, a nondescript briefcase under his arm,” as Emmy Hennings recalled later. It is a wild, dangerous time, and much of the Dadaists are these, Come. Hugo Ball reports in 1914 voluntarily, is retired and runs on its own in the front in Lorraine. What he experienced there in a military hospital, ended the war enthusiasm. Richard Huelsenbeck, which ascends to the limelight of Cabaret Voltaire, is on the run from the draft boards
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“the place was crowded,” Hugo ball wrote after the premiere. No wonder, the entrance is free, fees are only for the wardrobe. Financially come the Dadaists to nowhere. A highlight of the show is the simultaneous poem in which Huelsenbeck, Janco and Tzara occur together and talk at once English, German and French. Languages in the fray. The “Simultanismus” (Theodor Däubler), the simultaneous display of actually incompatible elements, is the central art means the movement.
In June 1916 Hugo Ball acts as “magical bishop in Cubist costume” on. Because he did in tubular garment can hardly move, he must be taken to the stage. He recites verses without words. According poems in which Dadaism finally finds his language. “The magical fulfilled vocabulary swore and gave birth to a new set,” exults Ball, “which was conditioned and bound by any conventional sense.” The performance marks a climax of Dada history and takes the same time, so the Dada chronicler Martin means Meier, the farewell anticipated.
Hugo ball has
In July, Hugo ball and Emmy Hennings draw, exhausted from the daily theater operation, to Ticino back Burnout. Ball will later turn to Catholicism. Beginning of 1917 witnessed the movement with the Galerie Dada in Zurich’s Bahnhofstrasse a short revival, this time the focus is on the exhibitions. “At the soirées here festivals are celebrated by a gloss and a tumble as Zurich has hitherto not seen,” says Ball would. But the avant-garde is almost the Academic solidifies, there is factionalism and splits. Dada die a gentle death.
To the more triumphant resurgence first deal. In November 1918, the American reporter Ben Hecht reported as workers and soldiers storm the Berlin City Palace. Its leader Karl Liebknecht undresses to lie down barefoot and in long winter underwear to bed the emperor. “I heard the royal springs squeak when Liebknecht stretched out his legs. Then, when he turned around to take a book, there was suddenly a piercing noise. The spindelbeinige nightstand had collapsed under the weight of revolutionary literature. The lamp hit the ground, and a pear exploded. The soldiers fled. “Dadaism as Budenzauber.
But revolution is now no longer a metaphor, in mutinous Germany is actually shot. The old order of Wilhelmine authoritarianism has been unhinged, and to the “Bloodhound” Gustav Noske leaves together shoot the revolutionary soldiers and workers in March 1919 are also the arts head. It is a short winter of anarchy and Dadaism. “Today Socialist, tomorrow egoist today Catolic, tomorrow Anarchist”, Richard Huelsenbeck notes in his diary. The writer, a “rubber Artist” (Martin means Meier), comes in 1917 from Zurich to Berlin, there to install Dada. Can there be a better capital movement as Berlin with its increasingly cynical become coffeehouse literati?
dilettante raises you!
In April 1918 present Hausmann, Grosz and Huelsenbeck her Dadaist manifesto. “Dada wants to use the new material in the painting,” reads a statement. For material include headlines and pictures cut from newspapers and magazines. The photomontage, a form of reality is recycling, invented by the Berlin Dadaists. Your timer is supposed to be a “military commemorative sheet” with a glued on scenes soldiers portrait that discover Raoul Hausmann and his lover Hannah Höch
. “Low art – dilettantes elevates you to the Art”, is the slogan of First International Dada Fair, which takes place in the gallery Burchard the 1920s. Actually the company is a swan song. Johannes Baader presents a Dada-machine, the “Plasto-diode Dada-Drama”, served by a mannequin. Dada dies for the second time and lives on. For example, in the art of Hanoverian one-man Dadaist Kurt Schwitters. He creates cathedrallike “Merz buildings” and sings his Ursonata: “Fümms bö words n tää zää Uu, / pögiff / kwii Ee”. So he attains immortality
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