This doctoral thesis analyzes the plays of Tristan Tzara, specifically La Premiere Aventure Celeste de Monsieur Antipyrine (1920), La Deuxieme Aventure Celeste de Monsieur Antipyrine (1920), Coeur a Gaz (1921) et Mouchoir de Nuages (1924). / In the first part of our study we examine the production of (dramatic) language in its oral, graphic and written qualities. The dada language of the two drama-manifestoes tends to adopt a syllabic writing which defines itself as a sonorousness free of syntaxico-semantic contingencies. The writing in Coeur a Gaz is more graphic in that it defines linear writing in terms of its inscription in a bidimensional frame (list, table) which caracterizes theatre in itself. And while Mouchoir de Nuages adhers more closely to dramatic writing of a metadiscursive nature, the apparent linearity of the writing of this drama leads to the subversion of the stage writing (scenography) and therefore of theatre itelf. / In the second part of our thesis we study the question of language reception, indispensable for the understanding of the Dada phenomenon in particular and theatrical in general. The aleatory vocality La Premiere Aventure Celeste de Monsieur Antipyrine provoked a violent reception by the historical spectator of 1920, whose esthetic parameters (horizon of expectation) are analyzed. Insofar as Coeur a Gaz is concerned the performance of 1923 consecrated the rupture of Andre Breton with the Dada group and led to the birth of the surrealist movement. Finally, the revolutionary scenographic work of Mouchoir de Nuages radically modifies the scenic perception of the spectator and announces the pluralist art of the twentieth century.

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