Diss.--Philosophische Fakultät--Münster, Westf., 1975. / Bibliogr. p. 249-252.

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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.

Buildings and the cities they make up are in a state of constant change. Temples become churches, palaces become apartment complexes, and railway stations have been turned into hotels and museums. Paris is an example of a city which reuses existing buildings, and on a smaller scale as the city changes over time, buildings are split in half, windows become doors, and row houses become apartments. In its centuries long evolution, Paris has developed into one of the most beautiful cities in the world full of an architecture of reuse and renovation of existing structures. As this process of reuse occurs, the history of a building is revealed as its original materials, structure, and scars are uncovered and celebrated. In the Montmartre House, the building's original vaulted brick structure is exposed. This traditional structure, along with new partitions and rooms, form a modern house in which new and old contrast, enhancing each other and creating a new architecture. The aim is not to reconstruct the old brick building into what it once was, but to use it in conjunction with modern construction methods and materials and continue the subsequent reuse and transformation making this house a reflection of the architectural spirit of Paris itself. / Master of Architecture

L’objectif de cet essai est d’interroger l’absurde en tant que catégorie esthétique dans le théâtre Dada et pré-surréaliste français, entre 1916 et 1923, et ce dans trois textes : La Première aventure céleste de Monsieur Antipyrine, de Tristan Tzara (1916), S’il vous plaît, d’André Breton et Philippe Soupault (écrit en 1919) et Les Mystères de l’amour, de Roger Vitrac (écrit en 1923).L’absurde en tant que catégorie de théâtre a été notamment interrogé à la moitié du siècle dernier par le critique de théâtre britannique Martin Esslin, auteur de la conception d’un « théâtre de l’absurde », mise en place afin de caractériser et d’expliquer l’oeuvre des avant-gardes contemporaines. Cette contribution jouit à la fois d’une grande popularité et a été l’objet de vives critiques, qui la qualifient d’imprécise sinon vague. À ce titre, la présente thèse, afin de définir l’absurde, ne reprend pas les propositions de M. Esslin, mais s’efforce de procéder de manière indépendante. Dans la conclusion, elle effectue une comparaison avec la conception de cet auteur.La première section de cette thèse définit l’absurde en tant qu’une catégorie esthétique et de théâtre ; puis, elle s’intéresse à l’évolution de l’absurde esthétique (formulé comme tel ou intuitif) dans l’histoire du théâtre, notamment en France dans la période postclassique. La deuxième section étudie l’absurde dans le corpus concerné en examinant les structures narratives ainsi que discursives. / The aim of this doctoral dissertation is to analyze the absurd as an aesthetic category in French Dada and pre-surrealist theatre between 1916 and 1923, dealing with three texts : La Première aventure céleste de Monsieur Antipyrine by Tristan Tzara (1916), S’il vous plaît, by André Breton et Philippe Soupault (written in 1919) and Les Mystères de l’amour by Roger Vitrac (written in 1923).The absurd as a theatre and drama category was examined especially at the half of the last century by the British drama critic Martin Esslin, author of the conception of the ‘theatre of the absurd’, created in order to caracterize and explain the avant-garde theatre of the 1950´s. This contribution has reached both popularity and deep critics, being considered as poignant as well as imprecise and vague. Thus, this dissertation does not use M. Esslin´s propositions as its starting point, bur attempts to define the category of the absurd in drama and theatre independently. In the conclusion, it proceeds to a comparison with M. Esslin´s contribution.The first chapter of the thesis defines the absurd as an aesthetic and theatre category. Then, it observes the evolution of the aesthetic absurd (named as such or intuitive) in theatre history, before all in France of the post-classical period. The second part analyzes the absurd elements in my corpus, as regards narrative and also discursive structures.

Nos referiremos en este documento a la teoría y la práctica del Ars Combinatoria, particularmente en dos de autores,  Ramón Llul y Tristan Tzara. Ramón Llul, beato del siglo XII, cuyo pensamiento ha sido instruido por la rama teológica de escolástica medieval de orientación platónica, la cual comprende la totalidad de la creación, organizada de manera sinfónica, construida según una voluntad inicial, y ordenada según los principios de una inteligencia superior e inmanente. Para Llul, el Ars Combinatoria constituye un método con el cual el buen cristiano puede desentrañar los misterios de la creación, discriminar la verdad de la falacia y razonar sobre la naturaleza divina manifestada en el universo. El paralelo lo constituye el poeta rumano Tristan Tzara, quien en la combinatoria encuentra una nueva forma de experimentación literaria. Fundamentalmente constituida por el azar y expuesto en su Instructivo para componer un poema Dada (1920), se comprende en esta operación un intento de recusación de toda forma, jerarquía y orden social, practicada en una de las divisas fundamentales y garantía de orden y estructura: el lenguaje. El trabajo de Tzara, en forma similar a lo que sucede con Llul, produce encadenamientos o secuencias organizadas por alguna clase de criterio, con la diferencia de que, en el caso del rumano, todo sucede por puro y simple azar, condición que queda expresada en la ausencia de revelación y orientación. No se hace visible lógica alguna dentro del juego tzariano como tampoco puede existir una lógica detrás de la conversión del suelo europeo en el escenario catastrófico de la guerra, llevado por la prensa y las campañas nacionalistas a la categoría de espectáculo mundial.

Reproduction de : Thèse de doctorat : Littérature française et comparée : Paris 4 : 2007. / Titre provenant de l'écran-titre. 321 réf. bibliogr. Annexes.

Denna uppsats undersöker hur den svenska konstnären Greta Knutson historiskt sett har kanoniserats i relation till sitt förhållande med den kände dadaisten Tristan Tzara och den franska surrealiströrelsen under 1920- och 1930-talet. Knutson hade en lång och produktiv karriär och uppsatsens intention är att flytta fokus från de tidiga dagarna i Paris med surrealisterna till hennes senare konstnärliga period, räknad från slutet på 1960-talet fram till hennes död 1983. Min tes är att en radikal stilförändring då skedde till ett, paradoxalt nog, mer surrealistisk konstnärligt uttryck. Med hjälp av Griselda Pollock och det teoretiska begreppet ”kanonisering” ifrågasätts varför denna senare period i stort har gått förbi konsthistorien och hur Knutsons relation till surrealismen sett ut. Genom en formalistisk analys presenteras därefter verken La Surprise, Feu dans la maison och Det stulna brevet, vilka är representativa för Knutsons senare konstnärliga period. / This essay examines how Swedish born artist Greta Knutson has been historically canonised in reference to her relationship with the famous Dadaist Tristan Tzara and the French surrealist movement of the 1920’s and 1930’s. Knutson had a long and productive career and the overall purpose of my essay is to change focus from the early days in Paris with the Surrealists into her later artistic period, counted from the late 1960’s until her death in 1983. It is claimed here that she then made a radical change of style into, paradoxically, a more surrealistic artistic expression. Through Griselda Pollock and the term “canonisation” I’m exploring and questioning why Knutson’s later career has gone unnoticed in art history and I’m also looking at Knutson’s relation to surrealism. Through a formalistic analysis the artworks La Surprise, Feu dans la maison and Det stulna brevet are presented, which are representative for Knutson’s later artistic period.

Scholarship on Dada and Surrealism has established that psychology was a major intellectual source for artists in both groups. However, a burgeoning amount of recent work in both the history of art and of science indicates that types of psychology other than psychoanalysis permeated the historical context of the avant-garde. In the late nineteenth and early twentieth century, physiological psychology, for example, was the dominant science of the body and mind, which grounded psychic phenomena in structures of conduction in the nervous system. Modern artists saw within this discourse a fascinating and new theory of experience. In my selective history of the avant-garde’s reception and response to physiological psychology, I will argue that artists worked within and partially according to the basic tenets of this discourse, but that they reshaped its superstructural projections away from formations and taxonomies of normalcy in consciousness and action. / text

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