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Title: TaTa Dada: The Real Life and Celestial ...
Publisher: The MIT Press
Binding: Soft cover
Book Condition: New
About this title
The first biography in English of Tristan Tzara, a founder of Dada and one of the most important figures in the European avant-garde.
Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist.
As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language.About the Author:
Marius Hentea, a Romanian-born literary scholar, is an Associate Professor of English Literature at the University of Gothenburg. He is the author of Henry Green at the Limits of Modernism.
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