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Dada 1916 in TheoryPractices of Critical Resistance$
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Dafydd Jones

Print publication date: 2014

Print ISBN-13: 9781781380208

Published to Liverpool Scholarship Online: January 2015

DOI: 10.5949/liverpool/9781781380208.001.0001

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date: 23 October 2017

Dada’s Radical Negation: The Declamators and Poets of Noise

Dada’s Radical Negation: The Declamators and Poets of Noise

Chapter:
(p.17) 1 Dada’s Radical Negation: The Declamators and Poets of Noise
Source:
Dada 1916 in Theory
Author(s):

Dafydd W. Jones

Publisher:
Liverpool University Press
DOI:10.5949/liverpool/9781781380208.003.0002

This chapter reads the audio and visual innovations that stemmed from Italian Futurist poetry and late German Expressionist performance, which burst upon the first audiences at the Cabaret Voltaire (the rowdy neighbour to Lenin’s lodging room in Zurich, before he returned to Russia in early 1917) and Dada soirées, in logical continuation of currents of poetic intervention that found their apogee in Hugo Ball’s sound poetry and poems without words of 1916. The historical context of the politicised fermentation of artistic activity in Germany specifically in the years leading up to 1916, and is presented here in rigorous detail as ground for the Dada activities that are discussed in the chapters that follow.

Keywords:   Cabaret Voltaire, Hugo Ball, Futurism, F. T. Marinetti, parole in libertà, ‘lautgedichte’, ‘verse ohne worte’

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