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The Gas Heart Tristan Tzara Pdf The gas heart tristan tzara pdf Continue The Gas HeartWritten byTristan TzaraCharactersMouthEarEyeNoseNeckEyebrowDate premiered 1921 (1921)Place premiereGalerie MontaigneParisOriginal languageFrenchGenreDadaism The Gas Heart or The Gas-Operated Heart[1] (French: Le Cœur à gaz) is a French-language play by Romanian-born author Tristan Tzara. It was written as a series of non-sequiturs and a parody of classic drama -it has three acts despite being short enough to qualify as a one-act game. A sub-musical performance containing ballet numbers is one of the most recognizable plays inspired by the anti-establishment trend known as Dadaism. Gas Heart was first held in Paris, as part of the 1921 Dada Salon at Galerie Montaigne. The play's second staging, as part of the 1923 show Le Cœur à barbe (The Bearded Heart) and linked to an art manifesto of the same name as the latter, featured distinctive costumes designed by Sonia Delaunay. The show coincided with a major split in the avant-garde movement, which in 1924 led Tzara's rivals to establish surrealism. Contrary to his principles to the dissident wing of Dada, represented by André Breton and Francis Picabia, Tzara rallied around him a group of modernist intellectuals, who supported his art manifesto. The conflict between Tzara and Breton culminated in a rebellion, which took place during the premiere of The Gas Heart. Dramatic form In The Gas Heart, Tzara seems to have aimed to overturn the theatrical tradition, especially the three acts,[2] which resulted in the suggestion that the text is the greatest three-act joke of the century. [2] The American literary historian David Graver, comparing The Gas Heart to Le Serin muet, a play by Tzara's friend Georges Ribemont-Dessaignes, notes of the two texts that together pulverize the elements of conventional theatre they use so nicely that few gestures or remarks are coherent in any recognizable order. These manifestations of dada at its most extreme reduce theatrical spectacle to a kind of white sound, the meaning of which depends almost entirely on the cultural context in which it is presented. [4] Tristan Tzara himself offered insight into the satirical and subversive purpose of The Gas Heart, writing: I ask my interpreters to treat this piece as they would a masterpiece like Macbeth, but to treat the author, who is no genius, without respect [...] [5] Tzara, whose own definition of the text described it as a hoax, suggested that it would satisfy only industrialized idiots who believe in genius men, claiming it offered no technical innovation. [6] The play takes the form of an absurd dialogue between figures named after body parts: Mouth, Ear, Eye, Nose, Neck and Eyebrow. The entire exchange between them uses and interprets metaphors, proverbs and idiomatic speech, suggesting the generic roles traditionally of folklore to the appropriate body parts, rather than situations involving the characters themselves, with lines uttered in such a way as making the protagonists look possessed. [2] [7] [8] In such an example of a non-sequitur, Ear says: The eye tells the mouth: open the mouth to the candy of the eye. [7] It is likely that such exchanges between Øye and Munn are a form of courtship,[2][3] a case that, according to the theatre critic Peter Nichols, can help one understand why some of the exchanges in the background turn from nonsensical to a more lyrical expression of desire. [2] This situation, Nichols suggests, may also explain the title of the play, a likely attraction to the power of love as a kind of vitality. [2] In addition to this motif, the piece has a number of seemingly metaphysical observations, such as characters redoing themselves or about unspecified third parties. [7] For example, Mouth says: Everyone doesn't know me. I'm alone here in the dressing room and the mirror is empty when I look at myself. [9] Another such line reads: The void drinks the void: the air was born with blue eyes, which is why it infinitely swallows aspirin. [5] Another exchange, in which Ear compares herself to a prize horse, later results in the text of an actual metamorphosis, in which she becomes the horse Clytemnestra (named after the femme fatale character in Greek myths). [2] A number of dance routines, described by British theatre historian Claude Schumacher as confusing ballets, follow the dialogues. In his third act, The Gas Heart also features a dance performed by a man who fell from a funnel, as the American critic Enoch Brater claims, sharing characteristics with Alfred Jarry's unbuesque situations. [10] The critic Michael Corvin also notes that the character's position as specified by Tzara, alternating between an extreme height above the audience or episodes of collapse on stage, is a hint of how the protagonists relate to each other, and especially to the tribulations of their love affairs. [2] For both the third act and the play itself, Tzara's original text culminates in doodles, which alternate between the different spellings of a group of letters with drawings of hearts pierced by arrows. [10] According to Brater, Here the dramatic genre seems to have broken down completely. [10] Early production history The Gas Heart was first staged as part of a Dada Salon at galerie montaigne by Paris Dadaists on 6. [11] The actors included great figures of the Dada stream: Tzara himself played the eyebrow, with Philippe Soupault as the ear, Théodore Fraenkel as the nose, Benjamin Péret as Neck, Louis Aragon as Eye, and Georges Ribemont-Dessaignes as Mouth. [11] The production was received with a howl of derision and the audience began to leave while the show was still ongoing. [11] The between André Breton and Tzara, which began in the late 1910s, degenerated into conflict after 1921. Breton, who objected to Tzara's style of play and the Dada excursion to Saint-Julien-le-Pauvre, was also reportedly upset by the Romanian's refusal to take seriously the movement's informal prosecution of reactionary author Maurice Barrès. [12] A third position, oscillating between Tzara and Breton, was held by Francis Picabia, who expected Dada to continue on the path of nihilism. [13] The first clash between the three factions took place in March 1922, when Breton convened the Congress for the determination and defense of the modern spirit, which gathered large figures related to modernist and avant-garde movements. Attended by Tzara only as a means of ridiculing it, the conference was used by Breton as a platform to attack his Romanian colleague. [14] In response to this, Tzara issued the art manifesto The Bearded Heart, which was also signed by Péret, among others, Marcel Duchamp, Jean Cocteau, Paul Éluard, Man Ray, Theo van Doesburg, Hans Arp, Vicente Huidobro, Ossip Zadkine, Erik Satie, Jean Metzinger, Paul Dermée, Serge Charchoune, Marcel Herrand, Clément Pansaers, Raymond Radiguet, Louis-Ferdinand Céline, Cécile Sauvage, Léopold Survage, Marcelle Meyer, Emmanuel Fay , Ilia Zdanevich, Simon Mondzain and Roch Grey. [15] Tzara celebrated the formation of this new group with a Dada show, also called The Bearded Heart, hosted by Paris Théâtre Michel (July 6, 1923). According to music historian Steven Moore Whiting, the Romanian writer threw his net too much. The program was a fleeting hodge-podge of ex-Dada, pre-Dada and anti-Dada, while the audience, art critic Michel Sanouillet claimed, consisted of gawkers and snobs [...] as well as artists and those who know, who were attracted to the prospect of seeing wolves devour each other. [16] Tzara's play was one of the attractions, but the event also featured music by Georges Auric, Darius Milhaud and Igor Stravinsky,[16][17] films by Man Ray, Charles Sheeler and Hans Richter, as well as another play by Ribemont-Dessaignes (Mouchez-vous, Blow Your Noses). [17] There were also readings from the writings of Herrand, Zdanevich,[17] Cocteau and Philippe Soupault,[16] as well as exhibitions of design works by Sonia Delaunay and Doesburg. [17] Whiting notes that the controversy erupted when Soupault and Éluard found their writings read in the same events as cocteaus, and that no explanation was given for presenting works by Auric, in light of his alliance with Breton. [16] He also explains that Satie unsuccessfully tried to get Tzara to reconsider the choice for musical figures weeks before the premiere. [16] The new stage production of The Gas Heart was a more professional one, with designers and a full crew of technicians - although Tzara also did not direct acted in this performance. [18] Sonia Delaunay designed and costumed the production, creating eccentric trapeze costumes of thick cardboard, their angular fragmentation reminiscent of Spanish painter Pablo Picasso's design for Parade, but in this case apparently rendered the performers' bodies two-dimensional and immobile. [19] According to Peter Nichols, Delaunay's contribution formed an integral part of the show, with the costumes as a visual trace to [the characters'] one-dimensionality. [2] A rebellion erupted just as The Gas Heart premiered, and according to the poet Georges Hugnet, a first-hand witness, was provoked by Breton, who hoisted himself onstage and began to blame the actors. [17] Also, according to Hugnet, the actors could not run away because of their limiting costumes, while the attacker also managed to attack some of the writers present, beating René Crevel and breaking Pierre de Massot's arm with the walking stick. [17] Although they had shown a measure of solidarity with Tzara in advance, Péret and his co-author Éluard are said to have helped Breton cause more disturbances, breaking several lamps before the Préfecture de Police forces could intervene.
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