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Art / Life / Museum Dadaism and Performing Arts (II) STUDIA UNIVERSITATIS BABEȘ-2 BOLYAI /2016 DaDa > 100: Art / Life / Museum Dadaism and Performing Arts (II) STUDIA UNIVERSITATIS BABEŞ-BOLYAI DRAMATICA 2/2016 October STUDIA UNIVERSITATIS BABEŞ-BOLYAI DRAMATICA EDITOR-IN-CHIEF: ŞTEFANA POP-CURŞEU, Babeș-Bolyai University, Cluj-Napoca HONORIFIC BOARD: GEORGE BANU, Université Paris 3-Sorbonne Nouvelle ION VARTIC, Babeș-Bolyai University, Cluj-Napoca MICHAEL PAGE, Calvin College EDITORIAL BOARD: LIVIU MALIŢA, Babeș-Bolyai University, Cluj-Napoca ANCA MĂNIUȚIU, Babeș-Bolyai University, Cluj-Napoca MIRUNA RUNCAN, Babeș-Bolyai University, Cluj-Napoca LAURA PAVEL-TEUTIȘAN, Babeș-Bolyai University, Cluj-Napoca VISKY ANDRÁS, Babeș-Bolyai University, Cluj-Napoca ANDREA TOMPA, Babeș-Bolyai University, Cluj-Napoca IOAN POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca DELIA ENYEDI, Babeș-Bolyai University, Cluj-Napoca RALUCA SAS-MARINESCU, Babeș-Bolyai University, Cluj-Napoca ANCA HAŢIEGAN, Babeş-Bolyai University, Cluj-Napoca MIHAI PEDESTRU, Babeș-Bolyai University, Cluj-Napoca INTERNATIONAL REFEREES: DOMNICA RĂDULESCU, Washington and Lee University PETER P. MÜLLER, University of Pécs TOM SELLAR, Editor of Theatre Journal, Duke University Press, Yale University JEAN-PIERRE SARRAZAC, Université Paris 3-Sorbonne Nouvelle GILLES DECLERCQ, Université Paris 3-Sorbonne Nouvelle PATRIZIA LOMBARDO, Geneva University LAURA CARETTI, Università degli Studi di Siena LIVIU DOSPINESCU, Université Laval, Québec ISSUE EDITORS (2/2016): ŞTEFANA POP-CURŞEU, Babeș-Bolyai University, Cluj-Napoca IOAN POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca SECRETARY OF THE EDITORIAL BOARD: IOAN POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca EDITORIAL OFFICE: 4th Kogălniceanu Street, Cluj-Napoca, Romania, Phone: +40 264 590066, Web site: http://studia.ubbcluj.ro/serii/dramatica, Contact: [email protected] Cover design: Cristian Grosu, Collage à la manière dada (pour le spectacle Tzara arde şi Dada se piaptănă). STUDIA UBB EDITORIAL OFFICE: B.P. Hasdeu no. 51, 400371 Cluj-Napoca, Romania, Phone + 40 264 405352, [email protected] YEAR Volume 61 (LXI) 2016 MONTH OCTOBER ISSUE 2 Thematic issue DADA > 100: Life / Art / Museum DADAISM AND PERFORMING ARTS II CONTENT / SOMMAIRE THÉÂTRALITÉ & ESPRIT DADA / THEATRICALITY AND DADA SPIRIT Ion POP, De la théâtralité des manifestes dadaïstes / On the Theatricality of Dadaist Manifestos ............................................................................................ 9 Petre RĂILEANU, Dada fait son cinema / Dada Makes a Fool of Itself .............. 19 Ştefana POP-CURŞEU, La Mise en scène de soi: Tzara, l’avant et l’après / Self-Staging: Tzara, Before and After .............................................................. 29 Aurélien DEMARS, L’Inspiration morbide de Dada. Le « Dada suicide », des précurseurs aux prolongements chez Benjamin Fondane / Dada’s Morbid Inspiration. The „Dada Suicide”, from the Forerunners to Its Extensions in Benjamin Fondane’s Work ....................................................... 55 Horea POENAR, The Mimetic Exacerbation. Revolution at the Gates ............... 71 Gabriele SCHWAB, Phantasms of the Mutated Body: Kafka’s Critique of Anthropocentric Reason .................................................................................. 91 Anca MĂNIUŢIU, E. G. Craig, un dadaïste malgré soi? / Edward Gordon Craig, a Dadaist without Knowing It? .......................................................... 103 CONTENTS OF STUDIA UBB DRAMATICA, LXI, 2, 2016 Ioan POP-CURŞEU, Dada et le cinéma: voyage au cœur du langage / Dada and Cinema: a Journey in the Heart of Language ......................................... 119 APRÈS DADA: ÉCHOS & NOUVELLES INTERPRÉTATIONS / AFTER DADA: ECHOES AND NEW INTERPRETATIONS Vasile ROBCIUC, L’Héritage de Tristan Tzara à Moineşti / Tristan Tzara’s Heritage in Moineşti ...................................................................................... 135 Margarita BALAKIREVA, Concept paradoxal de collective creation dans l’avant-garde française / Paradoxical Concept of Collective Creation in French Avant-Garde: the Role of the Group in Artistic Creation ................. 141 Laura PAVEL, Revived Context for Dada. The Cluj School of Art and the Composition of Avant-Garde Archive ........................................................... 155 Jorge Correa LONDONO, Dada Poetics in Griselda Gambaro’s Works: toward a De(con)struction of the Argentinian State of Terror ..................... 167 Eugen WOHL, Interview with Andrzej Kowalczyk, Visual Artist and Theatre Director .......................................................................................................... 183 Aura POENAR, About a Silent Piano and the Violinist on the Roof. L’Om Dada – a Survivance throughout a Century ................................................ 199 Raluca BIBIRI, Along the Threshold between Peacefulness and Hostility: A Review of Bucharest Dada Week ................................................................... 219 PERFORMANCE AND BOOK REVIEWS Anca HAŢIEGAN, On the Art of Acting .......................................................... 229 Eugen WOHL, Threads, Pieces, Sounds, Gestures, Stories ............................... 237 Lorena COPIL, Playing Identities, Performing Heritage: Meetings through Theatre ........................................................................................................... 243 Andreea IACOB, “Sharing Shakespeare” the Willow Globe Way ..................... 251 6 THÉÂTRALITÉ & ESPRIT DADA / THEATRICALITY AND DADA SPIRIT STUDIA UBB DRAMATICA, LXI, 2, 2016, p. 9 - 18 (Recommended Citation) De la théâtralité des manifestes dadaïstes ION POP1* Abstract: On the Theatricality of Dadaist Manifestos. This paper tries to emphasize the theatricality of the Dadaist manifestos written by Tristan Tzara, linking it to the discoveries of poets such as Jules Laforgue or the futurists. A focus is put on the figure of the poet as clown, as buffoon, taking into account Jean Starobinski’s work Portrait de l’artiste en saltimbanque. The freedom of expression, the irony, the double language and the multiple linguistic games are all of them clear signs of the aforementioned theatricality. Keywords: Dada, Tzara, theatricality, manifestos, clown, poetry. Défini comme « texte de rupture et de fondation », « acte de légitimation et de conquête du pouvoir »2, le manifeste littéraire – et d’autant plus celui de l’avant-garde, radical aussi bien dans ses attitudes « d’opposition et de rupture »3 que dans la proclamation de son programme novateur – met en évidence une rhétorique particulière dont l’efficacité devrait assurer l’atteinte des buts suivis. Tous ses auteurs ou analystes sont d’accord que cette rhétorique exprime des exigences maximales, réclame la voix haute, le cri aigu ou tonitruant, la lamentation pathétique ou l’exaltation ardente, l’usage de l’hyperbole en tant que figure stylistique-repère des plus efficaces, une assurance dans ses affirmations ou négations suggérant des convictions inébranlables. Pour être entendu et reçu comme tel, il va de soi qu’il avait besoin d’un public nombreux, d’une large audience assurée par des moyens de communication résonants. Or, la civilisation industrielle en plein essor au début du XXe siècle, qui commençait à se définir en tant que « civilisation du 1*Académie Roumaine ; Université Babeş-Bolyai, Cluj-Napoca, [email protected] 2 Claude Abastado, Introduction à l’analyse des manifestes, in Littérature, octobre 1980, p. 6. 3 Eugène Ionesco, Notes et contre-notes, Paris, Gallimard, 1959. ION POP spectacle » – selon la formule lancée plus tard par Guy Debord–encourageait la publicité, la réclame commerciale, sans oublier les traditions du spectacle populaire improvisé, déroulé devant la foule bariolée des foires, la commedia dell’arte, le carnaval, et ainsi de suite. Les manifestes Dada, lus en public dans l’intervalle du 14 juillet 1916 au 12 décembre 1920, pouvaient déjà profiter des changements intervenus en matière de communication publique, grâce surtout au précédent futuriste qui avait consacré un style de discours persuasif audacieusement proféré, dans un milieu qui sera aussi, pour l’essentiel, celui du Cabaret Voltaire inauguré à Zürich en février 1916. Plus exactement, un espace de spectacle, genre « théâtre de variétés » ou « café- concert », dont Marinetti avait fait l’éloge dans son Manifeste Il teatro di varietà, datant du 21 novembre 1913. Lorsque Tristan Tzara composait ses Manifestes Dada, il était déjà passé par le Cabaret Voltaire ou il avait présenté, à côté de compagnons tels Hugo Ball, Marcel Janco ou Huelsenbeck, cette espèce de spectacle léger, provocateur d’une manière divertissante. Il se montrait parfaitement conscient du fait que, lançant ses programmes démolisseurs, il montait, en réalité, un spectacle devant un public qui avait fréquenté lui aussi le ledit Cabaret ou savait ce qui s’y été passé. Dans le Manifeste de Monsieur Antipyrine, le premier de la série, il proposait une manière théâtrale de construire le discours en tant que représentation scénique devant un public invité à prêter attention au propos proférés à haute voix par un personnage affiché en avant-scène et provoqué, par ailleurs, d’une manière elle-même spectaculaire par les excès rhétoriques des phrases et l’exagération comique et caricaturale de la gesticulation. L’exaltation militante mi-grave, mi-parodique et la dérision se donnaient la main afin de suggérer une attitude radicalement relativiste poussée jusqu’au seuil du nihilisme par
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