The Cultural Afterlives of DADA

Authors

  • Ileana Alexandra ORLICH Arizona State University, Tempe, Arizona, USA. orlich@asu.edu

DOI:

https://doi.org/10.24193/subbdrama.2017.1.09

Keywords:

Dada, Christianity, Dandyism, Levant, Tzara arde…, approximation

Abstract

With his Dadaists friends, Tzara constructed in Dada an art based, like religion, on an interior play of conflicting emotions, soulful contradictions, and haunting echoes moving in auditory progression toward today’s approximate culture. Beyond reinforced origins that incorporate such diverse influences as his native village or the fin-de-siècle Dandies, Tzara’s approximate aesthetic conjures the self-separation of artistic sensibility that once consolidated the community of the early saints. The play Tzara arde şi Dada se piaptănă: Fantoma de la Elsinore (Every Tzara Has His Dada: The Ghost of Elsinore) by Ion Pop, Ștefana and Ioan Pop-Curșeu is an illustrative example of the cultural afterlives of Dada.

Author Biography

Ileana Alexandra ORLICH, Arizona State University, Tempe, Arizona, USA. orlich@asu.edu

ILEANA ALEXANDRA ORLICH is President’s Professor and Professor of English and Comparative Literature, as well as Director of Romanian Studies at Arizona State University. Her books include Silent Bodies: (Re)-Discovering the Women of Romanian Short Fiction (2002); Articulating Gender, Narrating the Nation: Allegorical Femininity in Romanian Fiction (2005); Myth and Modernity in the Twentieth-Century Romanian Novel (2009). All from Columbia Press, New York. Also: Avantgardism, Politics, and the Limits of Interpretation: Reading Gellu Naum’s Zenobia (Paideia, 2010); Staging Stalinism in Romanian Contemporary Theatre (2012). Among her translations into English are Mara (Slavici), Hanu Ancutei (Sadoveanu), Tache de Catifea (Agopian), Patul lui Procust (Camil Petrescu), trilogia Hallipa (Papadat-Bengescu), and Ciuleandra (Rebreanu). Her translations for the stage include Travesties (Tom Stoppard), Hamlet. A Version (from Russian with Mihaela Lovin) (Boris Akunin), and Interrogation in Elsinore (Carlos Manuel Varela). Her book, Subversive Stages: Theater in pre- and post-Communist Hungary, Romania, and Bulgaria is forthcoming from CEUPRESS, New York and Budapest.

References

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Baudelaire, Charles. The Painter of Modern Life and Other Essays. trans. and ed. J. Mayne. London: Phaidon Press, 1964.

Cernatescu Radu, “Mistica dadaismului,” http://radu-cernatescu.blogspot.com/. May 1, 2008.

Foucault, Michel. “Society Must Be Defended”: Lectures at the Collège de France, 1975-1976, trans. David Macey.

Lupton, Julia. Thinking with Shakespeare: Essays on Politics and Life. Chicago: Chicago University Press, 2011, 89-91.

Motherwell, Robert, ed. The Dada Painters and Poets: An Anthology, New York: Wittenborn, Schultz, 1951. 22

Patapievici, Horia-Roman. Partea nevăzută decide totul, Bucharest: Humanitas, 2015. 127-167.

Stuparu Daniel, ed. Manifestul colectiv, “Dada soulève tous” (1921), in 19:24.

STUDIA UBB DRAMATICA, Volume 62 (LXII), No. 1, March 2017

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Published

2023-02-07

How to Cite

ORLICH, I. A. (2023). The Cultural Afterlives of DADA. Studia Universitatis Babeș-Bolyai Dramatica, 62(1), 109–122. https://doi.org/10.24193/subbdrama.2017.1.09

Issue

Volume 62, No. 1, March 2017

Section

Articles

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Copyright (c) 2017 Studia Universitatis Babeș-Bolyai Dramatica

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

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