Tzara was, according to all acounts, one of the most fiery and enthusiastic little men you'd ever want to meet.
"What Tzara did not know, could not do, would not dare to do, had not yet been thought of." (Hans Richter: 'dada - art and anti-art').
Tzara's intense energy was indispensable to the artistic movement which started life in the Cabaret Voltaire and rapidly became known as 'Dada'. With his relentless declaiming (in three languages) Tzara was indesputitedly one of the main driving forces for the anti-spirit that is Dada.
Tzara was the first to have poems recited simultaneously on the stage at the Cabaret Voltaire, a concept borrowed from the Futurists . It was through Tzara and his acquaintance with Marinetti that the Dadaists held correspondence with this movement ('Brutism' - noise music - was also nicked from them).
On 15th June 1916 the publication 'Cabaret Voltaire' came into being
- used simply to document all the directions the groups art was taking
(an array of extremely diverse art placed under the umbrella of Dada).
Meant, originally, to share the editorship
between all - the job soon (inevitably) became Tzara's.
"The Dadaists of the Cabaret Voltaire actually had no idea what they wanted - the wisps of 'modern art' that at some time or other had clung to the minds of these individuals were gathered together and called 'Dada'" (En Avant Dada: A History of Dadaism (1920))
Tzara's ambition was the abolition of all traditions.
By 1930 Tzara gave up the pessimisum of Dada for the fecked upness of
Joining the French Renassance during W.W.2 he ended his days writing poetry
which unlike his Dada poems had some hope contained within.. basically
Tzara lost interest in Dada.
Credit for this page goes to: mailto:T.J.Church@ex.ac.uk
Visit His Dada Page At: http://www.ex.ac.uk/drama/dada/index.html