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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to The Drama Review: TDR. During recitals of simultaneous poetry of the most incomprehensible kind, we attacked the art-loving, Boulevard public with toy guns, toilet paper, false beards, and the poetry of Wolfgang Goethe and Rudolf Presber... Under the motto "Art is shit!", the Dadas began their demolition ... (of bourgeois culture). Erwin Piscator In the years 1918, 1919, and 1920, the Berlin Dada movement, mounting less than thirty productions, exerted a formidable, if indirect, influence over the development of the German theatre. This influence would later lead to the dismantling of Expressionism as the dominant theatrical force in Central Europe. Retooling the theories and performance techniques that they inherited from the Futurists and the Zurich Dadas to their own specifications, the Berlin Dadas introduced the use of pureonomatopoetic or vowel-sound and abstract movement, improvisation, simultaneous and illogical actions, verbal and physical assault on the spectator, antiillusionist scenic design, and the incorporation of popular entertainments, such as cabaret acts and cinema, into German performance. Together with these novel theatrical devices and through direct attacks on Expressionism, the Berlin Dadas laid the foundations for many of the anti-illusionist movements of the post-World War One era-Piscator's Epic Theatre, the agitational revues of the German Communist Party (KPD), Oskar Schlemmer's theatre workshop at the Bauhaus, the Constructivist experiments of El Lissitzky and Frederick Kiesler in Hanover and Vienna, and Jirf Frejka's Devetsil group in Prague.Unfortunately, the actual records of the Berlin Dada performances remain fragmentary and frequently inconsistent, despite a rather lavish coverage accorded them by the local newspapers. This and the sometimes confused recollections of the Dadas themselves would account for the paucity-and often inaccuracy-of the secondary literature. The following material is based on the newspaper records, programs, memoirs, and Dadaist records of the time.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to The Drama Review: TDR. During recitals of simultaneous poetry of the most incomprehensible kind, we attacked the art-loving, Boulevard public with toy guns, toilet paper, false beards, and the poetry of Wolfgang Goethe and Rudolf Presber... Under the motto "Art is shit!", the Dadas began their demolition ... (of bourgeois culture). Erwin Piscator In the years 1918, 1919, and 1920, the Berlin Dada movement, mounting less than thirty productions, exerted a formidable, if indirect, influence over the development of the German theatre. This influence would later lead to the dismantling of Expressionism as the dominant theatrical force in Central Europe. Retooling the theories and performance techniques that they inherited from the Futurists and the Zurich Dadas to their own specifications, the Berlin Dadas introduced the use of pureonomatopoetic or vowel-sound and abstract movement, improvisation, simultaneous and illogical actions, verbal and physical assault on the spectator, antiillusionist scenic design, and the incorporation of popular entertainments, such as cabaret acts and cinema, into German performance. Together with these novel theatrical devices and through direct attacks on Expressionism, the Berlin Dadas laid the foundations for many of the anti-illusionist movements of the post-World War One era-Piscator's Epic Theatre, the agitational revues of the German Communist Party (KPD), Oskar Schlemmer's theatre workshop at the Bauhaus, the Constructivist experiments of El Lissitzky and Frederick Kiesler in Hanover and Vienna, and Jirf Frejka's Devetsil group in Prague.Unfortunately, the actual records of the Berlin Dada performances remain fragmentary and frequently inconsistent, despite a rather lavish coverage accorded them by the local newspapers. This and the sometimes confused recollections of the Dadas themselves would account for the paucity-and often inaccuracy-of the secondary literature. The following material is based on the newspaper records, programs, memoirs, and Dadaist records of the time.
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