Cannibalizing the Canon: Dada Techniques in East-central Europe

Contents
Illustrations
Notes on Contributors
Introduction: “Dada Is More than Dada”
	DADA MEANS NOTHING
	1 Disrupting the Dada Origin Story
	2 Cannibalism as Method and Subversive Hybridities
	3 The Twists and Turns in Dada Scholarship: Centres, Peripheries and Cultural Studies
	4 Topographies, In/Exclusions, Performativities, Trans(pos)itions and Hybridentities
	5 Conclusion
	Acknowledgement
Part 1: Topographies
1 An Exchange Point in a Network: Prague and Dada, 1918–1922
	1 Network-Building from Teplice: Vischer’s Case with Tzara
	2 A New Dada Centre Emerges: Crossroads of German, Czech, Yugoslav and Hungarian Avant-Garde Initiatives in Prague
	3 Conversations with a Street Lamp: Local Versions of “dadiism”
	4 Conclusion: Toward a Theory of Active Peripheries
2 Becoming Avant-Garde: Romanian Appropriations of Dada Techniques
3 Polish Responses to Dadaism: The Voices on Dada, Contacts and Interpretations
	1 Early Voices on Dadaism in Poland (1918–1921)
	2 “Futurists, Dadaists there Is no Difference” (1921–1924)
	3 On Dadaism in Poland after 1925: Relations with Paris
	4 Conclusion
4 The Dada Entr’acte of Dragan Aleksić
	1 The Historical Background of Dada in Yugoslavia
	2 Dragan Aleksić: the Herald of Dada in Yugoslavia
	3 Dada Practices in Yugoslavia: General Principles and Development Phases
	4 Prague: Orgart and As-You-Likeness
	5 Connections with the European Avant-Garde: from Schwitters to Puni
	6 Visual Practices in Yougo Dada
	7 Yougo Dada on Stage: Towards Media Synthesis
	8 Conclusion
5 Hungarian Dada: the Missing Link
	1 Dada as an Attitude
	2 The Hungarian Case: “Destroy so That You Can Build”
	3 Dada, Exile and Politics
	4 The Nets to Fly By
	5 Conclusion
Part 2: In/Exclusions
6 Céline Arnauld, the “Nomadic” Avant-Garde Writer: a Transnational Approach to Her Life and Work
	1 Céline Arnauld and the Esprit nouveau in French Poetry (1910–1919)
	2 Arnauld in the Parisian Dada Movement (1920–1923)
	3 Céline Arnauld and the Literary Histories of the Avant-Garde
	Primary Sources
7 Two Mysterious “Mademoiselles”: Jeanne Rigaud and Maria Cantarelli
	1 Puns as a Dada Hobbyhorse and Trademark
	2 A Programme in Three Versions
	3 Maria Cantarelli = Maya Chrusecz
	4 Jeanne Rigaud = Klara Walther?
	5 Jeanne Rigaud = Sophie Taeuber?
	6 Conclusion
	Acknowledgement
8 Dada as an Avant-Garde Movement and as Invective
	1 First Encounters with Dada
	2 Dada in Hungarian Criticism
	3 Time and Politics
	4 Conclusion
9 “Dada Is the Best Paying Concern of the Day”
	1 Avant-Garde Theory and Performance as Dissent
	2 The Case of Romania: an Art of the Nation or an Art of the People?
	3 Reflecting the Cityscape: Advertising and Popular Culture
	4 Remaking the Cityscape: the Business of Modernism
	5 Joining the Resistance: the Avant-Garde against Commodity Culture?
Part 3: Performativities
10 Marcel Breuer and Dada Performance: Remade Readymade Self and Furniture
	1 Breuer’s Early Works and Dada in Post-War Germany
	2 Rrose Sélavy and the Intersection of Modernism and Media Image
	3 The Gambit of the Repurposed Readymade
11 Míra Holzbachová: Embodying the Avant-Garde
	1 The Liberated Theatre: Dada Antics on a Constructivist Stage
	2 Liberated Women in the Context of German Dance Reform
	3 Pantomime and the Body Politic
	Acknowledgement
	Primary Sources
12 To Write with Dots or Not to Write at All? Dada Ideas in Polish Interwar Literature
	1 Dada Is Not Writing
	2 Dada Laughs
	3 Dada Plays
	Acknowledgements
13 Green Donkey Theatre: a Case Study on Theatrical Innovations in the Name of Dadaism
	1 Modern Metropolises and Ancient Choruses: the Use of New Media and the Reinterpretation of Theatre in the Green Donkey Productions
	2 Film Comedy and Avant-garde Theatre
	3 The Creation of the “New Viewer”, Breaking the “Culture of Silence” and the Reception Aesthetics of the Green Donkey Theatre
	4 The Contemporary Press Reception of the Green Donkey Theatre
	5 Conclusion
	Acknowledgment
Part 4: Trans(pos)itions
14 The Genesis of Dada: Futurist Influences in Germany, Romania and at the Cabaret Voltaire
	1 Futurism in the Expressionist Circles of Munich and Berlin
	2 Futurism in Romania and Tristan Tzara’s pre-Dadaist Career
	3 Futurism in the Cabaret Voltaire
	4 Dada Poetry in Performance
15 Revolt and Authority: From Kassák to Erdély
	1 Dada as Response to the Bankruptcy of Western Culture, 1915–1926
	2 The Hungarian Culture of Opposition, 1915–1926
	3 Switching from Dada to Constructivism
	4 Neo-Dada and Post-Dada in the 1960s and 1970s in Hungary
	5 The Significance of Personality
	6 Do the Avant-Garde and the Neo-Avant-Garde Need Leaders?
	7 The Erdély Paradox
	8 Conclusion
16 Dadá, not Dáda: Moholy-Nagy in Berlin, 1920–1921
	1 Moholy-Nagy’s Encounter with Dada in Berlin
	2 “A Turning Point in My Existence as a Painter” – “die Entscheidende Wendung”
	3 Centripetal Motion
	4 The Ackerfelderbilder
	5 The Eisenbahnbilder
	6 The Maschinenkonstruktionen
	7 Moving Beyond Dada
	8 Dadá or Dáda?
	Primary Sources
17 Words, Sounds, Images, Theories: the Authors of the Magazine IS in the Context of Dadaism
	1 Dada Negations
	2 Reconstructed Contexts: Interpretations of IS
	3 Árpád Mezei’s Theoretical Texts in the First Issue of IS
	4 Imre Pán’s Poems in IS
	5 György Gerő’s Border Crossings
	6 Conclusion
18 Self-Positioning in the International Avant-Garde: Kassák’s Strategic
	1 Dual Reception: Dada and Constructivism in the Book of New Artists
	2 The Compilation of the Book of New Artists
	3 Sources of the Images in the Book of New Artists
	4 Communicating with Images
	5 Conclusion
	Acknowledgement
	Primary Sources
Part 5: Hybridentities
19 Raoul Hausmann and the Welteislehre: Science and Identity
	1 Hörbiger’s Welteislehre
	2 Optophonetics and the WEL
	3 Hausmann’s Einstein Essay
	4 Fischer and Hausmann
	5 Conclusion: Science and Identity politics
20 Dada Lingua Franca: the Linguistic Fate of Tristan Tzara and Raoul Hausmann
	1 Introduction
	2 Language, Nature and Culture
	3 Hausmann’s First Language
	4 The Language of the Avant-Garde
	5 Hausmann’s Interlingualism
	6 Conclusion
	Primary Sources
21 Crossovers and Transgressions: Dada as a Life Strategy in Emil Szittya’s Works
	1 Coming to Dada: Living and Creating in the State of Constant In-Betweenness
		1.1 Physical and Literary Places
		1.2 Name Games
		1.3 Between Legality and Illegality
		1.4 Linguistic Coordinates
	2 Life Beyond the Boundaries of the Nation-State: the Vagabond and the Art of Vagrancy
	3 Collage Technique and Collections of Curiosities –the Vagabond’s Art
	4 Locating Szittya in the Context of Dada
	5 Szittya and the War
	6 Conclusion
	Primary Sources
22 Android, Cyborg, Dandy and Woman
	1 The Dandy as the Anti-Woman / The Dandy as Feminized
	2 Dystopian Automatons, Subversive Androids and Dialectical Cyborgs in Dada
	3 Between Dada and Constructivism: Dolls, Machine Figures and Automatons in the Hungarian Avant-garde
	4 Conclusion
	Acknowledgement
23 The New Man, According to Sándor Bortnyik
	1 Bortnyik and the Avant-Garde
	2 Visual Paraphrases in The New Adam and The New Eve
	3 The New Man as Cyborg: Utopian and Dystopian Connotations
	4 Satire of the New Man
	5 The Reception of The New Adam and The New Eve
	6 Conclusion
	Acknowledgement
Index