3.3 Key Dadaist and Surrealist Playwrights and Works
3 min read•august 6, 2024
Dadaism and Surrealism shook up theater in the early 20th century. Playwrights like and challenged norms with wild, shocking shows that messed with reality and pushed boundaries.
These artists wanted to wake people up and make them feel something new. They used weird staging, nonsense language, and intense visuals to create mind-bending experiences that still influence experimental theater today.
Alfred Jarry and Ubu Roi
Jarry's Unconventional Approach to Theater
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Alfred Jarry, Ubu Roi (Club Français du Livre, 1950) | Flickr View original
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Alfred Jarry, Ubu Roi (Club Français du Livre, 1950) | Flickr View original
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Top images from around the web for Jarry's Unconventional Approach to Theater
Alfred Jarry, Ubu Roi (Club Français du Livre, 1950) | Flickr View original
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Pataphysical Metadata and Alfred Jarry’s Web of Influence | Getty Iris View original
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- Alfred Jarry was a French symbolist writer who pioneered theater
- Jarry's plays challenged traditional theatrical conventions through the use of absurdity, satire, and
- His work influenced the development of surrealism and the Theater of the Absurd
- Jarry's unconventional staging techniques included the use of masks, puppets, and minimal sets to create a sense of unreality
Ubu Roi: A Groundbreaking Absurdist Play
- is Jarry's most famous play, first performed in 1896
- The play follows the absurd adventures of the grotesque and tyrannical King Ubu (based on Jarry's physics teacher)
- Ubu Roi satirizes power, greed, and the abuse of authority through its exaggerated and ridiculous characters
- The play's use of crude language, , and nonsensical plot subverted traditional theatrical norms
- Ubu Roi's premiere caused a riot due to its shocking content and unconventional style, marking a turning point in the history of modern theater
Antonin Artaud and Theater of Cruelty
Artaud's Vision for a Revolutionary Theater
- Antonin Artaud was a French playwright, actor, and theorist who developed the concept of the
- Artaud believed that theater should be a transformative experience that shocks and awakens the audience
- He rejected the dominance of language in theater, emphasizing the importance of gesture, sound, and visual elements
- Artaud's theories called for a return to the primal, ritualistic origins of theater as a means of spiritual and psychological liberation
The Theater of Cruelty: Assaulting the Senses
- The Theater of Cruelty aimed to assault the audience's senses and provoke a visceral, emotional response
- Artaud's productions incorporated intense physical movement, guttural sounds, and disturbing imagery to create a sensory overload
- He believed that by subjecting the audience to a heightened sensory experience, they would be forced to confront their deepest fears and desires
- The Theater of Cruelty sought to break down the barriers between performers and spectators, creating a shared cathartic experience
- Although Artaud's vision was never fully realized during his lifetime, his ideas have had a profound influence on experimental theater and performance art
Surrealist Playwrights
Guillaume Apollinaire and The Breasts of Tiresias
- was a French poet, playwright, and art critic who coined the term "surrealism"
- Apollinaire's play (1917) is considered one of the earliest examples of surrealist theater
- The play subverts gender roles and traditional narrative structures through its absurd plot and wordplay
- In the play, the character Therese transforms into a man named Tiresias and her breasts become balloons that float away
Roger Vitrac and Jean Cocteau: Exploring the Subconscious
- was a French surrealist playwright known for his dark, psychologically complex works
- Vitrac's plays, such as (1928), explore themes of madness, violence, and the subconscious
- was a French poet, playwright, and filmmaker associated with the surrealist movement
- Cocteau's plays, such as (1926) and (1934), blend mythological themes with surrealist imagery and dreamlike narratives
- Both Vitrac and Cocteau's works delve into the depths of the human psyche, blurring the lines between reality and fantasy
Absurdist Theater
Eugene Ionesco and The Bald Soprano
- Eugene Ionesco was a Romanian-French playwright and a key figure in the Theater of the Absurd
- (1950) is Ionesco's most famous play and a seminal work of absurdist theater
- The play features two couples engaged in meaningless, circular conversations that highlight the absurdity of everyday communication
- Ionesco's use of non-sequiturs, repetition, and linguistic nonsense creates a sense of alienation and existential despair
- The Bald Soprano satirizes the banality of bourgeois life and the breakdown of language as a means of genuine human connection
- Ionesco's plays often depict the absurdity of the human condition, exposing the futility of existence in a universe devoid of meaning or purpose
Key Terms to Review (26)
Absurdism: Absurdism is a philosophical and artistic movement that explores the inherent meaninglessness of life, suggesting that human existence is in conflict with the search for meaning. This concept is closely linked to existentialism and reflects the disillusionment with traditional values and narratives, particularly in the wake of World War II. The absurd condition highlights the tension between humans' desire for significance and the indifferent universe, influencing various theatrical movements and notable playwrights.
Alfred Jarry: Alfred Jarry was a French playwright and writer, best known for his play 'Ubu Roi,' which is considered a precursor to both Dadaism and Surrealism. His work is characterized by absurdity, dark humor, and a satirical approach to power and authority, which paved the way for future avant-garde movements. Jarry's influence is seen in the way he challenged conventional narrative and theatrical forms, making him a significant figure in the emergence of modern theater.
Anti-art: Anti-art is a movement that challenges and critiques the traditional concepts of art by rejecting established aesthetics, norms, and values. It emerged as a response to the limitations imposed by conventional artistic practices, promoting instead ideas of spontaneity, absurdity, and the questioning of artistic intention. This approach was particularly embodied in the Dada Movement, where artists sought to disrupt the status quo of artistic expression and provoke thought about the very nature of art itself.
Antonin Artaud: Antonin Artaud was a French playwright, actor, and theorist, best known for developing the concept of the 'Theatre of Cruelty.' His work aimed to break away from traditional forms of theater by focusing on the visceral experience of the audience, using shocking imagery and radical performance techniques to provoke emotional responses. Artaud's ideas significantly influenced modern theater, especially in movements that sought to challenge conventions and explore the subconscious.
Audience as participant: The concept of 'audience as participant' refers to the engagement of the audience not just as passive observers but as active contributors in the theatrical experience. This idea challenges traditional boundaries between performers and spectators, allowing audience members to interact, influence, or even shape the narrative and performance itself. This participatory approach is especially prominent in Dadaist and Surrealist works, where the unpredictability and spontaneity of audience reactions are embraced, creating a more immersive and dynamic theater experience.
Automatic writing: Automatic writing is a technique in which a person writes down thoughts, feelings, or ideas without conscious control, allowing the subconscious mind to guide the process. This method aims to bypass rational thought and tap into deeper, often surreal layers of creativity, making it a significant practice in both the Dada and Surrealist movements. The spontaneity of automatic writing aligns with the rejection of traditional artistic constraints, promoting freedom of expression and the exploration of the unconscious.
Avant-garde: Avant-garde refers to innovative and experimental ideas, particularly in the arts, that challenge traditional norms and conventions. This concept is central to various movements that aim to push boundaries and provoke thought through unconventional practices and styles, ultimately reshaping how we perceive theater and performance.
Cabaret Voltaire: Cabaret Voltaire was a night club and art venue founded in 1916 in Zurich, Switzerland, that became the birthplace of the Dada movement. It served as a hub for artists, poets, and performers who sought to challenge the norms of art and society through absurdity, spontaneity, and anti-establishment sentiment. The venue is significant for fostering innovative works that questioned traditional aesthetics and embraced chaos, ultimately influencing the development of both Dadaism and Surrealism.
Dada Manifesto: The Dada Manifesto is a foundational text of the Dada movement, written primarily by Tristan Tzara in 1918. It outlines the principles and philosophies of Dadaism, emphasizing irrationality, anti-art sentiments, and the rejection of traditional aesthetic values. This manifesto served as a rallying cry for artists and writers who sought to challenge societal norms and express the chaos and absurdity of life, connecting deeply to the broader themes of the Dada movement's origins and key works created by influential playwrights.
Disjointed Narratives: Disjointed narratives are storytelling techniques that present events in a non-linear or fragmented manner, often creating a sense of disorientation or confusion for the audience. This approach is commonly used to reflect the chaotic nature of human experience and can evoke emotional responses that resonate with themes of absurdity and surrealism. In the realms of Dadaism and Surrealism, disjointed narratives challenge traditional storytelling structures, inviting audiences to engage with the text in a more open and subjective way.
Grotesque humor: Grotesque humor is a style of comedy that combines elements of the bizarre, absurd, and often macabre, resulting in a humorous portrayal of the grotesque aspects of human experience. This form of humor often challenges societal norms and expectations, using exaggeration and shock to evoke laughter while simultaneously provoking thought about the underlying themes of discomfort, fear, and mortality. It is particularly significant in Dadaist and Surrealist works, where the absurdity of life is mirrored in the use of absurd characters and situations.
Guillaume Apollinaire: Guillaume Apollinaire was a French poet, playwright, and art critic known for his influential role in the development of modernist literature and his connection to the avant-garde movements, particularly Dadaism and Surrealism. He is celebrated for coining the term 'Surrealism' and for his innovative use of imagery and form, which paved the way for future experimental artists and writers.
Jean Cocteau: Jean Cocteau was a French poet, playwright, filmmaker, and visual artist, known for his avant-garde contributions to the arts during the early 20th century. His works often blend fantasy and reality, showcasing surrealism and exploring the subconscious. Cocteau's influence on theater is significant, particularly within the realms of Dadaism and Surrealism, where he played a key role in pushing the boundaries of traditional narrative structures and theatrical conventions.
Non-linear structure: Non-linear structure refers to a narrative technique where events are presented out of chronological order, allowing for multiple perspectives and connections between scenes. This approach breaks away from traditional linear storytelling, which typically follows a straightforward beginning, middle, and end. In the context of experimental theater, non-linear structures often reflect the fragmented nature of human experience and perception, encouraging audiences to engage actively with the work.
Nonsensical language: Nonsensical language refers to the use of words or phrases that do not have clear or logical meaning, often characterized by absurdity and irrationality. This type of language can serve to disrupt conventional communication and challenge the audience's understanding, which is a core element in the works of Dadaist and Surrealist playwrights who sought to subvert traditional narrative forms and societal norms.
Orpheus: Orpheus is a figure from Greek mythology known for his extraordinary musical talent, particularly his ability to charm all living things and even inanimate objects with his music. This legendary character often symbolizes the deep connection between art and the emotional experiences of love and loss, which resonates profoundly within the realms of Dadaist and Surrealist theater, where themes of absurdity and the subconscious are explored through unconventional narrative techniques.
Roger Vitrac: Roger Vitrac was a French playwright and a key figure in the Surrealist movement, known for his avant-garde works that challenged traditional theatrical conventions. His writing often included elements of absurdity, humor, and fantasy, reflecting the broader surrealist principles that sought to unlock the unconscious mind and express the irrational. Vitrac's contribution to theater is significant, particularly through his plays that combine surreal imagery with social commentary.
Scatological humor: Scatological humor is a type of comedy that focuses on themes related to excrement, bodily functions, and other taboo topics. It often evokes laughter through shock value and absurdity, challenging societal norms about decency and propriety. In the context of certain avant-garde movements, this form of humor serves as a way to subvert traditional forms of art and provoke thought about the human experience.
Subverting Expectations: Subverting expectations refers to the artistic technique of defying or overturning what an audience anticipates to happen, often creating surprise and engaging them on a deeper level. This approach is a key element in various forms of art, including theater, where it disrupts conventional narratives and structures, prompting viewers to rethink their assumptions. It plays a significant role in challenging societal norms and provoking thought, particularly in the works of innovative movements like Dadaism and Surrealism.
The Bald Soprano: The Bald Soprano is a play by Eugène Ionesco that is a hallmark of the Absurdist movement, first performed in 1950. It showcases the nonsensical conversations between two couples, revealing the breakdown of communication and the absurdity of everyday life. This work exemplifies key themes of Absurdism, as well as influences from Dadaism and Surrealism, pushing the boundaries of traditional narrative and character development.
The Breasts of Tiresias: The Breasts of Tiresias is a surrealist play by French playwright Guillaume Apollinaire that explores themes of gender identity, transformation, and the subversion of traditional roles. The play centers around Tiresias, a figure from Greek mythology who is transformed into a woman and experiences life from a female perspective. This exploration highlights the fluidity of gender and challenges the established norms of society, connecting deeply with the surrealist movement’s emphasis on dreams, irrationality, and the unconscious mind.
The Infernal Machine: The Infernal Machine is a notable play written by Jean Cocteau in 1934, which explores themes of fate, love, and the human condition through its innovative narrative structure and surrealist elements. This work stands out for its blending of mythological references and existential questions, reflecting the influences of both Dadaism and Surrealism. Cocteau's exploration of the tension between destiny and free will presents a powerful commentary on human existence, making it a significant piece in the landscape of avant-garde theater.
The International Surrealist Exhibition: The International Surrealist Exhibition was a groundbreaking event held in Paris in 1938, showcasing the works of surrealist artists and playwrights. This exhibition was pivotal in popularizing surrealism, emphasizing its connection to theater, literature, and visual art, and marking a significant moment in the history of avant-garde movements. It featured various works that embodied the principles of surrealism, including dream-like imagery and bizarre juxtapositions that aimed to challenge conventional perceptions of reality.
Theater of cruelty: The theater of cruelty is a theatrical movement developed by Antonin Artaud that emphasizes the use of shocking imagery and visceral experience to confront and transform the audience's perceptions of reality. It aims to strip away conventional narrative structures and realistic representations, focusing instead on a raw expression of human emotions and subconscious thoughts. This approach connects deeply with early 20th-century avant-garde movements that sought to challenge the status quo of traditional theater, as well as with the Dadaist and Surrealist movements that explored the irrationality of the human experience.
Ubu Roi: Ubu Roi, written by Alfred Jarry in 1896, is a groundbreaking play that is often considered a precursor to both Dadaism and Surrealism due to its absurdist themes and innovative narrative style. The play features the grotesque character Père Ubu, who embodies the excesses of power and greed, challenging traditional norms of morality and authority. This work's outrageous content and rejection of conventional theatrical forms paved the way for future movements that sought to disrupt societal expectations and explore the subconscious mind.
Victor, or the Children in Power: The term 'Victor, or the Children in Power' refers to a thematic exploration found in certain Dadaist and Surrealist works, which emphasizes the subversion of traditional authority and the empowerment of the innocent or child-like perspectives. This concept often manifests through absurdity and chaos, presenting children as symbols of purity and untainted imagination, juxtaposed against the corrupt adult world. In this context, children embody a revolutionary spirit that challenges societal norms, highlighting a desire for freedom and authenticity in art and life.