Performance spaces
Fairground, cabaret, exhibition
in Dada bodies
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This chapter treats Dada as process rather than product, art as event rather than as object. It focuses on carnivalesque spaces where the phantasmagoric body is considered as both nostalgia and parody of end-of-century entertainment. The first section deals with fairground spaces: the photographs of the Dada group; optical machines; and René Clair’s Entr’acte (1924). The allegory of the male magician controlling his female victim is shown to be central to the theme of the dismemberment and reconstitution of the body. Both transgression (of body limits) and regression (a return to infantile fantasies) are thus revealed as modes of resistance to dominant ideologies. The following section extends the notion of performance to Dada texts, via an analysis of body, voice and gesture in Raoul Hausmann’s phonetic poetry. Finally, the performative dimension of Dada exhibitions is addressed in a discussion of the 1920 Dada-Vorfrühling exhibition in Cologne, in order to highlight the ways in which it implicated the body of the spectator.

Dada bodies

Between battlefield and fairground


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