History of English Literature – From 1900 to 2000

Assignment 110A Dadaism and surrealism. This blog is part of an assignment for paper: 110A: History of English Literature – From 1900 to 2000

Personal Information:

Name: Nirali Vaghela

Batch: M.A. sem 2 (2024-2026)

Enrollment number:5108240036

Email address niralivaghela9270@gmail.com

Roll number:18

Assignment Details :

Topic: Dadaism and surrealism.

Paper & subject Name: 110A: History of English Literature – From 1900 to 2000

Submitted to: Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar

Date of submission:17/4/2025

Abstract:

This assignment explores the artistic and literary movements of Dadaism and Surrealism, both of which emerged in response to the chaos of the early 20th century. Dadaism, rooted in absurdity, spontaneity, and negation, challenged traditional artistic norms. Surrealism, influenced by Dadaism and psychoanalysis, sought to unlock the unconscious mind through dream imagery and automatic expression. Together, these movements transformed the landscape of modern art, literature, and thought.

Key words

Dadaism, Surrealism, Avant-garde, Absurdity, Automatism, Subconscious, Tristan Tzara, André Breton, Theatre of the Absurd, Modernism, World War I, Anti-art.

Introduction

The early 20th century witnessed two radical artistic revolutions—Dadaism and Surrealism—born from the disillusionment following World War I. While Dadaism embraced chaos and absurdity to reject societal and artistic norms, Surrealism sought to delve into the unconscious mind and create a “superreality” through imagination and instinct. This assignment discusses the origins, core ideas, and lasting influence of these groundbreaking movements.

Dadaism

Dadaism emerged in response to the chaos and destruction of World War I. The disillusionment and despair of the period led artists and intellectuals to question societal norms, ethical values, and structured forms of expression. The movement's name, "Dada," is deliberately nonsensical and has various meanings in different languages, emphasizing its rejection of fixed definitions. Rather than forming a new school of thought, Dada was an anti-movement—rebellious, fluid, and ultimately self-destructive.

The movement began in Zurich in 1915, with later hubs in New York, Berlin, and Paris. It officially ended in 1924 with a play by Tristan Tzara, DADA in the Open Air, though its principles influenced later artistic and literary movements such as Surrealism, the Theatre of the Absurd, and contemporary avant-garde theatre.

2. Core Principles of Dadaism

Kristiansen categorizes the beliefs of Dadaists into three essential ideas: spontaneity, negation, and absurdity. These principles define Dada's approach to literature, art, and theatre, and continue to impact modern creative expressions.

Spontaneity

One of Dadaism's most crucial beliefs is the rejection of premeditated or structured artistic creation. The movement emphasized impulse-driven and instinctual expression, dismissing literary tradition and academic artistry.

Tristan Tzara, a leading figure in Dada, argued that traditional literature is merely imitation and that all great writers rely on past works. He emphasized that literature should be free, spontaneous, and uninhibited by societal expectations. According to Tzara, true artistic creation occurs only when it is driven by personal instinct, making it meaningful to the creator rather than an audience.

Dadaists also rejected literary criticism, arguing that art should not be categorized or judged by predefined criteria. This belief extended to a broader distrust of systematic thinking, which they saw as artificial and restrictive. Logic and reason were viewed as oppressive constructs that confined human thought rather than liberating it.

Dadaist literature and art embodied these principles through chaotic typography, random word arrangements, and unconventional syntax. Words were mixed with nonsense syllables, foreign phrases, and symbols to create "a magical complex of images." This method sought to dissolve logical structures, making way for a purer, more instinctive form of artistic expression.

Dadaists also developed the concepts of simultaneity and bruitism:

Simultaneity refers to multiple, seemingly unrelated events happening at the same time, representing the fragmented and chaotic nature of life.

Bruitism (from the French bruit, meaning noise) involved the use of random sounds, such as the chaotic clattering of typewriters or industrial noise, to create an experience that mimicked the randomness of existence.

Both techniques sought to evoke a direct and unfiltered response from the audience, breaking away from structured narratives.

Negation

Dadaism was fiercely anti-establishment, opposing all existing structures, including moral, social, and artistic conventions. This stance reflected the Dadaists’ deep skepticism toward all forms of authority and order, which they believed had led to war, destruction, and suffering.

One of their core tenets was that nothing has inherent value. In Dadaist thought, a cigarette butt and an umbrella were as significant as God. The concept of “improvement” was seen as meaningless because life itself was arbitrary. This extreme skepticism extended to all aspects of human endeavor, including politics, religion, and ethics.

Francis Picabia, a notable Dadaist, captured this attitude in a 1920 publication where he declared:

"Dada wants nothing, nothing, nothing… Dadaists are nothing, nothing, nothing, certainly they will achieve nothing, nothing, nothing."

For the Dadaists, negation was a tool for liberation, allowing them to break free from restrictive ideologies and embrace total creative freedom. This rejection of meaning and order resonated deeply in the post-war world, where old values had lost their credibility.

Absurdity

Dadaists saw life as inherently absurd, filled with contradictions and arbitrary occurrences. This belief was reflected in their artistic methods, which often included paradoxical statements and nonsensical imagery.

Tristan Tzara’s Dada Manifesto 1918 is a prime example of this technique. In the manifesto, he proclaims:

"I write a manifesto and I want nothing, yet I say certain things… I am neither for nor against, and I do not explain because I hate common sense."

This statement embodies Dada’s embrace of paradox, where affirmations and negations exist simultaneously, creating an intellectual and artistic space where meaning is entirely fluid.

Absurdity also influenced their performances and exhibitions, which included irrational acts, chaotic speeches, and nonsensical interactions with the audience. They sought to provoke confusion and challenge the audience’s preconceived notions about what art and theatre should be.

3. Influence of Dadaism on Theatre and Literature

Despite its short lifespan, Dadaism profoundly influenced modern theatre, literature, and performance art.

Antonin Artaud and the Theatre of Cruelty

Antonin Artaud, a major figure in 20th-century theatre, was deeply influenced by Dadaist ideas. His book The Theatre and Its Double shares many Dadaist principles, particularly the rejection of psychological realism and the embrace of sensory-driven, chaotic performance styles.

Artaud’s concept of the Theatre of Cruelty emphasized the use of music, lights, movement, masks, and shocking imagery to engage the audience on a primal level. These elements closely resemble Dada’s techniques of simultaneity and bruitism.

Existentialism and the Theatre of the Absurd

The Dadaist focus on absurdity and meaninglessness foreshadowed existentialist thought, particularly the work of Albert Camus and Jean-Paul Sartre

Surrealism

Surrealism: A Journey into the Depths of the Human Mind

Surrealism, one of the most profound artistic and literary movements of the 20th century, aimed to explore the unconscious mind, dreams, and the deeper realities of human existence. It was not merely a style of art or literature but a philosophy and way of life. The movement sought to transcend rationality, logic, and traditional artistic constraints, drawing inspiration from the subconscious, psychoanalysis, and a rejection of societal norms. The article by Gaston Criel provides a deep exploration of Surrealism, its origins, key figures, methods, impact, and its continuing relevance.

Origins of Surrealism and Its Connection to Dadaism

Surrealism emerged as a response to the horrors of World War I and was heavily influenced by Dadaism, a radical anti-art movement that rejected traditional forms of artistic expression. Dadaism, founded in Zurich in 1916 by the Romanian poet Tristan Tzara, was rooted in the idea that art should be spontaneous and free from rational constraints. The phrase “Thought takes place in the mouth,” associated with Dadaism, foreshadowed the automatic and unconscious creative methods that Surrealism would later adopt.

However, by 1922, Surrealism had begun to distinguish itself from Dadaism, evolving from a movement of pure destruction to one of exploration and discovery. While Dadaists sought to dismantle artistic conventions, Surrealists aimed to construct a new reality—one that fused dreams, the unconscious, and irrational associations.

Key Figures and the Philosophical Foundations of Surrealism

Several figures played a pivotal role in the development of Surrealism, including:

André Breton (the "Pope" of Surrealism)

Paul Éluard

Louis Aragon

Benjamin Péret

Philippe Soupault

These intellectuals sought to create a revolutionary artistic and philosophical framework that would allow individuals to access their subconscious and liberate their minds. Breton, in particular, was deeply influenced by the work of Sigmund Freud, the father of psychoanalysis. Freud’s theories on the unconscious, dreams, and free association became integral to Surrealist thought. The movement rejected logic and embraced the belief that human consciousness was shaped by subconscious desires rather than rational thought.

Breton stated:

"The methods of logic today are no longer to be employed except for the solving of secondary problems... Absolute rationalism allows us to consider only facts closely dependent on our experience. It is useless to add that limits have been set to experience itself."

This quote reflects Surrealism’s desire to break free from conventional modes of thought and embrace the unknown.

Automatic Writing and the Expression of the Unconscious

One of the most famous Surrealist techniques was automatic writing (écriture automatique), a method through which writers allowed their subconscious to dictate words without conscious control. This practice was intended to bypass the rational mind and directly express the thoughts buried in the unconscious.

Breton provided a step-by-step guide to automatic writing:

1. Find a quiet space conducive to deep thought.

2. Enter a passive state, free from distractions or preconceptions.

3. Write rapidly, without overanalyzing or self-censoring.

4. Ignore coherence and let ideas flow freely.

5. Trust the process, knowing that meaning will emerge organically.

While not all automatic writing was equally valuable, the Surrealists believed it provided a unique window into the deeper truths of the human psyche.

Surrealism in Visual Arts and the "Super Reality" Concept

Surrealism was not confined to literature; it extended into painting, sculpture, photography, and film. The movement sought to reveal a “superreality” that combined dreamlike visions with everyday reality.

Some of the most influential Surrealist painters included:

Salvador Dalí, known for his melting clocks and bizarre dreamscapes.

René Magritte, who played with perception and illusion.

Max Ernst, a pioneer of Surrealist collage and frottage techniques.

Joan Miró, who used abstract forms to evoke subconscious imagery.

In visual art, Surrealists employed automatism, just as in writing, to produce spontaneous works uninhibited by logic or convention. They also used paranoiac-critical methods, in which artists would induce states of hallucination or paranoia to unlock hidden connections between objects.

One of Breton’s definitions of Surrealism emphasizes this fusion of art and psychology:

"Surrealism, masculine noun. Psychic pure automatism by which one proposes to express, either verbally or in writing, or in any other manner, the true operations of thought. A dictation of thought, in the absence of any control exercised by reason or ethics."

The Influence of Surrealism on Society and Politics

Surrealism was not just an artistic movement—it was a social and political force. The Surrealists sought to dismantle traditional power structures, advocating for total liberation of the mind and body. They saw themselves as revolutionaries, challenging oppressive ideologies and the status quo.

The Surrealists established a Bureau of Surrealist Research, headquartered at 15 Rue de Grenelle in Paris, where they conducted experiments in psychology, dreams, and free association. Their publication, La Révolution Surréaliste, became an essential platform for spreading their ideas. Later, Minotaure, an elegantly illustrated journal, further promoted Surrealist thought.

In 1938, the International Exhibition of Surrealism was held, bringing together artists from around the world, including Germany, England, the United States, and Japan. This event showcased the global reach and impact of the movement.

Breton’s statement from 1934 captures the movement’s broad influence:

"Surrealism has tumultuously invaded not only art but life; it has developed states of conscience, upset walls behind which from time immemorial it was thought impossible to see."

Surrealism explored several key themes:

1. Anti-Culture and Primitivism

Surrealists rejected bourgeois culture and embraced a return to primal instincts and unfiltered human expression.

2. Black Humor

They used absurdity and irony to critique the contradictions of modern society.

3. "Mad Love" (L'Amour Fou)

They celebrated love as an uncontrollable, revolutionary force that defied societal norms.

4. Paranoia and Dream Logic

They viewed paranoia as a way to question reality and conventional structures.

5. Collective Poetry and "Objective Chance"

They believed creativity should be collaborative, and that random coincidences often revealed deeper truths.

6. Daily Wonder and the "Communicating Vessels"

They sought to blend dreams with daily life, making the ordinary extraordinary.

The Continuing Relevance of Surrealism

Despite claims that Surrealism is dead, its influence persists in art, fashion, advertising, and cinema. Filmmakers like David Lynch and Guillermo del Toro have drawn heavily from Surrealist aesthetics. Even mainstream culture, from music videos to digital art, shows traces of Surrealist influence.

Surrealism remains dangerous to oppressive systems. Breton noted that Surrealism was a threat to those who sought to control thought and expression.

"Surrealism strives to liberate man from dictatorships, no matter where they come from—tyrannies of the mind, the body, of man, of money, or of steel."

Ultimately, Surrealism is a quest for freedom, both external and internal. It is a movement that refuses to accept reality as it is and instead seeks to reimagine a world where human desire, imagination, and creativity reign supreme.

Conclusion

Gaston Criel’s article presents Surrealism as more than an artistic movement—it is a philosophical revolution that challenges reason, embraces the subconscious, and seeks total freedom. Whether in literature, art, or political thought, Surrealism remains a powerful force that continues to shape the way we view reality.

Reference :

Criel, Gaston. “Surrealism.” Books Abroad, vol. 26, no. 2, 1952, pp. 133–36. JSTOR, https://doi.org/10.2307/40090932. Accessed 5 Mar. 2025.

Kristiansen, Donna M. “What Is Dada?” Educational Theatre Journal, vol. 20, no. 3, 1968,pp.45762.JSTOR,https://doi.org/10.2307/3205188. Accessed 5 Mar. 2025.

Words:2,329

Image: 2

Search This Blog

Nirali vaghela