133 lines
7.9 KiB
Plaintext
133 lines
7.9 KiB
Plaintext
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD> <20><><EFBFBD><EFBFBD>
|
|||
|
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>
|
|||
|
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><>
|
|||
|
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
Mo.iMP <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>
|
|||
|
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><>
|
|||
|
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20>
|
|||
|
|
<20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD>
|
|||
|
|
<EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
<20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
<20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
ARRoGANT CoURiERS WiTH ESSaYS
|
|||
|
|
|
|||
|
|
Grade Level: Type of Work Subject/Topic is on:
|
|||
|
|
[ ]6-8 [ ]Class Notes [Essay on Surrealism ]
|
|||
|
|
[x]9-10 [ ]Cliff Notes [ ]
|
|||
|
|
[ ]11-12 [x]Essay/Report [ ]
|
|||
|
|
[ ]College [ ]Misc [ ]
|
|||
|
|
|
|||
|
|
Dizzed: o4/95 # of Words:1037 School: ? State: ?
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>><3E><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>><3E><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>>Chop Here><3E><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>><3E><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>><3E><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>><3E><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
pure psychic automatism
|
|||
|
|
intended to express
|
|||
|
|
the true process of thought
|
|||
|
|
free from the exercise of reason
|
|||
|
|
and from any aesthetic or moral purpose
|
|||
|
|
|
|||
|
|
mister sands / hmw oao
|
|||
|
|
jem coones
|
|||
|
|
|
|||
|
|
|
|||
|
|
art to the observer is an obsession
|
|||
|
|
art to the artist is an addiction
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
few groups in the 20th century have been as influential as the
|
|||
|
|
surrealists. surrealism came at a time of dramatic upheaval, both
|
|||
|
|
historically and culturally, and grew to encompass all forms of art,
|
|||
|
|
wether it be drama, literature, painting, photography or cinema. indeed,
|
|||
|
|
their influence was so great that echoes of the breakthroughs made by such
|
|||
|
|
seers as breton, artaud, man ray, and dali can still be heard today.
|
|||
|
|
|
|||
|
|
surrealism rose from the ashes of the defunct dada movement -- which
|
|||
|
|
itself was an inhuman artistic reaction against the inhuman world of world
|
|||
|
|
war one. as with all movements motivated by rage, dada burned out quickly,
|
|||
|
|
and many of it's leaders -- notably andre breton -- went on to embrace the
|
|||
|
|
new surrealist movement. disillusioned by on one hand "the cold and
|
|||
|
|
insubstantial remains of art and literature, and on the other the scorching
|
|||
|
|
analytical specifications of the exact sciences," surrealists were
|
|||
|
|
dedicated to, in breton's words "pure psychic automatism intended to
|
|||
|
|
express the true process of thought free from the exercise of reason and
|
|||
|
|
from any aesthetic or moral purpose". as strongly influenced by the
|
|||
|
|
psychoanalytical ideas of freud, which at that time were gaining
|
|||
|
|
prominence, as it was by the deconstructionalism of dada, surrealism
|
|||
|
|
emerged as an organized movement at the beginning of the 1920's, a period
|
|||
|
|
marked by "the confused and inert stupefaction of a collective bourgeois
|
|||
|
|
existence dedicated to nothing less than the mustiness of the balance
|
|||
|
|
sheet."
|
|||
|
|
|
|||
|
|
surrealism emerged not just as a reaction to this bourgeois
|
|||
|
|
complacency, but as an attempt to create art that was closer to the reality
|
|||
|
|
of human existence. in every form, surrealism succeeded admirably in
|
|||
|
|
obtaining this goal, as can be plainly seen from the works of their
|
|||
|
|
greatest members: antonin artaud, man ray, and salvador dali.
|
|||
|
|
|
|||
|
|
any study of 20th century theatre and literature would be incomplete
|
|||
|
|
without mention of antonin artaud, the man who revolutionized the very
|
|||
|
|
concept of theatre. in the pages of his incredibly influential 1937
|
|||
|
|
treatise the theatre and it's double, artaud aimed to transform the stage
|
|||
|
|
into a "sacred ground", wherein the emotions and fury of both the
|
|||
|
|
performers and audience could somehow be purged. this concept of theatre
|
|||
|
|
as a religious act, dubbed the "theatre of cruelty", was without doubt his
|
|||
|
|
highest achievement, but he is also well known for his poetry and essays,
|
|||
|
|
particularly van gogh the man suicided by society -- a stunning indictment
|
|||
|
|
of a society that destroys it's most exquisite and ethereal talent.
|
|||
|
|
|
|||
|
|
the art of photography is a relatively new one, and given the
|
|||
|
|
surrealists' hatred of the "old and outdated", it was only natural for them
|
|||
|
|
to dabble in this new medium. although a number of photographers achieved
|
|||
|
|
great success (names such as brassai spring to mind), the most successful
|
|||
|
|
was surely man ray, who, aside from his fascinating character studies,
|
|||
|
|
mastered the complex surrealist concept of the poetic image -- a principle
|
|||
|
|
best described by the visionary surrealist-before-his-time lautreamont, who
|
|||
|
|
spoke of "the accidental meeting of an umbrella and an accordion on the
|
|||
|
|
operating table". man ray juxtaposed such diverse objects as guns and
|
|||
|
|
lightbulbs, nudes and alphabet blocks, to create a new logic that was the
|
|||
|
|
essence of surrealism.
|
|||
|
|
|
|||
|
|
while man ray's photography may have expressed the truest vision of
|
|||
|
|
surrealism, for most people the movement is defined by one man, the
|
|||
|
|
illustrious catelan; salvador dali. through acclaimed mainly for his
|
|||
|
|
paintings -- his style must surely be one of the most distinctive and
|
|||
|
|
recognizable of all artists -- dali also produced a number of books of both
|
|||
|
|
essays and poetry, a single novel entitled hidden faces, and the film in
|
|||
|
|
collaboration with luis bunuel that took breton's statement that "the
|
|||
|
|
simplest surrealist act consists of dashing into the street, pistol in
|
|||
|
|
hand, and firing blindly, as fast as you can pull the trigger, into the
|
|||
|
|
crowd" to task. the film, un chien andalou, caused a riot at it's premiere
|
|||
|
|
-- due in part to the drunken antics of, among others, dali and artaud --
|
|||
|
|
and heralded other surrealist films such as artaud's 1924 masterpiece, the
|
|||
|
|
clergymen and the seashell. dali's name was to become synonymous with art
|
|||
|
|
that shocks, disturbs, and challenges perceptions. works such as the
|
|||
|
|
persistence of memory, sleep, and autumn cannibalism are masterpieces of
|
|||
|
|
the modern sensibility and dali's paintings remain among the best known and
|
|||
|
|
best loved works of modern art.
|
|||
|
|
|
|||
|
|
the continuing influence of surrealism goes far beyond the enduring
|
|||
|
|
popularity of salvador dali. ideas developed by the surrealists are still
|
|||
|
|
used by artists today: the montage technique used by innovators such as
|
|||
|
|
toyen, which led to the passion and choas of picasso's guernica, is still
|
|||
|
|
found in the works of modern montage artists such as david hockney; the
|
|||
|
|
"object" principle mastered by such illustrious names as dada founder and
|
|||
|
|
eventual surrealist marcel duchamp, andre breton, and man ray, has found
|
|||
|
|
new life in industrial art's adoption of the assemblage; while photography
|
|||
|
|
has never been the same since man ray. in the realm of theatre, peter
|
|||
|
|
weiss' influential 1964 play marat/sade is a virtual embodiment of artaud's
|
|||
|
|
principles of theatre, and it can be argued that the whole 1960's "be in"
|
|||
|
|
scene is a not too distant cousin of the these same principles. american
|
|||
|
|
beat writer william s. burroughs' technique of fold-in writing is very
|
|||
|
|
similar to tristan tzara's scandalous 1919 rally where he pulled words out
|
|||
|
|
of a hat and called them a poem, and modern american film makers like gus
|
|||
|
|
van sant -- director of 1989's drugstore cowboy -- use a number of
|
|||
|
|
surrealist techniques in their work. it can be plainly seen, then, that
|
|||
|
|
surrealism was no mere flash in the pan, but rather a revolutionary
|
|||
|
|
artistic and ideological movement that dropped a bomb on the complacent
|
|||
|
|
culture of their day, and the reverberations of that explosion can still be
|
|||
|
|
felt today in the work of artists who continue to battle a bourgeois values
|
|||
|
|
and "safe" art.
|