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