How Surrealism Developed

Dadaism: a modernist literary genre that emerged during World War I, also known as Early Surrealism. The leader was the Romanian Tristan Tzara.

Originally started in the field of painting, in 1913 Duchamp turned a bicycle seat upside down on a stool. Admired as a forerunner of Dada, Duchamp added a moustache to a print of Da Vinci's famous Mona Lisa and renamed it in 1919, and L.H.O.O.Q. was born.

In 1916, when many intellectuals took refuge in Switzerland rather than enter the "bloody slaughterhouse," a German writer, Bauer, organized a club in Zurich called "Le Petit H?tel de Voltaire," and on February 8, Romanian Chara stuck a box cutter into a German-French book. On February 8, the Romanian Chara inserted a paper cutter into a German-French dictionary, and on the page to which the tip of the cutter pointed, he arbitrarily used the word "Dada" as the title of the genre, Dada, meaning "horse" in the children's language. It makes no sense as a banner for literary activity, and reflects their view of the world: that everything is contingent and unknowable, i.e., unjustified and meaningless.

Charla's manifesto defines Dada as "Freedom: dada, dada, dada, the convulsive cry of agony, the interweaving of all opposites, contradictions, grotesqueries, and illogicalities which is life." "Let every man cry out: there is a great work of destruction and negation to be accomplished. Purge it, sweep it away." --Nihilism, Anarchy. The spirit of Dada - destroying everything, denying everything, even Dada itself.

France: Breton, Sopo and Aragon, known as the "Three Musketeers", started a magazine in Paris in March 1919 called Literature, named Literature as a form of irony, whose purpose was to oppose all literary traditions. In the same year, he came into contact with Dadaism, and in 1920, Chara came to Paris to form a French Dadaist group, in which all three joined. In 1922, he declared that he was "abandoning Dada". (1924-1929)

In 1924 Breton published the first Surrealist Manifesto. With Breton at the head, Aragon, Eluard, and Sobo formed a powerful trend, which, unlike Dada, had a theory, a goal to strive for, and more successful works.