![[Dada] Tzara, Tristan. (1896 - 1963) & Picabia, Francis. (1879 - 1953) Manifestation Dada. Le Samedi 27 Mars, à 8 f. 15 précises](http://www.schubertiademusic.com/cdn/shop/files/Manifestation_Dada_1.jpg?v=1722186793)
![[Dada] Tzara, Tristan. (1896 - 1963) & Picabia, Francis. (1879 - 1953) Manifestation Dada. Le Samedi 27 Mars, à 8 f. 15 précises](http://www.schubertiademusic.com/cdn/shop/files/Manifestation_Dada_2.jpg?v=1722186793)
![[Dada] Tzara, Tristan. (1896 - 1963) & Picabia, Francis. (1879 - 1953) Manifestation Dada. Le Samedi 27 Mars, à 8 f. 15 précises](http://www.schubertiademusic.com/cdn/shop/files/Manifestation_Dada_3.jpg?v=1722186793)
[Dada] Tzara, Tristan. (1896 - 1963) & Picabia, Francis. (1879 - 1953). Manifestation Dada. Le Samedi 27 Mars, à 8 f. 15 précises. Paris: 1920. Broadside handbill designed by Tristan Tzara, printed in red and black on pale pink stock (verso blank). Two mechanomorphic dada line drawings by Picabia, printed in red, superimposed over text. Printed sideways at right edge, advertisement for the forthcoming “Dadaphone,” “391” no. 12, and “Proverbe.” Oblong sm. folio. 266 x 373 mm. (10 7/16 x 14 11/16 inches). With the typical folds, but otherwise in exceptionally clean and crisp condition, a uncommonly fine example of this scarce and fragile handbill.
This was the third, and most elaborate, of three Dada demonstrations following the arrival of Tzara in Paris. A great "succès de scandale," it precipitated plans for the Festival Dada. “On March 27, at the Théâtre de l’Oeuvre, one of the most significant Dada demonstrations took place. It consisted of plays (‘le serin muet’ by Ribemont-Dessaignes, ‘la première aventure célèste de m. antipyrine’ by Tzara, and ‘s’il vous plaît’ by Breton and Soupault), written in the Dada manner, pursuing every gratuitous fancy, every absurdity of thought, and all eminently demoralizing. Breton read, in complete darkness, a ‘manifeste cannibale’ by Picabia. Some poems by Éluard (‘Examples’) were read. Ribemont’s ‘le pas de la chicorée frisée’ (Dance of the Curled Chicory) was played on the piano; likewise, as a joke, some melodies by Duparc. A transparent set, in front of the actors, consisted of a bicycle wheel and some signs hanging from clothes-lines. These melodies, in such a setting, completely exasperated the audience, which began to whistle even at Duparc’s band music, which normally they liked. Delighted with this contradiction, the actors, themselves Dadaists, began to insult the audience, welcoming catcalls with a smile; at this moment an anti-Dada paper, ‘Non,’ edited by René Edme and André du Bief, was handed around. The program of this performance, arranged, as usual, by Picabia, revealed a resuscitated remark of Tzara as: ‘Dada Corporation for the Improvement of Ideas.’ Picabia’s picture, ‘Portrait of Cézanne,’ was shown at this demonstration; having searched in vain for a live monkey for the ‘still-life,’ the artist finally showed the picture, as illustrated. The Théâtre de l’Oeuvre had not witnessed such goings-on since the riot caused by the presentation of Alfred Jarry’s play ‘Ubu Roi.’” (George Hugnet, “The Dada Spirit in Painting,” p. 165)
This was the third, and most elaborate, of three Dada demonstrations following the arrival of Tzara in Paris. A great "succès de scandale," it precipitated plans for the Festival Dada. “On March 27, at the Théâtre de l’Oeuvre, one of the most significant Dada demonstrations took place. It consisted of plays (‘le serin muet’ by Ribemont-Dessaignes, ‘la première aventure célèste de m. antipyrine’ by Tzara, and ‘s’il vous plaît’ by Breton and Soupault), written in the Dada manner, pursuing every gratuitous fancy, every absurdity of thought, and all eminently demoralizing. Breton read, in complete darkness, a ‘manifeste cannibale’ by Picabia. Some poems by Éluard (‘Examples’) were read. Ribemont’s ‘le pas de la chicorée frisée’ (Dance of the Curled Chicory) was played on the piano; likewise, as a joke, some melodies by Duparc. A transparent set, in front of the actors, consisted of a bicycle wheel and some signs hanging from clothes-lines. These melodies, in such a setting, completely exasperated the audience, which began to whistle even at Duparc’s band music, which normally they liked. Delighted with this contradiction, the actors, themselves Dadaists, began to insult the audience, welcoming catcalls with a smile; at this moment an anti-Dada paper, ‘Non,’ edited by René Edme and André du Bief, was handed around. The program of this performance, arranged, as usual, by Picabia, revealed a resuscitated remark of Tzara as: ‘Dada Corporation for the Improvement of Ideas.’ Picabia’s picture, ‘Portrait of Cézanne,’ was shown at this demonstration; having searched in vain for a live monkey for the ‘still-life,’ the artist finally showed the picture, as illustrated. The Théâtre de l’Oeuvre had not witnessed such goings-on since the riot caused by the presentation of Alfred Jarry’s play ‘Ubu Roi.’” (George Hugnet, “The Dada Spirit in Painting,” p. 165)
[Dada] Tzara, Tristan. (1896 - 1963) & Picabia, Francis. (1879 - 1953). Manifestation Dada. Le Samedi 27 Mars, à 8 f. 15 précises. Paris: 1920. Broadside handbill designed by Tristan Tzara, printed in red and black on pale pink stock (verso blank). Two mechanomorphic dada line drawings by Picabia, printed in red, superimposed over text. Printed sideways at right edge, advertisement for the forthcoming “Dadaphone,” “391” no. 12, and “Proverbe.” Oblong sm. folio. 266 x 373 mm. (10 7/16 x 14 11/16 inches). With the typical folds, but otherwise in exceptionally clean and crisp condition, a uncommonly fine example of this scarce and fragile handbill.
This was the third, and most elaborate, of three Dada demonstrations following the arrival of Tzara in Paris. A great "succès de scandale," it precipitated plans for the Festival Dada. “On March 27, at the Théâtre de l’Oeuvre, one of the most significant Dada demonstrations took place. It consisted of plays (‘le serin muet’ by Ribemont-Dessaignes, ‘la première aventure célèste de m. antipyrine’ by Tzara, and ‘s’il vous plaît’ by Breton and Soupault), written in the Dada manner, pursuing every gratuitous fancy, every absurdity of thought, and all eminently demoralizing. Breton read, in complete darkness, a ‘manifeste cannibale’ by Picabia. Some poems by Éluard (‘Examples’) were read. Ribemont’s ‘le pas de la chicorée frisée’ (Dance of the Curled Chicory) was played on the piano; likewise, as a joke, some melodies by Duparc. A transparent set, in front of the actors, consisted of a bicycle wheel and some signs hanging from clothes-lines. These melodies, in such a setting, completely exasperated the audience, which began to whistle even at Duparc’s band music, which normally they liked. Delighted with this contradiction, the actors, themselves Dadaists, began to insult the audience, welcoming catcalls with a smile; at this moment an anti-Dada paper, ‘Non,’ edited by René Edme and André du Bief, was handed around. The program of this performance, arranged, as usual, by Picabia, revealed a resuscitated remark of Tzara as: ‘Dada Corporation for the Improvement of Ideas.’ Picabia’s picture, ‘Portrait of Cézanne,’ was shown at this demonstration; having searched in vain for a live monkey for the ‘still-life,’ the artist finally showed the picture, as illustrated. The Théâtre de l’Oeuvre had not witnessed such goings-on since the riot caused by the presentation of Alfred Jarry’s play ‘Ubu Roi.’” (George Hugnet, “The Dada Spirit in Painting,” p. 165)
This was the third, and most elaborate, of three Dada demonstrations following the arrival of Tzara in Paris. A great "succès de scandale," it precipitated plans for the Festival Dada. “On March 27, at the Théâtre de l’Oeuvre, one of the most significant Dada demonstrations took place. It consisted of plays (‘le serin muet’ by Ribemont-Dessaignes, ‘la première aventure célèste de m. antipyrine’ by Tzara, and ‘s’il vous plaît’ by Breton and Soupault), written in the Dada manner, pursuing every gratuitous fancy, every absurdity of thought, and all eminently demoralizing. Breton read, in complete darkness, a ‘manifeste cannibale’ by Picabia. Some poems by Éluard (‘Examples’) were read. Ribemont’s ‘le pas de la chicorée frisée’ (Dance of the Curled Chicory) was played on the piano; likewise, as a joke, some melodies by Duparc. A transparent set, in front of the actors, consisted of a bicycle wheel and some signs hanging from clothes-lines. These melodies, in such a setting, completely exasperated the audience, which began to whistle even at Duparc’s band music, which normally they liked. Delighted with this contradiction, the actors, themselves Dadaists, began to insult the audience, welcoming catcalls with a smile; at this moment an anti-Dada paper, ‘Non,’ edited by René Edme and André du Bief, was handed around. The program of this performance, arranged, as usual, by Picabia, revealed a resuscitated remark of Tzara as: ‘Dada Corporation for the Improvement of Ideas.’ Picabia’s picture, ‘Portrait of Cézanne,’ was shown at this demonstration; having searched in vain for a live monkey for the ‘still-life,’ the artist finally showed the picture, as illustrated. The Théâtre de l’Oeuvre had not witnessed such goings-on since the riot caused by the presentation of Alfred Jarry’s play ‘Ubu Roi.’” (George Hugnet, “The Dada Spirit in Painting,” p. 165)