Spectacolul hibrid: cabaretul Dada și „montajul de atracții
DOI:
https://doi.org/10.37130/xsekfv53Keywords:
avant-garde, cabaret, dada, hybrid, grotesque, montageAbstract
The main focus of this article is the hybrid form of performance represented by the Dada Cabaret and its influence on the experimental theatre and the emergence of early avant-garde soviet cinema, coined by Soviet theatre and film director Sergey Eisenstein as theatre by other means. What I argue is that not only the fragmented and hybrid form of cabaret shows influenced Eisenstein’s theory of montage and film poetics, but that also the fragmented and hybrid style of the cabaret performance, including recitations, dance, film excerpts, singing and one act plays was providing a mirror image, even though a distorted one, of the age coined by Benjamin as ????the age of technical reproductibility????. More so, this study aims to raise a philosophic ????uestion as to whether or not, given the transformed consciousness and perception occuring at the height of the modernist crysis as a paradigm shift, researchers should reconsider the birth certificate of postmodernism not in the first decade after the end of the Second World War but rather in the teens and twenties of the ????????th Century’s avant-garde artistic experiments.
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