|
Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to "resolve the previously contradictory conditions of dream and reality." Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself. Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. Surrealism developed largely out of the Dada activities during World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread around the globe, eventually affecting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory. ==Founding of the movement== The word 'surrealist' was coined by Guillaume Apollinaire and first appeared in the preface to his play ''Les Mamelles de Tirésias'', which was written in 1903 and first performed in 1917.〔Sams, p. 282〕 World War I scattered the writers and artists who had been based in Paris, and in the interim many became involved with Dada, believing that excessive rational thought and bourgeois values had brought the conflict of the war upon the world. The Dadaists protested with anti-art gatherings, performances, writings and art works. After the war, when they returned to Paris, the Dada activities continued. During the war, André Breton, who had trained in medicine and psychiatry, served in a neurological hospital where he used Sigmund Freud's psychoanalytic methods with soldiers suffering from shell-shock. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the spiritual son of writer and pataphysics founder Alfred Jarry. He admired the young writer's anti-social attitude and disdain for established artistic tradition. Later Breton wrote, "In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most."〔Breton, "Vaché is surrealist in me", in ''Surrealist Manifesto''.〕 Back in Paris, Breton joined in Dada activities and started the literary journal ''Littérature'' along with Louis Aragon and Philippe Soupault. They began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault delved deeper into automatism and wrote ''The Magnetic Fields'' (1920). Continuing to write, they attracted more artists and writers; they came to believe that automatism was a better tactic for societal change than the Dada attack on prevailing values. The group grew to include Paul Éluard, Benjamin Péret, René Crevel, Robert Desnos, Jacques Baron, Max Morise,〔Dalí, Salvador, ''(Diary of a Genius )'' quoted in ''The Columbia World of Quotations'' (1996) 〕 Pierre Naville, Roger Vitrac, Gala Éluard, Max Ernst, Salvador Dalí, Man Ray, Hans Arp, Georges Malkine, Michel Leiris, Georges Limbour, Antonin Artaud, Raymond Queneau, André Masson, Joan Miró, Marcel Duchamp, Jacques Prévert, and Yves Tanguy.〔Dawn Ades, with Matthew Gale: "Surrealism", ''The Oxford Companion to Western Art''. Ed. Hugh Brigstocke. Oxford University Press, 2001. Grove Art Online. Oxford University Press, 2007. Accessed March 15, 2007, (GroveArt.com )〕 As they developed their philosophy, they believed that Surrealism would advocate the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the Hegelian Dialectic. They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin and Herbert Marcuse. Freud's work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness. As Salvador Dalí later proclaimed, "There is only one difference between a madman and me. I am not mad."〔 Beside the use of dream analysis, they emphasized that "one could combine inside the same frame, elements not normally found together to produce illogical and startling effects."〔 Breton included the idea of the startling juxtapositions in his 1924 manifesto, taking it in turn from a 1918 essay by poet Pierre Reverdy, which said: "a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be -- the greater its emotional power and poetic reality.".〔Breton (1924) ''(Manifesto of Surrealism ).'' Pierre Reverdy's comment was published in his journal ''Nord-Sud'', March 1918〕 The group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to free people from false rationality, and restrictive customs and structures. Breton proclaimed that the true aim of Surrealism was "long live the social revolution, and it alone!" To this goal, at various times Surrealists aligned with communism and anarchism. In 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established, and began publishing the journal ''La Révolution surréaliste''. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「surrealism」の詳細全文を読む スポンサード リンク
|