Samyro, a partial anagram of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s.
In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul.
Simbolul also featured illustrations by Maniu, Millian and Iosif Iser. Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period.
A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915.
Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Gârceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another. ===Chemarea and 1915 departure=== Tzara's career changed course between 1914 and 1916, during a period when the Romanian Kingdom kept out of World War I.
Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Gârceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another. ===Chemarea and 1915 departure=== Tzara's career changed course between 1914 and 1916, during a period when the Romanian Kingdom kept out of World War I.
A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915.
Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Gârceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another. ===Chemarea and 1915 departure=== Tzara's career changed course between 1914 and 1916, during a period when the Romanian Kingdom kept out of World War I.
In autumn 1915, as founder and editor of the short-lived journal Chemarea, Vinea published two poems by his friend, the first printed works to bear the signature Tristan Tzara.
In autumn 1915, he left Romania for Zürich, in neutral Switzerland.
Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Gârceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another. ===Chemarea and 1915 departure=== Tzara's career changed course between 1914 and 1916, during a period when the Romanian Kingdom kept out of World War I.
In February 1916, Ball had rented the Cabaret Voltaire from its owner, Jan Ephraim, and intended to use the venue for performance art and exhibits.
He was soon after involved in Tzara's "simultaneist verse" performance, "the first in Zürich and in the world", also including renditions of poems by two promoters of Cubism, Fernand Divoire and Henri Barzun. ===Birth of Dada=== It was in this milieu that Dada was born, at some point before May 1916, when a publication of the same name first saw print.
The same type of performances took place at the Zunfthaus zur Waag beginning in summer 1916, after the Cabaret Voltaire was forced to close down.
Dada Dada Dada Dada." The view according to which Ball had created the movement was notably supported by writer Walter Serner, who directly accused Tzara of having abused Ball's initiative. A secondary point of contention between the founders of Dada regarded the paternity for the movement's name, which, according to visual artist and essayist Hans Richter, was first adopted in print in June 1916.
In June 1916, he began editing and managing the periodical Dada as a successor of the short-lived magazine Cabaret Voltaire—Richter describes his "energy, passion and talent for the job", which he claims satisfied all Dadaists.
He was at the time the lover of Maja Kruscek, who was a student of Rudolf Laban; in Richter's account, their relationship was always tottering. As early as 1916, Tristan Tzara took distance from the Italian Futurists, rejecting the militarist and proto-fascist stance of their leader Filippo Tommaso Marinetti.
Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918. He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school.
Tzara, who may have applied to the Faculty of Philosophy at the local university, shared lodging with Marcel Janco, who was a student at the Technische Hochschule, in the Altinger Guest House (by 1918, Tzara had moved to the Limmatquai Hotel).
In early 1918, through Huelsenbeck, Zürich Dadaists established contacts with their more explicitly left-wing disciples in the German Empire—George Grosz, John Heartfield, Johannes Baader, Kurt Schwitters, Walter Mehring, Raoul Hausmann, Carl Einstein, Franz Jung, and Heartfield's brother Wieland Herzfelde.
While active as a promoter, Tzara also published his first volume of collected poetry, the 1918 Vingt-cinq poèmes ("Twenty-five Poems"). A major event took place in autumn 1918, when Francis Picabia, who was then publisher of 391 magazine and a distant Dada affiliate, visited Zürich and introduced his colleagues there to his nihilistic views on art and reason.
It was there that Serner read from his 1918 essay, whose very title advocated Letzte Lockerung ("Final Dissolution"): this part is believed to have caused the subsequent mêlée, during which the public attacked the performers and succeeded in interrupting, but not canceling, the show. Following the November 1918 Armistice with Germany, Dada's evolution was marked by political developments.
His work represented Dada's nihilistic side, in contrast with the more moderate approach favored by Hugo Ball. After moving to Paris in 1919, Tzara, by then one of the "presidents of Dada", joined the staff of Littérature magazine, which marked the first step in the movement's evolution toward Surrealism.
In October 1919, Tzara, Arp and Otto Flake began publishing Der Zeltweg, a journal aimed at further popularizing Dada in a post-war world were the borders were again accessible.
When Vinea submitted his poem Doleanțe ("Grievances") to be published by Tzara and his associates, he was turned down, an incident which critics attribute to a contrast between the reserved tone of the piece and the revolutionary tenets of Dada. ===Paris Dada=== In late 1919, Tristan Tzara left Switzerland to join Breton, Soupault and Claude Rivière in editing the Paris-based magazine Littérature.
This circle, based in New York City, sought affiliation with Tzara's only in 1921, when they jokingly asked him to grant them permission to use "Dada" as their own name (to which Tzara replied: "Dada belongs to everybody").
Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's Ministry of the Interior.
Having spoken in favor of liberalization in the People's Republic of Hungary just before the Revolution of 1956, he distanced himself from the French Communist Party, of which he was by then a member.
In 1960, he was among the intellectuals who protested against French actions in the Algerian War. Tristan Tzara was an influential author and performer, whose contribution is credited with having created a connection from Cubism and Futurism to the Beat Generation, Situationism and various currents in rock music.
A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915.
Samyro; – 25 December 1963) was a Romanian and French avant-garde poet, essayist and performance artist.
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