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German ExpressionismDer Blaue Reiter and its Legacies$
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Dorothy Price

Print publication date: 2020

Print ISBN-13: 9781526121622

Published to Manchester Scholarship Online: May 2021

DOI: 10.7765/9781526121639

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 29 July 2021

Kleinkunst and Gesamtkunstwerk in Munich and Zurich: Der Blaue Reiter and Dada

Kleinkunst and Gesamtkunstwerk in Munich and Zurich: Der Blaue Reiter and Dada

Chapter:
(p.105) 5 Kleinkunst and Gesamtkunstwerk in Munich and Zurich: Der Blaue Reiter and Dada
Source:
German Expressionism
Author(s):

Deborah Lewer

Publisher:
Manchester University Press
DOI:10.7765/9781526121639.00012

This chapter argues for an extension of our historical view of Dada to include the vital influence of Munich and Der Blaue Reiter. It focuses on Hugo Ball, founder of Dada, and on his changing engagement with the theatre, with modern art and with the figure of the artist, first in Munich and then in Zurich. The chapter explores how, for Ball, Kandinsky was both the consummate artist and, eventually, a tangential cause of Ball’s disillusionment with and departure from the artistic avant-garde. The chapter brings to light some key primary sources relating to Ball’s ideas for what would become the Cabaret Voltaire in Zurich. As a whole, it makes a case for a more nuanced account of the relationship between Expressionism and Dada, and between the avant-gardes of Munich and Zurich, before and during World War I.

Keywords:   Wassily Kandinsky, Hugo Ball, Dada, Expressionism, Gesamtkunstwerk, Cabaret Voltaire, theatre, abstraction, Munich, Zurich

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