Tzara in a sentence

An international periodical titled Caietele Tristan Tzara, edited by the Tristan Tzara Cultural-Literary Foundation, has been published in Moinești since 1998.

On October 24, Tzara was ordered to a PCF meeting, where activist Laurent Casanova reportedly ordered him to keep silent, which Tzara did.

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").

According to Richter, tensions between Breton and Tzara had surfaced in 1920, when Breton first made known his wish to do away with musical performances altogether and alleged that the Romanian was merely repeating himself.

A contributor to magazines published by the Resistance, Tzara also took charge of the cultural broadcast for the Free French Forces clandestine radio station.

Alongside his collaborations with Dada artists on various pieces, Tzara himself was a subject for visual artists.

Although he was sympathetic to its goals, treasured Hugo Ball and Hennings and promised to adapt his own writings to its requirements, Vinea cautioned Tzara and the Jancos in favor of lucidity.

As an homage to Tzara the performer, art rocker David Bowie adopted his accessories and mannerisms during a number of public appearances.

By then, it was also announced that Tzara had started work on a screenplay.

Călinescu, p.887 Tzara himself used elements alluding to his homeland in his early Dadaist performances.

Cernat, p.117 Tzara often appealed to revolutionary and ironic images, portraying provincial and middle class environments as places of artificiality and decay, demystifying pastoral themes and evidencing a will to break free.

Cernat, p.125 Although he rallied with tradition, Vinea defended the subversive current in front of more serious criticism, and rejected the widespread rumor that Tzara had acted as an agent of influence for the Central Powers during the war.

Cernat, p.18 Unlike Vinea and the Contimporanul group, Cernat proposes, Tzara stood for radicalism and insurgency, which would also help explain their impossibility to communicate.

Cernat, p.47 Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration.

Despite its production of seemingly theoretical works, Richter indicates, Dada lacked any form of program, and Tzara tried to perpetuate this state of affairs.

Hikmet was eventually released in July 1950, and publicly thanked Tzara during his subsequent visit to Paris.

In 1917, Tzara wrote a second Dada manifesto considered one of the most important Dada writings, which was published in 1918.

In 1928-1929, Tzara exchanged letters with his friend Jacques G. Costin, a Contimporanul affiliate who did not share all of Vinea's views on literature, who offered to organize his visit to Romania and asked him to translate his work into French.

In Axis -allied and antisemitic Romania (see Romania during World War II ), the regime of Ion Antonescu ordered bookstores not to sell works by Tzara and 44 other Jewish-Romanian authors.

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.