In partnership with the Tréteaux de France theatre company, directed by Robin Renucci.
We are aware of the influence of Carl Einstein’s book, Neger plastik (1920) – which should be translated as La Sculpture nègre [Negro Sculpture] and not L'Art nègre [Negro Art] – on the history of European art. However, Tristan Tzara’s notes on Negro Art, published in Zurich in 1916, and his works that he called “Negro Poems” are, more often than not, much less well known. His expression, now part of the language, explains how (and why) he had the idea of gathering carefully, one might say scientifically, the war chants or work songs and details of the daily lives of the African and Oceanic peoples; how he used this to blow apart contemporary French poetry on the one hand and, on the other, bring these into the anthology of world poetry. Finally, we will look at the link between this poetic curiosity and the collection of African art that he put together.
Henri Béhar, professor emeritus at the Sorbonne, specialist in French avant-garde literature, editor of Complete Works by Tristan Tzara
Thomas Fitterer, actor
Maryline Fontaine, staging