Editing Tristan Tzara (section)

===Transition to Surrealism===
[[File:Paris 18 - Maison Tristan Tzara -1.JPG|thumb|230px|''Maison Tzara'', designed by [[Adolf Loos]]]]
Tzara continued to write, becoming more seriously interested in the theater. In 1924, he published and staged the play ''[[Handkerchief of Clouds]]'', which was soon included in the repertoire of [[Serge Diaghilev]]'s ''[[Ballets Russes]]''.<ref>Lynn Garafola, ''Legacies of Twentieth-century Dance'', [[Wesleyan University Press]], Middletown, 2005, p.172. {{ISBN|0-8195-6674-8}}</ref> He also collected his earlier Dada texts as the ''Seven Dada Manifestos''. [[Marxism|Marxist]] thinker [[Henri Lefebvre]] reviewed them enthusiastically; he later became one of the author's friends.<ref>[[Martin Jay]], ''Marxism and Totality: the Adventures of a Concept from Lukács to Habermas'', [[University of California Press]], Berkeley, 1984, p.293 {{ISBN|0-520-05742-2}}</ref>

In Romania, Tzara's work was partly recuperated by ''Contimporanul'', which notably staged public readings of his works during the international art exhibit it organized in 1924, and again during the "new art demonstration" of 1925.<ref>Cernat, p.153, 156, 159, 186</ref> In parallel, the short-lived magazine ''Integral'', where [[Ilarie Voronca]] and [[Ion Călugăru]] were the main animators, took significant interest in Tzara's work.<ref>Cernat, p.239-240, 277, 279, 287</ref> In a 1927 interview with the publication, he voiced his opposition to the Surrealist group's adoption of communism, indicating that such politics could only result in a "new bourgeoisie" being created, and explaining that he had opted for a personal "[[permanent revolution]]", which would preserve "the holiness of the ego".<ref>Cernat, p.239</ref>

In 1925, Tristan Tzara was in [[Stockholm]], where he married [[Greta Knutson]], with whom he had a son, Christophe (born 1927).<ref name="jycmelusine"/> A former student of painter [[André Lhote]], she was known for her interest in [[Phenomenology (philosophy)|phenomenology]] and [[abstract art]].<ref name="prsurrgk">"Greta Knutson", in [[Penelope Rosemont]], ''[[Surrealist Women]]'', [[Continuum International Publishing Group]], London & New York, 1998, p.69. {{ISBN|0-485-30088-5}}</ref> Around the same period, with funds from Knutson's inheritance, Tzara commissioned [[Austria]]n architect [[Adolf Loos]], a former representative of the [[Vienna Secession]] whom he had met in Zürich, to build him a house in Paris.<ref name="jycmelusine"/> The rigidly [[Functionalism (architecture)|functionalist]] ''Maison Tristan Tzara'', built in [[Montmartre]], was designed following Tzara's specific requirements and decorated with samples of [[African art]].<ref name="jycmelusine"/> It was Loos' only major contribution in his Parisian years.<ref name="jycmelusine"/>

In 1929, he reconciled with Breton, and sporadically attended the Surrealists' meetings in Paris.<ref name="rcard530"/><ref name="enotestt"/> The same year, he issued the poetry book ''De nos oiseaux'' ("Of Our Birds").<ref name="rcard530"/> This period saw the publication of ''[[The Approximate Man]]'' (1931), alongside the volumes ''L'Arbre des voyageurs'' ("The Travelers' Tree", 1930), ''Où boivent les loups'' ("Where Wolves Drink", 1932), ''L'Antitête'' ("The Antihead", 1933) and ''Grains et issues'' ("Seed and Bran", 1935).<ref name="enotestt"/> By then, it was also announced that Tzara had started work on a screenplay.<ref name="pcern277">Cernat, p.277</ref> In 1930, he directed and produced a cinematic version of ''Le Cœur à barbe'', starring Breton and other leading Surrealists.<ref name="ttzimdb">{{IMDb name|0879262}}</ref> Five years later, he signed his name to ''The Testimony against [[Gertrude Stein]]'', published by [[Eugene Jolas]]'s magazine ''[[transition (literary journal)|transition]]'' in reply to Stein's memoir ''[[The Autobiography of Alice B. Toklas]]'',<!-- sic --> in which he accused his former friend of being a [[wikt:megalomaniac|megalomaniac]].<ref>Armstrong, p.496</ref>

The poet became involved in further developing [[Surrealist techniques]], and, together with Breton and [[Valentine Hugo]], drew one of the better-known examples of "[[exquisite corpse]]s".<ref>[[Ion Biberi]], ''Arta suprarealistă'', Editura Meridiane, Bucharest, 1973, p.53. {{OCLC|22905196}}</ref> Tzara also prefaced a 1934 collection of Surrealist poems by his friend [[René Char]], and the following year he and Greta Knutson visited Char in [[L'Isle-sur-la-Sorgue]].<ref>"René Char Bio-Bibliography", in ''Selected Poems of René Char'' (edited by [[Mary Ann Caws]] and Tina Jolas), [[New Directions Publishers]], New York, 1992, p.xii. {{ISBN|0-8112-1191-6}}</ref> Tzara's wife was also affiliated with the Surrealist group at around the same time.<ref name="jycmelusine"/><ref name="prsurrgk"/> This association ended when she parted with Tzara late in the 1930s.<ref name="jycmelusine"/><ref name="prsurrgk"/>

At home, Tzara's works were collected and edited by the Surrealist promoter [[Sașa Pană]], who corresponded with him over several years.<ref>Cernat, p.49, 106, 109, 116; Răileanu & Carassou, p.154-155</ref> The first such edition saw print in 1934, and featured the 1913–1915 poems Tzara had left in Vinea's care.<ref name="pcern116"/> 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.<ref>Cernat, p.192-194</ref>