Editing Surrealism (section)

==Impact and influences==
While Surrealism is typically associated with the arts, it has impacted many other fields. In this sense, Surrealism does not specifically refer only to self-identified "Surrealists", or those sanctioned by Breton, rather, it refers to a range of creative acts of revolt and efforts to liberate imagination.<ref>Vaneigem, Raoul (Dupuis Jules-François), ''Histoire désinvolte du surréalisme''. Nonville: Paul Vermont, 1977. {{cite book |last=Vaneigem |first=Raoul |translator-first=Donald |translator-last=Nicholson-Smith |title=A Cavalier History of Surrealism |location=Edinburgh |publisher=AK Press |date=1999 |url=https://theanarchistlibrary.org/library/raoul-vaneigem-a-cavalier-history-of-surrealism.lt.pdf}}</ref> In addition to Surrealist theory being grounded in the ideas of [[Georg Wilhelm Friedrich Hegel|Hegel]], [[Karl Marx|Marx]] and [[Sigmund Freud|Freud]], to its advocates its inherent dynamic is [[dialectic]]al thought.<ref>Vaneigem, Raoul (Dupuis Jules-François), ''Histoire désinvolte du surréalisme''. Nonville: Paul Vermont, 1977. Translated by Donald Nicholson-Smith as [https://theanarchistlibrary.org/library/raoul-vaneigem-a-cavalier-history-of-surrealism.lt.pdf ''A Cavalier History of Surrealism''], Edinburgh: AK Press, 1999. pp. 49–51; 69–73.</ref> Surrealist artists have also cited the [[alchemy|alchemists]], [[Dante Alighieri|Dante]], [[Hieronymus Bosch]],<ref name="thecityreview1">{{cite web|url=http://www.thecityreview.com/surreal.html |title=Surrealism:Two Private Eyes|work = thecityreview.com|first=Carter B. |last=Horsley |archive-url=https://web.archive.org/web/20110615202647/http://www.thecityreview.com/surreal.html|archive-date = 15 June 2011}}</ref><ref>[http://arquivo.pt/wayback/20160524010735/http://www.anthonychristian.co.uk/ezine16.html Anthony Christian, ''Hieronymus Bosch, The First Surrealist'']. Retrieved August 27, 2010.</ref> the [[Marquis de Sade]],<ref name="thecityreview1"/> [[Charles Fourier]], [[Comte de Lautréamont]] and [[Arthur Rimbaud]] as influences.<ref>{{Cite book | url=https://books.google.com/books?id=EPrI92j80r0C&q=rimbaud+and+surrealism&pg=PA17 | title=Surrealism| isbn=978-0-231-06811-6| year=1990| last1=Chénieux-Gendron| first1=Jacqueline| publisher=Columbia University Press}}</ref><ref>{{Cite journal |jstor = 2929720|title = Rimbaud-Father of Surrealism?|journal = Yale French Studies|issue = 31|pages = 45–51|last1 = Bays|first1 = Gwendolyn M.|year = 1964|doi = 10.2307/2929720}}</ref>

===May 68===
Surrealists believe that non-Western cultures also provide a continued source of inspiration for Surrealist activity because some may induce a better balance between instrumental reason and imagination in flight than Western culture.<ref>Choucha, Nadia. Surrealism & the Occult: Shamanism, Alchemy and the Birth of an Artistic Movement. Rochester, Vermont: Destiny; Inner Traditions, 1992.</ref><ref>Deleuze, Gilles. The Logic of Sense. (English translation of Logique du sens. Paris: Les Editions de Minuit, 1969.) Translated by Mark Lester with Charles Stivale; edited by Constantin V. Boundas. New York: Columbia UP, 1990.</ref> Surrealism has had an identifiable impact on radical and revolutionary politics, both directly — as in some Surrealists joining or allying themselves with radical political groups, movements and parties — and indirectly — through the way in which Surrealists emphasize the intimate link between freeing imagination and the mind, and liberation from repressive and archaic social structures. This was especially visible in the [[New Left]] of the 1960s and 1970s and the [[May 1968 in France|French revolt of May 1968]], whose slogan "All power to the imagination" quoted by [[The Situationists]] and [[Enragés#Other groups|Enragés]]<ref>Viénet, Rene. ''Enragés and situationists in the occupation movement, France May '68. New York; London: Autonomedia; Rebel Press, 1992, p.21''</ref> from the originally Marxist "''Rêvé''-lutionary" theory and praxis of Breton's French Surrealist group.<ref>Ford, Simon. ''The Situationist International: A User's Guide''. London: Black Dog, 2005, pp. 112–130.</ref>

===Postmodernism and popular culture===
Many significant literary movements in the later half of the 20th century were directly or indirectly influenced by Surrealism. This period is known as the [[Postmodern]] era; though there is no widely agreed upon central definition of [[Postmodernism]], many themes and techniques commonly identified as Postmodern are nearly identical to Surrealism.

First Papers of Surrealism presented the fathers of surrealism in an exhibition that represented the leading monumental step of the avant-gardes towards installation art.<ref>Demos, T. J. "Duchamp's Labyrinth: "First Papers of Surrealism", 1942." October 97 (2001): 91–119. Accessed March 16, 2021. {{doi|10.2307/779088}}.</ref>  Many writers from and associated with the [[Beat Generation]] were influenced greatly by Surrealists. [[Philip Lamantia]]<ref>Dana Gioia. ''California poetry: from the Gold Rush to the present''.Heyday Books, 2004.{{ISBN|1-890771-72-4}}, {{ISBN|978-1-890771-72-0}}. pg. 154.</ref> and [[Ted Joans]]<ref>Franklin Rosemont, Robin D. G. Kelley. ''Black, Brown, & Beige: Surrealist Writings from Africa and the Diaspora''. University of Texas Press, 2009. {{ISBN|0-292-71997-3}}, {{ISBN|978-0-292-71997-2}}. og. 219–222.</ref> are often categorized as both Beat and Surrealist writers. Many other Beat writers show significant evidence of Surrealist influence. A few examples include [[Bob Kaufman]],<ref>Rosemont, pg. 222–226</ref><ref>Bob Kaufman. ''Cranial Guitar''. Coffee House Press, 1996. {{ISBN|1-56689-038-1}}, {{ISBN|978-1-56689-038-0}}. pg. 28.</ref> [[Gregory Corso]],<ref>Kirby Olson. ''Gregory Corso: doubting Thomist''. SIU Press, 2002. {{ISBN|0-8093-2447-4}}, {{ISBN|978-0-8093-2447-7}}. pg. 75–79.</ref> [[Allen Ginsberg]],<ref>Allen Ginsberg, Lewis Hyde. ''On the poetry of Allen Ginsberg''. University of Michigan Press, 1984. {{ISBN|0-472-06353-7}}, {{ISBN|978-0-472-06353-6}}. pg. 277–278.</ref> and [[Lawrence Ferlinghetti]].<ref>Dave Meltzer. ''San Francisco beat: talking with the poets''. City Lights Books, 2001. {{ISBN|0-87286-379-4}}, {{ISBN|978-0-87286-379-8}}. pg. 82–83.</ref> Artaud in particular was very influential to many of the Beats, but especially Ginsberg and [[Carl Solomon]].<ref>Miles, Barry. Ginsberg: A Biography. London: Virgin Publishing Ltd. (2001), paperback, 628 pages, {{ISBN|0-7535-0486-3}}. pg. 12, 239</ref>  Ginsberg cites Artaud's "Van Gogh – The Man Suicided by Society" as a direct influence on "[[Howl (poem)|Howl]]",<ref>Allen Ginsberg. "Howl: Original Draft Facsimile, Transcript & Variant Versions, Fully Annotated by Author, with Contemporaneous Correspondence, Account of First Public Reading, Legal Skirmishes, Precursor Texts & Bibliography." Ed. Barry Miles. Harper Perennial, 1995. {{ISBN|0-06-092611-2}}. pg. 184.</ref> along with Apollinaire's "Zone",<ref>Ginsberg, pg. 180</ref>  García Lorca's "Ode to Walt Whitman",<ref>pg. 185.</ref> and Schwitters' "Priimiititiii".<ref>Ginsberg, pg. 182.</ref> The structure of Breton's "Free Union" had a significant influence on Ginsberg's "Kaddish".<ref>Miles, pg. 233.</ref>  In Paris, Ginsberg and Corso met their heroes Tristan Tzara, Marcel Duchamp, Man Ray, and Benjamin Péret, and to show their admiration Ginsberg kissed Duchamp's feet and Corso cut off Duchamp's tie.<ref>Miles, pg. 242.</ref>

[[William S. Burroughs]], a core member of the Beat Generation and a postmodern novelist, developed the [[cut-up technique]] with former surrealist [[Brion Gysin]]—in which chance is used to dictate the composition of a text from words cut out of other sources—referring to it as the "Surrealist Lark" and recognizing its debt to the techniques of Tristan Tzara.<ref>William S. Burroughs, James Grauerholz, Ira Silverberg. ''Word Virus: The William S. Burroughs Reader''.Grove Press, 2000. 080213694X, 9780802136947. pg. 119, 254.</ref>

Postmodern novelist [[Thomas Pynchon]], who was also influenced by Beat fiction, experimented since the 1960s with the surrealist idea of startling juxtapositions; commenting on the "necessity of managing this procedure with some degree of care and skill", he added that "any old combination of details will not do. Spike Jones Jr., whose father's orchestral recordings had a deep and indelible effect on me as a child, said once in an interview, 'One of the things that people don't realize about Dad's kind of music is, when you replace a C-sharp with a gunshot, it has to be a C-sharp gunshot or it sounds awful.'"<ref name="PynchonSurralism">[[Thomas Pynchon]] (1984) ''[[Slow Learner]]'', p.20</ref>

Many other postmodern fiction writers have been directly influenced by Surrealism.  [[Paul Auster]], for example, has translated Surrealist poetry and said the Surrealists were "a real discovery" for him.<ref>Paul Auster. ''Collected prose: autobiographical writings, true stories, critical essays, prefaces and collaborations with artists''. Macmillan, 2005 {{ISBN|0-312-42468-X}}, 9780312424688. pg. 457.</ref>  [[Salman Rushdie]], when called a Magical Realist, said he saw his work instead "allied to surrealism".<ref>Catherine Cundy. ''Salman Rushdie''. Manchester University Press ND, 1996.{{ISBN|0-7190-4409-X}}, 9780719044090. pg. 98.</ref><ref>Salman Rushdie, Michael Reder. ''Conversations with Salman Rushdie''. Univ. Press of Mississippi, 2000. {{ISBN|1-57806-185-7}}, {{ISBN|978-1-57806-185-3}}. pg. 111, 150</ref> [[David Lynch]] regarded as a surrealist filmmaker being quoted, "David Lynch has once again risen to the spotlight as a champion of surrealism,"<ref>{{Cite web|url=http://facets.org/blog/exclusive/watch/essays/david-lynch-and-surrealism-deconstruction-of-the-lynchian-label/|title=David Lynch and Surrealism: Deconstruction of the 'Lynchian' Label|date=2017-09-02|website=Facets Features|language=en-US|access-date=2020-03-22|archive-date=2020-03-22|archive-url=https://web.archive.org/web/20200322230627/http://facets.org/blog/exclusive/watch/essays/david-lynch-and-surrealism-deconstruction-of-the-lynchian-label/|url-status=dead}}</ref> in regard to his show ''[[Twin Peaks]]''. For the work of other postmodernists, such as [[Donald Barthelme]]<ref>[[Philip Nel]]. ''The Avant-Garde and American Postmodernity: Small Incisive Shocks''. Univ. Press of Mississippi, 2009. 1604732520, 9781604732528. pg. 73–74.</ref> and [[Robert Coover]],<ref>Brian Evenson. ''Understanding Robert Coover''. Univ of South Carolina Press, 2003. {{ISBN|1-57003-482-6}}, {{ISBN|978-1-57003-482-4}}. pg. 4</ref> a broad comparison to Surrealism is common.

[[Magic realism]], a popular technique among novelists of the latter half of the 20th century especially among Latin American writers, has some obvious similarities to Surrealism with its juxtaposition of the normal and the dream-like, as in the work of [[Gabriel García Márquez]].<ref>McMurray, George R. "Gabriel García Márquez." Gabriel García Márquez. Ungar, 1977. Rpt. in ''Contemporary Literary Criticism''. Ed. Jean C. Stine and Bridget Broderick. Vol. 27. Detroit: Gale Research, 1984. Literature Resources from Gale. Web. 2 September 2010.</ref>  [[Carlos Fuentes]] was inspired by the revolutionary voice in Surrealist poetry and points to inspiration Breton and Artaud found in Fuentes' homeland, Mexico.<ref>Maarten van Delden. ''Carlos Fuentes, Mexico, and Modernity''. Vanderbilt University Press, 1999.{{ISBN|0-8265-1345-X}}, 9780826513458. pg. 55, 90.</ref>  Though Surrealism was a direct influence on Magic Realism in its early stages, many Magic Realist writers and critics, such as Amaryll Chanady<ref>Maggie Ann Bowers. ''Magic(al) realism''. Routledge, 2004. {{ISBN|0-415-26853-2}}, {{ISBN|978-0-415-26853-0}}. pg. 23–25.</ref> and S. P. Ganguly,<ref>Shannin Schroeder. Rediscovering magical realism in the Americas. Greenwood Publishing Group, 2004. {{ISBN|0-275-98049-9}}, {{ISBN|978-0-275-98049-8}}. pg. 7.</ref> while acknowledging the similarities, cite the many differences obscured by the direct comparison of Magic Realism and Surrealism such as an interest in psychology and the artefacts of European culture they claim is not present in Magic Realism.  A prominent example of a Magic Realist writer who points to Surrealism as an early influence is [[Alejo Carpentier]] who also later criticized Surrealism's delineation between real and unreal as not representing the true South American experience.<ref>Navarro, Gabriel. ''Musica y escrita en Alejo Carpentier'' Alicante: Universidad de Alicante. 1999. {{ISBN|84-7908-476-6}}. pg. 62</ref><ref>Emory Elliott, Cathy N. Davidson. ''The Columbia history of the American novel''. Columbia University Press, 1991. {{ISBN|0-231-07360-7}}, {{ISBN|978-0-231-07360-8}}. pg. 524.</ref>

===Surrealist groups===
{{see also|Category:Surrealist groups}}

Surrealist individuals and groups have carried on with Surrealism after the death of André Breton in 1966. The original Paris Surrealist Group was disbanded by member Jean Schuster in 1969, but another Parisian surrealist group was later formed. The current Surrealist Group of Paris has recently published the first issue of their new journal, ''Alcheringa''. The Group of Czech-Slovak Surrealists never disbanded, and continue to publish their journal ''Analogon'', which now spans almost 100 volumes.

===Surrealism and the theatre===
Surrealist theatre and Artaud's "Theatre of Cruelty" were inspirational to many within the group of playwrights that the critic Martin Esslin called the "[[Theatre of the Absurd]]" (in his 1963 book of the same name). Though not an organized movement, Esslin grouped these playwrights together based on some similarities of theme and technique; Esslin argues that these similarities may be traced to an influence from the Surrealists. [[Eugène Ionesco]] in particular was fond of Surrealism, claiming at one point that Breton was one of the most important thinkers in history.<ref>Eugène Ionesco. ''Present past, past present: a personal memoir''. Da Capo Press, 1998. {{ISBN|0-306-80835-8}}. pg. 148.</ref><ref>Rosette C. Lamont. Ionesco's imperatives: the politics of culture. University of Michigan Press, 1993. {{ISBN|0-472-10310-5}}. pg. 41–42</ref> [[Samuel Beckett]] was also fond of Surrealists, even translating much of the poetry into English.<ref>James Knowlson. ''Damned to Fame: The Life of Samuel Beckett''. London. Bloomsbury Publishing, 1997. {{ISBN|0-7475-3169-2}}., pg. 65</ref><ref>Daniel Albright. ''Beckett and aesthetics''. Cambridge University Press, 2003. {{ISBN|0-521-82908-9}}. pg. 10</ref> Other notable playwrights whom Esslin groups under the term, for example [[Arthur Adamov]] and [[Fernando Arrabal]], were at some point members of the Surrealist group.<ref>{{cite book|last=Esslin|page= 89|url=https://books.google.com/books?id=eKOrGfbC624C&pg=PA89|title = The Theatre of the Absurd|date= 6 January 2004|publisher= Knopf Doubleday Publishing|isbn= 9781400075232}}</ref><ref>Justin Wintle. ''Makers of modern culture''. Routledge, 2002. {{ISBN|0-415-26583-5}}. pg. 3</ref><ref>C. D. Innes. ''Avant garde theatre, 1892–1992''.Routledge, 1993. {{ISBN|0-415-06518-6}}. pg. 118.</ref>

Alice Farley is an American-born artist who became active during the 1970s in San Francisco after training in dance at the California Institute of the Arts.<ref name=":0">{{Cite book|title=Surrealist Women: An International Anthology|last=Rosemont|first=Penelope|publisher=University of Texas|year=1998|isbn=978-0-292-77088-1|location=Austin, Texas|pages=[https://archive.org/details/surrealistwomeni00rose/page/208 208, 292, 356–358, 383, 438, 439]|url=https://archive.org/details/surrealistwomeni00rose/page/208}}</ref> Farley uses vivid and elaborate costuming that she describes as "the vehicles of transformation capable of making a character's thoughts visible".<ref name=":0" /> Often collaborating with musicians such as [[Henry Threadgill]], Farley explores the role of improvisation in dance, bringing in an automatic aspect to the productions.<ref>{{Cite journal|last1=Farley|first1=Alice|last2=Threadgill|first2=Henry|last3=Field|first3=Thalia|last4=Morrow|first4=Bradford|date=1997|title=Erotec [the human life of machines]: An Interview with Alice Farley and Henry Threadgill|journal=Conjunctions|issue=28|pages=229–240|issn=0278-2324|jstor=24515633}}</ref> Farley has performed in a number of surrealist collaborations including the [[World Surrealist Exhibition]] in Chicago in 1976.<ref name=":0" /><ref>{{Cite journal |last=Susik |first=Abigail |date=2021-12-08 |title='Always for Pleasure': Chicago Surrealism and Fashion, An Interview with Penelope Rosemont |url=https://jsa-asu.org/index.php/JSA/article/view/228 |journal=Journal of Surrealism and the Americas |language=en |volume=12 |issue=1 |pages=78–92 |issn=2326-0459}}</ref>