Editing Tristan Tzara (section)

===Influence===
Beside the many authors who were attracted into Dada through his promotional activities, Tzara was able to influence successive generations of writers. This was the case in his homeland during 1928, when the first avant-garde manifesto issued by ''[[unu]]''<!-- sic --> magazine, written by [[Sașa Pană]] and [[Moldov]], cited as its mentors Tzara, writers Breton, Ribemont-Dessaignes, Vinea, [[Filippo Tommaso Marinetti]], and [[Tudor Arghezi]], as well as artists [[Constantin Brâncuși]] and [[Theo van Doesburg]].<ref>Călinescu, p.889</ref> One of the Romanian writers to claim inspiration from Tzara was [[Jacques G. Costin]], who nevertheless offered an equally good reception to both Dadaism and [[Futurism]],<ref>Cernat, p.174, 193, 409</ref> while [[Ilarie Voronca]]'s ''Zodiac'' cycle, first published in France, is traditionally seen as indebted to ''The Approximate Man''.<ref>Cernat, p.328</ref> The [[Kabbalah|Kabbalist]] and Surrealist author [[Mihail (Marcel) Avramescu|Marcel Avramescu]], who wrote during the 1930s, also appears to have been directly inspired by Tzara's views on art.<ref name="ipuranus"/> Other authors from that generation to have been inspired by Tzara were [[Poland|Polish]] Futurist writer [[Bruno Jasieński]],<ref>Nina Kolesnikoff, ''Bruno Jasieński: His Evolution from Futurism to Socialist Realism'', [[Wilfrid Laurier University Press]], Waterloo, 1982, p.15. {{ISBN|0-88920-110-2}}</ref> [[Japan]]ese poet and [[Zen]] thinker [[Takahashi Shinkichi]],<ref>[[Makoto Ueda (poetry critic)|Makoto Ueda]], ''Modern Japanese Poets and the Nature of Literature'', [[Stanford University Press]], Palo Alto, 1983, p.335-336. {{ISBN|0-8047-1166-6}}</ref> and [[Chile]]an poet and Dadaist sympathizer [[Vicente Huidobro]], who cited him as a precursor for his own ''[[Creacionismo]]''.<ref>{{in lang|es}} [[Vicente Huidobro]], [http://www.vicentehuidobro.uchile.cl/manifiesto1.htm ''El Creacionismo''], at the [[University of Chile]] [http://www.vicentehuidobro.uchile.cl/ Vicente Huidobro site]; retrieved 4 May 2008</ref>

An immediate precursor of [[Theater of the Absurd|Absurdism]], he was acknowledged as a mentor by [[Eugène Ionesco]], who developed on his principles for his early essays of literary and social criticism, as well as in tragic farces such as ''[[The Bald Soprano]]''.<ref>Rosette C. Lamont, ''Ionesco's Imperatives: The Politics of Culture'', [[University of Michigan Press]], Ann Arbor, 1993, p.4. {{ISBN|0-472-10310-5}}</ref> Tzara's poetry influenced [[Samuel Beckett]] (who translated some of it into English);<ref name="dbgodot"/> the Irish author's 1972 play ''[[Not I]]'' shares some elements with ''[[The Gas Heart]]''.<ref>Brater, p.25-26</ref> In the United States, the Romanian author is cited as an influence on [[Beat Generation]] members. Beat writer [[Allen Ginsberg]], who made his acquaintance in Paris, cites him among the Europeans who influenced him and [[William S. Burroughs]].<ref>Josef Jařab, "When All Met Together in One Room: Josef Jařab Interviews Allen Ginsberg", in Heather Hathaway, Josef Jařab, Jeffrey Melnick (eds.), ''Race and the Modern Artist'', [[Oxford University Press]], New York, p.242-243. {{ISBN|0-19-512324-7}}</ref> The latter also mentioned Tzara's use of chance in writing poetry as an early example of what became the [[cut-up technique]], adopted by [[Brion Gysin]] and Burroughs himself.<ref name="rlword"/> Gysin, who conversed with Tzara in the late 1950s, records the latter's indignation that Beat poets were "going back over the ground we [Dadaists] covered in 1920", and accuses Tzara of having consumed his creative energies into becoming a "Communist Party bureaucrat".<ref name="nzgysin"/>

Among the late 20th-century writers who acknowledged Tzara as an inspiration are [[Jerome Rothenberg]],<ref name="camroth">Christine A. Meilick, ''Jerome Rothenberg's Experimental Poetry and Jewish Tradition'', [[Lehigh University Press]], Bethlehem, 2005, p.46-47, 85sqq. {{ISBN|0-934223-76-9}}</ref> [[Isidore Isou]] and [[Andrei Codrescu]]. The former [[Situationist International|Situationist]] Isou, whose experiments with sounds and poetry come in succession to Apollinaire and Dada,<ref name="mlsconcr"/> declared his [[Lettrism]] to be the last connection in the [[Charles Baudelaire]]-Tzara cycle, with the goal of arranging "a nothing [...] for the creation of the anecdote."<ref name="dwslettr"/> For a short period, Codrescu even adopted the pen name ''Tristan Tzara''.<ref name="amcodrescu"/><ref>Noemi Marin, "The Rhetoric of Andrei Codrescu: A Reading in Exilic Fragmentation", in Domnica Rădulescu (ed.), ''Realms of Exile: Nomadism, Diasporas, and Eastern European Voices'', Lexington Books, New York, p.102. {{ISBN|0-7391-0333-4}}</ref> He recalled the impact of having discovered Tzara's work in his youth, and credited him with being "the most important French poet after Rimbaud."<ref name="amcodrescu"/>

In retrospect, various authors describe Tzara's Dadaist shows and street performances as "[[happening]]s", with a word employed by post-Dadaists and Situationists, which was coined in the 1950s.<ref>Beitchman, p.44; Londré, p.397</ref> Some also credit Tzara with having provided an ideological source for the development of [[rock music]], including [[punk rock]], [[punk subculture]] and [[post-punk]].<ref name="amcodrescu"/><ref>Beitchman, p.36; Thomas McLaughlin, ''Street Smarts and Critical Theory: Listening to the Vernacular'', [[University of Wisconsin Press]], Madison, 1997, p.67. {{ISBN|0-299-15170-0}}</ref> Tristan Tzara has inspired the songwriting technique of [[Radiohead]],<ref>Joseph Tate, ''The Music and Art of Radiohead'', [[Ashgate Publishing]], London etc., 2005, p.195. {{ISBN|0-7546-3980-0}}</ref> and is one of the avant-garde authors whose voices were mixed by [[DJ Spooky]] on his [[trip hop]] album ''Rhythm Science''.<ref>Colin Buttimer, [https://www.bbc.co.uk/music/release/jx8c/ "DJ Spooky. ''Rhythm Science''. Review"], 20 November 2002, at [[BBC]] [https://www.bbc.co.uk/music/ /Music]; retrieved 23 April 2008</ref> Romanian [[contemporary classical music]]ian [[Cornel Țăranu]] set to music five of Tzara's poems, all of which date from the post-Dada period.<ref>{{in lang|ro}} Radu Constantinescu, [http://www.zf.ro/articol_99716/cornel_taranu__ii___m_au_inspirat_atat_tzara__cat_si_armatele_romane_din_secolul_al_ii_lea___.html "Cornel Țăranu (II): 'M-au inspirat atât Tzara, cât și armatele romane din secolul al II-lea...' "] {{webarchive|url=https://web.archive.org/web/20080512083911/http://www.zf.ro/articol_99716/cornel_taranu__ii___m_au_inspirat_atat_tzara__cat_si_armatele_romane_din_secolul_al_ii_lea___.html |date=12 May 2008 }}, in ''[[Ziarul Financiar]]'', 27 October 2006</ref> Țăranu, [[Anatol Vieru]] and ten other composers contributed to the album ''La Clé de l'horizon'', inspired by Tzara's work.<ref name="ocprofesor"/>