Editing Dada (section)

===Paris===
[[File:Man Ray, Rencontre dans la porte tournante.jpg|thumb|upright|[[Man Ray]], c. 1921–22, ''Rencontre dans la porte tournante'', published on the cover of ''[[Der Sturm]]'', Volume 13, Number 3, 5 March 1922]]
[[File:Man Ray, Dessin.jpg|thumb|upright|Man Ray, c. 1921–22, ''Dessin'' (''Drawing''), published on page 43 of ''Der Sturm'', Volume 13, Number 3, 5 March 1922]]

The French [[avant-garde]] kept abreast of Dada activities in Zürich with regular communications from [[Tristan Tzara]] (whose pseudonym means "sad in country," a name chosen to protest the treatment of Jews in his native Romania), who exchanged letters, poems, and magazines with [[Guillaume Apollinaire]], [[André Breton]], [[Max Jacob]], [[Clément Pansaers]], and other French writers, critics and artists.

Paris had arguably been the classical music capital of the world since the advent of musical Impressionism in the late 19th century. One of its practitioners, [[Erik Satie]], collaborated with [[Picasso]] and [[Cocteau]] in a mad, scandalous ballet called ''[[Parade (ballet)|Parade]]''. First performed by the [[Ballets Russes]] in 1917, it succeeded in creating a scandal but in a different way than Stravinsky's ''[[Le Sacre du printemps]]'' had done almost five years earlier. This was a ballet that was clearly parodying itself, something traditional ballet patrons would obviously have serious issues with.

Dada in Paris surged in 1920 when many of the originators converged there. Inspired by Tzara, Paris Dada soon issued manifestos, organized demonstrations, staged performances and produced a number of journals (the final two editions of ''Dada'', ''Le Cannibale'', and ''Littérature'' featured Dada in several editions.)<ref>Marc Dachy, {{lang|fr|Dada : La révolte de l'art}}, Paris, Gallimard / Centre Pompidou, collection "[[Découvertes Gallimard]]" (nº 476), 2005.</ref>

The first introduction of Dada artwork to the Parisian public was at the ''[[Salon des Indépendants]]'' in 1921. [[Jean Crotti]] exhibited works associated with Dada including a work entitled, ''Explicatif'' bearing the word ''Tabu''. In the same year Tzara staged his Dadaist play ''[[The Gas Heart]]'' to howls of derision from the audience. When it was re-staged in 1923 in a more professional production, the play provoked a theatre riot (initiated by [[André Breton]]) that heralded the split within the movement that was to produce [[Surrealism]]. Tzara's last attempt at a Dadaist drama was his "[[ironic]] [[tragedy]]" ''[[Handkerchief of Clouds]]'' in 1924.