Editing Tristan Tzara (section)

===End of World War I===
The shows Tzara staged in Zürich often turned into scandals or riots, and he was in permanent conflict with the [[Law enforcement in Switzerland|Swiss law enforcers]].<ref>Cernat, pg. 115; Richter, pp. 16, 19, 39.</ref> Hans Richter speaks of a "pleasure of letting fly at the [[Bourgeoisie|bourgeois]], which in Tristan Tzara took the form of coldly (or hotly) calculated insolence" (''see [[Épater la bourgeoisie]]'').<ref>Richter, pg. 24</ref> In one instance, as part of a series of events in which Dadaists mocked established authors, Tzara and Arp falsely publicized that they were going to fight a [[duel]] in Rehalp, near Zürich, and that they were going to have the popular novelist [[Jakob Christoph Heer]] for their witness.<ref>Richter, pp. 66-67</ref> Richter also reports that his Romanian colleague profited from Swiss neutrality to play the [[Allies of World War I|Allies]] and [[Central Powers]] against each other, obtaining art works and funds from both, making use of their need to stimulate their respective [[propaganda]] efforts.<ref>Richter, pp. 47-48.</ref> While active as a promoter, Tzara also published his first volume of collected poetry, the 1918 ''Vingt-cinq poèmes'' ("Twenty-five Poems").<ref name="rcard530">Cardinal, pg. 530</ref>

A major event took place in autumn 1918, when [[Francis Picabia]], who was then publisher of ''[[391 (magazine)|391]]'' magazine and a distant Dada affiliate, visited Zürich and introduced his colleagues there to his [[Nihilism|nihilistic]] views on art and reason.<ref>Richter, pp. 70-74.</ref> In the [[United States]], Picabia, [[Man Ray]] and [[Marcel Duchamp]] had earlier set up their own version of Dada. This circle, based in New York City, sought affiliation with Tzara's only in 1921, when they jokingly asked him to grant them permission to use "Dada" as their own name (to which Tzara replied: "Dada belongs to everybody").<ref>Hofman, pg. 12</ref> The visit was credited by Richter with boosting the Romanian author's status, but also with making Tzara himself "switch suddenly from a position of balance between art and [[anti-art]] into the [[Stratosphere|stratospheric]] regions of pure and joyful nothingness."<ref>Richter, pg. 71</ref> The movement subsequently organized its last major Swiss show, held at the Saal zur Kaufleutern, with choreography by [[Susanne Perrottet]], [[Sophie Taeuber-Arp]], and with the participation of [[Käthe Wulff]], [[Hans Heusser]], Tzara, Hans Richter and [[Walter Serner]].<ref>Richter, pp. 74-78.</ref> It was there that Serner read from his 1918 essay, whose very title advocated ''Letzte Lockerung'' ("Final Dissolution"): this part is believed to have caused the subsequent mêlée, during which the public attacked the performers and succeeded in interrupting, but not canceling, the show.<ref>Richter, pp. 78-80.</ref>

Following the November 1918 [[Armistice with Germany (Compiègne)|Armistice with Germany]], Dada's evolution was marked by political developments. In October 1919, Tzara, Arp and [[Otto Flake]] began publishing ''[[Der Zeltweg]]'', a journal aimed at further popularizing Dada in a post-war world were the borders were again accessible.<ref name="Richter, p.80">Richter, pg. 80.</ref> Richter, who admits that the magazine was "rather tame", also notes that Tzara and his colleagues were dealing with the impact of [[communist revolution]]s, in particular the [[October Revolution]] and the [[German Revolution of 1918–1919|German revolts of 1918]], which "had stirred men's minds, divided men's interests and diverted energies in the direction of political change."<ref name="Richter, p.80"/> The same commentator, however, dismisses those accounts which, he believes, led readers to believe that ''Der Zeltweg'' was "an association of revolutionary artists."<ref name="Richter, p.80"/> According to one account rendered by historian Robert Levy, Tzara shared company with a group of Romanian [[Communism|communist]] students, and, as such, may have met with [[Ana Pauker]], who was later one of the [[Romanian Communist Party]]'s most prominent activists.<ref>Robert Levy, ''Ana Pauker: The Rise and Fall of a Jewish Communist'', [[University of California Press]], Berkeley, pg. 37. {{ISBN|0-520-22395-0}}</ref>

Arp and Janco drifted away from the movement ca. 1919, when they created the [[Constructivism (art)|Constructivist]]-inspired workshop ''[[Das Neue Leben]]''.<ref name="pcern115">Cernat, pg. 115</ref> In Romania, Dada was awarded an ambiguous reception from Tzara's former associate Vinea. Although he was sympathetic to its goals, treasured Hugo Ball and Hennings and promised to adapt his own writings to its requirements, Vinea cautioned Tzara and the Jancos in favor of lucidity.<ref>Cernat, pp. 121-123, 181–183</ref> When Vinea submitted his poem ''Doleanțe'' ("Grievances") to be published by Tzara and his associates, he was turned down, an incident which critics attribute to a contrast between the reserved tone of the piece and the revolutionary tenets of Dada.<ref>Cernat, pp.123-124.</ref>