Tristan Tzara
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 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. 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, while Ilarie Voronca 's Zodiac cycle, first published in France, is traditionally seen as indebted to The Approximate Man. The Kabbalist and Surrealist author Marcel Avramescu, who wrote during the 1930s, also appears to have been directly inspired by Tzara's views on art. Other authors from that generation to have been inspired by Tzara were Polish Futurist writer Bruno Jasieński, Japanese poet and Zen thinker Takahashi Shinkichi, and Chilean poet and Dadaist sympathizer Vicente Huidobro, who cited him as a precursor for his own Creacionismo.

An immediate precursor of 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. Tzara's poetry influenced Samuel Beckett (who translated some of it into English); the Irish author's 1972 play Not I shares some elements with The Gas Heart. 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. 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. Gysin, who conversed with Tzara in the late 1950s, records the latter's indignation that Beat poets were "going back over the ground we covered in 1920", and accuses Tzara of having consumed his creative energies into becoming a "Communist Party bureaucrat".

Among the late 20th-century writers who acknowledged Tzara as an inspiration are Jerome Rothenberg, Isidore Isou and Andrei Codrescu. The former Situationist Isou, whose experiments with sounds and poetry come in succession to Apollinaire and Dada, 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." For a short period, Codrescu even adopted the pen name Tristan Tzara. 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."

In retrospect, various authors describe Tzara's Dadaist shows and street performances as " happenings ", with a word employed by post-Dadaists and Situationists, which was coined in the 1950s. Some also credit Tzara with having provided an ideological source for the development of rock music, including punk rock, punk subculture and post-punk. Tristan Tzara has inspired the songwriting technique of Radiohead, and is one of the avant-garde authors whose voices were mixed by DJ Spooky on his trip hop album Rhythm Science. Romanian contemporary classical musician Cornel Țăranu set to music five of Tzara's poems, all of which date from the post-Dada period. Țăranu, Anatol Vieru and ten other composers contributed to the album La Clé de l'horizon, inspired by Tzara's work.
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