Dada versus Futurism, A Comparison of Tone and Purpose

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[...] Under the belief of Futurism, cubism was overly intellectualized and too stagnant. (Richter) Futurism is cultivated through Marinetti's “Founding and Manifesto of Futurism” primarily for the shock value it provided. Furthermore the identification of reality as both dynamic and emotional is promoted through Marinetti's work. Several statements within the manifesto illustrate the nature of promotion, such as immense pride was buoying us up, because we felt ourselves alone at that hour, alone, awake, and on our feet, like proud beacons or forward sentries against an army of hostile stars glaring down at us from their celestial encampments.” (Marinetti) Tone comparison Dada insinuates a welcoming tone. [...]

[...] Dada versus Futurism, A Comparison of Tone and Purpose Accompanying great movements are differing points of view. The variances allow the rare chance for comparison among two essentially different movements. Tristan Tzara and Filippo Tommaso Marinetti provide the perfect example of the opportunity for comparison with their respective manifestos. Tzara's manifesto is reflective of the Dada practices, while Marinetti's manifesto represents the Futurist practices. Inspection of the “Dada Manifesto” and “Founding Manifesto of Futurism” reveal differences in both purpose and tone. [...]

[...] The battle is requested by promoting change, speed, and rejecting tradition. (Richter) Even the manner in which Marinetti's material was published promotes a challenging tone. The work was published in a French newspaper to challenge the avante- garde. (Richter) In review, the respective manifestos have unique tones and purposes. Tarza's purpose is more personal for both the audience and author. Meanwhile Marinetti's purpose is simply promotion of Futurism. This is further translated in the tone of each manifesto. Tarza provides a welcoming tone. [...]

[...] In comparison, Marinetti conveys a challenging tone that begs the reader to choose a side. Each work represents the respective practices effectively with two varying methods of transmitting the message. Works Cited Cardullo, Bert, and Robert Knopf. Theater of the Avant-Garde, 1890-1950: a critical anthology. Yale University Press Marinetti, Filippo Tommaso. "The futurist manifesto." Le Figaro 20 (1909): 39-44. Richter, Hans, and David Britt. Dada, Art and Anti-Art, World of Art. New York, NY: Thames and Hudson Tzara, Tristan. "Dada Manifesto 1918." trans. Ralph Manheim, in The Dada Painters and Poets 81 (1918). [...]