Hugo Ball citáty (20 citátů) | Citáty slavných osobností

Hugo Ball: 20 citátů 1 lajk

Hugo Ball citáty a výroky

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„Válka [1. světová válka] je založena na zjevném omylu, kde lidé byli zaměněni za stroje.“

Hugo Ball

O válce , O lidech , O chybách

Hugo Ball: Citáty anglicky

“Our cabaret 'Cabaret Voltaire' is a gesture... Every word that is spoken and sung here says at least this one thing: that this humiliating age has not succeeded in winning our respect.”

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Hugo Ball

Ball's diary entry, 1916; as quoted in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 3
1916

“The war [World War 1. ] is founded on a glaring mistake, men have been confused with machines.”

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Hugo Ball

Quote from 'Life and Work', in Hugo Ball on Wikipedia
his remark after witnessing the invasion of Belgium by the German armies, in the start of World War 1. in 1914
before 1916

“How does one achieve eternal bliss? By saying dada. How does one become famous? By saying dada. With a noble gesture and delicate propriety. Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smacks of journalism, worms, everything nice and right, blinkered, moralistic, europeanised, enervated? By saying dada..”

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Hugo Ball

1916, Dada Manifesto (1916)

“zimzim urullala zimzim urullala zimzim zanzibar zimzalla zam
elifantolim brussala bulomen brussala bulomen tromtata
velo da bang band affalo purzamai affalo purzamai lengado tor
gadjama bimbalo glandridi glassala zingtata pimpalo ögrögöööö
viola laxato viola zimbrabim viola uli paluji malooo”

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Hugo Ball

1916, Gadji beri bimba (c. 1916)

“Each thing has its word, but the word has become a thing by itself. Why shouldn't I find it? Why can't a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness... The word, gentlemen, is a public concern of the first importance.”

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Hugo Ball

1916, Dada Manifesto (1916)

“In these phonetic poems we the Dadaist artists totally renounce the language that journalism has abused and corrupted. We must return to the innermost alchemy of the word, we must even give up the word too, to keep for poetry its last and holiest refuge.”

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Hugo Ball

as cited by Steve McCaffery, in The Darkness of the Present: Poetics, Anachronism, and the Anomaly; publ. Tuscaloosa: University of Alabama Press, 2012, p. 16
1916

“I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it. Dada Johann Fuchsgang Goethe. Dada Stendhal. Dada Dalai Lama, Buddha, Bible, and Nietzsche. Dada m'dada. Dada mhm dada da. It's a question of connections, and of loosening them up a bit to start with. I don't want words that other people have invented..”

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Hugo Ball

1916, Dada Manifesto (1916)

“I have invented [c. 1915-1916] a new series of verses, verses without words, or sound poems, in which the balancing of the vowels is gauged and distributed according to the value of the initial line... With these sound poems we should renounce language, devastated and made impossible by journalism. We should withdraw into the innermost alchemy of the word, and even surrender the word, thus conserving for poetry its most sacred domain. We should refuse to make poems second-hand; we should stop taking over words (not to mention sentences) which we did not invent entirely anew for our own use. We should no longer be content to achieve poetic effects which, in the final analysis, are but echoes of inspiration..”

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Hugo Ball

as quoted by Carol Rumens in her article 'Poem of the week: 'Gadji beri bimba' by Hugo Ball' https://www.theguardian.com/books/booksblog/2009/aug/31/hugo-ball-gadji-beri-bimba in 'The Guardian', Monday 31 August 2009
1916

“Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. It is terribly simple. In French it means 'hobby horse'. In German it means 'good-bye', 'Get off my back', 'Be seeing you sometime'. In Romanian: 'Yes, indeed, you are right, that's it. But of course, yes, definitely, right.”

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Hugo Ball

And so forth.
1916, Dada Manifesto (1916)

“It is true that for us art is not an end in itself, we have lost too many of our illusions for that. Art is for us an occasion for social criticism, and for real understanding of the age we live in... Dada was not a school of artists, but an alarm signal against declining values, routine and speculations, a desperate appeal, on behalf of all forms of art, for a creative basis on which to build a new and universal consciousness of art.”

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Hugo Ball

quoted by Richard Kostelanetz and Joseph Darby (eds.) in Classic Essays on Twentieth-Century Music; Schirmer, New York, 1996 ISBN 0028645812
after 1916

“I have examined myself carefully. I could never bid chaos welcome, blow up bridges, and do away with ideas. I am not an anarchist.”

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Hugo Ball

Ball's dairy on Dada, in Flucht aus der Zeit / Flight out of Time, 'Introduction'; University of California Press (1996)
1916

“It will serve to show how articulated language comes into being. I let the vowels fool around. I let the vowels quite simply occur, as a cat meows... Words emerge, shoulders of words, legs, arms, hands of words. Au, oi, uh. One shouldn't let too many words out. A line of poetry is a chance to get rid of all the filth that clings to this accursed language... Dada is the heart of words.”

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Hugo Ball

1916, Dada Manifesto (1916)

“We were all there when Janco arrived with his masks, and everyone immediately put one on. Then something strange happened. Not only did the mask immediately call for a costume; it also demanded a quite definite, passionate gesture, bordering on madness. Although we could not have imagined it five minutes earlier we were walking around with most bizarre movements, festooned and draped with impossible objects, each one of us trying to outdo the other in inventiveness... What fascinated us all about the masks is that they represent not human characters and passions, but.... passions that are larger than life. The horror of our time [World War 1., a. o. ], the paralyzing background of events, is made visible.”

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Hugo Ball

Ball's diary entry, 24 May 1916; as quoted in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 4
1916

“gadji beri bimba glandridi laula lonni cadori
gadjama gramma berida bimbala glandri galassassa laulitalomini
gadji beri bin blassa glassala laula lonni cadorsu sassala bim
gadjama tuffm i zimzalla binban gligla wowolimai bin beri ban
o katalominai rhinozerossola hopsamen laulitalomini hoooo
gadjama rhinozerossola hopsamen
bluku terullala blaulala loooo”

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Hugo Ball

1916, Gadji beri bimba (c. 1916)

“In 1916 at the 'Cabaret Voltaire', Ball presented six poems, which he described as 'Verse ohne Worte' (Poems without words) or 'Lautgedichte'(Sound poems); 'Gadji beri bimba' was one of them.”

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Hugo Ball

1916, Gadji beri bimba (c. 1916)

“That is the meaning of the coming of Christ.... that the word becomes flesh and man is saved from abstraction.”

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Hugo Ball

Quote of Ball in his Byzantinisches Christentum (Byzantine Christianity), 1923, p. 107; as quoted by Debbie Lewer in 'Papers of Surrealism Issue 6 Autumn 2007', p. 6, note 16
after 1916

“All these poets are ascetics, monks and priests. They despise the flesh and all ballast. This world holds no enchantment for them... Poetry for them is the ultimate expression of the essence of things and thus is hymn and worship. Their poetry is one of divine names, of mysterious seals, and of spiritual extracts.”

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Hugo Ball

Quote of Ball, 21 July 1920, in Flucht aus der Zeit, p. 266; as quoted by Debbie Lewer in 'Papers of Surrealism Issue 6 Autumn 2007', p. 15, note 15
while reading a book of mystic writers, Ball noted this remark
after 1916

“I am beginning to understand why renunciation has become sovereign in Germany, why an agony paralyses the spirits; why the few heads still living fall prey, partly to a fruitless aestheticism, partly to a fatal belief in evolution. Whether we will or not, we succumb to an overpowering system of profanation that is difficult to escape because there is barely any possibility of spiritual and material existence outside of it.”

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Hugo Ball

Quote of Ball, 28 April 1918, in Flucht aus der Zeit', p. 219, note 42; as quoted by Debbie Lewer in 'Papers of Surrealism Issue 6 Autumn 2007', p. 12
after 1916

“It is a mistake to believe in my presence... If I take a seat at a party, I can see, even from afar, that only a ghost is sitting there.”

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Hugo Ball

Quote from his text 'Flucht aus der Zeit', September 1915, p. 44; as quoted by Debbie Lewer in 'Papers of Surrealism Issue 6 Autumn 2007', p. 10
It was in 1915, shortly before Hugo Ball left Berlin for Zurich
before 1916