Surrealism: ' I believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a surreality, if one may so speak ' (Andre Breton). Discuss this statement in relation to at

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Surrealism is originally a French movement started in the 1920s gathering artists and writers all led by a will to deeply move the artistic world according to their innovative thoughts. Its name embodies novelty since the term 'surrealist' had been used for the first time in 1917 by Apollinaire, more precisely at the first representation of Les Mamelles de Tirésias. Surrealism occurs in a tormented period of post war, industrial revolution, urbanization and emergence of capitalism, and defines itself in reaction to this new context. The traditional view of the human beings has already been destroyed by Dada, it belongs then to the Surrealists, to create a new meaning for life and the society. But when it comes to figure out patterns, common ideology and aim of the group, things get immediately more complicated. Indeed, although the group's claims were artistic liberty and marginality, manifestos have been paradoxically numerous to define what Surrealism is and especially where it wants to go. André Breton, leader of French surrealism, stated it primarily as the research of surreality (essay quotation) in his first Manifesto, a concept which will be here discussed in relation to several surrealist works, particularly 'Paris Peasant' by Aragon and Nadja by Breton. Indeed, this combination of dream and reality that is affirmed to be the ultimate goal of surrealist creation is seriously questionable in later surrealists works. Is this state possible with a perfect adequacy between both components, or is one fundamentally preponderant in surrealism? Is surreality achieved in any way through the multiple supports and forms of the surrealist creation?

Extraits

[...] The character of Nadja is the perfect example of how the world of dream and fantastic can interfere with the prosaic reality until overwhelming it. During the entire book, the reader wonders if she possesses magical powers or if she is just a manipulator with paranoiac or schizophrenic tendencies. Nevertheless, Breton praises this ability to be close to her deeper feelings and desires and to behave “par-dessus les décombres fumeux de la vieille pensée et de la sempiternelle vie.”[15] Indeed, what first characterizes people with mental disease are their overdeveloped imagination and their open- mindedness for what would seem incoherent to ‘normal people'. [...]

[...] Indeed, we know exactly when the book has been written, so when the story occurs since it is a kind of autobiographical narrative: everything takes place and is simultaneously written down between August and December of 1927.[20] More, considering Breton's despise for descriptions the book is strangely full of details of Paris underlined by numerous pictures and references to events which allow us to situate the action in the time. The allusion to the representation of the play Détraquées'[21] or the partial diary shape[22] of the novel let not doubt about its real happening. [...]

[...] Indeed, this combination of dream and reality that is affirmed to be the ultimate goal of surrealist creation is seriously questionable in later surrealists' works. Is this state possible with a perfect adequacy between both components, or is one fundamentally preponderant in surrealism? Is surreality achieved in any way through the multiple supports and forms of surrealist creation? For a better understanding, it is necessary to link the surreality concept with the Surrealism through the Manifestos devoted to its definition Then, after analysing how important is dream in the surrealist creation compare it with the inevitable intrusion of reality in their works (III). [...]

[...] p.319 Preface Avis au lecteur written by André Breton for La Femme sans têtes, Max Ernst Le Surréalisme, Yvonne Duplessis p.22. The discreet art of Luis Bunuel A reading of his Films, Gwynne Edwards p.42 Ibid p.57-58 Le Surréalisme, Yvonne Duplessis p.73. [...]

[...] Then the surrealist's universe is marvellous, fantastic, there is no notion of normality anymore: previous artistic constraints are abolished and then the Surreality can appear. Actually it is to talk particularly of this importance of dream that Aragon will re-use the concept of Surreality: Il y a d'autres rapports que le réel que l'esprit peut saisir, et qui sont aussi premiers, comme le hasard, l'illusion, le fantastique, le rêve. Ces diverses espèces sont réunies et conciliées dans un genre qui est la Surréalité. [...]