Kurtz Schwitters in his Labyrinth

Abstract

The aim of this text is to analyze Kurt Schwitters' URSONATE, within the MERZ project, which was the framework that contained the artistic work and the life-long project of its author. This project arises from crossed influences: from music, from the forms of production of the avant-garde, from the predominant aesthetics, from his creative environment, building a frame that will be developed to think the sound poem as a scenic form, in the hypothetical MERZ scenario. For this purpose, we will propose to think the work within the canon of scenic production in the period of the so-called historical avant-garde. In this work we will dwell on the Merz devices, on the collage - as a procedure - that determined Schwritter's artistic invoice and, of course, the URSONATE, his textual and poetic project, which ranges from the poetry of Ana Blume to avant-garde poetry.