Surrealism, Screen and Stage
Art in the 1920s and the 1930s
This book offers a new look at surrealist artistic practice in the 1920s and 1930s through the key concepts of "screen" and "stage." The 1920s are marked by a screen that reflects the centrality of cinema both as an image and as a real presence in the surrealist experience, and expresses how "cinema thinking" - the result of the impact of the experience of watching the films themselves - seeps into the heart of surrealist aesthetics and thought.
In the work of artists such as Max Ernst, Joan Miró and Andre Masson, the screen serves as a central element in the metaphorical expressions of the inner reality of the psyche and the processes that take place in it. The concept of "screen" is also central to the definition of the cinematic work "Dream-like work", appearing in the works of Man Ray, Antonin Arto, Luis Buñuel and Salvador Dali.