| Summary: | This article undertakes a chosen journey through the various avant-garde manifestations that flourished since the end of the 19th century to the 60s. The reasons for their emergence and the excesses of their creations constitute the axes of this essay. Starting from the fanciful imaginary of Alfred Jarry incarnated by King Ubu, we will arrive at the sarcasms of Boris Vian singing La Java des bombes atomiques, to end with the convulsive beauty of Paul Éluard. By proclaiming themselves as the defenders of anti-art, they reject reason and rely on the absurd. They are characterized by chaos and imperfection, which leads them to sometimes commit destructive acts of mythical works whose sacred value is rooted in popular opinion. In turn, they advocate non-signification and contradiction as the guiding principles of their creation. Consistent with their aspirations for total independence and in whatever fields, including politics, they experience absolute creation freedom. Provocation, transgression, and subversion animate these texts eager to open new poetic horizons of writing and reading. From a double approach, theoretical and critical, we will try to forge a renewed vision of this disconcerting creation through contemporary expectations.
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