Suzanne Perrottet. After Dada, After Dance
Cabaret Voltaire•Dec 19, 2025 — May 17, 2026
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Suzanne Perrottet (1889–1983) was one of the formative figures of the performing arts in Zurich and Switzerland in the twentieth century. As a dancer, musician, and pedagogue, she worked at crucial intersections of the avant-garde and connected legendary sites of activity: from rhythmic education with Émile Jaques-Dalcroze in Hellerau, through the life-reform movement on Monte Verità and the exchange there with Rudolf von Laban, to the establishment of an independent dance pedagogy in Zurich, as well as close ties to the Dada milieu.
After the incubation phase at the Cabaret Voltaire (February to June 1916), Perrottet performed as a pianist at the Zurich Dada soirées between July 1916 and April 1919 and is explicitly mentioned in the programs. Nevertheless, she has found just as little place in the movement’s historiography as dance within Dada as a whole. This is likely due both to sexist distortions in art historiography and to the ephemeral nature of performance art. Other…
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Suzanne Perrottet. After Dada, After Dance
Cabaret Voltaire•Dec 19, 2025 — May 17, 2026
Press Release
Suzanne Perrottet (1889–1983) was one of the formative figures of the performing arts in Zurich and Switzerland in the twentieth century. As a dancer, musician, and pedagogue, she worked at crucial intersections of the avant-garde and connected legendary sites of activity: from rhythmic education with Émile Jaques-Dalcroze in Hellerau, through the life-reform movement on Monte Verità and the exchange there with Rudolf von Laban, to the establishment of an independent dance pedagogy in Zurich, as well as close ties to the Dada milieu.
After the incubation phase at the Cabaret Voltaire (February to June 1916), Perrottet performed as a pianist at the Zurich Dada soirées between July 1916 and April 1919 and is explicitly mentioned in the programs. Nevertheless, she has found just as little place in the movement’s historiography as dance within Dada as a whole. This is likely due both to sexist distortions in art historiography and to the ephemeral nature of performance art. Other…
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