Parada Erika Satiego w perspektywie intermedialnej według teorii Wernera Wolfa

Parade by Erik Satie, Jean Cocteau, and Pablo Picasso created in 1917 was pro-laimed the first surrealistic ballet, the cubist manifesto and succès de scandale. The article aims to examine the intermedial relations between the media that constitute the oeuvre regarding Werner Wolf’s typology of intermediality. The context of the analysis is provided by avant-garde movements that emerged in arts at the turn of the 20th century and determined the phenomena occurring within particular media. As a result, in the transmedial dimension, the impact of metalepsis can be observed. It leads to the disturbance in the narrative structure arising from the assumptions in a ballet scenario.