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Erik Satie was involved in during his lifetime was whether or not he was a precursor of Claude Debussy, but many would follow. Over the years, Satie would be described as a precursor of movements and styles as varied as Impressionism, Neo-Classicism, Dada, Surrealism, Atonalism, Minimalism, Conceptual Art, the Theatre of the Absurd, ambient music and multimedia art. As taking the first steps towards techniques such as prepared piano and music-to-film synchronisation, Satie became one of the first musicians to perform a cameo appearance in the 1924 film, Entr'acte, by the French filmmaker René Clair.
Satie appears to have been the avant-garde to half of the avant-garde movements of the 20th century. He was in contact with Tristan Tzara, the initiator of the Dada movement. He got to know the other Dadaists, such as Francis Picabia (later to become a Surrealist), André Derain, Marcel Duchamp and Man Ray.
Satie contributed to the Dadaist publication 391. In the first months of 1922, he was surprised to find himself entangled in the argument between Tzara and André Breton. It was about the true nature of avant-garde art, epitomised by the Congrès de Paris failure. Satie originally sides with Tzara, but manages to maintain friendly relations with most players in both camps.
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