I’m working on a translation of this Dada poem for the upcoming translation symposium. Here are the plans as they stand. If I can get footage of the live translation, I will. Yesterday I dragged a lot of stuff around for a couple hours.
Original Texts by Dadaists and Scholars
I am committed to envisioning and utilizing translation theory towards the progressive generation of innovative forms and itineraries, in considering the “lost in translation” as generative rather than reductive, realizing concepts of foreignization and transgression to combat unifying perspective of otherness and evading the monocularity of authorship. Nevertheless, especially because it is a translation of a translation (that is to say, very crudely that my source-text exists as an already translated animal), and I have no knowledge of German, have contacted Jean Boase-Beier, and hope that fruit is born from our exchange.
In the initial steps of my translation, I dissected the micro-poem, drawing each described image and cataloging each action, and then using those fragments to construct the whole bodies of three puppets (a crocodile hairdresser, a walking-stick, and a super-marshmallow), guided by the title of the poem, out of the constitutive pieces of images, and then enacting the actions described from the perspective of the puppets. All of this below a painted sign for the “Dadadadadadada Vocab Lexicon: public theater company” – my corporate self. Since the translation was ‘originally’ composed by three authors, I have translated it into three languages and three modalities: English, Spanish, and Russian – Performance, Powerpoint, and (non-)Line. 
I included actual text in the translation both to evoke a multilingual paradigm of interdisciplinary expression and to hark back to the first form of this story. The words or phrases whose connotation I could not unravel through research (e.g. lagladdest, 4 eugens) I translated into Cyrillic-scripted spanish – doubly evasive and foreign – to hold up as stutters in the progression of the show. I decided to draw on the subplot near the end of the original as a double allegory – both a Marxist critique of chauvinistic or normative family structures and of patriarchal religion.
Considering translation as a language in itself, and a zone for personal artistic expression in a dialog and cultural filter that, like a voice distorter, presents a self in similar content but differing form, I did not hesitate to invoke my personal demons and dogmas.
To enact the retranslation as a generative locale, I came to the adjustments of Slobodan Miloševic’s blue box, and the Super-Marshmallow character (one of the trinity) from millosvitschs and suppermarshells. I have further placed misleading, fictitious footnotes throughout the piece, and am presenting it neither as a litany of associative nihilistic lists nor as a political manifesto. At the macroscopic, this work must be permanently but meaninglessly allusive, 3 or 4 pronged, preserve a false poetic meter, an assault against traditional orders and logics.