though it is also related to a theatrical form of cubism. Surrealist music In the 1920s several composers were influenced by Surrealism, or by individuals in the Surrealist movement. Among them were Bohuslav Martinů, André Souris, Erik Satie, Francis Poulenc, and Edgard Varèse, who stated that his work Arcana was drawn from a dream sequence. Souris in particular was associated with the movement: he had a long relationship with Magritte, and worked on Paul Nougé's publication Adieu Marie. Music by composers from across the twentieth century have been associated with surrealist principles, including Pierre Boulez, György Ligeti, Mauricio Kagel, Olivier Messiaen, and Thomas Adès. Germaine Tailleferre of the French group Les Six wrote several works which could be considered to be inspired by Surrealism, including the 1948 ballet Paris-Magie (scenario by Lise Deharme), the operas La Petite Sirène (book by Philippe Soupault) and Le Maître (book by Eugène Ionesco). Tailleferre also wrote popular songs to texts by Claude Marci, the wife of Henri Jeanson, whose portrait had been painted by Magritte in the 1930s. Even though Breton by 1946 responded rather negatively to the subject of music with his essay Silence is Golden, later Surrealists, such as Paul Garon, have been interested in—and found parallels to—Surrealism in the improvisation of jazz and the blues. Jazz and blues musicians have occasionally reciprocated this interest. For example, the 1976 World Surrealist Exhibition included performances by David "Honeyboy" Edwards. Surrealism and international politics Surrealism as a political force developed unevenly around the world: in some places more emphasis was on artistic practices, in other places on political practices, and in other places still, Surrealist praxis looked to supersede both the arts and politics. During the 1930s, the Surrealist idea spread from Europe to North America, South America (founding of the Mandrágora group in Chile in 1938), Central America, the Caribbean, and throughout Asia, as both an artistic idea and as an ideology of political change. Politically, Surrealism was Trotskyist, communist, or anarchist. The split from Dada has been characterised as a split between anarchists and communists, with the Surrealists as communist. Breton and his comrades supported Leon Trotsky and his International Left Opposition for a while, though there was an openness to anarchism that manifested more fully after World War II. Some Surrealists, such as Benjamin Péret, Mary Low, and Juan Breá, aligned with forms of left communism. When the Dutch surrealist photographer