continued to draw attention on itself by hoaxes and false advertising, announcing that the Hollywood film star Charlie Chaplin was going to appear on stage at its show, or that its members were going to have their heads shaved or their hair cut off on stage. In another instance, Tzara and his associates lectured at the Université populaire in front of industrial workers, who were reportedly less than impressed. Richter believes that, ideologically, Tzara was still in tribute to Picabia's nihilistic and anarchic views (which made the Dadaists attack all political and cultural ideologies), but that this also implied a measure of sympathy for the working class. Dada activities in Paris culminated in the March 1920 variety show at the Théâtre de l'Œuvre, which featured readings from Breton, Picabia, Dermée and Tzara's earlier work, La Première aventure céleste de M. Antipyrine ("The First Heavenly Adventure of Mr. Antipyrine"). Tzara's melody, Vaseline symphonique ("Symphonic Vaseline"), which required ten or twenty people to shout "cra" and "cri" on a rising scale, was also performed. A scandal erupted when Breton read Picabia's Manifeste cannibale ("Cannibal Manifesto"), lashing out at the audience and mocking them, to which they answered by aiming rotten fruit at the stage. The Dada phenomenon was only noticed in Romania beginning in 1920, and its overall reception was negative. Traditionalist historian Nicolae Iorga, Symbolist promoter Ovid Densusianu, the more reserved modernists Camil Petrescu and Benjamin Fondane all refused to accept it as a valid artistic manifestation. Although he rallied with tradition, Vinea defended the subversive current in front of more serious criticism, and rejected the widespread rumor that Tzara had acted as an agent of influence for the Central Powers during the war. Eugen Lovinescu, editor of Sburătorul and one of Vinea's rivals on the modernist scene, acknowledged the influence exercised by Tzara on the younger avant-garde authors, but analyzed his work only briefly, using as an example one of his pre-Dada poems, and depicting him as an advocate of literary "extremism". Dada stagnation By 1921, Tzara had become involved in conflicts with other figures in the movement, whom he claimed had parted with the spirit of Dada. He was targeted by the Berlin-based Dadaists, in particular by Huelsenbeck and Serner, the former of whom was also involved in a conflict with Raoul Hausmann over leadership status. According to Richter, tensions between Breton and Tzara had surfaced in 1920, when