One Hundred Years of Futurism

Description

More than one hundred years after Futurism exploded onto the European stage with its unique brand of art and literature, there is a need to reassess the whole movement, from its Italian roots to its international ramifications. In wide-ranging essays based on fresh research, the contributors to this collection examine both the original context and the cultural legacy of Futurism. Chapters touch on topics such as Futurism and Fascism, the geopolitics of Futurism, the Futurist woman, and translating Futurist texts. A large portion of the book is devoted to the practical aspects of performing Futurist theatrical ideas in the twenty-first century.

 

Contents

List of Illustrations

Notes on the Contributors

Acknowledgements

 

Introduction: Futurism, Anti-Futurism, and the Forgotten Century

John London

 

Aesthetics and Politics

Chapter 1: Geographies of Futurism: Mapping the First Avant-garde

Andreas Kramer

 

Chapter 2: Intersecting Planes: Futurism, Fascism, and Gramsci

James Martin

 

Chapter 3: Translating Futurism: Moving Possibilities

John London

 

Chapter 4: Twenty-First-Century Women Drivers – Futurism’s Unlikely

Successors: Gender Constructions, B-Movies, and Futurism

Ricarda Vidal

 

Performance

Forward is Forewarned: On Practitioners’ Perspectives

John London

 

Chapter 5: Staging Futurism: Time, Space, Place, Pace, and the Performance

of Futurist Sintesi

Gordon Ramsay

 

Chapter 6: Writing Futurist Drama in 2009: A Futurist Doll’s House

John London

 

Chapter 7: The Possibilities for Dance: Words, Images, and Sounds in Freedom

Rebecca Frecknall

 

Chapter 8: W−I−F + V−I−F = EF

Abi Weaver

 

Chapter 9: Depero and the Puzzle of Colours

Luke Allder

 

Chapter 10: Sound-singing Carlo Carrà

Lawrence Upton

 

Chapter 11: Recipe for a Futurist Dinner

Andrea Cusumano and Giuseppe Lomeo

 

Bibliography

Index

Sujets

• Social Science
• Performing Arts
• Sociologie, société et politique
• Theatre
• Performance art
• General officer
• Cultural studies
• General
• Performance
• ART

Informations

• Publié par: Intellect Books
• Date de parution: 01 janvier 2018
• Nombre de lectures: 0
• EAN13: 9781783208418
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

First published in the UK in 2017 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2017 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2017 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the
British Library.
Cover designer: Clare Lewis and Aleksandra Szumlas, from a design by     Ingryd London
Copy-editor: MPS Technologies
Production manager: Matthew Floyd
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-842-5
ePDF ISBN: 978-1-78320-840-1
ePUB ISBN: 978-1-78320-841-8
Printed and bound by TJ International Ltd
Contents
List of Illustrations
Notes on the Contributors
Acknowledgements
Introduction: Futurism, Anti-Futurism, and the Forgotten Century
John London
Aesthetics and Politics
Chapter 1: Geographies of Futurism: Mapping the First Avant-garde
Andreas Kramer
Chapter 2: Intersecting Planes: Futurism, Fascism, and Gramsci
James Martin
Chapter 3: Translating Futurism: Moving Possibilities
John London
Chapter 4: Twenty-First-Century Women Drivers – Futurism’s Unlikely147 Successors: Gender Constructions, B-Movies, and Futurism
Ricarda Vidal
Performance
Forward is Forewarned: On Practitioners’ Perspectives
John London
Chapter 5: Staging Futurism: Time, Space, Place, Pace, and the Performance of Futurist sintesi
Gordon Ramsay
Chapter 6: Writing Futurist Drama in 2009: A Futurist Doll’s House
John London
Chapter 7: The Possibilities for Dance: Words, Images, and Sounds in Freedom
Rebecca Frecknall
Chapter 8: W−I−F + V−I−F = EF
Abi Weaver
Chapter 9: Depero and the Puzzle of Colours
Luke Allder
Chapter 10: Sound-singing Carlo Carrà
Lawrence Upton
Chapter 11: Recipe for a Futurist Dinner
Andrea Cusumano and Giuseppe Lomeo
Bibliography
Index
List of Illustrations
The editor and contributors have made every effort to contact the copyright holders of these illustrations.
1. Giacomo Balla, Lampada ad arco ( Street Lamp ), oil on canvas, 174.7 × 114.7 cm, 1911. Museum of Modern Art, New York. © DACS 2017.
2. Christopher R. W. Nevinson, Searchlights , oil on canvas, 76.4 × 56 cm, 1916. Manchester Art Gallery, UK / Bridgeman Images.
3. Pablo Picasso, Guernica , oil on canvas, 349 × 776 cm, 1937. Museo Reina Sofía, Madrid. © Succession Picasso / DACS, London 2017.
4. Renato Giuseppe Bertelli, Profilo continuo (Testa di Mussolini) ( Continuous Profile [ Head of Mussolini ]), terracotta, 34 × 28 × 28 cm, 1933. Imperial War Museum, London.
5. F. T. Marinetti, Irredentismo ( Irredentism ), free-word poem, ink, pastel, and collage on paper, 21.8 × 27.8 cm, 1914. Private Collection.
6. F. T. Marinetti, Après la Marne, Joffre visita le front en auto ( After the Marne, Joffre Toured the Front by Car ), 26 × 23.2 cm, 1915. From: F. T. Marinetti, Les mots en liberté futuristes (Milan: Edizioni futuriste di Poesia , 1919), p. 99.
7. K. S. Malevich, Anglichanin v Moskve ( An Englishman in Moscow ), oil on canvas, 88 × 57 cm, 1914. Stedelijk Museum, Amsterdam.
8. Herwarth Walden, Einblick in Kunst: Expressionismus Futurismus Kubismus ( Insight into Art: Expressionism Futurism Cubism ) (Berlin: Verlag Der Sturm [1917]), 26.8 × 18.9 cm. Original cover, with woodcut by Jacoba van Heemskerck. With permission of the Deutsches Literaturarchiv Marbach.
9. Helen Saunders, Island of Laputa , 15.2 × 18.2 cm. From: BLAST: Review of the Great English Vortex , no. 2 (July 1915), 8.
10. Luigi Russolo, La rivolta ( The Revolt ), oil on canvas, 150.8 × 230.7 cm, 1911. Gemeentemuseum, The Hague.
11. Umberto Boccioni, Dinamismo di un ciclista ( Dynamism of a Cyclist ), oil on canvas, 70 × 95 cm, 1913. Mattioli Collection, Milan, on long-term loan to Peggy Guggenheim Collection, Venice.
12. Francesco Cangiullo, Piedigrotta: parole in libertà (Milan: Edizioni Futuriste di Poesia , 1916), 18.7 × 25.6 cm, facsimile repr. (Florence: Studio per Edizioni Scelte and Libreria Salimbeni, 1978). © DACS 2017.
13. Carlo Carrà, Manifestazione interventista (Festa patriottica-dipinto parolibero) ( Interventionist Demonstration [ Patriotic Holiday-Free-Word Painting ]), tempera, pen, mica powder, paper glued on cardboard, 38.5 × 30 cm, 1914. Mattioli Collection, Milan, on long-term loan to the Peggy Guggenheim Collection, Venice. © DACS 2017.
14. Francesco Cangiullo, Part 1, number 4 from Caffè concerto: alfabeto a sorpresa (1916), 25.5 × 18.5 cm. Source: Francesco Cangiullo, Caffè concerto: alfabeto a sorpresa (1916) facsimile repr., ed. by Luciano Caruso (Florence: Studio per Edizioni Scelte and Libreria Salimbeni, 1979), unpaginated. © DACS 2017.
15. Francesco Cangiullo, Monache (Lettere umanizzate) ( Nuns [ Humanized Letters ]). From: Regina , 14, no. 10 (1917). © DACS 2017.
16. After the Marne, Joffre Toured the Front by Car . Source: F. T. Marinetti, Selected Poems and Related Prose , ed. by Luce Marinetti, trans. by Elizabeth R. Napier and Barbara R. Studholme (New Haven, CT: Yale University Press, 2002), p. 119. © 2003 by Yale University.
17. Corrado Govoni, Autoritratto ( Self-Portrait ), ink on paper, 29 × 22.5 cm, 1915. Source: Corrado Govoni, Rarefazioni e parole in libertà (Milan: Edizioni Futuriste di Poesia , 1915), p. 9.
18. ימצע ןקויד. Source: 1925–1910: םירחא םינשדחו םיטסירוּטוּפ , ed. and trans. by Ariel Rathaus (Jerusalem: Carmel and Istituto Italiano di Cultura, 1991), p. 90. © Carmel, Jerusalem.
19. Pam (Rose McGowan) posing in front of Mike (Kurt Russell) in Death Proof , dir. by Quentin Tarantino(Troublemaker Studios, 2007).
20. Advertisement for the 1969 Dodge Charger. Source: < http://www.musclecarsforever.com/1968to1970ads.asp > [accessed 24 April 2017].
21. Abernathy ( Rosario Dawson ) with the Mustang in Death Proof , dir. by Quentin Tarantino (Troublemaker Studios, 2007).
22. Zoë (Zoë Bell) on the bonnet of the Challenger, in Death Proof , dir. by Quentin Tarantino (Troublemaker Studios, 2007).
23. A close-up of Mike sitting on top of the Charger watching the girls through his binoculars, in Death Proof , dir. by Quentin Tarantino (Troublemaker Studios, 2007).
24. The victory of the women at the end of Death Proof , dir. by Quentin Tarantino (Troublemaker Studios, 2007).
25. Magnus Irvin, L’assassinio dell’artista ( The Murder of the Artist ), with Paul Fool, Amersham Arms, London, 19 February 2009.
26. Bruno Corra and Emilio Settimelli, Traditionalism ( Passatismo ), performed at Loughborough University, 22 January 2009.
27. Francesco Cangiullo, Lights! ( Luce! ), performed at the University of Nottingham, 7 May 2009.
28. Angelo Rognoni, The Normal Man ( L’uomo normale ), performed at the University of Nottingham, 7 May 2009.
29. Luigi Russolo, Sintesi plastica dei movimenti di una donna ( Plastic Synthesis of a Woman’s Movements ), oil on canvas, 85 × 65 cm, 1912. Musée des Beaux Arts, Grenoble.
30. Alfredo Ambrosi, Il volo su Vienna ( Flight over Vienna ), oil on canvas, 151 × 192 cm, 1933. Palazzo del Quirinale, Rome.
31. F. T. Marinetti, Parole in libertà ( Bombardamento sola igiene ) ( Words-in-Freedom [ Bombing is the only Hygiene ]), ink and collage on paper, 31 × 42 cm, 1915. Fondazione Cassa di Risparmio, Bologna.
32. Members of the audience clutch programmes, while performers stop the traffic for the Futurist Parade in the street prior to the main events of Let’s Murder the Moonshine , Lewisham, London, 19 February 2009. Photograph: Julie Weaver.
33. Giacomo Balla, La mano del violinista ( The Hand of the Violinist ), oil on canvas, 56 × 78.3 cm, 1912. Estorick Collection, London, UK / Bridgeman Images. © DACS 2017.
34. The Futurist Orchestra performs Balla’s The Hand of the Violinist , Shunt Lounge, London, 2008.
35. The Futurist Orchestra performs Synthesis of Syntheses ( Sintesi delle sintesi ), by Guglielmo Jannelli and Luciano Nicastro, Amersham Arms, London, 19 February 2009. Photograph: Julie Weaver.
36. Disconcerted States of Mind ( Sconcertazione di stati d’animo ), by Giacomo Balla, performed by the Futurist Orchestra, The Vaults, Edinburgh, 2009. Photograph: Caoimhe Mader McGuinness.
37. Lawrence Upton sound-sings Carlo Carrà’s Ritmi plastici ( Plastic Rhythms ), Amersham Arms, London, 19 February 2009.
38. Mario Schifano, Futurismo rivisitato ( Futurism Revisited ), acrylic on canvas, covered by coloured Perspex, 170 × 300 cm, 1965. Private Collection. © DACS 2017.
39. Andrea Cusumano and Giuseppe Lomeo ready to serve Futurist food, Amersham Arms, London, 19 February 2009.
Notes on the Contributors
Luke Allder is a teacher and performance practitioner. His writing and visual works discuss themes of identity, language, and cultural reception. He has exhibited at a number of venues, namely Battersea Arts Centre, Warwick Arts Centre, Goldsmiths, Queen Mary (University of London), and Shunt. Luke is currently working on research into the use of performance art pedagogies within child second language acquisition. Luke lives and works in Barcelona.
Andrea Cusumano a director, scenographer, performer, painter, and installation artist. He is the artistic director of CeSDAS with which he operates between Italy and the United Kingdom. Andrea’s work has been performed and exhibited in several major institutions across Europe and overseas from New York to New Delhi. In the past he has collaborated with the Austrian Actionist Hermann Nitsch, coordinating his 6-Day-Play (a six-day long total-theatre performance that involved hundreds of actors and musicians). He is also the Conductor of the O.M. Theatre Orchestra, with which he played in several theatres and festivals across Europe. Since 2014 City Councillor of Culture in