Futurist performance:
Gespeichert in:
| 1. Verfasser: | |
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| Weitere Verfasser: | |
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Dutton
1971
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| Schriftenreihe: | A Dutton paperback
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVI, 335 Seiten Illustrationen |
Internformat
MARC
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Datensatz im Suchindex
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| adam_text |
Contents Preface I vii Introduction З The neglect of Futurist performance; reasons for this neglect; the changing historical context; definition of “Futurist”; the criterion of representative works; Russian Futurism The Origins of Futurist Performance II 12 Poetry readings; the serate III “The Variety Theatre” Manifesto 19 In the Daily Mail; in The Mask; concrete and alogical performance; altered audience-performance relationship; a combination of elements; the illogical and absurd; dynamism; the “Manifesto of Futurist Playwrights” Dynamic and Synoptic Declamation IV 28 Piedigrotta; “homemade” musical instruments; the “funeral procession”; the London evenings; critics’ comments; the “Dynamic and Synoptic Declamation” manifesto Russoio and the Art of Noise V 33 The manifesto; relationship to parole in libertà; new instruments; a new type of notation; performances; the psofarmoni; Russolo’s historical position The Synthetic Theatre VI 41 The manifesto; sintesi; origins in “The Variety Theatre”; xi
xii CONTENTS rejection of traditional forms; intensity; nonrealistic; the relationship to humor; programmatic vs. intuitive forms; condensation; compression of time; simultaneity; audience involvement; satire; nihilism and black humor; programmatic plays; self-consciousness and Pirandello; a discussion of style; Symbolism; Dada and Surrealism; the alogical; the semi-alogical; place; representational language; invented language; narrative structure; interaction between characters The Theatre of Surprise VII 66 The manifesto; juxtaposition; relationship to Wilder; Events; examples of presentations; Marinetti’s “scripts”; extension of the performance; touring companies VIII Futurist Scenography 71 Difficulties in studying; touring companies; the influence of Gordon Craig; moving scenery; the role of light; Fireworks; Prampolini’s Magnetic Theatre; Marinetti’s Total Theatre Acting and Costumes IX 91 Personification; difficulties in studying; integration; synesthesia; the “Manifesto of Futurist Dance”; the Ubermarionette; the Plastic Dances; unity of performer and setting; kinetic and deforming costumes Futurist Cinema X 120 Historical problems; dates; Drama of the Futurist Cabaret No. 13; length; Vita Futurista; its importance; Il Perfido Incanto; the “Futurist Cinematography” manifesto; early films by Ginna and Corra; Scaparro’s “Cinemagraphic Poems” Radio XI 143 The “Futurist Radiophonie Theatre” manifesto; Marinetti’s radio sintesi XII Extension of Categories 146 Typography and layout; odor and temperature; Tactile Theatre; the Futurist Aerial Theatre” manifesto; an aerial
play
CONTENTS xiii XIII Summary and Conclusions Appendix 152 157 (Translations from the Italian by Victoria Nes Kirby) Manifestos; playscripts Selected Chronology of Futurist Performance Selected Bibliography Index 328 322 319 |
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