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Futurist Theatre

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Transcript

  • 1. Futurist Theatre & Performance Boos, hisses, spaghetti and chaos
  • 2. Lecture Sections
    • Theatrical context
    • Ideas of futurist theatre
    • Futurist performance tactics
    • Theatre forms
    • Synthetic Theatre
    • The future
  • 3. Contexts
    • Avant-garde movements c. 1880 - 1930
    • Challenge to conventions
      • But why at this time?
    • No more artistic patronage
    • Economic imperative
    • Emergence of bourgeoisie
    • Technological innovation
  • 4. Theatrical Contexts
    • Electricity
    • New visual effects
    • Changed dynamics between audience & stage
    • Naturalism/realism
    • 4th wall
    • Psychologically motivated characters
  • 5. Riots and Revolts
    • Alfred Jarry’s Ubu Roi , 1896, in Paris
    • Obscene, grotesque, farce
    • First word - ‘merdre’
    • 40 life-size dummies
    • Anti-realist
    • Caused riot
  • 6. Ideas of Futurist Theatre
    • Provocative, engaging & dynamic
    • Reaction to stagnant practices - mediocre and repetitive
    • Counter-strategies
    • Rejection of well-made play
    • Rejection of naturalistic language
    • ‘ the fist into the artistic battle’
    • ‘ the brutal entry of life into art’
    • Politics as performative
  • 7. Poupees Electriques 1909 Roi Bombance 1909
    • Declaimed manifesto
    • Theatre as art-action
    • Audience riot
    • Spectacle on stage & in auditorium
    • Marinetti pleased with response - scandal!
  • 8. Futurist serate
    • Mixture of forms
    • Means of presenting ideas and aesthetics
    • Art of declamation
    • Dynamic & Synpotic Declamation
    • Warlike speech
    • Audience provoked
  • 9. Umberto Boccioni, caricature of a Futurist serate, 1911
  • 10. The Audience
    • Force audience to pay attention
    • Spectator at centre of activity - provoked to react
    • Riots, audience responses, arrests
    • Manifesto on the Pleasure of Being Booed
    • Interactivity
    • Maximise sensory & minimise intellectual
  • 11. Manifesto on Variety Theatre 1913
    • ‘ no tradition, no masters, no dogma’
    • Ideal model - mix of genres/forms
    • Melding of high and low art
    • Audience involved
    • Plagiarism & parody of masterpieces
  • 12. Futurism and dance
    • Links to Diaghilev’s Ballets Russes
    • 1913 The Rite of Spring
    • Caused riots
    • Balla worked on scenography for ballet
  • 13. Balla and Stravinsky’s Fireworks 1917
    • No performers, only sets & lights & music
    • Stage and auditorium involved
    • Part of ballet programme
    • 5 minutes duration, with 49 different stage settings
  • 14. Manifesto on Futurist Dance 1917
    • Nijinsky, Isadora Duncan & Loïe Fuller
    • Use of electricity - light projections
    • Challenged conventional dance
    • Movement rather than story
  • 15. Futurist Synthetic Theatre 1915
    • Brief
    • Compression of events, scenarios, ideas
    • Anti-naturalism
    • Minimal settings
    • No reason, logic or meaning
    • Interpenetration of forms
    • Directed at sensory, not intellect
    • Dynamic & fragmentary symphonies
    • Simultaneity
  • 16. The Future of Futurist Performance… Over to you! Good luck.

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