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Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
Futurist Theatre
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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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