A performance which wants to homage the renowned "Futurist evenings"
introduced by Marinetti in Rome in 1913 in Sprovieri Gallery A performance which wants to homage the renowned "Futurist evenings"
introduced by Marinetti in Rome in 1913 in Sprovieri Gallery and in the
Teatro dei Piccoli in Podrecca - where Marinetti and other famous
protagonists of futurism, started a long season of animating and
provocative "evenings", in the wake of cabaret and variety theatre.
From sketches and period photos, dated back to the period between 1914
and 1926, 12 sculpture-costumes were created, some of them were never
accomplished by their authors, among who there were Depero, Pannaggi, Balla, Prampolini, Exster.
About ten Italian and Russian performers animated the "Futurist
evening" in Pushkin Museum in occasion of the opening of the exposition
of Italian and Russian Futurism, with mechanic dances.
The charm of the car, which
consists in its nature of living object, a model to be followed and
copied because all the energies of human body, could be multiplied and transformed.
The musical background will consist in the main authors' music, as
Pratella's, Russolo's, Mix's, Antheil's, Mossolov's, together with the
declamation "Futurism definition with Marinetti's voice".
"Italian Futurist dance must exalt heroism. so I draw the first dances
from the three main war mechanisms: the shrapnel, the machinegun, the
airplane...dance must catch from life its rhythms and its figures.
futurist dance will be dynamic, asymmetric, synthetic and "wordfree"."
wrote Marinetti on his manifesto of dance in 1917. Giannina Censi, one
of the greatest futurist performers, together with Marinetti put on stage
these ideas at the end of Twenties, translating experiences of flight in
danced actions, poems and paintings. With fragmentary rapid gestural
expressiveness the performer's body becomes a machine-sculpture in
movement, guided by images, sounds and words perceived.
A Futurist evening ideally consecrated to the pioneers of an avant-garde
which continues to be actual in its creative intuitions, an homage to
Italian and Russian artists, first creators of European and
international performance - some names are Depero, Balla, Panneggi,
Prampolini, Censi, a particular tribute is dedicated to Alexandra Exter,
one of the Russian futurism amazons, and to the great dancer-performer
Theodore Kosloff, born in Moscow in 1882, first dancer of Imperial
Russian Ballet, who followed Diaghilev to Paris for the first season of
Russian Ballets in 1909. A strange coincidence ties the first Parisian
season of Sergej Diaghilev's ballets and the publication of Marinetti's
Futurism manifesto on "Le Figaro". This chance induced a creative
collaboration not only between the two personalities but also between
Russian and Italian artists. Kosloff continued his career in Hollywood
as dancer, choreographer and film star in Cecil B De Mille's movies. His
historic performance "Electricity", a short film presented in Italian
movie houses in 1926, was enriched by the collaboration of his friends,
the Italian futurists, among who Giacomo Balla, to whom the project of
Kosloff's electric costume is attributed.
(from press-relise)
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sorry, my mistake. I dont know Mr Kossa.
ilconfessionale 2 years ago
are you about Pier-Paolo Kossa?
supremusinfo 2 years ago