Futurism and Choreography: From Performed Dances to Textual Parolibere
This paper suggests tracing the origins of the literary form of the parolibere, examining the futurist early theorizations of the notion of aesthetic movement and the very practice of dance or stage performance. I consider Manifesto della danza futurista, 8th July 1917, as a seminal starting point to then place in comparison these aesthetic principles with a range of Futurist performances, for instance in the case of the Aerodanze (or dance of the airplane) by Felice Azari, or dance representation by La Censi in Rome and Milan (Danza dello shrapnel, Danza della mitragliatrice, Danza dell’aviatrice), designed to provide an accompaniment to Marinetti’s declamation of his poem Zamb Zamb Thumb Thumb composed after the ‘aesthetic’ shock of the Adrianapoli’s battle. I will then proceed to assessing the short-lived collaboration of Giacomo Balla with the Ballets Russes with Fuochi d’Artificio, 1917; and Fortunato Depero’s own Plastic Ballet (1917), and their original conceptions of abstract stage composition, to be furthered by modernist stage theoreticians Edward Gordon Craig and Adolphe Appia. My aim is to put in a comparative framework the aesthetics of performed movement and the stylistic, literary exploration of motion for Futurist early works.
Keywords: Futurism, Dance, Modernism
PhD Candidate, London Consortium, Birkbeck College