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1994 - "Futurismo e dintorni"

Programmi dal 1994

Futurism Event

Programme

Shadows
Dynamic shadows
Grey and black planes
Light contrasts

Clowns
Bright floral village
Clowns
Dancer
Hen and butterflies
Music by Alfredo Casella

The man with a moustache
Golden street
Blue dancer
The men with moustaches
Drunk dances
White mice and black cat
Rain of cigarettes
Music by Gerald Tyrwhitt (Lord Berners)

The savages
Tropical landscape
Red and black savages
The big savage woman and the green snake
Music by Gian Francesco Malipiero

The blue bear
The bear dance
Puppet show
Music by Chemenow (Bela Bartok)


Historical advice Bruno Passamani
Realized in collaboration with Depero's Museum of Rovereto
Reconstruction of the performance by Enzo Cogno

Directed by Rosalba Trevisan
Stage director Renzo Milan
Puppet construction by Bottega artigiana Signor Blum of Venezia
Colouring by Umberto Spasiano
Puppet company Teatro Laboratorio Mangiafuoco
Ensemble Musica Insieme of Cremona

Futurist Evening


DEATH OF THE MOONLIGHT
(Music: "The moonlight" by C. Debussy)
AERODINAMIC APPEARANCES
(on pictures by E. Prampolini - music: "Intonarumori" recorded live)
FUTURIST DECLARATIONS
(statements from the Futurist Manifestos)
SONG RUMORISTA
(from "Anihccam del 3000" by F. Depero)
INTERVENTIONIST FRAGMENTS
(on pictures by G. Balla - music: "Dramma di distanze" by F. T. Marinetti)
PLASTIC RUMORISTICA
(on a free-word fairy tale by G. Balla - recorded voices: Cristiano Censi and Pierluigi Giorgio)
SYNTHETIC FUTURIST DANCE
(on "Concerto per Intonarumori" and orchestra by L. Russolo - recorded sentence: Tullio Crali)
AERODANCE
(on "Decollaggio" from "L'aeropoema del golfo di La Spezia" by F. T. Marinetti - recorded voice: F. T. Marinetti)
BATTLE UNDER GLASS-WIND
(from "Zang Tumb Tuum" by F. T. Marinetti)
DANCE OF THE BOMB
(on "Intonarumori": violin)
WAR THEATRE
(on "Intonarumori" recorded live)
FUTURIST MUSICAL SYNTHESIS: SINKING AND THE SEA
(music: Aldo Giuntini - voice: F. T. Marinetti)
LANDSCAPE + STORM
(on free-word picture by G. Balla")
DANCE OF THE CLOUD
(recorded violin: Massimo Coen)
AUTHOMATIC THEATRE:
(on "Intonarumori" recorded live)
THE CONQUEST OF THE STARS
(on a poem by F. T. Marinetti - sound base: "Intonarumori" recorded live)
CAFFE' CONCERTO
(on "Intonarumori" recorded live and "Fox-Trot of the Surprise Theatre" by Aldo Giuntini)
SPOKEN DANCE
(on free-word picture by Gino Severini)
PRINTING HOUSE
(on the score for twelve voices by Giacomo Balla - voice: Cristiano Censi)
BATTLE OF RHYTHMS
(on music composed by F. T. Marinetti)
OLFACTORY PORTRAIT OF A WOMAN
(on a poem by F. T. Marinetti - voice: F. T. Marinetti)
ABSTRACT RECORDING OF LADY
(on free-word picture by F. Depero - music: "The India Rubber Man Fox Trot" by Casavola)
AIRMEN
(on a poem by G. Balla)
FINAL FUSION
(on "Siiovlumnia-torrente" by F. Depero - voice: Cristiano Censi and "Steel Foundry" by Mosolov)
DEATH OF A STAR
(on a poem by F. T. Marinetti)


Satie et ses amis
La Belle excentrique
Satie et ses amis - Socrate
Socrate
Drame symphonique avec voix
Text by Erik Satie based on the "Dialogues" by Platone
Music by Erik Satie, two piano version by John Cage
Scenic choreography by Alexander Calder
realized by Teatro La Fenice of Venezia

Portrait de Socrate
Sur les bords de l'Illissus
Mort de Socrate
Futurismo - SLIVOLUMNIA - TORRENTE N.3
It is believed that when a new form of dance rises, a demon or a god take possession of a body, ready to fill it with its rhythms, energy and substance.As far as Marinetti is concerned, this demon is the machine. The fascination of the machine for the futurists lays in the fact that it is a living object. The machine is an extension of the human skills, acts on its own, and becomes for the man who created it an ideal of perfection: a model to follow in order to fell ones own energies modified, transformed and multiplied.
Marinetti theorized the futurist dance in his Manifesto of the Dance published in 1917. Ten years later Giannina Censi adopted his theory and worked with him: she transformed into dance futurist poems and pictures, impressions from the war, experiences of flight, natural phenomena and scenes of everyday life.
From the gestural point of view her dances can be defined onomatopoeic. From the structural point of view they are "free-words". The body is a sculpture in movement that acts according to the images perceived.
Il tamburo di fuoco - futurismo
THE DRUM OF FIRE
by Filippo Tommaso Marinetti
Original re-interpretation in form of scenic concert
by Enrico Frattaroli
The Drum of Fire was first performed in Pisa Teatro Verdi on May 22nd, 1922. On December 10th of the same year it was performed, in Czech, in Prague at the Stavovsk« Theatre. Today, more than seventy years after its first performance, the "African play" by Marinetti follows a similar itinerary, with its first absolute revival in Prague at the Za branou II theatre after an Italian preview at Teatro Alle Vigne of Lodi.
I have seen The Drum of Fire, African play of heat, colour, noises and smells, as a great score for voices, soprano, percussion and lights, as a concert where the text becomes a score for character-voices, sound-voices, noise-voices, colour-voices. (S. Barbarini)