This paper proposes a comparative analysis between forms of experimental performance and various moments of theatrical expression in public ‘played’ by leading representatives of two avant-garde movements, ranging from the organization of "soirées" and other blatantly non-conformist events to formulas whereby Dadaists and Futurists theorized and practised the art of theatre from 1909 to 1925. The examination of the similarities and dissimilarities between these aesthetics will be accompanied by several historical and literary arguments, in order to explain not only the in-depth, artistic motivations, but also the sometimes civic, political underpinnings of these manifestations, which were anti-interventionist, from the perspective adopted by the members of the Dada movement, but which ideologically upholded the commencement of the first global conflagration, from the standpoint of the Marinettian group.

Questo articolo propone un’analisi comparativa tra forme di spettacolo sperimentali e tra diversi momenti di esibizione in pubblico ‘eseguiti’ da rappresentanti di spicco dei due movimenti d’avanguardia, vale a dire tra pratiche performative che vanno dall’organizzazione di serate e altri eventi palesemente anticonformisti alle formule con cui i dadaisti e i futuristi hanno teorizzato e professato l’arte del teatro dal 1909 al 1925. Il commento delle somiglianze e delle differenze tra le due estetiche sarà accompagnato da alcune considerazioni di ordine storico e letterario, al fine di spiegare non soltanto le motivazioni artistiche più profonde di queste manifestazioni, ma anche i presupposti civici e politici, che sono stati anti-interventisti dalla prospettiva del Dadaismo, e invece favorevoli all’avvio della prima conflagrazione mondiale, per quanto riguarda il versante del gruppo marinettiano.

Esibizioni artistiche e modelli teatrali dadaisti e futuristi. Esperienze performative a confronto

Emilia David
2018-01-01

Abstract

This paper proposes a comparative analysis between forms of experimental performance and various moments of theatrical expression in public ‘played’ by leading representatives of two avant-garde movements, ranging from the organization of "soirées" and other blatantly non-conformist events to formulas whereby Dadaists and Futurists theorized and practised the art of theatre from 1909 to 1925. The examination of the similarities and dissimilarities between these aesthetics will be accompanied by several historical and literary arguments, in order to explain not only the in-depth, artistic motivations, but also the sometimes civic, political underpinnings of these manifestations, which were anti-interventionist, from the perspective adopted by the members of the Dada movement, but which ideologically upholded the commencement of the first global conflagration, from the standpoint of the Marinettian group.
2018
David, Emilia
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11568/924596
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