festival
1994 - "Futurism Events"Programmi dal 1994Futurism EventProgramme 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 Futurism Event Programme 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 and friends La Belle excentrique Satie and Friends - 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 - SSLIVOLUMNIA - 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. THE DRUM OF FIRE 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) |
