ENRICO PRAMPOLINI AND AVANT-GARDE DANCE: THE LUMINOUS STAGE OF TEATRO DELLA PANTOMIMA FUTURISTA PRAGUE-PARIS-ITALY

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In various publications dedicated to the futurist performance at the turn of the century, the dancers who took part in the renewal of the stage are hardly mentioned; often these journals indicated only the names, or some- times the nationality, and eventually their efforts were not even recog- nized, despite the fact that they were at the forefront of this tumultuous stream of revolt against the bourgeois theatre. Occasionally, in addition to the names of the dancers, the reader can find some evocative images of the dance, depicting costumes .d decors or photographing moments of belle- zza espressiva and

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ENRICO PRAMPOLINI AND AVANT-GARDE DANCE: THE LUMINOUS STAGE OF TEATRO DELLA PANTOMIMA FUTURISTA PRAGUE-PARIS-ITALY

in Experiment

References

1. At Galleria Pesaro in Milano on October 31, 1931 Giannina Censi interpreted plastically some "aeropitture" by Enrico Prampolini, Lancio dell'elica, Velocita ' ascensionale, Linea di volo, Simultaneita di quota, Planando, in a scunty costume with an aluminium color cap. 2. See E. Vaccarino, ed., Giannina Censi, Danzare ilFuturismo (Milano: Electa, 1998). 3. Note that in this text, which lists at point 5 the contemporary stage hipsters, Bakst is defined as "plagiario assiro-persiano-egiziano-nordico."

4. A Duncan school was opened in Prague in 1930/1931 by the sister of Isadora, Elisabeth Duncan. The school still works as Duncan Centre Konzervator, recognised by the govemement with official certificate after a six years curriculum. 5. See L. Garafola, Diaghilev's Ballets Russes (Oxford: Oxford Univ. Press 1989), esp. the chapter "Era of the Dance Boom."

6. See G. Lista, ed., Enrico Prampolini, Carteggio Futurista (Roma: Carte Segrete, 1992), p. 192. 7. See G. Lista, "Prampolini scenografo," in E. Crispolti, a cura di, Prampolini dal fiiturismo all'informale (Roma: Carte Segrete, 1992), p. 118. These dances were redone by Lucienne Myosa and by other dancers at Casa d'Arte italiana two years later. 8. See G. Lista, Cinema e fotografia futurista Skira (Milano: Skira, 2001), p. 67. 9. Jia Ruskaja knew the theories on "translation" of rythm in movement by Emile Jaques-Dalcroze (Wien, 1865-Geneva, 1950) in Geneva, where she arrived to study .. medicine, before reaching Italy and performing at Teatro degli Indipendenti in 1922. 10. See A. Ricciardi, 7y Teatro del Colore (Milano: Facchi, 1919), republished in S. Sinisi, 11 Teatro del Colore di Achille Ricciardi (Roma: Arbete, 1976). I 1. See P. Veroli, Baccanti e dive dell'afia (Citta di Castello: Edimond, 2001): "Myosa is probably Myosa de Condray, actress in silent movies in Italy since 1921:' 12. See S. Sinisi, Cambi di scena (Roma: Bulzoni, 1995), p. 158.

13. The libretto of Tamburo di fuoco is about a proud african chef during hunting and battles in the savannah; suddenly biten by a snake, he remembers, before dying, lovers, duels, presages, sand, blinding sun and stars, while a far drum announces the coming of an enemy with unknown weapons (the Italians during the war in Libya). 14. Dostal, son of a writer and of an actress, active in the '10 in Berlin at Deutsches Theater under Max Reinhardt, became later an appreciated director at National Theatre in Prague staging works by Pirandello and Wedekind. 15. See F. Pfister, Enrico Prampolini (Milano: Hoepli, 1940). 16. See M. Verdone, "Incontri col Futurismo a Praga," Ridotto (Oct. 1994), p. 24.

17. See G. Lista, "Prampolini scenografo," in E. Crispolti, pp. 127-28. 18. See R. Siligato, ed., Enrico Prampolini, C'arteggio 1916-1956 (Roma: Carte Segrete, 1992).

19. See D. K. Teige, "Futurismus a italská modema," Pásmo (lbfarch 1925), trans. in the entry "Cecoslovacchia" in Dizionario del Futurismo (Firenze: Vallechi, 2001 pp. 249-50. 20. About Teatro di Torino, see R. Gualino, Frammenti di vita e pagine inedite (Roma: Famija Piemontèisa, 1966).

21. To mention only some of the more or less contemporary ballets about sport: Jeux (1913) by Vaslav Nijinsky on tennis, Le train bleu (1924) by Bronislava Nijinska on swimming, Skating Rink (1922) by Jean Berlin for Ballets Suédois on skating, Les Footballeurs (1930) by Igor Moisseiev; see also the sport dances in Russia pictured in N. Misler, ed., In Principio era il corpo, 1 ilrte del Movimento a Mosca negli anni '20 (Milano: Electa, 1999). 22. See O. Volta, Satie et la Danse (Paris: Editions Plume, 1992), p. 149. 23. See Anne Van Loo, ed., Akarova, spectacle et avant gardes, I920-1950 (Bruxelles: Archives d'arcpitecture modeme, 1988), pp. 260-61. 1. 24. See V. Mollica, ed., Chez Josephine (Montepulciano: Editori del Grifo, 1987, esp. the chapter "II grande banchetto Futurista di Patigi," of F. T, Marinetti, pp. 109-11: "La bellissima testa che fa pensare alia piu dolce noce di cocco e con le sue gambe, mondialmente celebri, i lunghi pennelli africani che avevano forse servito a Prampolini per dipingere i suoi pannelli". To remember also the poem by Farfa, Due banane: Riunite .. ingigantite . , ecco la piattaforma elettorale retrospettale - di Josephine Baker auto bruno vemiciata tipo sedici.

. 25. See V. Preston-Dunlop, Rudolf Laban, an Extraordinary Life (London: Dance Books, 1998), p. 23, reporting about the enthusiasm of Laban, after a performance seen in Munich in July 1912, for the telsovian esthetic theory "from impressionism to expressionism," which seems to him to fit also to his researche. 26. See G. Tintori, Cronologia, Opere, Balletti, Concerti. 400 anni di Teatro alla Scala. I JJS-19JJ (Milano: Grafica Gutenberg Edizioni, 1979). 27. This teacher is possibly the dancer Caprotti who performed in the ballets of Morosini and Cortesi in the 1880s at La Scala.

28. See J. Robinson, L'aventure de la danse moderne en France (1920-1970) (Paris: Editions Bouge, 1990), pp. 65-66. 29. See J. Solane, Pour une Danse plus humaine (Paris: J. Vautrain, 1950), pp. 122-29. 30. Madika showed her art with lectures-performances, like the one named Metodo di recitare poesia danzando, whose text is published in the special issue of Archives Internationales de la Danse, 3 (Nov. 1935). ' 31. See Preston-Dunlop, Rudolf Laban, p. l 12. 32. See "Les Futuristes," in L'Italie a I'Exposition Internationale des Arts Decoratifs el industrielles modernes (Paris: Les Presses de la Connaissance, 1925), pp. 47-49. 33. See E. Prampolini, in Che cosa e il Futurismo, ed. M. Verdone (Roma: Ubaldini, 1970), p. 84.

34. See J. Robinson, p. 94. I am grateful to Toshiharu Omuka for more informations on this Japanese dancer. , 35. See G. Craig, "On a Book about one of our English Artists, Margaret Morris," The Mask, 12, no. 4 (Oct. 1926), where he defends Margaret Morris against the critics of Diaghilev's Ballets Russes fans. 36. See G. Lista, Lo spettacolo futurista (Firenze: Cantini, n. d.), p. 24. 37. See E. Prampolini, "Valori dell'allestimento scenico e i Balli Russi," published in I Nuovissimi, 3, no. 1, April 9, 1917, reprinted in Sinisi, "'Variet6', Prampolini e la scena, `Nadar',"11 (Torino: Martano, 1974).

38. See G. di San Lazzaro, Yarigi era viva {Milano: Garzanti, 1948), and (Milano: _ , Mondadori, 1966). 39. See O. Allard, Malkovsky, le danseur philosophe (Paris: Editions de Poliphile, 1989). 40. See the playbill of Theatre de la Madeleine, Saison 1926-1927, " Le Theatre de la Pantomime Futuriste." 41. See M. P6net,,Wistinguet, la Reine du Music-Hall (Paris: Editions du Rocher, 1995).

42. See W. L. Smyser, "Prampolini scenotecnico futurista," trans. from The Chicago Tribune, in Cronaca di Roma, Oct. 7, 1927. 43. Author of several ballets, among which La tragedia det Mago &alanzone for the company led by lleana Leonidoff in 1925. 44. See F. Menna, Prampolini (Roma: De Luca, n. d., pp. 108-09. 45. See France libre, May 25-26, 1927.

46. See the entry Vaclav Yektcheck in J. Holenova.

47. The pantomimes listed in the roman-parisian group's standard program are Tre momenii, Popolaresca with Podhajska, Ii mercanie di cuori, Cocktail (a great hit) and some "novita assolute," L'ora del fantoccio, La salamandra, Voluttù geometrica, 5imultanietti d'essenze, Ritmi spaziali, "fonodanza per dischi" with Magito, Prefazione with mask and Rumorharmonium Russolo for Veltchek and II pesce meccanico, "grottesco mimico" with Rumorharmonium Russolo per Toshi Komori. 48. In the cast appeared Zdenka Podhajska, Vaclav Veltchek, Lydia Wisiakova, Toshi Komori, habitue della scena parigina, Edoardo Szamba, Yamina Goff, Wally Smerkol, Eva Vejrychova, Marietta Reiman, Ema Mohar, performing L'ora del fantoccio by Casella, Tre momenti by Casavola, La salamandra by Bontempelli, Volutta geometrica by Folgore with music by Guido Sommi-Picenardi, Popolaresca by Prampolini-Balilla Pratella, Il mercante di cuori by Casavola, Coktail by Marinetti-Mix.

49. See A. G. Bragaglia, Jazz Band (Milano: Corbaccio, 1929), pp. 57-58.

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