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Futurism
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In contrast to Marinetti's circle, Russian Futurism was a literary rather than artistic movement. Although many leading poets (Mayakovsky, Burlyuk) dabbled in painting, their interests were primarily literary. On the other hand, such well-established artists as Mikhail Larionov, Natalia Goncharova, and Kazimir Malevich found inspiration in the refreshing imagery of Futurist poems and experimented with versification themselves. The poets and painters attempted to collaborate on such innovative productions as the Futurist opera Victory Over the Sun, with texts by Kruchenykh and sets contributed by Malevich.
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Marinetti, the poet-animator of all Futurism, was the first to realize noise scores, preceding by many years Pierre Schaeffer's Concrete Music and Cage's compositions and anticipating the use of wireless sets. His Cinque sintesi per il teatro radiofonico (Five Syntheses for the Radjophonic Theater), is an application of the theories expressed in the "Radia" manifesto, and is composed of verbal scores which indicate the types and durations of sounds. Noises are assembled into a collage in which silence is an integral part. One of these syntheses includes a silence of three mil utes-a completely new concept: a theater for radio, to be performed in a manner which suggests the existence of imagined space-this, 20 years before Cage's 4'33".
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Futurism ... had left wing communist factions. By now Futurists had expanded all over Europe, and these artists brought with them different views and ideas. Such factions included Ardito-Futurist, communist-Futurist, independent-Futurist. These factions stood firm against right wing nationalist element of the movement, and managed to survive, and instill their own beliefs.
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The Futurism movement, ranging from 1909 to 1944, originated in Italy as an avant-garde movement that took technology, speed and modernity as its inspiration. Futurism conveyed the technological dynamics of twentieth century life. The futurist style glorified the machine age and war, and favored the rise of Fascism. Futurism was at its peak in 1909 when Filippo Marinetti created his first manifesto of the art style. Marinetti expressed violent sentiment regarding art and literature, and it seemed that his comments were more about shocking the public than exploring an art form. Other artists who grasped the futurist movement attempted to capture what they called the “force lines� of an item or object.
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Futurism (1909-1914 (16)) originated as a literary movement in Milan, Italy by Fillippo Tommaso Marinetti and fellow Futurists who believed that theirs was a “truthful art”. Their work was aggressive; it represented movement, change and dynamism in present terms. The Futurists, inspired by industry and the machine age, were pro-war with a militantly stated program of action in their manifesto. They loved speedy automobiles and living dangerously. Performance art, which the Futurists originated, fit their temperament perfectly!
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This merging of Futurism with fascism after 1918 is so rapid that it seems to flow from the very essence of Futurism itself. But this conclusion would be too simple. In Russia, Futurism took precisely the opposite direction and placed itself at the service of the October Revolution. The great Russian Futurist poet Mayakovsky joined the Bolshevik Party before the Revolution and remained a Bolshevik until his tragic suicide in 1931.
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