Note

This is a work of fiction. Although historical figures

and situations are represented, the content and context

of this work is a product of the author’s imagination.

Contents

Characters in the performance

The Scenes of the Performance

The Sound

A Note on Staging

Prologue

The Manifesto

AeroPoem #1: Tumultuous Assembly / Numerical Sensibility

AeroPoem #2: Moonshine Ices

AeroPoem #3: The Futurist Artocracy

AeroPoem #4: ElectroSexRobots

AeroPoem #5: Zang Tumb Tuuum

Afterword

Inventing the Future

Inventing the Performance Piece

Illustrations

Notes

Acknowledgements

About The Author

About The Book

Copyright

Characters in the performance

F.T. Marinetti: inventor and tireless promoter of Futurism; in the course of the performance he ages from the youthful author of the Manifesto to the deluded but still iconic representative of the avant-garde who so dramatically confronts the High Command in Berlin. It is important to keep in mind that Marinetti performs his own life here; he is both inside and outside the performance and sometimes both inside it and outside it at the same time. You can imagine Marinetti speaking throughout in the theatrical voice of declamation, even when speaking about himself; his English would be lightly accented with Italian; his speech would be ebullient but never ridiculous — there is always a serious side to Marinetti, as the recital of his last AeroPoem reminds us.

Futurist Chef

John and Mary Wilson: characters in ElectroSexRobots (a play within the performance)

The ElectroSexRobots themselves, Robots #1 & 2

Members of the German High Command

Various Futurists and ‘Audience’ members

And, as always when radical art is being performed: Police

The Scenes of the Performance

A bar in Paris;

the Teatro Lirico in Milan;

a Futurist Kitchen ;

a political meeting room in Rome;

a theatre-set drawing room for the play within the play;

and the dining room of the Hotel Adlon in Berlin.

You should imagine the scene becoming more “Futuristic” as the performance progresses, with the exception of the last scene, in the hotel, which will be dark and heavy, returning us to the visual affect of the opening scene in the Paris bar.

The Sound

You should imagine Marinetti’s speeches accompanied by a stylized version of musique concrète, a form of music that makes use of the ambient noises the Futurists were so fond of, and which Futurist composer Luigi Russolo produced with instruments he called intonarumori, or “noise makers.”

A Note on Staging

The play can be staged such that its “realistic” elements contrast with its “futuristic” aspects to produce a source of dramatic tension that heightens that of the plot. It would also be possible to reference characters (maschere) of the commedia dell’arte in the staging. The anarchic qualities of the commedia can be understood as a distant precursor of the Futurists’ antics, and at least one Futurist — Anton Giulio Bragaglia — was taken enough with the commedia to produce an anthology of previously unpublished scenari (Commedia dell’Arte: Canovacci della gloriosa commedia dell’arte [Torino: Edizioni del drama, 1943]).

Masks were also a prevalent motif in 1930s art in Italy, as the 2012 exhibition at Palazzo Strozzi, Florence, demonstrated (Anni 30: Arti in Italia oltre il fascismo). Marinetti is the obvious Harlequin figure. This could be referenced by a multi-coloured waistcoat, with the black half-mask optional. At the end of the play, mask off, Marinetti would then appear with a waistcoat recalling the costume of Pierrot — large black dots on a white background (as illustrated in Maurice Sand, The History of the Harlequinade [2 vols. London: Martin Secker, 1915]). The chef in the manic kitchen sequence would appear as Columbina. John and Mary Wilson’s costumes would reflect those of Isabella and Scapino. In this staging, it would be especially effective to have members of the High Command each wearing the mask of Pantalone, with its grotesque distortions. The Police would be dressed as zanni.

Prologue

[Marinetti is bald, his face sculpted and angular; he is dressed in a suit, his jacket open to reveal a Futurist waistcoat.]

Ladies and Gentlemen, Signore Signori, Good Evening. My name is Filippo Tommaso Marinetti, and on the 20^th of February, 1909, in the City of Electric Light, I invented the Future.

[Marinetti stares for a moment at the audience, to let his words sink in, then lights down, followed immediately by the sound of a car (an early 20th century 4 cylinder Fiat) roaring off, then braking and crashing. As the lights go up, Marinetti reappears, dishevelled but ebullient, and enters a turn of the century bar in Paris, rather late 19th-century fussy in style — the very style that Marinetti would polemicize against for his entire career — and, to applause, begins declaiming the Futurist Manifesto.]

The Manifesto

My dear colleagues, chères collègues, this evening I was out driving in my motorcar when suddenly I saw two cyclists. I swerved, and the next thing I knew, the car’s wheels were in the air and we were in the ditch, covered in muddy water.

Oh maternal womb filled with amniotic fluid! Your darkness reminded me of the breast of my Sudanese nursemaid!

Fished out of the water we regained our upright status and come to you now to sing the love of danger.

Courage, audacity and rebellion will be the elements of our poetry from this point on.

Literature up to now has exalted stultified thought and the ecstasy of somnolence. We exalt aggressive activity, feverish insomnia, the salto mortale, and fistfights. We affirm that the magnificence of the world will become even greater through a new beauty: the beauty of Speed.

A race car with its hood decorated by serpentine exhaust pipes is more beautiful than the Wingèd Victory of Samothrace! In the prodigy of our magnificent ardours we shall augment the enthusiastic fervour of the primordial elements!

Beauty is no more, except in violence.