Avant-Garde Performance and Material Exchange: Vectors of by M. Sell

By M. Sell

Assembling a outstanding crew of students, those essays explore how the movement and trade of "vectors of the novel" form the avant-garde. Mapping the flow of scripts, theatre activists, performances, and different fabric entities, they supply remarkable views at the transnational functionality tradition of the avant-garde.

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This is not simply a historiographic omission, but an indication of the limits of the paradigms underpinning scholarship on Futurism, theatrical and dance modernism, and larger questions about performance and politics in the twentieth century and beyond. Futurism came to Balanchine through two routes: the Russian and the Parisian. ” When F. T. Marinetti gave lectures in Moscow and St. Petersburg in early 1914, he sparked debate among such luminaries as Malevich, Larionov, Mayakovsky, and Meyerhold (whom he had met the year before in Paris).

Joan Acocella and Lynn Garafola (Hanover, NH: Wesleyan University Press, 1991), 67. indd 38 10/28/2010 6:09:48 PM “Fascist” Futurism and Balanchine’s “American” Ballet 39 32. Garafola, Ballets Russes, 138. 33. Kenneth Archer and Millicent Hodson, “Balanchine’s Twenties,” Ballet-tanz (Jan. 2004): 75. 34. W. A. Propert, quoted in Martin Hammer and Christina Lodder, Constructing Modernity: The Art and Career of Naum Gabo (New Haven: Yale University Press, 2000), 154. 35. Hammer and Lodder, Constructing Modernity, 159.

Cinzia Sartini Blum, The Other Modernism: F. T. Marinetti’s Futurist Fiction of Power (Berkeley: University of California Press, 1996), 52. 20. Quoted in Enrico Crispolti, “Pittura, Scultura, Architettura e Ambientazioni futuriste a Roma,” in Il futurismo a Roma, ed. Giovanni Antonucci et al. (Rome: Istituto di Studi Romani, 1978), 60. 21. Silvana Sinisi, “In Italia, la danza e il balletto moderni dal futurismo a Milloss. I. La danza futurista,” in La danza moderna. I fondatori, ed. Elisa Vaccarino (Milan: Skira, 1998), 75.

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