Le marionette futuriste

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[automatically translated] THE PUPPET FUTURISTE M.Isabella Vesco The puppet has been considered by the European avant-garde (late nineteenth and early twentieth century) the expression of a new artistic language emerged from the crisis of the theatrical and pictorial representation. The puppet has therefore represented a collaboration between painting, theater and cinema. The first decades of the twentieth century are the most exciting season of events designed to give lasting mark on the destinies of the scene. A first step, common to all the theater workers of the early twentieth century, was the rejection of the traditional formulas anchored to naturalism; consequently we find the denial of the centrality of the human presence and the questioning of the actor's leadership, which has been considered, in the traditional, theater, unique element, indispensable and dominant theatrical action. The abolition or reduction of the role of the actor are pursued through the use of puppets or plastic costume. By Heinrich von Kleist Gordon Craig, from Depero to Exter, almost all the members of the artistic avant-garde became interested with great fervor to a new role of actor and dancer, assuming a new figure able to transcend the human figure. The marionette, abandoned its most traditional form, becomes a source for reflection as theatrical form (for the theories on the actor), as metaphor between human and artificial, as an object (see use of different materials). From this point we have to understand what has been created with the disguise: the costume and the mask changes the actor's appearance and condition the movements; the human figure disappears below the volume of the plastic costumes and then the actor, who takes off the movement of autonomy, is the half-hidden by armor. In this case, the actor takes on a mechanical gestures assimilable to the robot. This principle of dehumanization of the human form led subsequently to the rediscovery and reassessment Puppet On this basis we find two different solutions; two to be extremely synthetic, aimed at the same objective, ie overcoming the commissioning naturalistic scene - the theater that does not renounce to the human component, although the actor is hidden by rigid costumes or disguises. - The mechanical theater, that is, the theater where the actor is replaced by man puppet; These two solutions are not consequential to one another. Depero, important exponent of Italian Futurism, is one of those teachers who initially robotizza actor, later it abolishes finally returns to the human component. With Balli Plastic Depero conceives a man mechanized and not a humanized machine. The puppet, with its playful aftertaste, with its primitive character, happily brought forward an afterthought on the theater, do the dance, coming out of the stale pockets of naturalism, with scenic experiments still surprising and perhaps unsurpassed.
Original languageItalian
Number of pages3
Publication statusPublished - 2007

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