Marinetti Dines with the High Command
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About this ebook
Richard Carvell
Richard Cavell is a Canadian of Italian heritage whose academic career has explored Italian culture through a number of vantage points, from the novels of Verga, to McLuhan’s debt to Futurism, to the Italian element in Canadian literature. The first Canadian to teach our literature at the University of Padua (1979-81), Richard was instrumental to the success of Canadian Literature as an academic field in Italy. Founder of the International Canadian Studies Centre at UBC, Richard has devoted his career to an integrative approach to the study of culture. He is the author of McLuhan in Space: A Cultural Geography(2002), editor of Love, Hate and Fear in Canada’s Cold War (2004), and co-editor of Sexing the Maple: A Canadian Sourcebook (2006), as well as more than 70 chapters, articles and reviews. He is currently Professor of English at UBC and founder there of MeRG.e, the Media Research Group enterprise.
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Book preview
Marinetti Dines with the High Command - Richard Carvell
Marinetti Dines
with the
High Command
A MANIFESTO AND FIVE AEROPOEMS
With An Afterword
Marinetti and the Invention of the Future
RICHARD CAVELL
GUERNICA • ESSENTIAL DRAMA SERIES 35
TORONTO • BUFFALO • BERKELEY • LANCASTER (U.K.)
2014
in memory of
Luigi Cavallo
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.]