Often provocation is desired: In general, the evening sessions end with the intervention of the police that empty the theater and arrest the organizers. As one of the programmatic points of the Futurists is to infiltrate into the passatist consensus to destroy it, and as the theater, at the beginning of the twentieth century, is the bourgeois symbol of the passive consumption of culture, not only does the theater become the privileged place of Futuristic communication, but it is also used in a completely new way, 5 similar to that found in the Portuguese performance organized by Almada Negreiros and Santa-Rita Pintor in the Teatro Republica, in April of Futurists do not read or recite their theses as pure texts, but they act freely on stage as they speak, thus provoking reactions in viewers and giving life to a new form of action-art that results from real, often even spontaneous acts and audience interaction and that replaces the traditional means of expression with dynamism, movement and aggression in a methodological and formal way.
Marinetti defines this new strategy: While the Futurists - according to Lacerba - feel a great joy, the enemies can only complain about fatigue, hoarseness, money spending, and they flee. To do this, he says, one must have the courage to rid oneself of the seemingly grandiose inheritance, which in fact is only a mortal burden that damages the soul PAPINI, , p.
With this proclamation of contempt, Papini unleashes a storm of indignation, because the public reacts furiously to this offense by a Florentine to his native land: Despite the progress of the performance, the program continues. At the end, the police climb on the stage and end the Florentine performance. The reason, however, justifies the silence: What happens in Portugal during those years? We can say that, finally, the futuristic virus affects Portugal too: In fact, we can say that Futurism in Portugal comes from Paris, since the simple invitation issued by Marinetti a few years before to the world and, therefore, also to Portugal was almost unnoticed.
We are in the year Again, there is no appreciable effect. Now we are in Marinetti is honored by the beautiful Moscow and St. Petersburg world and vexed by the Cubofuturists, or at least by some of them headed by Chlebnikov. Futurism arrives in the Sea of Japan, and finally the Lusitanians say something Futuristic: Futurism does not rest with reflections of feelings, whether they are of pride or longing, because it simply never rests, never stands still.
Finally, in the last issue of Orpheu , the only authentic Futurist seems to be Santa-Rita Pintor, although he does not contribute with any articles of his own and he limits his collaboration to the presentation of four pictures: It is the most violent and ad personam controversy of the group of writers of Orpheu. But above all, the writers of Lacerba do not care about the Dantists, whose greatest exponent, Guido Mazzoni, a student of Carducci, is the secretary of the Academy of Crusca and cofounder of the Dantesque Society.
It is a double defect in the eyes of the Futurists because Mazzoni is a dantist and affiliated with Crusca! Besides, he has the unforgivable defect of being a good poet, obviously in a late romantic style. To make this grudge evident, read what the bilious Papini writes, always in , when recounting the fifth edition of Poesie by Mazzoni: Senator Mazzoni seems to me to be one of those agile little birds that fly free through the house: Deep down, they do not bother much, but are unable, one time or another, not to step on them or crush them.
This homunculus representative of the Florentine and university literature and of Crusca has been stuck in my throat for so long! But the decisive year for Portuguese Futurism is On that occasion, Santa Rita Pintor is also present. Always in , Almada Negreiros publishes K4, O Quadrado Azul , a work edited together with the important Portuguese avant-garde painter Amadeo de Souza-Cardoso, who is also a Parisian artist, who in displays a large exhibition entitled Abstraccionismo in Porto.
Then, in November , the first issue of the literary magazine Portugal Futurista comes out. It appears and soon disappears, for it is immediately seized by the police. But in truth, in this case too, as Ugo Serani says in his introduction to Ultimatum and altre esclamazioni , p. Remember that Marinetti, on the contrary, concludes his by throwing the challenge to the stars.
In addition, Portugal is faced with the Great War together with the Allies: In short, Portugal Futurista comes to light in a politically and socially complicated time. In Lisbon there remains the obscure loneliness of Pessoa, who in devising heteronyms, fictions, letters never sent to directors of newspapers, translations never published, in theorizing the need to a multiple subject and even plotting the sensational and false disappearance of the English occultist Aleister Crowley in Boca do Inferno, anticipates issues and practices of a situationalist, not to say Blissettian, intonation.
Moreover, it is worth remembering that most of the European Futurists in are engaged in other things.
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We can say that the outbreak of the Great War constitutes a line of separation, a kind of cleavage from which it descends to the most horrible of realities. In this kind of descent into Hell, the ideas crystallize, and - something terrible for a Futurist - lose their expansive energy to implode in a kind of return to the order, where each manifestation of art ceases to be rebellious and returns to be an expression of pure survival.
But they are sketches that do not change the tendency - they become stronger as the massacre becomes more tragic - of a return to a more traditional expression and more in tune with the reality they face. It is as if Futurism in Italy has already died: It comes when the true name of Futurism has lost its revolutionary value and acquires, in Portugal and elsewhere, different and negative connotations. It is mainly thanks to the readiness and cunning with which Marinetti and his large group divulged it.
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