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Marinetti’s Visit to Russia in 1914: Reportage in Russia and in Italy

  • Jordan Tobin
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Volume 9 2019
Ein Kapitel aus dem Buch Volume 9 2019

Abstract

In February 1914, F. T. Marinetti travelled to Russia to present a series of lectures on Futurism in Moscow and Saint Petersburg. This offered the Russian public, and thereby the Russian Futurists, a first opportunity to meet the leader of the Italian movement. Given that only a very few artists working in the Russian sphere at this time chose to document this confluence of Italian and Russian Futurisms, there exists very little in the way of primary material that captures the reaction Marinetti received during his stay. An analysis of the press coverage surrounding his trip is therefore a useful tool for gaining a fuller picture of this critical meeting of Futurisms. The present essay explores the Russian and Italian reports on Marinetti’s tour and investigates the sentiments surrounding this unique encounter. It also highlights the importance of several translations of Marinetti’s works which were made available to the Russian public in the months surrounding his trip. These publications, together with the Russian-language press, made Marinetti’s words and rhetoric accessible first-hand to Russians who spoke no Western language. Thus, the general public (of which the Russian Futurists were very much a part) were able to form their own opinions of the Italian Futurist movement and its leader, irrespective of any personal attendance of his lectures

Abstract

In February 1914, F. T. Marinetti travelled to Russia to present a series of lectures on Futurism in Moscow and Saint Petersburg. This offered the Russian public, and thereby the Russian Futurists, a first opportunity to meet the leader of the Italian movement. Given that only a very few artists working in the Russian sphere at this time chose to document this confluence of Italian and Russian Futurisms, there exists very little in the way of primary material that captures the reaction Marinetti received during his stay. An analysis of the press coverage surrounding his trip is therefore a useful tool for gaining a fuller picture of this critical meeting of Futurisms. The present essay explores the Russian and Italian reports on Marinetti’s tour and investigates the sentiments surrounding this unique encounter. It also highlights the importance of several translations of Marinetti’s works which were made available to the Russian public in the months surrounding his trip. These publications, together with the Russian-language press, made Marinetti’s words and rhetoric accessible first-hand to Russians who spoke no Western language. Thus, the general public (of which the Russian Futurists were very much a part) were able to form their own opinions of the Italian Futurist movement and its leader, irrespective of any personal attendance of his lectures

Kapitel in diesem Buch

  1. Frontmatter I
  2. Contents V
  3. Editorial IX
  4. Conventions of dates and transliteration used in this volume XXI
  5. 10.1515/9783110646238-202
  6. Marinetti’s Visit to Russia in 1914: Reportage in Russia and in Italy 3
  7. Futurism in the Russian Far East at the Beginning of the 1920s: The Historical and Cultural Context 35
  8. Velimir Khlebnikov’s Early Dramatic Production 73
  9. Maria Siniakova’s Sensual Futurism 122
  10. Mayakovsky’s Voices: Futurist Performance and Communication in Verse 157
  11. The New Semiotics of Advertising in Italian and Russian Futurism 188
  12. Futurist Wrestlers and Constructivist Worker-Sportsmen: The Russian Avant-garde and Heavy Athletics in the 1910s–1920s 214
  13. Zenitist Cinema: Influences of Marinetti and Mayakovsky 236
  14. The Futurist Tradition in Contemporary Russian Artists’ Books 269
  15. Section 2: Archive Reports
  16. The Futurism Collection at the National Library of Finland in Helsinki 297
  17. Section 3: Caricatures and Satires of Futurism in the Contemporary Press
  18. “The Broom of Satire, the Brush of Humour”: Mayakovsky in Caricatures Preserved in the State Literary Museum in Moscow 311
  19. Section 4: Obituaries
  20. Daniele Lombardi (1946–2018) 339
  21. Enrico Crispolti (1933–2018) 349
  22. Section 5: Critical Responses to Exhibitions, Conferences and Publications
  23. Futurist Art Post Zang Tumb Tuuum 357
  24. The Futurist Universe at the Massimo Cirulli Collection 367
  25. A Hundred Years of Futurism in Portugal: The Conference 100 Futurismo in Lisbon 380
  26. A Hundred Years of Portuguese Futurism: The International Congress Futurismo Futurismos in Padua 389
  27. 100 Years of Portugal futurista: An Exhibition and Study Day in Lisbon 400
  28. Ultraism and the Historical Avant-garde 421
  29. The Verbo-voco-visual Artists’ Books of the Russian Avant-garde 429
  30. Evolutions of Russian Futurism in the 1910s and 20s 435
  31. Section 6: Bibliography
  32. A Bibliography of Publications on Futurism, 2016–2019 443
  33. Section 7: Back Matter
  34. List of Illustrations and Provenance Descriptions 473
  35. Notes on Contributors 479
  36. Name Index 487
  37. Subject Index 527
  38. Geographical Index 557
https://doi.org/10.1515/9783110646238-001

Kapitel in diesem Buch

  1. Frontmatter I
  2. Contents V
  3. Editorial IX
  4. Conventions of dates and transliteration used in this volume XXI
  5. 10.1515/9783110646238-202
  6. Marinetti’s Visit to Russia in 1914: Reportage in Russia and in Italy 3
  7. Futurism in the Russian Far East at the Beginning of the 1920s: The Historical and Cultural Context 35
  8. Velimir Khlebnikov’s Early Dramatic Production 73
  9. Maria Siniakova’s Sensual Futurism 122
  10. Mayakovsky’s Voices: Futurist Performance and Communication in Verse 157
  11. The New Semiotics of Advertising in Italian and Russian Futurism 188
  12. Futurist Wrestlers and Constructivist Worker-Sportsmen: The Russian Avant-garde and Heavy Athletics in the 1910s–1920s 214
  13. Zenitist Cinema: Influences of Marinetti and Mayakovsky 236
  14. The Futurist Tradition in Contemporary Russian Artists’ Books 269
  15. Section 2: Archive Reports
  16. The Futurism Collection at the National Library of Finland in Helsinki 297
  17. Section 3: Caricatures and Satires of Futurism in the Contemporary Press
  18. “The Broom of Satire, the Brush of Humour”: Mayakovsky in Caricatures Preserved in the State Literary Museum in Moscow 311
  19. Section 4: Obituaries
  20. Daniele Lombardi (1946–2018) 339
  21. Enrico Crispolti (1933–2018) 349
  22. Section 5: Critical Responses to Exhibitions, Conferences and Publications
  23. Futurist Art Post Zang Tumb Tuuum 357
  24. The Futurist Universe at the Massimo Cirulli Collection 367
  25. A Hundred Years of Futurism in Portugal: The Conference 100 Futurismo in Lisbon 380
  26. A Hundred Years of Portuguese Futurism: The International Congress Futurismo Futurismos in Padua 389
  27. 100 Years of Portugal futurista: An Exhibition and Study Day in Lisbon 400
  28. Ultraism and the Historical Avant-garde 421
  29. The Verbo-voco-visual Artists’ Books of the Russian Avant-garde 429
  30. Evolutions of Russian Futurism in the 1910s and 20s 435
  31. Section 6: Bibliography
  32. A Bibliography of Publications on Futurism, 2016–2019 443
  33. Section 7: Back Matter
  34. List of Illustrations and Provenance Descriptions 473
  35. Notes on Contributors 479
  36. Name Index 487
  37. Subject Index 527
  38. Geographical Index 557
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