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46 Male dancers suddenly and repeatedly propel into the air, taking off without any noticeable preparation to hover for an instant like a photograph captured in real time. Dancers leap, jump, lunge to the floor, rise, extend “Fascist” Futurism and Balanchine’s “American” Ballet 33 their legs, and balance on- and off-center like bullets, defying gravity and time, their limbs rebounding in constant motion. This choreography, which activates the entire stage space, not just the dancers on it, realizes Prampolini’s “attore-spazio” vision, in which the stage space itself comes alive.

At moments, the frenetic pace slows to showcase the classical vocabulary, but even here, archetypal academic positions, transformed into ever-shifting formal patterns of triangular passés and right-angled arabesques, emphasize the body’s geometric and mechanistic capacities. ”46 Male dancers suddenly and repeatedly propel into the air, taking off without any noticeable preparation to hover for an instant like a photograph captured in real time. Dancers leap, jump, lunge to the floor, rise, extend “Fascist” Futurism and Balanchine’s “American” Ballet 33 their legs, and balance on- and off-center like bullets, defying gravity and time, their limbs rebounding in constant motion.

Geometrical spatial patterning. Onomatopoeia. Simultaneity. Multiplied, mechanical bodies. Interpenetration of human and environment. Emulation of the cinema and music hall. We are in the realm of 23 M. ), Avant-Garde Performance and Material Exchange © Palgrave Macmillan, a division of Macmillan Publishers Limited 2011 24 Intersections Futurist performance, and the pieces described above represent diverse manifestations of the Futurist experiment. The first, Giacomo Balla’s 1914 Macchina Tipografica, was the painter’s first attempt at theatrical production.

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