Filippo Life Tommaso Marinetti, Founder of Futurism between two trips to Russia. Russian futurist manifests Futurism, war and attitude with fascism

Manifesto "Manifesto" Marina Aleksinskaya August 14, 2014 0 Culture "Salvation of Russia from Markobesia" in the Hermitage From June 28 to October 31, the "Manifesta 10" - Biennale of Contemporary Art is held in Hermitage. This is an event, this global project (at the expense of the treasury of St. Petersburg)

18.7. The opposition manifesto The latter of the considered opposition covered a number of regional branches of the party and resulted in release in 2009, "Manifesta of the Communist Party of the Communist Party" of this opposition. In 2010, his second edition was released (but no update, but upgrades - update sounds

Preface: from "National Futurism" to the "Technician of the Russian Idea", the faith, which is confessed on the debt of the service. It's bad when over ordered to believe in the greatness and a great future of Russia, and in the soul reigns quite different. In 2014, it was a fracture. Those gorgeous chances that

Marinetti Filippo Thomazo

First manifesto futurism

literature.- M.: Progress, 1986. -s. 158 -162.

We sat all night with friends with electric light. Copper caps under the lamps like the domes of the mosque with their complexity and fancy reminded us themselves, but electric hearts beat beneath them. Love ahead of us was born, but we were all sitting and sitting on rich Persian carpets, Molly, all sorts of nonsense and Marali Paper.

We were very proud of themselves: how, because we did not sleep only alone, how the beacons or scouts do not sleep. We were one on one against the whole of the stars, all these were our enemies, and they stood their camps high in the sky. Some, quite alone along with the firegram at the huge steamer firebox, one with a black ghost of a hot flip-flounder whisching steam locomotive, one with a drunkard, when he flies home as on the wings, but that and the matter hurts them for the walls!

And suddenly we were very sick of the roar. It rushed by and jumped huge, all in multicolored lights two-story trams. As if these are villages on the river software in some holiday, but the river came out of the banks, threw them off and uncontrollably suffered through waterfalls and waterways straight to the sea.

Then everything subsided. We have heard only how the old channel is mocked and the bones of the dice of the dice of the dilapidated suede palaces are crushed. And suddenly we have under the windows, like hungry wild beasts, dried cars.

Well, friends, - I said, - Forward! Mythology, mysticism - all this is already behind! Before our eyes, a new centaur is born - a man on a motorcycle, - and the first angels swept into the sky on the wings of airplanes! Let's give a naughty in the gates of life, let them get up completely all hooks and drills! .. Forward! Already over the Earth is engaged in a new dawn! .. For the first time, she pierces the ectic darkness with his scarlet sword, and there is nothing more beautiful than this fiery shine!

Three cars stood there and snorted. We approached and affectionately bathed them along the contamination. In my car terrible close, you lie like in a coffin, but here suddenly the steering wheel was running into my chest, I cut himself as an ax of the executioner, and I immediately came to life.

In the mad whirlwind, madness turned inside out, torn off himself and dragged themselves on the humpbacks, as in the deep part of the dried river. It is here, then there are mantle dull lights in the windows, and they said that they said: do not believe their eyes, too sober look at things!

Fight! - I shouted. - A wild beast is enough and a little! ..

And like young lions, we rushed after death. Ahead in the endless lilac sky, her black skin flashed with barely noticeable faded crosses. The sky was overflowed and trembled, and before him could be touched by hand.

But we didn't have an excellent lady ascended to the transcendelnachabilly messenger, and it means that it was impossible, curling into three deaths, like the Byzantine ring, fall to her feet! .. Not for what we could die, except so that Reset the unbearable wear of your own courage!

We rushed in a laying head. Chain dogs were popped out of Szimznuts, and we immediately pressed them - after our hot wheels, nothing remained from them, even a wet place, as the wrinkles did not remain on the collar after the iron.

The death was terribly satisfied. At every turn, she ran ahead and gently stretched her knuckles, then with a gnashing of a dental, I waited for me, lying on the road and looking out of the puddle.

Let's break out from thoroughly shot the shell of common sense and as the flavored pride of the nuts are burst directly in the expansion mouth and the flesh of the wind! Let us swallow us unknown! Do not go with grief, we go to it, and so that there is more and without that immense nonsense!

So I said, and immediately turned sharply. In the same way, forgetting everything in the world, they chase his own poodle tail. Suddenly, where neither take, two cyclists. They did not like it and they both loomed in front of me: so sometimes two arguments are spinning in my head, and both are convincing enough, although they contradict each other. They crushed here on the road itself - neither pass, nor pass ... Here is the hell! Ugh! .. I rushed straight, and what? -D! turned over and flopped right into the ditch ...

Oh, you, Mother-ditch, flew into a ditch - go on a glory! Oh, these are plants and their sewage! I enjoyed the risen to this alone and remembered the black boobs of my feed-black women!

I got up to all the growth, like a dirty, stinking mop, and the joy of a hot knife poured my heart.

And then all these fishermen with fishing rumbers and rheumatic friends of nature first rebounded, and then they escaped to look at a sort of unprecedented. Without hurrying, with the knowledge of the case, they threw their huge iron disperses and caught my car - this overwhelmed shark. As a snake from scales, it became little to face from the ditches, and now its luxurious body and chic upholstery has already appeared. They thought, my poor shark died. But it cost me gently to sweat her on the back, as she fluttered, fixed, plagued the fins and broken his head rushed forward.

Our faces are filled later, puffwind in the factory mud interspersed with a metal chip and soot from the factory pipes directed into the sky, the broken hands are bandaged. And so, under the sobbing of the life of fishermen with fishing rods and the obscuration of the risks of nature, we first announced everyone living On Earth, his will:

1. Long live risk, audacity and indomitable energy!

2. courage, courage and riot - that's what we sing in our verses.

3. Old literature challenged thoughts, enthusiasm and inaction. But we sneeze the discharge pressure, a terrible trick, a raying step, a dangerous jump, puffy and face.

4. We say: our beautiful world has become even more beautiful - now it has speed. Under the trunk of a racing car, the exhaust pipes snatch and smear the fire. His roar is similar to the machine-gun, and no Samofarakaya is compared to him with him.

5. We are singing a man behind the Branca: the wheel of the manure pierces the earth, and it rushes along a circular orbit.

6. Let the poet fright, let his voice thunder and wakes the original elements!

7. There is nothing more beautiful to struggle. No arrogance there are no masterpieces. Poetry of the head will break the dark forces and subjugate their person.

8. We are standing on the breakage of the centuries! .. So what is the sake of looking back? After all, we are about to burn the window right into the mysterious world. Impossible! No, now neither time nor space. We live in eternity, because in our world only the speed reigns.

9. Long live war - only she can clean the world. Long live armament, love for homeland, destructive power of anarchism, high ideals of the destruction of everything and all! Down with women!

10. We will smire all museums, libraries. Down with moral, cowardly conciliators and divers!

11. We will challenge the working noise, joyful hum and the rebar of the crowd; Pestruham a revolutionary vortex in our capitals; Night buzz in ports and in shipyards under the blinding light of the electric moon. Let the voracious grazing of the train stations swallow in chading snakes. Let the plants are tied to the clouds for threads of smoke from their pipes. Let the bridges with a gymnastic throw throw over a dazzling smooth surface of the rivers under the sun. Let the steamers of the steamers sniff the horizon. Let the wide steam locomotives, these steel horses in the dressing of the pipes, are danced and puff from impatience on the rails. Let the airplanes slide across the sky, and the roar of the screws merges with the splash of banners and applauses of an enthusiastic crowd.

Not somewhere, and in Italy we proclaim this manifesto. He will turn over and burn the whole world. Today, this manifesto we lay the foundations of futurism. It's time to save Italy from all this infamous historians, archaeologists, art historians, antiquaries.

For too long, Italy was a landfill of every older. We must clear it from countless museum trash - it turns the country into one huge cemetery.

Museum and cemetery! They do not distinguish them from each other - the dark copies of anyone not known and indistinguishable corpses. These are public at night, where vile and unknown creatures are welded in one pile. Artists and sculptors invest all their hatred towards each other in the lines and paints of the Museum itself.

Go to the museum once a year, how to go to the grave to your relatives - it can still be understood! .. Even bring the bouquet of flowers from Joconde - and it still walked! .. But drag there every day with all our sorrows, weaknesses, sadness. "This is not climbing into any gate! .. So what to travert my soul?" So what to dissolve nurse?

What good will you see on the old picture? Only miserable attempts of the artist, unsuccessful attempts to break the obstacle that does not fully express his idea.

To admire the old picture - it means to bury your best feelings alive. So it is better to use them into the case, send to the working, creative channel. What to waste forces on any other sighs about the past? It tires and exhausts, empty.

What is this: Daily walking on museums, libraries, academies, where unnecessary plans are buried, crucified the best dreams, painted in the graphs broken hopes?! For the artist, it is like the too tightened guard for the smart, talented and complete ambitious aspirations of young people

For squeezed, cripples and arrestants - it still went wherever. Maybe for them the old good times - as balm on the wounds: the future is still ordered ... And we are all for nothing! We are young, strong, we live in full force, we, futurists!

Well, where are the glorious arsonists with burnt hands? Let's come here! Let's! Draw fire to library shelves! Send water from the channels to the museum cleaners and flood them! .. And let the course takes great canvas! Grab kirk and shovels! Crucify the ancient cities!

Most of us are not thirty. We have no less than a good ten years. We are knocking forty, and then young and strong let us throw us out on a landfill as an unnecessary rhylad! .. They will come from all over the world, from the most distant surcharges under the light rhythm of their first verses. They will scratch the air with their coarse fingers and sniff the doors of academies. They will inhale the stench of our progressing ideas, which is a place in the catacombs of libraries.

But there will be no longer there. In the end, in the winter at night, they will find us in a clean field at the gloomy hangar. Under the dull rain, we will cough our trembling airplanes and will warm your hands over the vanity fire. The light will flash and devour our books, and their images are sparks up.

They will come around us. From anger and annoyance they will intercept their breath. Our pride and endless courage will infect them. And they rush to us. And the stronger their love and admiration for us, the more with greater hatred they will tear us into pieces. Healthy and strong fire of injustice will joyfully break up in their eyes. After all, art is violence, cruelty and injustice.

Most of us are not and thirty, and we have already lost all our wealth - forces, love, courage, perseverance. We were in a hurry, in the fever, the right and left, without an account and to exhaustion.

But take a look at us! We have not dried yet! Our hearts are fighting smooth! I would still, because in the chest we have fire, hatred, speed! .. What, surprised? You have nothing to remember from all your life.

Do not believe? Well, okay, it will be! Will be! I have already heard all this. Well, of course! We are known to be known that we will tell our wonderful alleged mind. We will say, just the brainchild and the continuation of our ancestors.

So what? Well, let! Think! ... to listen disgust! Throw to continuously grind this nonsense! Rewrite-ka better head!

And again from the top of the top we challenge the stars!

Technical manifest of futuristic literature

Source: Call things with your own names:

Software performances of Western European

literature. -M.: Progress, 1986.- S. 163 -167.

I sat on the gas tank of the airplane. Right into the stomach, I was resting my head Aviator, and it was warm. Suddenly, I dawned on me: the old syntax, refused by the Homer, is helpless and ridiculous. I was terribly wanted to release words from the cell of the phrase period and throw it out this Latin old. Like any feeder, this phrase has a strong head, belly, legs and two flat feet. So it is still possible to walk, even run, but immediately, fatal, stop! .. And she will never have wings.

All this is discovered to me a propeller when we flew at a height of two hundred meters. At the bottom I smoked Milan pipes, and the propeller merged with everything:

1. The syntax must be destroyed, and putting the nouns as they fell as they come to mind.

2. The verb must be indefinite. So it will fit well to the noun, and then the noun will not depend on the writer "I" from the "I" of an observer or a dreamer. Only an indefinite form of verb can express the continuity of life and the subtlety of its perception by the author.

3. Need to cancel adjective And then the null noun will appear in all its glory adds shades, delays, makes it makes thinking, and this contradicts the dynamics of our perception.

4. It is necessary to cancel adverb. This rusty hook bursts words to each other, and the offer from this turns out disgustingly monotonous.

5. Each nouns must have a twin, That is, another noun, with which it is connected by analogy.

They will be connected without any servicewords. For example: a man-torpedo, a female bay, a crowd-surf, place-funnel, door-crane. The perception by analogy becomes familiar with the speed of air flights. The speed has opened up new knowledge about life, so we must say goodbye to all these "similar on, like, such as, just like", etc. And even better the subject and the association to make one concise image and submit it in one word.

6. Punctuation is no longer needed. When adjectives, adverbs and service words will be canceled, in itself there will be a living and smooth style without stupid pauses, points and commas. Then the punctuation will be completely nothing. And in order to specify the direction or distribute something, you can use mathematical symbols of + - x: \u003d\u003e< и нотные знаки.

7. Writers have always loved the direct association very much. The animal they compared with a person or with another animal, and this is almost a photo. Well, for example, some compared the focister with small powdered ponies, others, more bold, could compare the same impatiently ragging dog with a chipping of Morzyanka. And I compare the focister with raging water. All this Association levels of various coverage widths. And the wider the Association, the more deep similarity it reflects. After all, the similarity consists in a strong mutual attraction of completely different, distant and even hostile things. The new style will be created on the basis of the widest associations. He will absorb all the variety of life. It will be a different-haired and multicolored style, changeable, but very harmonious.

In the "Battle of Tripoli" I have such images: a trench with bayonets sticking out from there, I compare with an orchestral jama, and a cannon - with a fatal woman. Thus, in a small scene of the African battle, whole layers of life, and all thanks to intuitive associations.

Voltaire said that the images are flowers and collect them must be carefully and not everything. This is not right. Images are the flesh and blood of poetry. All poetry consists of an endless string of new images. Without them, she will fade and wage. Large-scale images are affected by imagination. They say that you have to spare emotions of the reader. Ah-ah! Or maybe we better take care of a friend? After all, the brightest images are erased from time. But that's not all. Over time, they are less and less acting on the imagination. Is the Beethoven and Wagner not swept from our delayed delights? Therefore, it is necessary to throw out erased images from the language and polished metaphors, which means almost everything.

8. There are no different categories of images, All of them are the same. It is impossible to share associations on high and low, elegant and coarse or contiguous and natural. We perceive the image intuitively, we do not have a ready-made opinion in advance. Only a very figurative language can cover all the variety of life and its tense rhythm.

9. Movement must be transmitted by a chain of associations.Each association should be accurate and brief and fit into one word. Here is a vivid example of the chain of associations, and not the most bold and compounded old syntax: "Masp-gun! You are charming and unique! But in anger you are just beautiful. You are covered by unknown forces, you suffocate from impatience and frighten with your beauty. And then - a jump in the arms of death, a fringing strike or a victory! Do you like my enthusiastic Madrigals? Then choose, I am at your service, madam! You look like a fiery speaker. Your ardent and passionate speeches are affected in the heart. You roll steel and cut iron, but it's not all. Even the general stars melted under your gueady caress, and you are mercilessly sinked them like scrap "(" Battle for Tripoli ").

Sometimes it is necessary that a few images in a row stitched the reader's mind as a powerful machine gun.

The most sophisticated and elusive images can be caught a thick network. Woven Frequent nemid associations And throws into the dark bunch of life. I bring an excerpt from Mafark-Futurist. This is a thick grid of images, bonded, however, the old syntax: "His bristy young voice rang piercingly and gave himself a multi-way echo of children's votes. This calling the echo of the school court was disturbed by the hearing of a gray-tree teacher, who peered at the sea distance from above ... "

Here are another three frequent mesh images.

"Artesian wells have boamels puffers pumps and died in the city. Nearby, in the thick shadow of olive, the three camels fell hard on soft sand. Cool air is fun boulevard and bubotal in their nostrils, like water in the iron sip of the city. Maestro-sunset elegantly waved his brightly luminous wand, and the whole earthly orchestra immediately came to joyful movement. Non-stroke sounds came from the orchestral jamas of the trenches and gulco were given in trenches. Blue bowes were inevitably moved ...

Following the wide gesture of the Great Maestro Smallkley in the foliage of the bird flute, and the stretched trills of grasshoppers were frozen. Sleepy grunted stones, cursed with a dry whisper of the branches ... Verse the ringing of soldier kotelets and clicked shutters. The last wave of the brilliant stick speaker-sunset muted the sounds of his orchestra and invited night artists. On the external sky, wide opening gold clothes, the stars came. On them, like a luxurious decolted beauty, indifferently looked the desert. Warm night generously suiced the jewelry of her magnificent dark chest "(" Battle for Tripoli ").

10. We need to gossip images randomly and community. Any system is a fabrication of a scholarship.

11. Fully and finally release the literature from the author's own "I", That is, from psychology. A man spoiled by libraries and the ski museums does not represent anything of the slightest interest. He is completely mired in logic and boring virtue, so it should be excluded from the literature, and in his place to take non-living matter. Physicists and chemists will never be able to understand and reveal her soul, and the writer should do this, consulting all his intuition. Behind the appearance of free objects, he must see their character and inclination, through the nervous battery of motors - to hear the breath of metal, stone, tree. Human psychology has been drawn up to the bottom, and she will be replaced Lyrics of states of inanimate matter. But attention! Do not assign her human feelings. Your task is to express the strength of acceleration, feel and convey the processes of expansion and compression, synthesis and decay. You must capture an electronic vortex and a powerful jerk of molecules. No need to write about the weaknesses of generous matter. You must explain why steel is durable, that is, to show an inaccessible human mind the connection of electrons and molecules, a connection that is even stronger than the explosion. Hot metal or just a wooden bar worry us now more than a smile and tears of a woman. We want to show in the literature the life of a motor. For us, he is a strong beast, a representative of a new species. But first, we need to explore his habits and the smallest instincts.

For the poet Futurist there is no topic more interesting than the crossing of the keys of mechanical piano. Thanks to the movie, we see funny transformations. Without human intervention, all processes occur in the reverse order: from the water, the swords of the swimmer emerge, and it turns out to be flexible and strong jerk on the tower. In the movie a person can run at least 200 km per hour. All these forms of motion of the matter are not amenable to the laws of the mind, they are of different origin.

Literature always neglected with such characteristics of objects as Sound, gravity (flight) and smell (evaporation). This must be written. It is necessary, for example, to try to draw a bouquet of smells that a dog deplex. We must listen to the conversations of motors and reproduce their dialogue entirely. If earlier someone wrote about inanimate matter, he still was too busy himself. The scattering, indifference and care of the decent author, somehow reflected in the image of the subject. A person is not able to abstract from himself. The author involuntarily infects things with his young joy or senile longing. The matter has no age, it cannot be neither joyful, nor sad, but it constantly strives for speed and unlocked space. The strength of it is limitless, it is unbridled and plump. Therefore, to subordinate to yourself, it is necessary to unleached with looting traditional syntax. Matter will belong to the one who will end with this judicial, nervy block.

A bold poet liberator will release words to the will and penetrate the essence of phenomena. And then there will be no more enmity and misunderstanding between people and the surrounding reality. Mysterious and changing the life of matter we tried to squeeze into the old Latin cell. Only the grooved attachments could be joined such an unprotected race. This cell from the very beginning did not go anywhere. Life to perceive needs intuitive and express directly. When will be finished with logic, it will arise Intuitive matter psychology. This idea came to me in the airplane. From above, I saw everything under a new angle of view. I looked at all objects not in the profile and not anfas, but perpendicularly, that is, I saw them from above. I did not interfere with the logic and chains of everyday consciousness.

Futurist poets, you believed me. You devotedly walked behind me to storm the association, with me you built new images. But the subtle networks of your metaphors hooked for the reef logic. I want you to free them and, unfolding all the breadths, with all Makha, they abandoned far into the ocean.

Joint efforts we will create the so-called Wireless imagination. We throw out the first reference half of the association, and only a continuous range of images will remain. When we have enough spirit, we boldly say that great art was born. But for this you need to sacrifice the reader's understanding. Yes, it is for us and nothing. After all, we cost, without understanding, when they expressed a new perception of old syntax. With the help of syntax, the poets would be grinding life and already in encrypted form reported to the reader her shape, outlines, coloring and sounds. Syntax performed as a bad translator and a boring lecturer. And the literature does not need anyone in any other. It should affect life and become an inseparable part.

My works are not at all like others. They are striking the strength of associations, a variety of images and lack of familiar logic. My first manifesto futurism absorbed all the new and mad bullets whistled over all the literature. What is the point of touching the creaking cart when you can fly? The imagination of the writer smoothly boils over the Earth. It covers all my life with a tenacious look of wide associations, and free speech assemble them into the slender rows of laconic images.

And then from all sides the viciously wrap: "This is a deformity! You have deprived us of music words, you have broken the sound harmony and the smoothness of the rhythm! ". Of course, violated. And correctly done! But now you hear a real life: Rough shouts, cutting ear sounds. To the hell show! Do not be afraid of deformity in the literature. And it is not necessary to cuddle saints. Once and forever spindle on Altar of Art And boldly step into the neo-beam gave intuitive perception! And there, ending with white verses, spoke free words.

There is nothing perfect in life. Even snipers are sometimes missing, and then the taking fire of words suddenly becomes a sticky jet of reasoning and explanation. It is impossible immediately, one blow to rebuild perception. Old cells die gradually and new ones appear in their place. And art is a global source. We draw the strength from it, and it is updated with underground waters. Art is an eternal continuation of ourselves in space and in time, our blood flows in it. But after all, blood will come, if they do not add special microbes into it.

Poets-futurists, I taught you to despise libraries and museums. Congenital intuition is a distinctive feature of all romance. I wanted to wake her in you and call Disgust to mind. In the man there was an inseparable hostility to the iron motor. Only intuition can reconcile them, but not mind. The rule of human domination. There is a century of technology! But what can scientists be other than physical formulas and chemical reactions? And we first get acquainted with the technique, then you will get sick with her and prepare the appearance Mechanical man in a complex with spare parts. We liberate a person from the thought of death, the ultimate goal of reasonable logic.

43. Futurism literary manifests.

One of the tendencies in the literary and critical work of the 1920s was the desire to overturn the work of art, to see a certain mechanism that can be completely rational understanding. Interest in how artistic text was made to which details it can be developed, which must be corrected in the already known work so that it satisfies the requests of the new reader - all this was characteristic of a wide variety of literary criticism. Literary and critical judgments were filled with copyright. Almost every literary critic has developed primarily as an opponent, and his opinion was in the heat of endless discussions and polemical fights. Indishesity to someone else's opinion was erected in Absolut. Literary taste, a sense of measure in the interpretation of the artistic text ceased to be a priority in the analysis of the artistic text. The named features of literary criticism were also characteristic of the breakdowns, and for the fourturists who are warring with them.

FUTURISM. This literary term is taken from the Latin word Futurum - the future. Futurists sometimes call themselves in Russia "will be" will be ". Futurism, as an aspiration for the future, is opposed to Passeism in the literature, aspiration for the past. Futurists are thrown overboard the heavy load of the past. The poetry of dreary memories they oppose the poetry of feverish aspiration to the future.

In 1909, the first manifesto Marinetti appeared, and since 1910, the poems of St. Petersburg egohuuturists and Moscow Cabobuturists begin to appear in Russia.

In St. Petersburg, the egohuchurists in 1912 are paid around the publishing house "Petersburg Herack", with Ivan Ignatiev led. The group includes: D. Crochekov, Igor Northernik, K. Olympov (Fofanov-Son), P. Shirokov, Rurik Ivnev, Vasilisk Gnodov, Vadim Shershevich.

Futurists It is impossible to imagine without the criticism of the entire previous literary process, and for most of them "program optes" were more important than creativity. But in principle, the complete denial of the literature of the past and the presentation "before the fading world of the new whole" - were far from new ones in the history of literature. Main features: Restoration, anarchicity of the worldview, the expression of the mass moods of the crowd; denial of cultural traditions, an attempt to create art, fixed into the future; Riot against the usual standards of poetic speech, experimentalism in the field of rhythm, rhymes, orientation on the pronouncing verse, slogan, poster; Searches for a liberated "self-love" word, experiments on the creation of a "dusty" language; the cult of technology, industrial cities; Pafos Padatage.

Rodonarchists of Russian futurism are considered to be "Mischina", members of the St. Petersburg Group "Gile" (Velikimer Khlebnikov, Circled Alexey Eliseevich, Mayakovsky Vladimir Vladimirovich and Burliuk, David Davidovich), in December 1912, who released the manifesta "Society to Public Taste". Manifest called "Throwing Alexander Sergeyevich Pushkin, Fedor Mikhailovich Dostoevsky, Lev Nikolayevich Tolstoy, etc., and so on., From a steamer of modernity" and formulated 4 poets' rights: 1. In an increase in the poet vocational dictionary and derivative words (word - innovation). 2. Hepreodoliming hatred to the language existing before them. 3. With horror, remove the wreath of pennants from the proud chela from the proud brooms.
4. Stand on the words "We" among the sea whistling and indignation.

"Giley" was the most influential, but not the only union of futurists: there were also ego-futurists headed by Igor Northgen (St. Petersburg), " Centrifuge» ( Moscow), groups in Kiev, Kharkov, Odessa, Baku. Members of "Gilei" adhered to the doctrines cubeturism; in its framework appeared awesome poetryInvented by bread and twisted.

TO poets-Cubeturists Beliem Khlebnikov belonged, Elena Guro, David and Nikolai Burliuki, Vasily Kamensky, Vladimir Mayakovsky, Alexey Kratynykh, Benedict Livshits.

Egoofuturism. In addition to the common futuristic letter for ego paturism, cultivating the refined sensations, the use of new foreign language words, dismissed self-love. The leader of the movement was Igor Northerner, Georgy Ivanov, Rurik Ivnev, Vadim Shershevich, was also adjacent to the ego paturism, and the Vasilisk of Gnodov's stylistically approaching Cubal feast. "Mezzanine poetry." The poetic association established in 1913 by Moscow egofulness. It was included in Wadim Shershevich, Rurik Ivnev (M. Kovalev), L. Zack (pseudonyms - Chrysanf and M. Romsyyansky), Sergey Tretyakov, Konstantin Bolshakov, Boris Lavrenev and a number of other young poets. The ideological inspiration of the group, as well as its most energetic participant, was Vadim Schenevich. The "mezzanine poetry" was considered in the literary circles a moderate wing of futurism.

The union broke up at the end of 1913. Under the brand of Mezonin of Poetry, three Almanacs were published: "Vernisazh", "Pier during plague", "Crematorium of sanity" and several collections. "Centrifuge". The Moscow futuristic group formed in January 1914 from the left wing of poets previously related to the publishing house "Lyrics". The main members of the group are Sergey Bobrov, Nikolay Aseev, Boris Pasternak. The main feature in the theory and artistic practice of the group participants was that when building a lyrical work, the focus on the word as such was moved to intonational-rhythmic and syntactic structures. In their work, a futuristic experimentation and supports on tradition were organically combined. Books under the brand name "Centrifuge" continued to go to 1922.

With the establishment of Soviet power in Russia, futurism gradually began to disappear. Some of the authors emigrated (for example, Igor Northernik, Ilya Zdanevich, Alexander Exter), some died (Velimir Khlebnikov, in 1930 - Vladimir Mayakovsky and Alexander Bogomazov), some moved away from ideals of futurism and developed their own, individual style (Nikolay Aseev, Boris Pasternak ).

The first response to Russian futurism was the article V. Bryusov The latest currents in Russian poetry. Futurists. An experienced critic immediately "caught" futurists in what they did not want to confess: their manifestos essentially repeat the manifestes of Italians, and noted the difference between the St. Petersburg and Moscow futurists, not so much, however, in theory, as in its implementation - "Petersburg poets It was lucky: among them it turned out to be a poet with a gift of undisputed outstanding: Igor Northernik ... But the poet is always above that school, to which he is counted: his work cannot be a measure of aspirations and school achievements. " (The article V. Bryusov appeared in 1913, when Talent V.Makovsky has not yet revealed to the fullest). At the end of the article, the Master of Symbolism notes that in the field of "verbal presentation", futurists have some achievements and it is possible to hope that "grains" will ever grow "in real flowers", but for this, of course, "will have to learn a lot from ... Symbolists "

"Flat hooliganism" called futurism I. Bunin. M. Sorgine, ironically believed to Futurism Italian, was seriously concerned about the spread of futurism in Russia: "The campaign of young Italians against the frozen, petrified culture can be and doubt, but he will explain to him there is an excuse. There is no justification for those who oppose the culture of only the originating, which still needs a greenhouse and careful care ... It is not necessary to indulge: I do not have the rights, do not deserve. "

K. Chukovsky, who carefully followed the books and performances of futurists and friendly from V.Makovsky, wrote: "Among the Moscow Cubeturists there are many talents, and many can not be loved - but all of them together, as the phenomenon of Russian life indicate the fateful decrease in our national spiritual culture. "

M.Gorky, on the contrary, in every way supported "Willly" - "They scold a lot, and it is undoubtedly a huge mistake ... Their life itself gave rise to them, our modern conditions. They are in time born guys ... no matter how funny and crypturists were not our futurists, but they need to widely disclose the doors wide, for it is young voices that are visiting the young life. "

It is curious that not only readers and critics argued about futurism, but even ... Heroes of literary works. So, the hero of the story of A.Grina Gray car puts forward a rather original theory: a futuristic painting is a visual impression of a car from a person.

In the literary critical works, futurists argued that classical art was distinguished by reality, because it was sought to reproduce it in all details. The goal of art, as Christi-futurists considered N. Lunin, O. Click, N. Altman, B. Kushner, is "doing" "new unprecedented things." At the same time, futurists constantly emphasized their involvement in the proletarian ideology, although, as you know, the proletariat with difficulty perceived the slogan language of futurists.

I. Ehrenburg gives a wonderful example of an obvious incurredness of futuristic thought and its interpretation of "folk masses": "Every morning, the ordinary people thoroughly studied the walls passed on the walls, still raw, hollow decrees: they wanted to know what is allowed that it is forbidden. Once I saw the crowd near the leaflet called "Decree No. I on Democratization of Arts". Someone read out loud: "From now on, together with the destruction of the royal system, the accommodation of art in the storerooms, sheds of human geniuses, galleries, salons, libraries, theaters" is canceled. Grandma, screamed: "Batyushki, sheds are selected!" The attitude of V. I. Lenin to the art of Futurists was wary and in the "Letter of Plisters" (1920) of the Central Committee of the CPSU (b) characterized futurism as a manifestation of ridiculous and perverted tastes, as the activity of hostile Marxism of ideologues. Lneteur-critical performances of futurists (printed mainly in the Art Commune newspaper (1918-1919) and the journal "Creativity" (1920-1921), their appeals and manifestos were distinguished by concise calls and abstract software statements. In short reviews about books there were no integral evaluation .

Russian futurist manifests

Silence to public taste (1912)

Silence to public taste [leaflet] (1913)

First All-Russian Congress of the Bays of the Future (1913)

Theater, cinema, futurism. V. Mayakovsky (1913)

Raysts and Fudgers (1913)

We are painted (1913)

Go to hell! (1914)

Degty drop. V. Mayakovsky (1915)

Pipe Martian (1916)

Futurist Putting Fourthist Manifesto (1918)

Silence to public taste (D. Burluk, Alexander Klycheykh, V. Mayakovsky, Victor Khlebnikov Moscow, 1912. December)

Only we are the face of our time. Throw Pushkin, Dostoevsky, Tolstoy, and so on. With a steamer of modernity. Who will not forget their first love, will not recognize the last one. Your hands, touched by the dirty mucus of books, written by these countless Leonids Andreevy.

All these maxim are bitter, chip, blocks, sologues, Remizov, Averchenkov, Black, Kuzminy, Bunin, and so on. and so on. Need only a cottage on the river. This reward gives fate tailor.

From the height of the skyscrapers, we violate on their nonentity! ..

We order honor the rights of poets:

1. On an increase in the dictionary in its volume by arbitrary and derivative words (the word-innovation).

2. On the insurmountable hatred of the language existing before them.

3. With horror, to remove your bunny brooms from the proud chela from the bath brooms. Stand on the words "We" among the sea whistling and indignation.

And if there is still dirty stigma of your "common sense" and "good taste" in our lines, then they are already treated for the first time for the first time for the first time for the first time, the newcomers of the new coming beauty of self-reliable (selfless) word.

First All-Russian Congress of the Bays of the Future

We gathered here to arm a world against yourself! It's time for slapper

We want our opponents to defend their scattering belongings.

We ordered thousandth crowds at meetings and theaters and from our pages

clear books, and now they declared the rights of bays and artists, breaking the ears of stying under the pomotion and immobility:

1) destroy "pure, clear, honest, sonorous Russian", loose and smoothed by the languages \u200b\u200bof people from "criticism and literature". He is not fit of the Great "Russian People"!

2) Destroy the outdated movement of thought under the law of causality, toothless "common sense," symmetric logic ", wandering in blue shadows of symbolism and give personal creative imposition of the true world of new people.

3) destroy the grace, frivolity and beauty of cheap public artists and writers, continuously releasing all new and new works in words, in books, on canvas and paper.

4) For this purpose, new books "Three" Khlebnikov, twisted and E. Guro take place by the first August of the year. Fig. K. Malevich, "Heavenly Camels" E. Guro, "Dusty Moon" - employees "Gileia" - "Printing and We" and others.

5) rushing on the stronghold of art sequity - to the Russian theater and decisively convert it. Artistic, Krew, Alexandrinsky, big and small there is no place in today! - To this end, it is established on the idea of \u200b\u200bWillanin.

Futurist Brees

The old building was held on three whales. The development of political, slavery social, slavery spiritual.

The February Revolution destroyed slavery political .. The bomb of the social revolution threw october for capital. Four on the horizon loomed fatty bales of runaway breeders. And only it is worth a non-flashful third whale - r a b s t in dft x.ova, he still erupts the fountain of the plungy of water - referred to - with t a r o e and c k u s s t in about.

We are proletaria art - calling proletarians factories and lands to the third bloodless, but cruel revolution, the revolution of the spirit. Request to admit:

I. O T D E L E N E N E I S C U C C T C A O T S T S U D A R S T A.

Destruction of the patronage of privileges and control in the field of art. Down with diplomas, ranks, official posts and ranks.

II. The transfer of all material means of art: theaters, chapel, exhibition premises and buildings of the Academy and Art Schools - in the hands of the artists themselves for the equal use of them all the people of art .III. Universal art education for we believe that the foundations of the coming free art can only come out of the subsoil of democratic Russia, to this time only the alkali bread of art. Immediate, along with food, the requisition of all under prior of lying aesthetic reserves for just and uniform use of all Russia. Long live the third revolution, the revolution of the Spirit!

44. Marxist criticism as a kind of sociole-journalistic criticism. Type. Analysis of one of the items of the period.

The spread of Marxism in Russia of the last third of the XIX century, the passion for socialist ideas played an important role in the development of a special direction in the literary criticism of the stroke of centuries, which was opposed by liberal-democratic criticism, and various modernist flows in the literature.

Many literary and critical performances of the publicists of the Marxist sentences are penetrated about the mass reader. Important the admission of Marxist critics There was an idea of \u200b\u200bthe relatives of the artistic and party-political literature. The tasks of artistic literature saw Marxists primarily as promotion-propagandist. Wrote about it Vladimir Ilyich Lenin (1870-1924) In a well-known article "Party Organization and Party Literature" (1905): The literary case should be part of the generalocoltar case, the "Wheel and the Vinetik" of the same, the great social democratic mechanism given to the movement of all conscious avant-garde of the entire working class. " At the same time, Lenin emphasized: in the literary case, it is certainly necessary to ensure large expanses of a personal initiative, individual inclinations, the explicit of thought and fantasies, forms and contents. " By the number of Russian writers who inherit the "proletariat", Lenin attributed Herzen, Chernyshevsky, Saltykov-Shchedrin ("Mezen's memory", 1912; "populists about I. K. Mikhailovsky", 1914, etc.) L. Tolstoy, by conviction of Lenin In his writings expressed the interests of the Russian peasantry and found his own "screaming contradictions": on the one hand, "a wonderful strong, direct and sincere protest against public lies and falsehood", and on the other, "the warring sermon" non-resistance of evil "violence" ("Lion Tolstoy as a mirror of the Russian Revolution", 1908; "L.N. Tolstoy", 1910, etc.). The aesthetic side of the artwork seemed not to cryitam-Marxists not so significant. It was more important to focus on the ideological essence of the literature and its educational impact. Literary criticism turned out to be a means of struggle for the meaning of the mass consciousness and forming it in the spirit of the ideas of Marxism. It is not by chance that literary and critical publications were assigned an honorable place in political Marxist, Bolshevik publications - such as "proletarians", "Enlightenment", "Life Bulletin", Iskra newspapers, "Zarya", "New Life", "Our Echo", "Social Democrat", "Working Newspaper", "Star", "Our Way", "True" and a number of DR.

The most important thing in the formation of this criticism belongs to the founder of Russian Marxism Georgia Valentinovich Plekhanov (1856-1918). The most fruitful in the creative biography of Plekhanov became 1883-1903. His "letters without address" (1899- 1900) were a significant milestone (after Chernyshevsky's dissertation) in the development of Russian materialistic aesthetics. In the "letters", Plekhanov develops the so-called "labor theory" of the origin of art in primitive society, indicates the close dependence of the aesthetic tastes from the socio-political system, from existing economic relations and class struggle. With the protection of radical-democratic trends in the literary criticism, it also acts in the articles of historical and literary nature - "Belinsky and reasonable reality" (1897), "Literary views of Belinsky" (1897), "Aesthetic theory of Chernyshevsky" (1897), etc.

Plekhanov's point of view on the tasks of literary criticism is set forth in the preface to the third edition of his collection "For twenty years" (1908). He emphasizes that "the literary critic who takes the assessment of this artwork must first of all find out which side of the public or class consciousness is expressed in this work.<..> The first task of criticism is to translate the idea of \u200b\u200bthis artistic work from the language of art into the language of sociology to find something that can be called a sociological equivalent of a given data. " The second act of "materialistic aesthetics" should be an assessment of the artistic advantages of the work. At the same time, the tasks of literary criticism should not include an essay of any prescriptions to art. More than any of the critics of sociological orientation, Plekhanov attached importance to the artistic talent and intuition, believing that it was necessary to have a genuine small artist to develop a critical judgment. Plekhanov always remained an adherent of realism, but aesthetically consistent, he recognized only works imbued with the "proletarian" ideology. Plekhanov include articles "Proletarian movement and bourgeois art" (1905), "Gospel of Decadence", "A.I.", can be attributed to the number of noticeable theoretical and literary-critical speeches Herzen and serfdom "(1911)," Art and public life "(1912-1913), articles about L. Tolstoy, as well as numerous letters to prominent mediates of culture and art.

Another significant figure in the literary criticism oriented to the Marxist methodology was Vatslav Waclavovnch Vorovsky (1871-1923). Literary and critical articles were created by the thieves along with the works on the history of Marxism, research on economic issues, numerous journalistic performances. Only in the newspaper "Odessa Review" in two years he publishes about 300 articles, feuethons, reviews, is printed in the newspapers "Our Word", "Bessarabian Review", "Chernomorets" and other popular local editions, as well as in metropolitan magazines and collections. Literature, in thieves, is a sensitive barometer of changes in society. Each writer not only reflects the surrounding life in his own understanding, but also embodies the interests, ideals and aspirations of certain classes or social groups, although he can not behave about it. Literature is "art ideology", and, as any ideology, it is inevitably classified.

Active role in the formation of Marxist literary criticism and aesthetics played Anatoly Vasilyevich Lunacharsky (1875-1933). The consistent presentation of the views of the Lunacharsky on art in the initial period of his work was reflected in the work "Basics of positive aesthetics" (1904)Where the critic, considering the insufficient social interpretation of the problems of creativity, is trying to resort to the help of positivist philosophy, which has reduced all the wealth of human nature to the biological manifestations of the body. In a number of articles published on the pages of magazines "Education", "Issues of Philosophy and Psychology", the newspapers "True", Lunacharsky opposes the idealistic and religious and philosophical directions in Russian philosophy. Even his opponents were rated as talented and passionately written, these works made up the book "Etudes Critical and Polemical" (1905), where the idea of \u200b\u200bbiological conditionality of artistic activity and aesthetic perception was developed. The critic was constantly sought to associate literary analysis with a revolutionary struggle.

The critic reflected about the new hero, about the new concept of personality, emphasizing: "Of course, the artist must freely elect a task. But the matter is the criticism to specify the brewing tasks. Perhaps this will facilitate the artist's choice. Light all the angles of modernity with the light of merciless criticism, but not critics of the desperate swelling, but critics of the conscious enemy of the old world in the name of his beloved new. Give a bright image of the proletarian struggle, as well as the struggle of predecessors of the proletariat<...>. Open the iron integrity of the new soul, the soul of a wrestler, her selfless courage, its main funity, calm ... and so much more, sweet, touching and elevated-tragic in this soul ", not accidentally the focus of the criticism of Czechov, M. Gorky, Veresaeva, Kupper, Bunin, Serafimovich, L. Andreeva, a number of foreign writers.

Analysis: Lenin "Tolstoy as a mirror of the Russian revolution." L. Tolstoy, according to Lenin, in his writings expressed the interests of the Russian peasantry and found his own "screaming contradictions": on the one hand, "a wonderful strong, direct and sincere protest against public lies and falsehood", and on the other, "Yurodina Preaching "non-resistance evil" violence. "

Quotes: Comparison by the name of the Great Artist with the revolution, which he clearly did not understand, from which he was clearly removed, may seem at first glance as strange and artificial. Do not call the mirror of what obviously does not reflect the phenomena correctly? But our revolution is extremely complex phenomenon; Among the masses of its immediate performers and participants there are many social elements, which also obviously did not understand what was happening, also removed from the real historical tasks set by the course of events. And if we have a really great artist, then some of the essential parties to the revolution should have been reflected in his works.

Contradictions in works, views, exercises, in school Tolstoy - really screaming. On the one hand, a brilliant artist who gave not only incomparable paintings of Russian life, but also the first-class works of world literature. On the other hand, a landowner who is unforgetable in Christ. On the one hand, a wonderful strong, direct and sincere protest against public lies and falsehood, on the other hand, "Tolstov", that is, an articulated, hysterical lipik, called the Russian intellectual, who, publicly having herself in the chest, says: " I am a bad, I'm ugly, but I am engaged in moral self-improvement; I do not eat more meat and eat now rice cutlets. " On the one hand, the merciless criticism of capitalist exploitation, exposing government violence, comedy of the court and government, the opening of the entire depth of the contradictions between the growth of wealth and the conquests of civilization and the growth of poverty, the wildness and torment of the working masses; On the other hand, - the obstruction of the "non-resistance of evil" by violence. On the one hand, the most sober realism, breaking away all and all sorts of masks; - On the other hand, the sermon of one of the most vile things, which only there is in the world, it is: religion, the desire to put on the place of Popov on the treated position of Popov according to moral conviction, that is, the cultivation of the most sophisticated and therefore, especially disgusting Popovenia.

With such contradictions, Tolstoy could not absolutely understand either the labor movement and his role in the struggle for socialism, nor the Russian revolution, this itself is obvious. But the contradictions in the views and teachings of Tolstoy is not an accident, but the expression of those contradictory conditions in which the Russian life of the last third of the XIX century was delivered.

Tolstoy is great as an expressant of those ideas and those sentiments that have developed in millions of Russian peasantry by the time of the bourgeois revolution in Russia. Tolstoy original, for the aggregate of his views taken as a whole, expresses the features of our revolution as the peasant bourgeois revolution. Contradictions in the views of Tolstoy, from this point of view, is a valid mirror of those contradictory conditions in which the historical activity of the peasantry in our revolution was delivered.

Under the hammer of Stolypinsky lessons, with steady, weathered agitation of revolutionary social democrats, not only the socialist proletariat, but also the democratic masses of the peasantry will inevitably put forward all the more hardened wrestlers, and less capable of falling into our historical sin of Tsoltovshchina!

V.G. Belinsky First period ... to him Russian reality. Typological analysis articles B. "On Russian ...

Umberto Bocchoni. Street enters the house. 1911.

On February 20, 1909, "First Manifesto Futurism" was published.
Futurism (from Lat. Futurum Future) is the general name of literary and artistic avant-garde movements in the art of 1910s - the beginning of the 1920s. This course originated in Italy, it was theoretically substantiated and gained widespread in Europe, as well as in Russia. On February 20, 1909, on the first page of the French newspaper "Figaro", text was printed in the form of a paid announcement called "Justification and Manifesto Futurism", signed by the famous Italian writer and Poet Filippo Tomazo Marinetti (1876-1944).


Founder and chief ideolog of Futurism Filippo Tomazo Marinetti

From this date, it is customary to count the story of futurism - one of the largest trends of the European art of the early XX century. In the Futurism Manifesto, which became a fundamental document of this avant-garde current, was declared "anticultural, anti-systhetic and antifilosophical" its focus.
The founder of the movement and the chief ideologist of Futurism Marinetti said that "the main elements of our poetry will be courage, audacity and riot." The manifest consisted of two parts: text-to-entry and programs that included 11 fundamental features of the abstracts of a futuristic idea. It proclaimed the cult of the future and destruction of the past; praised the desire for speed, fearless, unusual forms; fears and passivity were rejected; All logical, any syntactic links and rules denied. The main goal was put to scare and shake the average man: "There is no beauty outside the struggle. No masterpieces without aggressiveness!". Otvodya cebe pol ppoobpaza ickycctva bydyschego, fytypizm in kachectve ocnovnoy ppogpammy vydvigal ideyu pazpysheniya kyltypnyx ctepeotipov and ppedlagal vzamen apologiyu texniki and ypbanizma HOW glavnyx ppiznakov nactoyaschego and gpyadyschego.

Antonio Sant "Elia. Urbanistic drawing

Marinetti proclaimed the "worldwide historical task of futurism", which was to "spit on the altar of art every day." Futurists preached the destruction of the forms and conventions of art for the sake of merging it with the accelerated life process of the 20th century. They are characterized by a worship before action, speed, force and aggression; exalting itself and contempt for weak; Eusting with war and destruction. The text of the manifesta caused a stormy reaction in society, but, however, marked the beginning of the new "genre". Futurism quickly found like-minded people - first in the literary environment, and then in almost all spheres of artistic creativity - in music, painting, sculpture, theater, cinema and photographs - both the Italy itself and far beyond.

Jacomo Ball. Dynamism of dogs on a leash, 1912

In principle, any modern course in art argued itself by refusing to the old standards, canons, traditions. However, futurism was distinguished in this regard by extreme extremist orientation, building the "art of the future" when denying the entire preceding artistic experience and traditional culture with its moral and artistic values. Futurism began with manifestos and declarations, and soon became an important political movement. Very rapidly new manifestos appeared literally in every circle of futurists of different directions of art Italy, Russia and other European countries. And pulmonary techniques were widely used by all modern schools, as futurism needed an increased attention to himself. The indifference was absolutely unacceptable for him, a prerequisite for the existence was the atmosphere of the scandal.

Jacomo Ball. Motorcycle speed, 1913

The first significant exhibition of Italian futurist artists took place in Paris in 1912 and then drove through all art centers in Europe. Everywhere she had a scandalous success, but did not attract serious followers. Before Russia, the exhibition did not reach, but Russian artists themselves often lived and for a long time abroad, the theory and practice of Italian futurism were largely consonant with their own searches.

Alfredo Gauro Ambrozi. Airport Duchess, 1930

In 1913, the Italian Futurist Luigi Ruslio artist wrote Manifesto "Art of Noise", which was addressed to another prominent Futurist Francesco Balill Pratell.
In his manifesto, RUSOLO described the possibility and the need to use various noise when creating music. Russino did not stop at the theoretical formulation of the issue and, unlike the same Balill of Pratela, who remained rather conservative in the music plan, began to design the noise-generators who called "Intonarumori".

Italian futurism was well known in Russia almost from birth. Marinetti's futurism manifesto was translated and printed in the newspaper "Evening" on March 8, 1909. The Italian correspondent of the Russian Vedomosti newspaper M. Sorgin regularly acquainted the Russian reader with futuristic exhibitions and performances. V.Sherchevich promptly translated almost everything that Marinetti wrote. Therefore, when at the beginning of 1914, Marinetti came to Russia, his speeches did not make any sensation. The main thing, by this time in Russian literature, his own futurism was bloomed, who heard better than Italian and not dependent on him. The first of these statements is undoubtedly: in Russian futurism there were talents of this scale, which Futurism Italian knew.
In Russia, the direction of futurism was called - kybofypism, it was based on the combination of the principles of French cubism and pan-European Futurism plants. Russian futurism very different from his Western version, inheriting only the pathos of the builders of the "Art of the Future". And considering the socio-political situation in Russia of those years, the grains of this flow fell on the fertile soil. Although for most cubal fell "program optes" were more important than creativity, but the Russian avant-gardists began the 20th century in the history of culture as innovators who committed a coup in world art - both in poetry and in other areas of creativity.

David Davidovich Burluk. Head, 1911.

1912-1916 - this is the period of Futurism's heyday in Russia, when hundreds of exhibitions, poetic readings, performances, reports, disputes passed. It is worth noting that Cubobuturism did not strengthen into a holistic artistic system, and this term denoted a variety of trends in the Russian avant-garde.
Futurists called themselves members of the St. Petersburg "Union of Youth" - V. Tatlin, P. Filonov, A.Escter; Poets - V.Hlebnikov, V.Kamensky, E.Guro, V.Makovsky, A.Krucheny, Brothers Burliuki; Artists-Avant-gardists - M. Shagal, K. Malevich, M.Larionov, N. Thrycharov.

Vladimir Mayakovsky. Roulette

David Burluk. Portrait of Futurist Kamensky Presturist

Kazimir Malevich. Life in a large hotel

Love Popova. Man + air + space, 1912

Filippo Marinetti

Manifesto futurism

From Italy, we proclaim the whole world, our fierce, destructive, igniting manifesto. By this manifesto, we establish futurism today, because we want to free our land from the fetid gangrene of professors, archaeologists, Krasnobayev and Antiquaries. Too long, Italy was the country of the oldevist. We intend to free it from countless museums, which, as if many cemeteries, cover it.

Museums - cemeteries! .. Between them, undoubtedly, there is a similarity in the gloomy mixing of many bodies, unknown to each other. Museums: Public bedrooms, where some bodies are doomed forever to rest next to others, hated or unknown. Museums: absurd slaughterhouse of artists and sculptors, mercilessly killing each other with color and lines on the arena of the walls!

Once a year, pilgrimage in the museum, like a visit to the cemetery on the day of remembering the departed, - you can agree with this. Put once a year a bouquet of flowers at the portrait of Jokonda - I agree with this ... But I'm against our sadness, our fragile courage, our painful restlessness was excursioned on a museum tour. Why throw yourself? Why rot?

Yes, and what can be seen in an old picture In addition to the exemplated female artist, striking the barriers that do not allow him to express their fantasies to the end? Play in front of the old picture is the same as pouring emotions to the funeral urn instead of letting them out on the square in a mad rush action and creation.

Do you really want to waste all your best forces on this eternal and empty reverence of the past, from which you go out fatally exhausted, fitted, beaten?

I assure you that everyday visit to museums, libraries and educational institutions (cemeteries of empty efforts, Cold Dreams, the registers of failed undertakings!) For people of art are also harmful as a prolonged supervision of parents over some young people, intoxicated talent and ambitious desires. When the future is closed for them, the wonderful past can be a consolation for a dying patient, a weak, prisoner ... But we do not want to have anything in common with the past, we, young and strong futurists!

Let them come, cheerful arsonists with spattered soot fingers! Here they are! Here they are! .. Let's set up library shelves! Turn the channels so that they flood the museums! .. What delighted to see, as they float, shaking, the famous old canvases, lost color and sprawling! .. Take kirski, axes and hammers and crawl, crawl without pity gray venerable cities!

The oldest of us is 30 years old, so we still have at least 10 years to complete your business. When we are 40, others, younger and strong, maybe throw us, like unnecessary manuscripts, in the garbage basket - we want it so that it was!

They, our successors, will oppose us, they will come from afar, from everywhere, dancing under the winged rhythm of their first songs, playing the muscles of the curves of the predatory paws, sniffing around at the door of educational institutions, like dogs, to the urban the smell of our declared brains, doomed to eternal non-existence literary catacombs.

But we will not be there ... Finally, they will find us, one day at night, in the open field, under the sad roof, on which monotonous rain is knocking. They will see us, crouching near their shaking airplanes, warming hands from miserable little bonfires, folded from our today's books, when they run away from the take-off of our fantasies.

They will rage around us, choking from contempt and longing, and then they all who hung out by our proud fearlessness will pounce to kill us; Their hatred will be the stronger than their more hearts will be drunk to us and admiration.

Injustice, strong and healthy, light up in their eyes.

Art, essentially can not be anything other than violence, cruelty and injustice.

The oldest one of us is 30 years old. But we have already scattered treasures, a thousand treasures of strength, love, courage, inspirement and unbridled wills; They threw them without regret, violently, carelessly, without hesitation, without having translated the breath and not stopping ... Look at us! We are still full of strength! Our hearts do not know fatigue, because they are filled with fire, hatred and speed! .. Are you surprised? This is understandable, because you can't even remember what ever lived! Proudly dealing shoulders, we stand on top of the world and again throw the challenge to the stars!

Do you have objections? .. Fully, we know them ... We all understood! .. Our subtle cunning mind tells us that we are reincarnation and continuation of our ancestors. Maybe! .. If it were so! But isn't it equal? We do not want to understand! .. Mount to someone who still will tell us these shameful words!