close readings of the aesthetics, the form and the workings of the text. A
remarkable feature is that these very close readings lead the various critics
to draw on a range of diﬀerent theoretical and interpretative frameworks
from within literary criticism and, importantly, beyond – from psychoanalysis to linguistics, through trauma and post-colonial studies and performanceart. The critical discourse generated by these interdisciplinary
forays produces fruitful and thought-provoking analyses of contemporary
writing and conﬁrms its relevance to contemporary
my argument diverges from Hopenwasser's identification of Margery as a ‘naïve’ ‘comic figure’ written with ‘irony’ by the ‘more sophisticated’ writer Kempe, I continue her deliberately anachronistic comparison of Margery to contemporary performance artists, and her interest in audience response.
Such contemporary artists often distinguish their work from that of the theatre, yet the dividing line between theatre and performanceart is contestable in the contemporary world and was probably never operative in
, Padua and
Verona, 2004; A. Castronuovo, Avanguardia Balneare. Figure e vicende del
Futurismo a Rimini, 2009; V. Cappelli, ed., Calabria futurista. 1909–1943,
2009; M. Gazzotti and A. Villari, eds, Futurismo dada. Da Marinetti a
Tzara. Mantova e l’Europa nel segno dell’avanguardia, 2010; C. Giuliani,
ed., Futurismi a Ravenna, 2010). Finally, studies linking historical Futurism
with contemporary developments in art and design include: Futurism and
sport (M. Mancin, ed., Futurism & Sport Design, 2006); Futurism, cinema
and performanceart (G. Davico Bonino, ed., Teatro
so, Fanny’s actions were not vengeful, but a ‘pure and luminous gesture of self-sacrifice’. ‘Is such a thing possible?’, Aaron wonders, ‘Can a person actually go that far for the sake of someone else?’ (89).
What are the limits of our generosity towards each other, and how will we know a gift when we receive it? Maria’s performanceart also poses these questions. There is a clear parallel between Aaron’s narrative task in Leviathan – in which he tries to ‘pick up the pieces’ of Sachs’s life – and one of Maria’s performances, in which she attempts to create a
Aeronautico G. Caproni), pp. 95–9.
Baldissone, G. (2009). Filippo Tommaso Marinetti (Milan: Mursia).
Baron Cohen, S. and J. E. Harrison (eds) (1997). Synaesthesia: Classic and Contemporary Readings (Oxford: Blackwell).
Adamowicz and Storchi, Back to the Furutists.indd 206
Le Roi Bombance
Berghaus, G. (1995). The Genesis of Futurism: Marinetti’s Early Career and Writings
1899–1909 (Leeds: Society for Italian Studies, no. 168).
Berghaus, G. (2001). ‘The Futurist Banquet: Nouvelle Cuisine or PerformanceArt?’ New Theatre Quarterly, 17, 3
sinister limbo’ or ‘the interior of the
human mind’, inhabited by ‘abstract entities’ or ‘the stock types of the
commedia dell’ arte’ and leading to more modern forms of ‘myth-play’
(Frye, 282; 290–1).
The commedia dell’arte was a form of professional, or travelling,
improvised comic performanceart, popular in particular from the
sixteenth to the eighteenth centuries in Italy, but also in France and elsewhere in Europe, involving standardised situations and plot intrigues,
acted out by a series of stock characters, including Harlequin
(‘Arlecchino’, or ‘Hellequin
Malevich.52 The literary side, at this stage concerned with poetry, perhaps
surprisingly disassociates the movement from zaum´, although an ‘appearance of nonsense’ is acknowledged (Gibian, 249). In poetry, film and
theatre, ‘collisions of verbal meanings’ are of the essence, while ‘dramatic
plot’ in the latter is played down, in preference to ‘scenic plot’, arising
from disparate constituents of the spectacle – ‘seemingly extraneous and
clearly ridiculous elements’ (ibid., 253). The OBERIU practice of semiscandalous performanceart was, for its time and
about the project which resulted from the Cadair
Idris experience, I thought it involved finding erratics and restoring
them to their motherbeds, that is reversing their glacial migrations, and
taking them home. That would have had an emotional logic, and
seemed fitting, but perhaps a bit too nice and too logical. The actual
project involves helping erratics to ‘fare well’, that is, taking them even
further away from their motherbeds. They travel in a suitcase with
Hallett on planes and trains, in what is essentially a combined form of
land art and performanceart
1914 performances, but for
unknown reason the publication was delayed until 1916.
Antonucci, G. (ed.) (1975). Cronache del teatro futurista (Rome: Abete).
Apollonio, U. (1973). Futurist Manifestos (New York: Viking Press).
Berghaus, G. (1985). ‘Dada Theatre or: The Genesis of Anti-bourgeois PerformanceArt’, Festschrift W. E. Yuill, German Life and Letters, 38:4, 293–312.
Berghaus, G. (1986). ‘A Theatre of Image, Sound and Motion: On Synaesthesia
and the Idea of a Total Work of Art’, Maske und Kothurn, 32, 7–28.
Boccioni, U. (1971). Gli scritti editi e
conceptual artists. Lippard made
Writing from the heart
the show all-women to challenge the prevailing idea that no women were making
conceptual art, in which formal or material considerations give way to ideas and
a critique of representational conventions. Lippard also wished to bring out the
potential for a specifically feminist critique of cultural norms facilitated by the expanding possibilities of non-formalist performanceart, photographic work, inter
views, re-enactments and so forth. Having made her own selection of works to
mention, Rosie then turned on the