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Experimental radio plays in the postwar period

Tuning in to the neo-avant-garde offers the first in-depth study of the radio play’s significance for the neo-avant-garde. In the postwar period, radio began to function as a site of artistic experimentation for the literary neo-avant-garde, especially in the form of the radio play. In the wake of the historical avant-garde, the neo-avant-garde had a strong interest in aural media, in the seemingly autonomous power of sound and voice. Therefore, it is not surprising that postwar avant-garde artists and literary writers in particular all across Europe, the US and the UK started to experiment with the radio play. Neo-avant-garde artists actively engaged with newly created studios and platforms in the postwar period. The contributions to this book examine how the radiophonic neo-avant-garde stages political questions and acknowledges its own ideological structure, while taking into account the public nature of radio. Alongside these cultural and political contexts, the book also reflects on intermedial and material issues to analyse how they have impacted artistic production in different parts of the world. Specific attention is paid to how artists explored the creative affordances of radio and the semiotics of auditory storytelling through electroacoustic manipulation, stereophonic positioning, montage and mixing, while also probing the ways in which they experimented in related genres and media such as music, sound poetry and theatre, questioning the boundaries between them. Because of its exclusive focus on the audiophonic realm, the book offers a valuable new perspective on the continuing debate surrounding the neo-avant-garde and its relationship with the historical avant-garde.

Maria Elena Versari

5 Futurist canons and the development of avant-garde historiography (Futurism– Expressionism–Dadaism) Maria Elena Versari Maria Elena Versari Futurist canons In 1921, Marc Bloch published an essay entitled ‘Reflections of an historian on the fake news under the war’, in which he justified his interest in that somewhat unusual subject: ‘Our ancestors did not quibble over these sorts of things, they rejected error, when they recognised it as such, and they were not concerned about its repercussions. That’s why the information they left us doesn’t allow us to

in Back to the Futurists
The avant-garde and its Legacy

In 1909, the Italian poet Filippo Tommaso Marinetti's Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912, the Futurists published works celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. In Europe, this avant-garde movement was active in the field of painting and sculpture, theatre, photography and politics. This book reassesses the activities and legacies of Futurism. It looks at Futurist manifestos by linking techniques of promotion with practices in commercial advertising, and exploring the question of how Futurist manifestos address notions of genius and gender. The book also reconstructs the historical, cultural and ideological background of Marinetti's Manifesto del tattilismo. Zurich Dadaists adopted cultural stances heavily indebted to the terms of critical engagement and cultural visibility initiated within the Futurist circle. The book analyses avant-garde's examination of its internal strategies of identity and canonization, and the importance of Futurism for the Pierre Albert-Birot. It charts the details of the argument on simultaneity between Umberto Boccioni and Robert Delaunay, and analyses the critical readings of Fernand Léger's La noce. The dialogue between Occultism and Futurism is explored by discussing the theme of night in the works of the Florentine Futurists. In La cucina futurista, food is separated from its nutritional function, and the act of eating is related to notions of creativity and identity. The book presents unique examples of innovative expressivity in Italian Futurists' free-word poems, and examines poetry celebrating the triumph of modern aviation.

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The acoustic neo-avant-gardes between literature and radio
Inge Arteel, Lars Bernaerts, Siebe Bluijs, and Pim Verhulst

-Smith, 2013 ). In 1979 the American avant-garde composer John Cage composed Roaratorio , a radio play for electronic tapes, Irish folk music and voice, based on James Joyce’s Finnegans Wake . In the Netherlands, Lucebert and Bert Schierbeek, experimental poets of the so-called Vijftigers movement, wrote scripts for radio plays. There are numerous examples of neo-avant-garde artists experimenting with radiophonic genres, creating fascinating works of art. In fact, all over Europe and North America we can find examples of such radiophonic experimentation that uses and

in Tuning in to the neo-avant-garde
Apollinaire in Freddy de Vree’s multilingual radiophonic composition A Pollen in the Air
Lars Bernaerts

Lars Bernaerts In the study of the neo-avant-garde, the notion of institutions is a crucial one. Peter Bürger considers ‘the attack on the institution of art and the revolutionizing of life’ (Bürger, 2010 : 696) as the core of the avant-garde: ‘The unification of art and life intended by the avant-garde can only be achieved if it succeeds in liberating aesthetic potential from the institutional constraints which block its social effectiveness’ (Bürger, 2010 : 696). In the neo-avant-garde, however, the historical avant-garde is itself institutionalised

in Tuning in to the neo-avant-garde
William Marx

-Fournier’s Le Grand Meaulnes , Paul Géraldy’s Toi et moi and Maurice Barrès’ La Colline inspirée , which cannot in any way be described as examples of progressive art. What are we supposed to do with such a heterogeneous landscape? The history of art and literature is not just about going forward: what about those who not only are left behind, but choose to go backwards and sometimes do so willingly? There is a whole world hidden behind the luscious front window of avant-gardes, and we should be able to inspect that back room of history. However, we will never be able to

in 1913: The year of French modernism
Caryl Churchill’s Identical Twins as neo-avant-garde (radio) drama
Pim Verhulst

Pim Verhulst (Late) modernism, the (neo-)avant-garde and postdramatic theatre During the period of ‘high modernism’, traditionally placed before the Second World War, literary innovation in Britain is typically perceived to have been driven by poetry and prose, not so much by drama. As Peter Childs observes in his Routledge introduction to modernism, ‘it is fair to say that Modernism had less impact on writing for the theatre in Britain than on fiction and poetry’ ( 2017 : 110). In The Cambridge Companion to Modernism , Christopher Innes even

in Tuning in to the neo-avant-garde
Chagall’s Homage to Apollinaire and the European avant-garde
Annette Becker

The 1912 painting Homage to Apollinaire was the work of a Russian artist who lived in Paris, Marc Chagall, and stands out in art history as a synthesis of the links – real, virtual and concealed – tying together the European avant-garde, what Apollinaire termed ‘the most radical’ of artistic movements. 2 The term ‘avant-garde’, 3 which arose in military discourse, enabled artists to appropriate a culture of conflict, of ‘progress’, of innovation, of a break with conventional artistic tradition and the academy. It entailed a move towards utopia, as

in 1913: The year of French modernism
The bride stripped bare?
Elza Adamowicz

swords cross; secondly, and less belligerently, as a crossing of paths, a place where Cubism and Futurism intersect and dialogue; and thirdly as a pictorial space of convergence between Léger’s practice and that of the wider avant-garde. In situating La noce in relation to contemporary discourses, the underlying argument of this study is not merely that paintings are situated at the intersection between a pictorial practice and a verbal narrative but that paintings are above all a discursive reality, as Roland Barthes (1982: 140) has argued in his discussion of the

in Back to the Futurists
An audionarratological analysis of Andreas Ammer and FM Einheit’s Lost & Found: Das Paradies
Jarmila Mildorf

Jarmila Mildorf Preliminary reflections: the avant-garde today In a survey article about German radio play productions in the 1990s, Knut Hickethier assessed Andreas Ammer’s work by saying that ‘Ammer was concerned with deriving pleasure from destroying old conventions and with quoting text in such a way that it becomes recognisable’ (‘es geht Ammer … um das lustvolle Zerschlagen alter Konventionen und das wiedererkennende Zitieren’) ( 1998 : 142). Both points certainly also apply to Lost & Found: Das Paradies , a radio piece which Ammer co

in Tuning in to the neo-avant-garde