Name: 未来派と構成主義。クラッシュコースシアター#39 (Futurism and Constructivism: Crash Course Theater #39)
Uploaded: 2021-01-14T10:32:20.000Z
Duration: 13 min 52 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

This is crash Course Theater and today futurism so bright the manifesto's continue.

関係詞節（制限と非制限）

So does the grudge match between realism and new reforms, which argue that if you really want to show how weird in visceral and terrifying contemporary life is a bourgeois family, arguing in a living room just doesn't cut it.

Ah, multiple manifesto having Italian and later Russian movement got going in the early decades of the 20th century.

Toe hang out with the Constructivist director, the several odd mayor hold who was Stanislavsky opponent.

Lights up Futurism is an Italian movement that got going in France in 1909 Filippo Tomaso Marinette.

He published a manifesto in the front page of the newspaper Le Figaro.

The manifesto called for a form of art that would be as fast, exciting, mechanical and macho as a race car.

Auto Mobile is, um art, he wrote, can be nothing but violence, cruelty, injustice.

He called for a form that would sing the love of danger.

The habit of energy and rash nous and okay, I mean, that maybe sounds kind of fun.

But Marinette, he also called for an art that glorifies war.

Militarism, patriotism, the destructive gesture of freedom.

Bring Er's beautiful ideas worth dying for and scorn for woman, he wrote.

Libraries, academies of every kind will fight moralism, feminism, every opportunistic or utilitarian cowardice.

Basically, as the name implies, Futurism wanted a total break from the past.

But it's probably also important to note that Marinette E.

Also co wrote the original Italian Fascist Manifesto and founded the Futurist Political Party, which would later be subsumed into Mussolini's political party.

So, yeah, that total break with the past has really different theoretical underpinnings in comparison to say, Donna, which was kind of about, you know, pulling pieces of paper out of a hat.

Futurism was the rare art movement that embraced war, and a lot of futurist artists got excited about Mussolini.

When he showed up, Futurism even became the house style of Italian fascism.

Well, Marinette, he doesn't care, he writes.

Oh, to anyone who says those infamous words to us again, Marinette, he would fit right in on Twitter.

Mayor Neddy vented his discussed with both historical reconstruction pastiche or plagiarism and photographic reproduction of our daily life.

The first futurist play was poopies, electrics or Electric dolls, a play about a bourgeois couple and there look a like robots.

He recited his manifesto in the middle of it.

During the second act, the play included a bunch of gross digestion noises they pretty much rioted.

Futurists liked the music hall and the variety theater to Marinette.

He wrote that the authors, actors and techniques of the Variety theatre had only one reason for existing and triumphing incessantly to invent new elements.

Off astonishment, they produced variety evenings called a Sarah.

It's kind of like Dada, but less playful.

These evenings had music and poetry and surprise surprise the reading of more manifestos in Futurism.

The important thing to know about sent A Z is that they were short and they were fast.

There's one called Detonation, and its main character is a bullet, like an actual bullet fired from an actual gun.

No guy in a bullet costume, just a guy with a firearm with a bullet in it.

His idea was to take conventional plays like a fellow and shrink them down into playlets that were one minute long.

Envy, handkerchief, adultery, strangling, wow, efficient Marinette.

He was definitely against psychological realism and instead promoted what he called fiscal Folio a crazy kind of body movement.

The other important thing about futurist theater was that the audience was supposed to get in on the action, but not voluntarily or happily.

Had some ideas spread a powerful glue on some of the seats he wrote, so that the male or female spectator will stay glued down and make everyone laugh.

Traffic jam, bickering and wrangling offer free tickets to gentlemen or ladies who are notoriously unbalanced, irritable or eccentric and likely to provoke uproars with obscene gestures, pinching women or other freakishness.

Sprinkle the seats with dust to make people rich and a sneeze, et cetera.

Futurism also took off in Russia, though it had a much different feel there more literary, more philosophical.

Still, Russian futurism also wanted a complete break with the past and embrace of modernity.

Here, though Russian futurism drew much more from communism and the Soviet state Cube Horseshoe Theory comments here.

In a slap in the face of public taste, a 1912 manifesto written in part by the playwright Vladimir Mayakovsky, the Russian futurist said that we should throw Pushkin, Dostoyevsky, Tolstoy, et cetera, et cetera.

Overboard from the ship of modernity, Majkowski was also against the slaughter of World War I know.

Russian futurists wanted new words and new forms, and they didn't mind if the audience booed them for it.

The most fervent years of Russian futurism were before the Russian Revolution, but its most famous theater performance happened after when avant garde theater and avant garde politics had a brief honeymoon.

Help us out probable in 1917 during the October revolution, which actually happened in November, a group of Bolsheviks took over the Winter Palace, where the provisional government was meeting.

Originally, the pilots was defended by 3000 soldiers, but most of the soldiers skedaddled when the Bolsheviks arrived, so it wasn't exactly a pitched battle.

Three years later, in 1920 the director Nikolai Every Enough created a play about it.

The storming of the Winter Palace, which was an all night show staged on site in front of 100,000 Spectators.

It included 2500 performers, including the entire class of the Imperial Ballet, as well as a bunch of tanks and armored cars.

This wasn't really a reenactment, or it was a reenactment, Bolshevik kind of way.

It ignored most of the details of the real event, like the fact that it had actually happened during the day, and that there was almost no opposition actors playing.

The workers gathered on a red stage to the left, and actors playing the provisional government assembled on a white stage to the right.

Then the actors playing the workers swarmed the white stage, chanting Lennon, Lennon!

There was a car chase on shadow plays in the windows of the palace.

Performance ended with a cannonball being fired from a ship and then a bunch of books for all thanks that bubble.

What's neat about this performance is that it's one of the first we've talked about that was captured on film.

Obviously, this is longer than most futurist performances, but it's reminiscent of Futurism is total break with the past embrace of modern technology, modern weaponry and revolutionary politics, use of multimedia and multiple focus and interest in spectacle and astonishment over psychology.

Futurism kept going for a couple more decades in Italy, but it was the preferred aesthetic of the fascist regime, not a rebellious countercultural style on surprisingly young artists were way less into it after World War.

Meanwhile, Stalin pretty much shut down futurism in Russia.

He preferred propaganda that glorified the present and his regime toe dreamy glimpses of future utopia.

But we can still feel futurism influence in theater today in multimedia performance, multi focal performance works that mix actors and audience together and works that veer away from psychology and logic.

Now we've talked about manifesto and playwrights, but before we wrap up for today.

We should talk about a famous director and producer from the period of several odd mayor hold who on Lee took from Futurism what he needed and nothing more.

He was a law student and accomplished violinist who fell in love with the theater.

字幕リスト動画再生

未来派と構成主義。クラッシュコースシアター#39 (Futurism and Constructivism: Crash Course Theater #39)

bunch

eliminate

embrace

audience