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Picasso, Apollinaire
-Picasso starts painting faces and objects from different angles at same time
-Since Renaissance artists believe perception and space are best shown with a linear perspective, a mathematical system can be used to imitate nature, artists using a fixed point of view
-Picasso combines multiple viewpoints; ‘simultaneity of vision’ |
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Marinetti
-glorification of machine age
-more dynamism (simultaneity, multiple focus) in art and society
-destroy libraries and museums, start a whole new kind of deal
-creating performances with concerts, poetry readings, performing mini plays, exhibiting visual art, proclaiming futurist manifestos
-no classic plays anymore but music halls, night clubs, circuses as future models |
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Malevich, Rodchenko, Meyerhold
-Breaks completely away from representation of organic nature: not a whole but broken down into pieces, awareness that this is a composition
-deliberately constructed
-Art of invention, constructs sharp or round shapes, bright colors, light effects visual realm
-Meyerhold: nonrepresentational trapezes, ramps to create a machine for acting, tools to help actors in biomechanic acting style |
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Tristan Tzara
disgust at world that can induce a world war; insanity must be world's true state, replace logic and reason with uncalculated madness and discord
-many things going on simultaneously in plays and other presentations, in posters collage effect |
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Walter Gropius, Oskar Schlemmer
making the functional artistic and the artistic functional; uniting art with craftsmanship to create a communal expression by architecture; ending the elitist status of art by making it a part of everyday life
-1923-29: painter Schlemmer leads stage workshop at Bauhaus. Basic research with color, structure, form and movement which involves painters, sculptors, architects and dancers. In “Triadic Ballet” the focus is on: unifying the human body with abstract stage space
-alter human shape with 3-D costumes transforming actor into ‘ambulant architecture’ |
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Andre Breton (inspired by Jarry and Apollinaire)
-1924: first surrealist Manifesto by Andre Breton
-Influences of Freud: psycho-analysis and subconscious
-Importance of dreams, fantasies, hallucinations
-artistic anarchy with words and images from association
-Experiments with ‘automatic writing’ (stream of consciousness)
-shock and provoke by means of subconscious, dreamlike anarchistic elements |
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| Meyerhold's ideas on Realist theatre (vs. stylized) |
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-Realist Theatre
-limitations of ‘showing’
-focus on detail
-reduces actor’s expressivity to method mumbling and introvert acting
-denies spectator’s right to imagine: passive and spoon-fed |
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| Meyerhold's ideas on Stylized theatre (vs. realistic) |
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-Stylized Theatre
-power of ‘suggesting’
-focus on essence
-emphasis on actor’s physical expressivity
-concentration on rhythm of dialogues, shapes, movements
-consciously constructing form, line, color
-spectator compelled to use imagination |
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-Frederick Taylor (1856-1915), an American inventor who studied scientific management and working processes in large factories
-Workers engage in superfluous movements causing muscle strain and lower work output
-Analyze executions of tasks, time and regulate movements to make them as efficient as possible
-finally developed a system of work cycles (network of movements and pauses allowing the worker to produce the largest work output with the least amount of strain) |
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-first master the technique to master your art (much like a pianist)
-Externalize the text (replace words with movement, gesture, gaze)
-physically explicit gestures summarize the essence of scene
-montage, reflexes |
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