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¬marinetti in his manifesto "dynamic and synoptic declamation" detaileda performance at the doré gallery (28 april 1914) in london:

¬dynamically and synoptically i declaimed several passages from my ZANGTUMB TUUMB (the siege of adrianople). on the table in front of me i hada telephone, some boards, and matching hammers that permitted me to imitatethe turkish general's orders and the sounds of artillery and machine-gunfire.

¬blackboards had been set up in three parts of the hall, to which in successioni either ran or walked, to sketch rapidly an analogy with chalk. my listeners,as they turned to follow me in all my evolutions, participated, their entirebodies enflamed with emotion, in the violet effects of the battle describedby my words-in-freedom.

¬there were two big drums in a distant room, from which the painter nevinson,my colleague, produced the boom of cannon, when i told him to do so overthe telephone.

¬the swelling interest of the english audience became frantic enthusiasmwhen i achieved the greatest dynamism by alternating the bulgarian song"sciumi maritza" with the dazzle of my images and the clamor of the onamatopoeicartillery.

txtsource: marinetti: selected writings, 1972, quoted in: douglas kahn, "noisewater meat", 1999 MIT press, p.61.

walterruttmann - weekend (metamkine mkcd010)
anthologyof noise & electronic music (sub rosa sr160)

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