Futurism (from Latin word futurum, meaning "future") - the avant-garde of Europe in 1910-1920, mainly in Russia and Italy. It sought to create the so-called "art of the future", as the representatives of this trend declared in their manifestos.
In the work of F. T. Marinetti, an Italian poet, Russian Cubo-Futurists from the Gilea society, as well as members of the Mezzanine of Poetry, the Association of Ego-Futurists, and Centrifuges, it was denied traditional culture as a legacy of the "past", the aesthetics of the machine industry and urbanism were developed.
Character traits
The painting of this direction is characterized by influxes of forms, shifts, multiple repetitions of various motifs, as if summing up impressions received as a result of rapid movement. In Italy, the futurists are G. Severini, U. Boccioni. In literature, there is a mixture of fantasy and documentary material, in poetry - experimentation with language ("zaum" or "words in freedom"). Russian futurist poets are V. V. Mayakovsky, V. V. Khlebnikov, I. Severyanin, A. E. Kruchenykh.
Groupings
This direction arose in 1910-1912, simultaneously with acmeism. Acmeists, futurists and representatives of other currents of modernism in their work and association were internally contradictory. The most significant of the Futurist groups, later called Cubo-Futurism, united various poets of the Silver Age. Its most famous futurist poets are V. V. Khlebnikov, D. D. Burliuk, V. V. Kamensky, A. Kruchenykh, V. V. Mayakovsky and others. The ego-futurism of I. Severyanin (poet I. V. Lotarev, years of life - 1887-1941) was one of the varieties of this trend. The famous B. L. Pasternak and
Freedom of poetic speech
Russian futurists proclaimed the independence of form from content, its revolution, unlimited freedom poetic word. They completely abandoned literary traditions. In a manifesto with the rather daring title "A Slap in the Face of Public Taste", published by them in the collection of the same name in 1912, representatives of this trend called for throwing such recognized authorities as Dostoevsky, Pushkin and Tolstoy from the "Steamboat of Modernity". A. Kruchenykh defended the poet's right to create his own, "abstruse" language, which does not have specific meaning. In his poems, speech was indeed replaced by an incomprehensible, meaningless set of words. But V. V. Kamensky (years of life - 1884-1961) and V. Khlebnikov (years of life - 1885-1922) were able to carry out very interesting experiments with language in their work, which had a fruitful effect on Russian poetry.
Vladimir Vladimirovich Mayakovsky
The famous poet Vladimir Vladimirovich Mayakovsky (1893-1930) was also a futurist. His first poems were published in 1912. Vladimir Vladimirovich brought his own theme to this direction, which from the very beginning distinguished him from other representatives. Mayakovsky the futurist actively advocated the creation of a new society, and not just against various "junk".
In the time preceding the revolution of 1917, the poet was a revolutionary romantic who denounced the so-called kingdom of the "fat" and foresaw the impending revolutionary storm. Denying the entire system of capitalist relations, he proclaimed the humanistic faith in man in such poems as "Flute-Spine", "Cloud in Pants", "Man", "War and Peace". The theme of the poem "A Cloud in Pants" published in 1915 (only in a truncated form by censorship) was later defined by the poet himself as 4 cries of "Down!": Down with love, art, system and religion. He was one of the first Russian poets to show in his poems the whole truth of the new society.
Nihilism
In the years preceding the revolution, in Russian poetry there were bright individuals who were difficult to attribute to a specific one. These are M. I. Tsvetaeva (1892-1941) and M. A. Voloshin (1877-1932). After 1910, another new trend appeared - futurism, which opposed itself to all literature, not only of the past, but also of the present. It entered the world with the desire to subvert all ideals. Nihilism is also visible in the external design of the collections of poets that were published on reverse side wallpaper or on wrapping paper, as well as in their names - "Dead Moon", "Mare's Milk" and other typical poems of the futurists.
"A slap in the face of public taste"
In the first collection, A Slap in the Face of Public Taste, published in 1912, a declaration was printed. It was signed by famous futurist poets. They were Andrei Kruchenykh, Vladimir Mayakovsky and Velimir Khlebnikov. In it, they asserted their exclusive right to be the spokesmen of their era. Poets denied as ideals Dostoevsky, Pushkin, Tolstoy, but at the same time Balmont, his "perfumed fornication", Andreev with his "dirty mucus", Maxim Gorky, Alexander Blok, Alexander Kuprin and others.
Rejecting everything, the Futurist manifesto established the "lightning bolts" of the self-valuable word. Not trying, unlike Vladimir Vladimirovich Mayakovsky, to overthrow the existing social order, they just wanted to update his uniforms. In the Russian version, the slogan "War is the only hygiene of the world", which was considered the basis of Italian futurism, was weakened, however, according to Valery Bryusov, this ideology still "appeared between the lines."
According to Vadim Shershenevich, the Futurists of the Silver Age for the first time raised the form to the proper height, giving it the significance of the main, self-targeting element of the work. They categorically rejected poems that are written only for the sake of an idea. Therefore, a lot of formal declared principles arose.
New language
Velimir Khlebnikov, another Futurist theorist, proclaimed a new "abstruse" language as the future language of the world. It loses the word meaning, acquiring a subjective connotation instead. So, vowels were understood as space and time (the nature of aspiration), consonants - sound, paint, smell. In an effort to expand linguistic boundaries, he proposes to create words according to the root feature (roots: charm ..., chur ... - "we are enchanted and shunned").
The futurists countered the aestheticism of symbolist and, in particular, acmeistic poetry with an underlined de-aestheticization. For example, "poetry is a frayed girl" by David Burliuk. Valery Bryusov, in his review "The Year of Russian Poetry" (1914), noted, noting the conscious coarseness of the futurists' poems, that it is not enough to scold everything that is outside one's own circle in order to find something new. He pointed out that all alleged innovations of these poets are imaginary. We meet them in the poetry of the 18th century, in Virgil and Pushkin, and the theory of sounds-colors was proposed even
Difficulties in relationships
It is interesting that, with all the negation in art, the Futurists of the Silver Age still feel the continuity of symbolism. So, Alexander Blok, who watched the work of Igor Severyanin, says with concern that he lacks a theme, and in an article of 1915 Valery Bryusov notes that the inability to think and lack of knowledge belittle his poetry. He reproaches Severyanin for vulgarity, bad taste, and in particular criticizes his poems about the war.
Back in 1912, Alexander Blok said that he was afraid that the modernists did not have a core. Soon the concepts of "futurist" and "hooligan" became synonymous for the moderate public of those years. The press eagerly followed the "exploits" of the creators of the new art. Thanks to this, they became known to the general population, attracted great attention. The history of this trend in Russia is a complex relationship between representatives of four main groups, each of which believed that it was it that expressed the "true" futurism, and fiercely argued with others, challenging leading role. This struggle took place in the streams of mutual criticism, which increased their isolation and hostility. But sometimes members different groups moved from one to the other or approached each other.
Futurism is one of the trends in avant-garde art of the 20th century. Most fully realized in the formalistic experiments of artists and poets in Italy and Russia (1909-21), although the followers of Futurism were in Spain (since 1910), France (since 1912), Germany (since 1913), Great Britain (since 1914), Portugal (since 1915), in Slavic countries; in New York in 1915, the experimental journal 291 was published; in Tokyo, the Futurist School of Japan; groups of ultraists existed in Argentina and Chile; and in Mexico, estridentists. Futurism proclaimed a demonstrative break with tradition: “We want to destroy museums, libraries, fight moralism,” the Italian poet F.T. V. Shershenevich, 1914). Marinetti is the recognized founder of futurism. He brought futurism beyond the limits of artistic creativity- into the sphere social life(since 1919, as an associate of B. Mussolini, he proclaimed the affinity of futurism and fascism; see his Futurismo e fascismo, 1924).
Futurism in Russia
In Russia, the first manifesto of Italian Futurism was translated and published in the St. Petersburg newspaper Evening on March 8, 1909; a favorable response appeared in the Bulletin of Literature (1909. No. 5). The aesthetic ideas of the Italian futurists turned out to be consonant with the searches of the artists of the brothers D. and N. Burlyukov, M.F. Larionov, N.S. Goncharova, A. Exter, N. Kulbina, M.V. prehistory of Russian futurism. New way poetic creativity was first mentioned in the book "The Garden of Judges" published in St. Petersburg in 1910 (brothers Burliuks, V. Khlebnikov, V. Kamensky, E. Guro). In the autumn of 1911, together with V. Mayakovsky and Kruchenykh, they formed the core literary association"Gilea" (future cubo-futurists). They also own the most biting manifesto “A Slap in the Face of Public Taste” (1912): “The past is cramped: the Academy and Pushkin are more incomprehensible than hieroglyphs,” and therefore Pushkin, Dostoevsky, Tolstoy should be “thrown off the steamer of modernity”, and after them K. Balmont, V. Bryusov, L. Andreev, M. Gorky, A. Kuprin, A. Blok, I. Bunin. Budetlyane (neologism Khlebnikov) "ordered" to honor the "rights" of poets "to increase the vocabulary in its volume by derivative and arbitrary words (Word-innovation)"; they predicted the "New Coming Beauty of the Self-valuable (self-sufficient) Word" (Russian Futurism, 41). The history of Russian futurism evolved from the interaction and confrontation of four main groups: 1) "Gilea" - since 1910 the Moscow school of "budetlyans", or cubo-futurists (collections "Dead Moon", 1913; "Gag", "Mare's Milk", "Roaring Parnassus" , all 1914); 2) Petersburg group of egofuturists (1911-16) - I. Severyanin, G.V. Ivanov, I.V. P. Shirokov; 3) "Mezzanine of poetry" (1913) - a group of Moscow egofuturists of the "moderate wing": V.G. Shershenevich, Khrisanf (L.Zak), K.A. Bolshakov, R. Ivnev, B.A. Lavrenev (their collections - "Vernissage", "Feast during the Plague", "Crematorium of Sanity"); 4) "Centrifuge" (1913 - 16) (successive from St. Petersburg ego-futurism) - S.P. Bobrov, I.A. Aksenov, B.L. Pasternak, N.N. Aseev, Bozhidar (B.P. Gordeev); their collections are Rukonog (1914), The Second Collection of the Centrifuge (1916), Liren (Kharkov, 1914-20).
The term futurism (more precisely, ego-futurism) in relation to Russian poetry first appeared in 1911 in Severyanin's pamphlet “Streams in Lilies. Poetry” and in the title of his collection “Prologue “Egofuturism”. In January 1912, the program "Academy of Egofuturism" was sent to the editors of a number of newspapers, where, as theoretical foundations Intuition and Egoism were proclaimed; in the same year, the brochure “Epilogue “Egofuturism” was published, noting the departure from the association of Severyanin. Ignatiev became the head of ego-futurism. He organized the Intuitive Association, published nine almanacs and a number of books by ego-futurists, and also published four issues of the Petersburg Herald newspaper (1912) (see the collections Eagles over the Abyss, 1912; Distorted skulls, all - 1913). In 1913-16, the almanacs of the publishing house "The Enchanted Wanderer" (ten issues) continued to be published. For the longest time, Olympov demonstrated adherence to the ideas of “intuitive individualism”.
Against the smooth melodiousness of the St. Petersburg ego-futurists rustling with silk, the Moscow "budetlyane" - speech creators rebelled. In their declarations, they proclaimed “new ways of speech”, justifying the difficulty of aesthetic perception: “So that it is hard to write and read hard, more uncomfortable than oiled boots or a truck in the living room”; the use of "half-words and their bizarre cunning combinations (abstruse language)" was encouraged (Kruchenykh A., Khlebnikov V. The word as such, 1913). The allies of the poets were avant-garde artists (“ Jack of Diamonds», « donkey tail”, “Union of Youth”), and the poets themselves - D. Burliuk, Kruchenykh, Mayakovsky, Guro - were also artists. The inclination towards cubism was closely connected with the recognition of the canon of "shifted construction" (the imposition of volumes, cubes, triangles on top of each other). The poetics of the "shift" in literary creativity encouraged lexical, syntactic, semantic and sound "shifts" that sharply violated reader's expectations (the use of derogatory images and even vulgar words where tradition dictated sublime vocabulary).
In the approach of the “Butsetlians” to word creation, two tendencies were revealed: one led to the most extreme forms experimentation (Burlyuk, Kruchenykh), the other - to overcome futurism (Mayakovsky, Kamensky, Guro). However, both of them relied on Khlebnikov, leading theorist of futurism. He abandoned syllabic-tonic versification, revised and recreated poetic phonetics, vocabulary, word formation, morphology, syntax, and ways of organizing text. Khlebnikov supported the aspirations of the "budetlyans" to transform the world by means of poetic language, participated in their collections, which published his poem "I and E" (1911-12), "musical" prose "The Menagerie" (1909), the play "Marquise Dezes" ( 1910, colloquial verse, equipped with rare rhymes and word formations), etc. In the collection "Ryav!" (1914) and in the Collection of Poems. 1907-1914 ”(1915), the poet is closest to the requirements of the Cubo-Futurists -“ to emphasize the importance of all harshness, disagreements (dissonances) and purely primitive stupidity ”, to replace sweetness with bitterness. In the leaflet "Declaration of the word as such" and in the article "New ways of the word" (see the collection of three poets - Kruchenykh, Khlebnikov, Guro "Troe", 1913). Kruchenykh vulgarized the idea adopted by Khlebnikov: abstruse language”, interpreting it as an individual creativity, devoid of a universally binding meaning. In his poems, he carried out sound and graphic absurdity. Khlebnikov's poetic revelations were perceived, corrected and multiplied by Mayakovsky. He widely introduced into poetry the language of the street, various onomatopoeia, created new words with the help of prefixes and suffixes - understandable to readers and listeners, in contrast to the "abstruse" neologisms of the Kruchenykhs. In contrast to the aestheticization of Severyanin, Mayakovsky, like other futurists (Pasternak), achieved the effect he needed - the estrangement of the depicted - through de-aestheticization ("I will rip out the soul"). In 1915, the opinion about the end of Futurism became common in criticism. In December, the almanac “I took. Drum of the Futurists" with Mayakovsky's article "A Drop of Tar": "We consider the first part of the destruction program completed. That is why do not be surprised if in our hands you see, instead of a jester's rattle, a drawing of an architect ”(Poetry of Russian Futurism). In the October Revolution, the poet saw the possibility of realizing his main task- with the help of poetry to bring the future closer. Mayakovsky became a "komfut" (communist-futurist); in this way, he sharply diverged from the project of life-building art, which was justified by Khlebnikov, who was highly respected by him. By 1917, Khlebnikov’s understanding of art as a program of life was transformed into a generalized anarchist utopia of the messianic role of poets: together with other cultural figures, they should create an international society of chairmen. Earth Globe called to implement the program of world harmony in the "superstate of the star" ("Proclamation of the Chairmen of the Globe", 1917). During the period of the revolutionary upheaval, some futurists felt themselves accomplices in the events and considered their art "mobilized and recognized by the revolution."
After the revolution, attempts to continue futurism were made in Tiflis: "zaum as an obligatory form of the embodiment of art" was claimed by the members of the "41 °" group - Kruchenykh, I. Zdanevich, I. Terentyev. And on Far East around the journal "Creativity" (Vladivostok - Chita, 1920-21) united led by theorist N. Chuzhak - D. Burlyuk, Aseev, S. Tretyakov, P. Neznamov (P. V. Lezhankin), V. Sillov, S. Alymov, V. Mart (V. N. Matveev). They sought an alliance with revolutionary power; entered into .
The word futurism comes from Latin fiiturum, which means future.
What is futurism? This question is asked by everyone who begins to study the styles and trends of world art. In this article, we will analyze in detail what futurism was like in Russia, we will talk about its representatives and features.
The birth of futurism
In order to understand what futurism is, let's examine where it came from. Its founder and author of the term itself is considered to be an Italian poet, whose name was Filippo Marinetti. He lived on turn of XIX and XX centuries. His most famous work- "Red Sugar" The very name itself implied discrimination against the present and the past and the erection of the future into a cult.
In 1909, the Futurist manifesto was published in the Le Figaro newspaper, authored by Marinetti. The text was addressed to beginners and talented Italian artists. The author proclaimed the telegraph style and the goal to complete his task in a maximum of 10 years, until a new generation came with its own rules.
Also, the founders of this art direction are Giacomo Balla, Francesco Balilla Pratella, Carlo Carra, Luigi Rusollo, Umberto Boccioni, Gino Severini. They were the first to formulate what futurism is. In 1912, the first exhibition of futurist artists opened in Paris.
Features of the direction of art
Among the features of Futurism, its founders singled out a categorical rejection of traditional spelling and grammar. Poets experimented a lot with word creation, artists often painted moving objects (cars, planes, trains). even showed up special term"air painting".
Most representatives of futurism were delighted with the new products technical progress. For example, a motorcycle was declared a more perfect work of art than the work of Michelangelo.
Another feature of futurism is the glorification of revolutions and wars as one of the most effective ways rejuvenation of the world. Many modern researchers consider futurism as a kind of symbiosis of Nietzscheanism and the manifesto of the communist party.
Futurism in the visual arts
Initially, futurism appeared in the visual arts. In painting, he repelled from several directions. This is fauvism, from where futurism drew unexpected color solutions, as well as cubism, from which he adopted bold art forms.
Main artistic principles futurism became movement, speed, energy. On the canvases, the artists sought to achieve this different ways. Their works are characterized by very energetic compositions, in which the figures are divided into many small fragments intersecting at sharp corners. At the same time, zigzags, cones and flickering shapes predominate. The effect of movement is often achieved by superimposing successive phases on the same image. This technique is called the principle of simultaneity.
Futurism in Russia
What is futurism, the Burliuk brothers were the first to learn in Russia. One of them - David - became the founder of a colony of futurists called "Gilea", which included a short time included many bright personalities. For example, Vladimir Mayakovskoy, Velimir Khlebnikov, Benedict Livshits, Alexei Kruchenykh, Elena Guro.
They issued their first manifesto, which they dubbed "A Slap in the Face of Public Taste". In it, representatives of futurism called for Pushkin, Tolstoy, Dostoevsky and all other classics to be thrown off the ship of modernity. True, at the end, somewhat softening their call, they note that the one who does not forget the first love will not know the last.
Three real geniuses came out of Russian futurism - these are Mayakovsky, Pasternak and Khlebnikov. At the same time, the fate of most representatives of this direction of art turned out to be tragic. Some were shot, others died in exile. Many were doomed to oblivion as soon as their glory passed.
Features of the Russian direction
In Russia, the style of futurism inherited most of the main features of this literary movement that existed in Europe. But it also had its own unique features.
Representatives of the national school of futurism have always been distinguished by an anarchic and rebellious worldview, they sought to express the mass mood of the crowd. At the same time, they denied cultural traditions trying to create art looking to the future.
Futurists in Russia were categorically against established norms literary speech. They experimented in the field of rhythm, rhyme, made posters and slogans part of their art, this especially applies to Mayakovsky. Poets were in constant search for a liberated word, carrying out experiments to create their own, so-called "abstruse" language.
Development
Futurism became popular and famous in Russia in the Silver Age. One of prominent representatives was Igor Severyanin, who even published in 1911 a collection of his poems called Prologue. Ego-futurism.
By that time, the followers of the Burliuk brothers were already quite well-known. Their collection "Judges' Cage 1" was released back in 1910. In general, in Russian futurism, poems played big role. Therefore, the main compilers of the manifesto "Slap in the face of public taste" were poets. They even formulated four basic rules for poets: the need to expand the poetic vocabulary with new words, to hate the language that existed before them, to refuse fame, to make the word "we" the key word.
Rise of futurism
In Russia, the heyday of literary futurism fell precisely on silver Age. It was then that the Gileya society, founded by the Burliuk brothers, achieved the greatest popularity. But the main thing is that they were not the only ones.
Many followers were found with Igor Severyanin, who promoted ego-futurism. The main differences of this direction were the mass use foreign words, refinement of sensations and ostentatious selfishness, selfishness. Among the followers of Severyanin, one can single out Sergey Alymov, Vasilisk Gnedov, Vadim Bayan, Georgy Ivanov, Vadim Shershenevich. Basically, the ego-futurists were based in St. Petersburg.
In Moscow, the influential Centrifuga society stood out, which included Boris Pasternak, Sergei Bobrov, Nikolai Aseev. Their futuristic groups existed in Kharkov, Kyiv, Baku, Odessa.
Sunset of the Sturm und Drang era
Representatives of futurism began to experience a certain crisis already at the end of 1914, when the period of "storm and stress" ended. As Sofia Starkina noted in her memoirs of Velimir Khlebnikov, the futurists in Russia achieved rapid and noisy success, gained the scandalous fame they desired, released several dozen poetry collections, organized several original theatrical productions and therefore quickly declined. As if they felt that their historical mission had already been accomplished.
In addition, in 1913-1914, several famous poets this direction. These are Nadezhda Lvova, Vasily Komarovsky, Bogdan Gordeev, Ivan Ignatiev.
After winning in October revolution Bolshevik futurism began to finally disappear. Some representatives of this trend joined the new literary organization "LEF", whose name stood for "Left Front of Art". It broke up in the late 1920s. Some representatives of Futurism, whose poems were famous in Russia, emigrated. These include David Burliuk, Igor Severyanin, Alexander Exter. Alexander Bogomaz and Velimir Khlebnikov died. Boris Pasternak and Nikolai Aseev developed own style far from futurism.
David Burliuk
If we talk about specific representatives of futurism in Russia, then we should start, first of all, with David Burliuk. It is he who is considered the founder of this direction in our country.
Burliuk was born in 1882 in the Kharkov province. As a child, he lost an eye while playing with his brother with a toy gun. Studied at art schools Odessa and Kazan, then mastered painting abroad. In 1907 he returned to Russia, and soon became acquainted with Vladimir Mayakovsky. Together they became one of the brightest representatives of domestic futurism.
During the First World War, he was not subject to conscription due to the lack of an eye. In 1918, he almost died during the pogroms that anarchists staged in Moscow. After that, he left for Ufa. Gradually he reached Vladivostok, from where he emigrated to Japan. Painted over 300 paintings Japanese motifs, the money from their sale was enough to settle in America.
visited twice Soviet Union, in 1956 and 1965, sought to publish his works in his homeland, but to no avail. He died in 1967 in Hampton Bays, New York.
Igor Severyanin
The real name of this poet is Igor Lotarev. He was born in 1887 in St. Petersburg. He began publishing regularly in 1904. His first famous compilation poems entitled "The Thundering Cup" was published in 1913.
Severyanin becomes one of the most famous futurists. He often performs in front of large audiences. Conducts several joint poetry evenings with Vladimir Mayakovsky.
Receives the unofficial title of King of Poets on famous speech in the Great Auditorium of the Polytechnic Museum.
In 1918 he left Petrograd for Estonia. Soon he finds himself in forced emigration, when, under the terms of the Brest Peace, Estonia goes to Germany. He never returned to Russia.
Far from his homeland, he misses a lot, writes many lyrical, nostalgic poems, which are no longer at all similar to his early futuristic experiments. In the early 1940s, he began to get sick regularly. Second world war They wanted to evacuate the northerner to the rear, but they could not do it. By that time, Igor was already feeling very bad.
In October 1941 he was transferred to Tallinn, where he died two months later of a heart attack.
In the 1910s, simultaneously with acmeism, many avant-garde movements . The term "vanguard" means "vanguard". Artists, supporters of this trend in all areas of art, in particular, in literature, preached innovation, renewal, rejection of established canons and traditions. They saw the value of the work in the novelty and boldness of its content and form. Avant-garde trends appeared in painting: futurism, cubism, abstractionism, primitivism. Rebels from art subverted the old traditional art systems. Young "geniuses" - artists, artists, poets, musicians - gathered in the infamous St. Petersburg cafe called " homeless dog ”, where they put forward crazy plans, argued, quarreled, sang, played. Here such poets as K. Balmont, F. Sologub, N. Gumilyov, O. Mandelstam, A. Akhmatova and others read their poems. Futurists were especially active.
Futurism originated in Italy. The theory of this trend in modernist (avant-garde) art was developed by the famous publicist and philosopher Filippo T. Marinetti in the articles "Manifesto of Futurism" (1909), "Let's kill Moonlight"(1911) and others, calling for "refusing to be understood", "boldly doing the ugly", "daily spitting on the altar of art", "following the maximum of disorder".
Despite the initial enthusiasm, Russian artists did not accept the preaching of violence and the assertion of the "iron energy of wars" in Marinetti's theory. The Russian futurists found understanding only for his ideas of the cult of industrialization and a break with past traditions. For many young people, futurism has become a way of life. They proclaimed anarchy in everything, complete freedom of the individual, disregarded the rules good manners and thereby frightened the inhabitants. Striving for the "supernova", they were most afraid of "similarity", "standard". Futurist collections wore pretentious and unusual names: « dead moon», « Milk of mares», « Go to hell" etc.
Futurists were divided into Budtlyan(from the word "will", that is new life) - so they called themselves cubo-futurists and ego-futurists ("ego" means "I").
First creative Union futuristic poets were called " Gilea". It included the Burliuk brothers, A. Kruchenykh, V. Khlebnikov, V. Kamensky, V. Mayakovsky, E. Guro. The group consisted of Budutlyans (Cubo-Futurists) associated with Cubism in painting. There were other groups, for example, " Mezzanine of poetry"(V. Shershnevich, B. Ivnev, B. Lavrenev and others)," Centrifuge"(an active member of which was B. Pasternak, as well as S. Bobrov, N. Aseev).
In 1912, the Cubo-Futurists published their manifesto - a collection of poems " A slap in the face of public taste". The preface to it was signed by D. Burliuk, A. Kruchenykh, V. Khlebnikov and V. Mayakovsky. The poets demanded a revolution of freedom of experiment, not bound by conventions: “Pushkin, Dostoevsky, Tolstoy, and so on. and so on. from the Steamboat of Modernity. The Futurists expressed their contempt for both the Realists and the Symbolists, and denied everything that was not Futurism. Budetlyane urged "not to reflect reality, but to remake it, revealing the disharmony of the world." They argued that "the Word must be free from all meaning." Supporters of the art of the future rejected the syllabo-tonic, ignored punctuation marks, etc. The composition of the Futurists was very motley, many were "carried" to extremes. An example is the work of Alexei Kruchenykh (1886-1968), who worked on updating poetic speech, tried to create an "out-of-verbal" poetic language without meaning and rhymes, typed lines of poetry in different fonts without punctuation marks. This new language he called "liberated words". And thus the opposite effect was achieved: not updates, but the destruction of the language.
This term is used to refer to a group of avant-garde artistic movements, which became widespread in the 1910s - 20s in Italy. Representatives of these movements paid the main attention not to the content, but to the form of works, for this they used reduced vocabulary, clichés, clericalism, jargon, new words, as well as phrases and expressions typical for the design of posters and posters. In addition to versification, the ideas of the futurists were also reflected in the visual arts.
Futurism was born in Italy: Filippo Marinetti, the author of the poem "Red Sugar", not only became the founder of the movement, but also introduced the term itself. He also published the "Manifesto of Futurism" on February 20, 1909. It was there that he called creative people to the use of "telegraph style". Supported the ideas of Marinetti Boccioni, Cara, Balla, Severini.
In Russia, members of the Gilea group A. Kruchenykh, V. Khlebnikov and others are considered to be the founders of the futuristic movement. They also came up with their own manifesto (“Slap in the face of public taste”, 1912), in which they called for abandoning the legacy of the classics of literature and rules and norms of the language, as well as to increase the poet's vocabulary through word creation. Within the framework of Russian futurism, several more currents were formed - cubo-futurism, ego-futurism, the Centrifuge and Poetry Mezzanine associations. By the end of the 1920s, the movement had practically died out.
In creativity, futurism involves the rejection of the usual grammar and rules for constructing words and phrases, gives the poet the right to his own spelling and the invention of new words. In the first place is the rhythm and tempo, and the content component is recognized as secondary. As for the content of the works, they, as a rule, called for and glorified destruction, wars, revolutions, since it was in these phenomena that the futurists saw a way of “rejuvenation”, renewal of the contemporary world.
art Futurists are based on Fauvism and Cubism, and if color solutions were adopted from the first, then artistic forms from the second. Art was to become an emotional expression of the dynamics of the reality surrounding the artist. The basic principles of the artist of this direction are movement, energy and speed, therefore, the works of the futurists are characterized by figures fragmented into fragments, sharp corners, zigzags, beveled cones, spirals. They also followed the so-called principle of simultaneity - when the imposition of successive phases on the same image was used to convey movement.
Despite its short existence, futurism left a noticeable mark on the history of culture, and also laid the foundation for several other artistic movements.
