.pro-gallery-wix-wrapper {display: block !important;} .pro-gallery-wix-wrapper .gallery-item-container {opacity: 1 !important; display: block !important;}

La Danse Futuriste. Danse de l’aviateur – Danse du shrapnell – Danse de la mi...

Name: La Danse Futuriste. Danse de l’aviateur – Danse du shrapnell – Danse de la mi...
SKU: LADA-001
Price: 700 EUR
Availability: InStock

SKU LADA-001

La Danse Futuriste is one of the key texts of Italian Futurism in its most direct, militant, and performative form. It is a separately issued French manifesto by Filippo Tommaso Marinetti, founder and tireless propagandist of the movement. Rather than a deluxe book, it is a tract, designed for the rapid circulation of ideas and for immediate impact. That modest physical form is precisely what makes it so faithful to Futurist practice, in which print was used as an instrument of artistic intervention. The text transfers the Futurist glorification of speed, violence, and mechanism into the realm of dance, doing so with the aggressive clarity that is so characteristic of Marinetti. As a separate French issue, the pamphlet is bibliographically intriguing, since specialists have catalogued it both as 1917 and as circa 1920. That uncertainty only adds to its interest rather than diminishing its importance. For collectors, this is above all a primary avant-garde document: scarce, fragile, and historically charged.

Quantity

Marinetti, Filippo Tommaso

La Danse Futuriste. Danse de l’aviateur – Danse du shrapnell – Danse de la mitrailleuse. Manifeste futuriste

Milan | Direzione del Movimento Futurista

A rare and bibliographically fascinating key manifesto in which Futurism extends its machinery of war into the realm of dance.

€700

Condition Report:

In-Depth Study

References & Bibliography

Format

Divers

Edition Particulars

Separate French tract issue; bibliographically dated 1917, ca. 1917, or [1920].

Paper

papier ordinaire

Inscription

No inscription

Product DETAIL

In this manifesto, Marinetti explores how dance might become a modern, Futurist art form. The text begins from the premise that traditional dance is obsolete and no longer corresponds to the rhythm of the modern world. He then discusses existing examples, including the tango, Isadora Duncan, and Loïe Fuller, in order to clarify what he rejects and what he partly values. He goes on to define the qualities of Futurist dance, which he describes as inharmonious, asymmetrical, dynamic, and freed from academic grace. The central part of the pamphlet consists of three developed models: the dance of the aviator, the dance of the shrapnel, and the dance of the machine gun. Each translates a machine of war or a modern mechanism into human movement, rhythm, and theatrical expression. The text is deeply rooted in the cultural logic of the First World War and in the Futurist desire to fuse art with technology. Its tone is polemical, programmatic, and emphatically performative.

AVANT GARDE CONTEXT

This tract belongs to the absolute core of Italian Futurism and is not merely related to the avant-garde: it is one of its primary movement texts. Here Marinetti directly applies Futurist principles of speed, violence, anti-tradition, and mechanical energy to the field of dance. The text belongs to the war-oriented Futurism of the late 1910s, when artistic renewal was explicitly linked to technology, aggression, and bodily dislocation. The tract form itself is significant: this is not detached reflection, but a manifesto intended to intervene, prescribe, and provoke. In that sense, the document is a pure avant-garde object, both literary and historical.

PLACE IN THE OEUVRE

Within Marinetti’s oeuvre, La Danse Futuriste occupies a notable place as a specialised manifesto extending Futurist doctrine into a new artistic discipline. It shows how his writing and agitational activity continuously colonised new fields: literature, typography, theatre, music, gastronomy, and here dance. At the same time, the text preserves his characteristic rhetorical intensity, in which theory and polemic are almost inseparable. The separate French issue is especially important because it reflects Marinetti’s international strategy and the central role of the Francophone sphere in disseminating Futurism. Within his body of work, this is therefore a compact but highly representative movement text.

PUBLISHING CONTEXT

The pamphlet was issued in Milan by the Direction du mouvement futuriste, with A. Taveggia named as printer in library catalogues. The text first appeared in Italian in L’Italia futurista on 8 July 1917 and was later circulated as a separate French issue. The exact dating of that French tract remains genuinely uncertain: some catalogues give 1917 or circa 1917, while other specialists propose [1920]. Such variation is not unusual for Futurist ephemera, which often circulated outside conventional book channels and in small, militant printings. Materially, this is exactly the kind of printed object through which Futurism spread its ideas quickly and internationally.

ANECDOTE

What makes this pamphlet especially interesting is that its rarity derives not only from scarcity, but also from its elusive bibliographical status. It is not merely a reprint of a known text, but the separate French tract form through which Futurism made itself visible as an international movement. Specialists have therefore dated it differently, which says much about the loose, almost improvised way such manifestos were disseminated. It is precisely that tension between historical centrality and material uncertainty that makes it so appealing to specialists. What one holds here is not simply a text, but part of the logistics of the avant-garde itself.

Related books

Explore the Collection

Collectif, Collège de ’Pataphysique

Viridis Candela. Subsidia Pataphysica — Cahiers du Collège de ’Pataphysique, 3e & nouvelle série, n° 0–27/28

Viridis Candela. Subsidia Pataphysica is a complete run of the third and new series of the Cahiers du Collège de ’Pataphysique, issued between 93 and 102 E.P., corresponding to 1965–1975. The series forms one of the documentary backbones of the later activity of the Collège: it preserves texts, dossiers, commentaries, supplements and internal signals from a world in which literature, fictional science and institutional parody coincide. As the series n° 0–27/28, it is not a single book but a continuous pataphysical constellation. The index number n° 27/28 is especially important because it contains the index to the Cahiers, Dossiers and Subsidia. The run therefore functions both as publication and as access key to a larger corpus. For The Hidden Page this is a core object: not spectacular through luxury or signature, but through completeness, internal coherence and documentary weight. The narrow paperbound fascicles show the avant-garde as archive, ritual and network in printed form.