Hundred years of oblivion
Hundred years and one instant. Recently, all poetic world celebrated century anniversary of the abstruse direction of avant-gardism - futurism. On the eighteenth of December, 1912 there was the first poetic collection with the scandalous name “Slap in the Face to Public Taste“. This date also became a starting point of the birth of the Russian futurism.
the Ancestor of futurism as art phenomenon there was the Italian poet F. Marinetti who in 1909 published “The manifesto of futurism“ in the Parisian newspaper “Figaro“. The main postulate which consisted in absolute nihilism to all past. Only technical achievements admitted and put in the forefront. So the car and the motorcycle appeared more perfect creations, than Michelangelo`s sculptures and Raphael`s picture. There came the century of speeds and technical progress, and there was no place to “a smile and the woman`s tears“.
“New art can be only violence and cruelty“ - Marinetti in anticipation of the arising social and military conflicts spoke. Cataclysms have to be present both at life, and at art. Marinetti sent traditional grammar to all devils, and urged poets to have the right for the spelling. “Words on freedom!“ - the slogan of newly appeared poets - futurists.
such “values“ were pleasant to the Russian poets, and they rushed to develop the futuristic direction and to realize the poetic ideas. And soon there was the Russian manifesto “Slap in the Face to Public Taste“ in which young poets without any preludes offered: “To throw Pushkin, Dostoyevsky, Tolstoy and so forth from the present steamship“. By the way, and Marinetti self-critically spoke, as we will be sometime thrown out in a basket for garbage.
Or still such passage from the manifesto: “From height of skyscrapers we look at their pettiness!“. It they about geniuses of the Russian literature. But if to consider what to many poets was slightly in twenty years, then their pride rebellious behavior becomes clear (but also envy likely).
However, Igor Severyanin who called himself the first futurist, nevertheless, loudly and categorically declared: “Not Lermontova - from the steamship, and burlyuk - to Sakhalin“.
Here one of poetic pearls of the futurist A. Kruchenykh: “Holes of bulls shchyl“. It is, perhaps, the most known “self-twisted“ line. But when the author in all seriousness claims that in “this line more Russian national, than in all poetry of Pushkin“, - that is of course already search.
V. Khlebnikov modified the word “futurism“ on the Russian harmony, and called this phenomenon “budetlyanstvo“. The social revolution was only outlined in political life, and in poetry it already stormed. Some poets and writers of that time criticized futurists. For example, Ivan Bunin called futurism “flat hooliganism“, and one unknown author was expressed very neatly “futurism“. Many Russian poets “had“ futurism, and some of them became well-known, and such as Mayakovsky, Khlebnikov, Pasternak - got up in one row with other geniuses of the Russian poetry.
Gradually literary heat at futurists began to come to naught, and they steel “simply poets“. As V. Mayakovsky wrote: “Yes, the futurism died, but I also not really - that feel sorry for the dead man“. In poetry experiments began to decline, but in other spheres of art the futurism was still live.
the Artist Kazimir Malevich made out many books of poets - futurists. The painter belonged to vanguard art too. Most the known picture “Black Square“ which haunts already hundred years fans and experts was its noticeable work. This is valid - futurism in operation. For the first time this picture was shown at a futuristic exhibition “0. 10“ in St. Petersburg on December 19, 1915.
Also futuristic sparks got both into theater, and into music, but of course to a lesser extent. A bright race car the futurism flew by in a poetic sky, having left behind a noticeable trace and creations which should be comprehended and understood still.