Futurism (from the Latin word futurum,meaning "future") - the avant-garde trend in the art of Europe 1910-1920, mainly in Russia and Italy. It sought to create the so-called "art of the future", as representatives of this direction declared in manifestos.
In the works of F. T.Marinetti, the Italian poet, Russian cubo-futurists from the Gilei Society, as well as participants in the Mezzanine of Poetry, the Association of Ego Futurists, Centrifugi, denied traditional culture as a legacy of the "past," and developed the aesthetics of the machine industry and urbanism.
For painting this trend is characterized by tidesforms, shifts, repeated repetitions of various motifs, as if summing the impressions resulting from rapid movement. In Italy, the futurists are J. Severini, U. Boccioni. In the literature there is a mixture of fiction and documentary material, in poetry - experimentation with the language ("zaum" or "words on the loose"). Russian poets-futurists are VV Mayakovsky, VV Khlebnikov, I. Severyanin, AE Kruchenykh.
This direction arose in 1910-1912,simultaneously with acmeism. Acmeists, futurists, and representatives of other currents of modernism in their work and unification were internally contradictory. The most significant of the Futurist groups, later called Cubo Futurism, united various poets of the Silver Age. The most famous of her futurist poets are V. V. Khlebnikov, D. D. Burliuk, V. V. Kamensky, A. Kruchenykh, V. V. Mayakovsky and others. Egorofurizm I. Severyanin (poet IV Lotarev, years of life - 1887-1941) was one of the varieties of this trend. In the group "Centrifuge" famous Soviet poets BL Pasternak and NN Aseev started their work.
Russian Futurists proclaimed independenceform from content, its revolution, unlimited freedom of a poetic word. They completely renounced literary traditions. In the manifesto, with a very cocky called "slap in the face of public taste", published in the same collection of 1912, representatives of this trend encouraged to throw off the "ship of modernity" recognized authorities such as Dostoevsky, Pushkin and Tolstoy. Kruchenykh defended the right of the poet to create their own, "abstruse" language, which has no particular value. In his poems, speech was in fact replaced with an incomprehensible, meaningless set of words. But VV Kamensky (years of life - 1884-1961) and V. Khlebnikov (years of life - 1885-1922) were able to carry out his work very interesting experiments with language that fruitful impact on the national poetry.
The futurist was also the famous poet VladimirVladimirovich Mayakovsky (1893-1930). His first poems were published in 1912. Vladimir Vladimirovich introduced his theme into this direction, which from the very beginning identified him among other representatives. Mayakovsky-Futurist actively advocated the creation of a new in society life, and not just against the various "junk".
In the revolution of 1917 preceding the time, the poetwas a revolutionary romanticist who denounced the so-called "fat" kingdom, foresaw the impending revolutionary storm. Denying the whole system of capitalist relations, he proclaimed humanistic faith in man in such poems as "Flute-spine", "Cloud in pants", "Man", "War and Peace." The poem "Cloud in Pants", published in 1915 (only in the censored form), was later defined by the poet as 4 screams "Down with it!": Down with love, art, order and religion. He was one of the first Russian poets to show in his poems the whole truth of the new society.
In the years preceding the revolution, in the Russianpoetry there were bright individualities, which were difficult to attribute to a specific literary trend. This is MI Tsvetaeva (1892-1941) and MA Voloshin (1877-1932). After 1910, there is another new direction - futurism, which opposed itself to all literature, not only the past, but also the present. It entered the world with the desire to subvert all ideals. Nihilism can be seen in the external design of collections of poets that were published on the reverse side of the wallpaper or on wrapping paper, as well as in their names - "The dead moon", "Milk of mares" and other typical poems of the futurists.
In the first published in 1912 collection "Slap in the facepublic taste "was published a declaration.It was signed by famous futurist poets such as Andrei Kruchenykh, David Burliuk, Vladimir Mayakovsky and Velimir Khlebnikov, in which they asserted their exclusive right to be the spokesmen of their era.Poets were denied as ideals of Dostoevsky , Pushkin, Tolstoy, but at the same time Balmont, his "perfume fornication", Andreev with his "dirty slime", Maxim Gorky, Alexander Blok, Alexander Kuprin and others.
Rejecting everything, the Futurist manifesto established"lightning" of a valuable word. Without trying, unlike Vladimir Vladimirovich Mayakovsky, to overthrow the existing social order, they only wanted to update its forms. In the Russian version, the slogan "War - the only hygiene of the world", 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 FuturistsSilver Age for the first time to the proper height raised the form, giving it the value of the main, self-goal element of the work. They categorically rejected poetry, which is written only for the sake of the idea. Therefore, many formal declared principles arose.
Velimir Khlebnikov, another theorist of futurism,proclaimed a new "abstruse" language as the future language throughout the world. In it, the word loses its semantic meaning, acquiring in return a subjective connotation. So, vowels were understood as space and time (character of aspiration), consonants - a sound, a paint, a smell. In an effort to expand the language boundaries, he suggests creating words according to the root sign (roots: spell ..., chur ... - "we are enchanted and shy away").
Aesthetics of the symbolic and in particularacmeist poetry, the futurists opposed an emphatic de-aestheticization. For example, "poetry - a worn out girl" in David Burliuk. Valery Bryusov in the review "The Year of Russian Poetry" (1914) noted, noting the conscious rudeness of the futurist poetry, that it is not enough to scold all that is outside his circle in order to find something new. He pointed out that all supposedly novelties of these poets are imaginary. We meet with them in the poetry of the 18th century, in Virgil and Pushkin, and the theory of sound colors was proposed by Theophile Gautier.
It is interesting that, with all denial in art,Futurists of the Silver Age still feel the continuity of symbolism. Thus, Alexander Blok, who watched the work of Igor Severyanin, said with concern that he had no topic, and in the article of 1915, Valery Bryusov noted that inability to think and lack of knowledge belittles his poetry. He reproaches Severyanin for vulgarity, bad taste, in particular criticizes his poems about the war.
Back in the distant 1912, Alexander Blok said,that he is afraid of the fact that modernists do not have a core. Soon the concepts of "futurist" and "hooligan" became synonyms for the moderate public of those years. The press greedily followed the "exploits" of the creators of the new art. Thanks to this, they became known to a wide section of the population, attracted a lot of attention. The history of this trend in Russia is a complex relationship between the representatives of the four main groupings, each of whom believed that it expresses "true" futurism, and fiercely polemised with others, challenging the main role. This struggle took place in streams of mutual criticism, which increased their isolation and hostility. But sometimes members of different groups moved from one to another or came together.
