Its daring revision of the referentiality of the theatrical sign comes as a consequence of the experiments led by Italian and Russian Futurists, Dadaists, Expressionists, and other avant-gardes. A dramaturgy of sound that tells its own “plot” through its own semiosis has become constitutive of a postdramatic theatre that places more emphasis on performance, mise en scène, and the audio-visual architecture of the stage than it does on dramatic text. These elements include both voice - not only a carrier of speech but also an emotional, pulsional, gestural expression in excess of it - and sound in general - not only supporting music or incidental noise but also an autonomous stage building material. Its focus is primarily on a specific dramaturgy of sound that, rather than helping to reveal the plot of a literary text, reads/writes another type of text by the temporal and spatial disposition of oral acts and aural objects as elements of performance. Making the case that the historical avant-garde initiated a new, hybridized concept of the arts that has become a hallmark of the dramaturgy and performance style of postdramatic theatre, it discusses contemporary theatricality in light of the principles and methods of sound poetry, painting, and music. This book explores the orality/aurality of theatre performance and in accord with its subject - theatrical sound as an intermedial, fluid, and multi-faceted phenomenon - necessarily adopts a multidisciplinary approach. They started coining new arbitrary and derivative words (sound-images) according to their phonetic features in order to resurrect word ossifed by everyday use and thus broke ground for new ways of performance. In the same vein, zaumny yazyk (an idiom beyond sense) invented by Aleksei Kruchenykh and Velimir Khlebnikov, was a result of the poets’ return to the orality and sound substance of language. ![]() Thus, Filippo Tommaso Marinetti’s parole in liberta and his insistence on the sensorial energy turned the verbo-vocal performance into matter and force conferring with Jean François Lyotard’s notion of theatre as a place of the “pulsational displacements” instead of the production of representative replacements. ![]() practices that Italian and Russian Futurists introduced in poetry and its performance: This paper explores Italian and Russian Futurists’ poetry that introduced the onomatopoeia and the creation of sound-images announcing the potential of sound in theatre performance. They shifted the focus from verbal meaning to vocal expression and from syntactic structure of language to sound substance and performative dynamics of human utterance. The avant-garde’s disruption of the logocentrism of Western culture in which “words have become fossilized, strait-jacketed by their meanings made to stop thought, to surround it, to complete it, in short they are only a conclusion” (Artaud), found its protagonists among Futurist poets and performers.
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