In various publications dedicated to the futurist performance at the turn of the century, the dancers who took part in the renewal of the stage are hardly mentioned; often these journals indicated only the names, or some- times the nationality, and eventually their efforts were not even recog- nized, despite the fact that they were at the forefront of this tumultuous stream of revolt against the bourgeois theatre. Occasionally, in addition to the names of the dancers, the reader can find some evocative images of the dance, depicting costumes .d decors or photographing moments of belle- zza espressiva and of volutta geometrica, allowing an understanding of the role purely practical-demonstrative reserved for dancing bodies in the global context of futurist subversive work. What we know about the Milanese dancer Giannina Censi (1913-1955) comes from accounts of performances at La Scala and in Paris, the mem- oirs of Ballets Russes teachers, the collaboration on works of spanish and indian dances with Uday Shankar, and sensational evenings of aerodanza and pittura danzata with Fillippo Marinetti, Enrico Prampolini (1931), I and Fortunato Depero. Censi, even resorted to the "refuge" of teaching ballet technique, even working on musical theatre with Wanda Osiris.2
Experiment – Brill
Published: Jan 1, 1
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