Balázs Eszter: Art in action. Lajos Kassák's Avant-Garde Journals from A Tett to Dokumentum, 1915-1927 - The avant-garde and its journals 3. (Budapest, 2017)
Judit Galácz: Avant-Garde Experiments Committed to Paper - the MA “Music and Theatre Special Issue” (1924)
path, which was necessarily a dead end since its representatives were unable to move beyond the traditions of flat depiction or strong naturalism in theatre practice. The second path was the Russian one, in which truly revolutionary ideas about theatre and the stage as a real space were already being explored, however, practitioners were still also only focusing on small, finite problems, such as Tairov’s ideas about movement on stage. Kassák believed in the unity of space, movement and stage construction, and viewed the fundamental questions of theatrical art from this perspective.14 Kassák’s introductory essay followed by the essay of the founding father of Italian futurist art, Filippo Tommaso Marinetti, on “tactile theatre" - Teatro An- tipsicologico Astratto, di Puri Elementi e il Teatro Tattile [Antipsychological, Abstract Theatre of Pure Elements and Tactile Theatre] - as providing the founding voice to the ideological orientation of the texts that follow.15 Like Marinetti and the other futurist thinker also published in MA, Enrico Prampolini, Kassák also strove to produce a theatrical synthesis, even if that was imagined with ultimately simplified means. Marinetti spoke of theatrical works in which the actors would interpret “each feeling or atmosphere” in performances, which was an attempt not only to delete the existing boundaries of drama as a genre, but also to reach true unity through extreme simplification. However, in his manifesto Scéne Dynamique Futuriste [Futurist Dynamic Scenes],16 Prampolini recommended transforming the system of the forms of performances based on pantomime techniques, creating a harmonic unity of movement, colours, music and lines through the harmonic expression of dynamic, rhythmic movement. Marinetti’s essay was followed by Herwarth Walden, the representative of German Expressionism and founder of the journal Der Sturm [The Storm], in his text Dos Theater als künstlerisches Phänomen [The Theatre as Artistic 14 See Rita Nemes, Raumstationen 1924-2004, Vor 80 Jahren erschien das Musik- und Theater-Sonderheft der Wiener Zeitschrift MA [Space stations 1924-2004, The Music and Theatre Special issue of the Viennese journal MA was published 80 years ago], in Pál Deréky-Zoltán Kék- esi-Pál Kelemen (eds.), Mitteleuropäische Avantgarden, Internationalität im 20, Jahrhundert [Central European avant-gardes, Internationality in the 20th century], Peter Lang, Frankfurt am Main, 2006, 87-100. 15 F. T. Marinetti, Teatro Antipsicologico Astratto, di Puri Elementi e il Teatro Tattile [Anti- psychological, abstract theatre of pure elements and tactile theatre], MA, “Music and Theatre Special issue”, 9/8-9., 1924, [3.] 16 Enrico Prampolini, Scene Dynamique Futuriste (Manifeste) [Futurist dynamic scenes (Manifesto)], Ibid., [IT] 191
