.:: ..icl.r involvcs the. r :::l. thL. r'arious lav--. : :::- rsicle each sen: :,i:, an exploration::: :'.! for the words.: .::i information, for-:- -:::r i)t circumstance,.: .: iill in the siience.

: : iollr tones, fourr'_: :!, th€r text is some-

::- -t.ic.tl scorc. Those

Gtinter Berghaus

Fulvia Giuliani:Portrait of a Futurist ActressDespite the importance of ltal an Futurism to the modernist movement in Eurooe durinothe ear y nter-warperod. ithas suffered abad press- jnitiallv because of its associati"onwith the ernergent fascist movement. and rnore recent y because of the femrntst concernw th apparently rnisogynislic elements in the wrlting of the acknowledoed leader oi themovement. F. T. l\,4arinetti. However. GLinter Berghaus argues that this is to ignore notonly the roots of l\,4ar netti's own ant Jeminism , in contempt for the very aspecls olsubservient womanhood now condemned by fenrinlsts themselves - but also the supportthat Futur sm enjoyed from a number of women artists in ltaly at the t me. Cerlalnly. theear y career oi the actress Fulvia Giuliani affirms both her stronq endorsement for andparticipat on in the movement, and her contempt for women who passively accepled theroles assigned 10 them by the patriarchy. GLlnter Berghaus, who teaches in the DramaDeparlment of the Un versity oJ Bristo , here out ines Giu iani's role ln the Futuristmovement and documents il from prev ously unpub ished sources.

:..:i,nse to the varieg-. . :,, clecidc what the: ':\is neaning tllat- r',-:iveness of the:--;'ossessed bY the:: LiLTSSeSSOTS. WhO

: . :rkc? Thev do. In: :: ,i: ters oflanguagc.: :: Ploceeds on the. :-- :r lhc same awful:: -:i: the newly flecl-. ::.etl to drug abuse,:. r,i hereditary dis-.r .rL.trcrencies, trans-. -'. The idea is to act- .. tirat, at the end of: -r'. ihat they can live: . ,: thc basic reasons

',.:eaf 01 our work -: -i:111\'i119 fascinatiOn. -,r.1 its body gram-

. ::-.,r'crlent, each ges-,: t:tJ trec1ntng.

:: --. ielel: the encoulr:. ::1!1 foremost, the:: r:- :.nls of dialogue.. . .. itll Mozaft u,ho. -.. Fleurv M6rogis: - :'r:5 \\.Orked a\^rav: r:':stL.r the gestures. . :'-i Then, in the

- - :r- ere \\'as Monte-:. .:iton, there was

: -,rr.r tion betr,r'een

. -:: ,r'. niark already.. ler' adventure.

:: : :i::er the u'ander-. :_::e lage.

. ., ;ltt Hutchinson

ANY PERSON l'ho has found occasion tcr

stucly the biographl. and ocrrrrlc of a dozenoaJing i^, om.r n Futuri.t\ cdnnot lrelp but br.

astonished to find fhat none. oI their namesfeatures in anv of the standard histories oftwentieth-centurv art, and only a fett' in thechroniclcs of the Futurist movcment. Tosome cxtent this mav bc due to the fact thatrnale art historians have not taken muchrnterest in woman artists /,ar sd. But it also.rppcars that the receni generatlon olfeminist scholars, who have kept clear of athorough examination of the Futurist move-rnent because of Marinetti's 'anti-feminist'rhetoric, havc repeated, albeit with regard toa clifferent question, the mistakes of theirmale colleagues, I'ho have failed to arriveat a dceper understancling of the contradictorv and complex relationship bctween theFuturisis and the Fascisi rdgirnc.

Again and again, one comes across thesame quotatiol.ls of Marinetii erpressing hisscorn (}1 r'\'omen. But r,vhat lype of I'omenrvas he referring to? What /ciird of femir.risrndid hc reject? Marinetti's polcmics in hismanifesios offer only one side of the coin.To arrive at a deeper untlerstanding of hislhinking one has to place them alongside hismore rcasoned statements, such as:

The fcminist movenlent iriumphs in Franceiodav, thanks to a magnificent elite of iniellectualrvomen. Daily, thev manifcst their admirablegenius and jnesistible charn. However, in Italyfcminism is harr-r'rfui and ridiculous, as ln racreveryn'herc else rvhere it is confined to unbridledand sma11-minded careerism and oratoricaian-rbitions.l

h 1909, Jane Catulle Mendds asked in theFrench journal Fenint about Marinetti'srtiltis Lle ln t'emtnc and how this squaredr'vith the enormous support he gave towomen poets in his journal Poasiar 'May Icxpress a certain doubt about M. Marinetti'sscorn of rvomen? It appears that l.ris pen ismore brutal than his thinking.'2

A first attempt at overcoming the still-prevailing one-sided vie$'of Futurist atti-tudes to$'ards the 'woman question' wasundertaken bv Lea Ver;;ine in her 1980erhibition, 'The Other Half of the AvantCarde', ivhcre she presented the works ofabout haif a clozen hitherto practically unknown n'oman Futurists.3 In 1982, ClaudiaSalaris published an extremely interestir.rganthologv of poetry and short stones wrlt-ten by some 50 femalc Futudsts.r These schol-ars tor the first tirne brought to iight a richand colourful expression of female creativity

117

in a period that seemed to have beendominaled hv rnale radicll. and g,cniu.cs.

Inspired by their findings, I have used theopportunity of my research il.rto Futuristtheatre to take note of the full range ofartistic activities undertakcn bv fcn.raleI u tu ri.fr whene\ er I h.rppenecl to ( omeacross these little-knortn manifestations.Over the years, I have found hundreds ofbooks, brochures, and essays dealing withthe topic of rvomen's social and scxual emancipation. These publications have rangedfrom short newspapcr articles via smallpamphlets to full-lcngth novels. Togetherwith the wealth of pirotographs, dcsigns,and paintings produced at that tirne, the1.demonstrate the livelv involvement ofwomen artists with the Futurist movement.

A comprehensive historical analvsis ofthe fuil relaii,,nship bctween rtomen andFuturism could prove subject enough for awhole book, and here I can present onlv onesmall l.rcet of lhi- Iarcin,tlinR rpeclrum. Bulthe follon'ing outline of the career of FulviaCiuliani, a Futurist actress, should scrve toindicate the rvealth of unknor,vn sourcematerial still waiting to be studied bvhirtoridns who uish h to beyond rhe iacileequation of Futurism with anti feminism,just as other scholars in the last decade havedismaniled the eqrrally di-torting ,vnony-mity between Futurism and Fascist art.

Fulvia Giuliani was one of the manyrebellious women artists \^,ho at a veryyoung age joined the Futurist movement.She was born in 1900, and was introducedto the Futurist circles in Florence by herteacher, Maria Ginanni, irde Crisi. A prolificpoetess, Cinanni issued a series of bookswith poems and short stories under theaegis of ltclra Futuristo.ln her capacity as acollaborator on this Futurist newspaper shepublished, in 1916, the first poems bv Fui.,iaCiuliani. Her contacts r^ ith Varinctti andthe Futurist actors, directors, and play-wrights provided the young woman with anopportuntty to perlorm hcr satirical sketchesin Futurist cabarets. The evenings in Flor-ence and Rome u'ere organized as bcnefjtperformances for thc Red Cross and rvercextremelv rvell-received.

i18

. The stage debut of this precocious bnlr-btna fulurtsta caused a considerable stir.In 1917, the Futurist writcr Emilio Settimellipublished a half-pagc article on her 11.r

Italil Futuristl. He praised her talents andwrote:

Fulvia-Ciuliani is extremelv youl-rEl: seventeenyears. But some of her interpretation; are alreadypertect. Her temperament as an actress is indeedphenomenal: intense, vibrant, sirarp, she possesses an aclaptability which is cluite miraculous.5

In this essav, Settimelli goes on acclaimingGiuliani's vivacity, originality, and magnet--ism, ancl her colourful and dynarnic actingst1,le - particularlv in the sketches ,The Ladyo1 the Red Cross' and 'An Old-FashionedTeacher', which he calls'ferocious satiresand monumental cadcatures of femininepass6ism, and a decisive slap in the face ofall prejudices and ties, brakes, and imbe-cilities, rvhich hurniliate and degrade Italianwomen.'

Other roles r,r'ere 'The Variety Singer,,'The Outcast', and 'The Elglish Tourist,.Ciuliani also performcd some typical scenesfrom Roman life - for example, ,Thc OldOne' and 'The Criminal', in which, accord-ing to Settimelli, 'she transformed herselfmiraculously into an authentic bull, a Romanhooligan rvith a drawn dagger, affccted gait,and a red carnation behind the cars,.

Witir her sketches Fulvia Giuliani becamea living expression of the Futurist ,disdainoI women' - not, as is sometimes misunderstood, of u'omen pel se, but of the old_fashioned tvpe of woman who r,r,illinglysubmitted to the power of her fathei,her husband, and the local priest. Giulianiaddressed the problen of women perpetu_ating the patriarchal, oppressivc sl.stem bypassing on to their daughtcrs and sons thesame oppressivc values and morals theythemselvcs had been taught.

Ciulianj also took other themes on board,such as fcmale snobberv in the upperclasses, or the lack of radicalism in theItalian feminist movement. She criticized the'ner'r" rolc-modcls Italian feminists sougirtto propagate for the 'modern, woman asnothing but Variants upon the old stereo-

:r'pe of 'rvoman as r..

:hannelling \'\,'omen jf..rng professions did n

,rc|'ancc thcir emancil:hese views in satiric,r:,.presentatives of thc:'L\'omen,

Settimelli declarctl:otntances 'an inau,Futurist comicalitv'. B

:ramework of the cat,.rffcr this 'Futurist prr,:eveal and develop:hought thai her trcmployed in nlore ci

Jespite his report th,:everal films and a:.onvictiolr that this \r,;r i r,rr- ol,rr\/ :n,l

',.leserved, for thc timecontinued her recit,rloncerts, and liierarr' .

There exists a Iar 5end photographs of C

nlances as a star aclr,Itulipenrienfl, but thc ciis practicailv undoclr r:

do not possess thenumerous satirical sk,in her formativc vear,coincidence I happcn.5ne \\'r{)re ln tY lb- | , I

preserved in the arcl'.rPrimo Conti in Ficsolt'.tains an extremclv r€.\

a voung and gifted .1rt

herself rvith the Futrrri,This personal slalt

that not only throl\'sh'hv a female artist \\circie in Florenct, briias paradigmatic for r

nto, througir their irFutufist movement, ccarecr, gained indepenner'r' identity.

Giuliani's lettcr i:written frorn Rome. 5e

book (probablv his cr,.and dramatic fragmcr'lirali), to whjch she reF

:: --: :h]S precocious b4r7-i::-r a considerable stir.::: ....iter Emilio Settimelli:-:::e article on her in,. ::aised her talents and

:, :::-el! voung: seventeen-.: :.:arpretations are aheady:::::.: as an actress is indeed.: '.:::.rnt, sharp, she pos_--. :r::ar rs quite miraculous.s

'-;::-li qoes on acclaiming- :::inality, and magnet-

'-: :, and dynamic actingr:. :.r.e sketches 'The Lady:.: '\n Old-Fashioned

-. ::ll! 'ferocious satires:i:laatLlres of feminine

:::::i e siap in the face of:::::. brakes, and imbe---:::e and degrade Italian

::- The Variety Singer',: -he English Tourist,.:::.:l some typical scenes

:-.r example, 'The Old--.-:.:1 . in which, accord-.:€ transformed herself

: : -:ihentic bull, a Roman:...: lagger, affected gait,: ::r ind ihe ears'.

=. :l;1,. ia Ciuliani became' :: rhe Futurist 'disdain

:. is sometimes mis-:: :.:-' sr, but of the old-'... -.ran who willingly:: ..-er of her father,

::. -rcal priest. Giulianir-a::- lrl \tomen perpetu-:- .t:ressive system by::::hters and sons the: -.. and morals they

.. :::Jr lhemes on board,r -.:-:1 in the upper* --: :adicalism in the.:::::. She criticized the-:-.- ::: ieminists sought--: :tlidern'woman aS. i:-.n the old stereo-

tvpe ot'woman as nurturer'. She felt thatchannelling women into thc teaching or nursing professions did not particularly help toaclvance their emancipation, and she voicedthese views in satirical portrayals of typicalrepresentatives of these antiquated 'modern'\\'omen.

Settimelli declared Fulvia Giuliani's per-formances 'an inauguration of a new,Futurist comicality'. But he also {elt that theframework of the cabaret evenings clid notoffer this 'Futurist prodigy' enough scope toreveal and develop her full genius. Hethought that her talents needed to beemployed in more demanding tasks. Butdespite his report that she had plans forseveral films and a theatre iour, and hisconviction that this would pave her way tofuture glory and to the success she fullydeserved, for the time being Fulvia Giulianicontinued her recitals in cabarets, caf€concerts, and literary soir6es.

There exists a large number of revier,r'sand photographs of Giuliani's later perfor-mances as a star actress in the Tentro degliItrdipendenti, but the earlv part of her careeris practically undocumented, and sadly wedo not possess the texts of any of thenumerous satirical sketches she performedin her formative years. However, by sheercoincidence I happened to find trvo lettersshe wrote in "1916-17 b Settimelli. These arepreserved in the archive of the FondazionePrimo Conti in Fiesole, and one of them con-tains an extremely revealing psychogram ofa young and gifted artist who chose to alignherself with the Futurist movement.

This persor.ral statement is a documentthat not only throws a revealing light onwhy a female artist would join the Futuristcircle in Florence, but can also be regardedas paradigmatic for many of the wonenrvho, through their involvement with theFuturist movement, established an artisticcareer, gained independence, and assumecl anew identity.

Giuliani's letter is undated and wasrvritten from Rome. Settimelli had sent her abook (probably his collection of poetic, epicand dramatic fragments, L( a-o-lenture spiri-fuali), to which she replied:

Two of the m racu ous transformations n FulviaG ulani's cabaret act, reproduced frorn ltalia Futurista,Vol. ll, No. 28 (9 Septenrber 1917).

119

Thanks, manv thanks for the book, ihephotograph and the dedicaiion, for the letter anclfor everything. How vou hasten to satisfy thecaprices of your little friendl Yes, I am a u'oman,at least I think so. Am I courageous? Yes, \,crvmuch, very much, theorcficallv.I lvould also be sopficficnll,!, b]ut 1 leel so very alone. Sometimes, thehard realitv {'hich surrounds me disneartens rne,and then I feel like a little child anci so neaklHowever, this does not destrov ihe inuer forcc inme; so I laugh and laugh, I chase a\.av the littlctears of my cowardice u,'hich threaten to pret,ailover my forces. I have such a sacrecl fear ofwomen who whimper and u'hincl Yes, you aredght. One has to be courngeous, very coru-ageous, jump over all hurdles, even !\,itll the riskof breaking one's neck. I have to takc couraeeand - to lead the lvorld by its nose. Life is sobeautifull There is the sun, youth, beautv. lVlrv-hould I alnay. run'nnLe ov.r thr pdin- / /./prrrtu,,z (in the end it only brings you Lrad luckl).No, it's much better to lar-lgh, to laugh, and toforget the city of the deadll If only I rvere frccl Ifonly I lived in an environment which is more /ikrme. Then I rvould use this Iorce, but - there are sct

many dissipations. So let's be contcnt, for thetime being, to play the silly fooj, hoping that aprovidential accident, an overturn of fortuie, orsomehow or other - some expedicnt event pro-pels me to change the $'orld.

You are right about \romcn. They are a greatdisaster. I have never been able to have a tvomanfriend, except for Maria Cinanni, u4ro is anexcepiion to her species. Thcv all try to modelthemsel\'es on the heroines (if that's rn,hat one cancall then) of sentirnental novels and do notrealize ihat one mould has shaped them all intosimilar anaemic, ridiculous dolls. They think iheytransform themseh'es into interesting personalities, when in realiiy they all resemble the cloihesof Bocconit a urliform line of groicsque provin-cialism. Do you realize ho$' much I haie ri'omen?The uglv ones I dislike; the beautiful ones Iunderstand foo well and can't admire, ai least notwithout turning up my nose in contemPt. Andthis is not oui of brrs/rf.rlzess; I anl not such anidiotlll

The feelings expressed in this letter foundan echo in the poetic and polemical contd-butions Giuliani made to Futurist journalsand newspapers such as lfrillc Ft.tfuristLt,R]n!a Futltrista, or Dinatno. Thc earliestliterary work I could find was published inItolio FutLrista of 24 June 1917. Ii is a shortpiece called 'Chopin Falls in Dirtracc . .rnJin it Giuliani describcs the end of the Rom-antic era and the dan'n of a new, 'strong andmasculine' age.

720

In a very satirical tone, she et'okesChopin's 'noctLrrnes r,r'hich give a musicalsparkle to languid figures, prrre (?!l!??!) lovc,virginal (l??l!) forehcacls, plurned knights,peroxide. . . (pardon) bioncle damcs., It isthe time o{'flirts in the sh.rcle of big trees', of'grand, enpty dreams', 'ho116rn' evcs andetna, t,tlL J .trm\'. ,)nJ rcperh,ire- of JlleL rCJgrimaces'. Shc thanks heavcn that theromantic 'colt1edv' and thc age of hvpocrisy,suffocation, and ariditv is finallv coming toan end.

In 'C)dcl lnterlacing' (ltnlia Fututisfa,l |uly'I917) Ciuliani c\presscs the same desire ofovercorning the 'C)ld Tinres'. The tert begins:

ln ihe penetrating silencc of il \^intcr nighi I \,,antto rise and skid over a sky heavy \,\.ith sno1,\,.,attach mvself to thc h'obblv roundness of an airballoon. Out of the r,r,omb of the night I want tothror.v all thc energy of my ,ill onto theMetropolis.

Shc goes on to describe the electrifvingexperiencc of the Nov Age in the Big City,the vibrant, magnetic cxperience of hcrjourney, thc inspiration she rcceives lrom it,and hcr happincss in thc end to see the bal-loon carrying a\^ray'thc abaucloned, uselessbitterness of my soul'.

In 'Black Curtain' (c. 1920, from the col-lcction Crls/a[ll nl sola) she deplores themacabre farce .ind tragic hoax of thc life ofdeceit that manv women are forced to leadby what appears an obscene joke of a madGod, a heavv and mysieriolrs curtain separ-ating women from a life of fulfilment.She spurs on her female readers to breakthrough this barricr:

We are searching for vour compassionate andinvisible carcsses

We i,v11o are dron ning in our painWhich is concrete in a brutal ancl real senseDay bv day, hour by hourThc souls havc become lightBccause the body has been laid to rest, do$ n

thcre betr''een ihc cypressesThe only thing vor-1 moull] for is the surlThe blazing torch and flamc of loveThe black curtain of velvci divides usBui our he;ut lisicns to you, fcels you, lovcs youAnd stretches ft)r{'ards the mystery which mavbe

tomorrou' \{'e !,",ill unveii.

- rom Ciuliani's polt\rne eSSaV needs na:ierce debate on the:onducted in thc I:nd llomd Flttm istLt,.,\'omen Futurists \'(]:onre nlen aS rt'ell. (

.llo, r'vho on 9 Fcb:nanifesto, Wo//1r'rr.

Ciuiiani responclecl :

l0 March 1919:

r.s one can see, \'oLL li:1

-rtle can see, you juclger ith nhom vou frt.-lllring vour nighih e\ri ihese incubating m.l:he jdea oI cntruslirl!.osition?...Thattlr.:'.avc undersioocl; l..lirnderstood this, nor r

I-hat's u'hcre thc L'\'il L:

:o make ihc oihers rirl,.\_omen, lhe masscs.rlould, poljsh; let': .'',rith you, but noi rr i.lespots, but as coun!i..lur help. Let's pllsh,r-.r re too antiquated. T.linly vermin. Let's.rncl forer.er.... Lei's :li.u-1se, of orlr rigllts. TllBut not like bitches in lQuickl Quickl

In 1919, Fulvia Ciu.ompany cramatic.lthem through North\\'as active in lhL.

perforrned a nurnb(barracks.n However.,irdifo uniform Was

hcr spectaiors. Wh{..1

caused controvcrsVa woman dressedhcr exhibition of m,rlenged the gender r.lutionaries' and thethought of as 'n.itrperfonnances she t(

: :-:ai- ione, She evokes-:: :. riih give a musical:::-.:::. f.rure (?ll!??l) love,

:. .:,... piumed knights,'-' :- :jrrncle dames.' It js

::: ::'nrle of big trees', of': .: -' holloiv eyes and, i --:crtoires of affected

i: s: Itcaven that the.. -: ::le aee of hypocrisy,

r. tinally coming to

:-: :., lr.r Luit!rista, T Iuly:ire sane desire of

: . ::'-. . The iext begins:

. . : i., jnier night l want-- j .:.. |ea\v with snow,

:: . :.rundness of an air--: : :he night i $'ant to-- 'r\ l\.ill onto the

:. .:: l-r the eiectrifying-tt in the Big City,

.f:: a\fierience of her::- :- ::e receives from it,

: . :nc1 to see the bal-:-.,..:ancloned, useless

-:10, from the col. .hc cleplores the

'ri:-: roa\ of the life ofr _:- ::e forced to lead

.>::nr- joke of a mad-::: .,!ts curtaln separ_- : .::". of fulfilment.

- .: ... :eaclers to break

i -:_:.1.5lllrlate and

.a _,, ,.,.,a rcal sense

- :_.:=- ..:-: :.r rest, do.!\,n

-r_a - ::- :he SLtn

- .: -'t :.:e: us.... r'ou, loves you

: : ::- . ::c:1 l hiCh maybe

From Giuliani's polemical writings at leastone essay needs mentioning. ln 1918-19 aiierce debate on the 'woman question'\,vasconducted in thc pages ol lt1lin Futuristoand Rorra FuturisLo, in which many of theilomen Futurists voiced their opinion, andsolre men as rvell. One of them was Vian-t'llo, who on 9 February 1919 launched aranifesto, Wmatr! I Speak to You! FulviaCiuliani responded to this proclamatjon onl0 March 1919:

ls one carl see, you know little about our sex. Asone can see, you judge us like one of the bimboslvith whom you frequentiy have intercourse.lurint your nightly excursiolls. . - . I am not one.rf ihese incrlbating machines. . . . Who ever hadthe idea of enirusting you with a colrmandingfo.ilronl . . lhal ll-L fuLure belong. lo u.. \^eharc understoocl; but not all $'omen haveunderstood this, nor will they c\-er understand.That's u,here the evil liesl . . We want your helpto make the othcrs lrnderstand ti-fs, the flock ofhomen, the masses. Let's rebuild, shape,mould, polish; let's orflanize. We rvill do thisNith you, but not leith you as leaders, not asLlespots, but as counsels and friends. . . . Come toour help. Let's push aside ceriain mntnmas tl:rey.lre too antiquated. There are too many fetid,slimy verrnin. Let's exterminate tirem quickly.rnd forever. . . . Let's fight for the triumph of ourcause, of our rights. This pulls us into your ranks.But not like bitches in heat. Into the battle. QuicklQuickl Quickl

In 1919, Fulvia Giuliani joined the theatrecompany Gramatica and went on tour withthem through Northern Italy. Politically, shcrvas active in the rrl'difo movement, andperformed a number of sketches in theirbarracl..'Hnwerer, the right of a woman innrdlfu uniform was too much for many ofher spectators. Wherever she performed, shecaused controversy. Her performances asa woman dressed up as a soldier andher exhibition of masculine behaviour challenged the gender roles that the male 'revo-lutionaries' and the political 'avant-gardc'thought of as 'natural'. But through herperformances she forced them to question

their attitudes tort'ards rvomen and to acceptthat there were revolutionary rn'omen rvhohad an important contribution to makc tothe building of a ne\,v society.

In the course of thc 1920s, Giuliani'spolitical engagement rvaned, ancl she becamefriends rn'ith Cino Gori, the orvner of theRoman Cabaret Diavolo. Her many performances in this venue madc her r,vell-knorvnamongst tlle theatrical avant gardc circles inthe capital. hr 1924, she joined the ensembleof the Teatro degli Indipenclenti, I'here sheer.rjoved phenomenal success in Bragaglia'sexperimental and avant-garde productions,and becane one of the most acclaimedItalian actresses of the 1920s.

After these star performances and inter-pretations of leading female characters inthe modern rcperloirc. .1re 5avc up ltcr,r\ling carecr. From 1930 onr'r'ards she dedi-catcd herself to journalistic work, wrote a

novel (L'rlo/7ro che cnnmins nellt luce, pvb-lished in 1938) and a film scrtpt (Mnrt1 BakcrEddV). Betn'een 1938 and 19.13 she ran,together \ "'ith her l.rusband, an acting schoolin Romc. After the war she only madeoccasional appearances on the stage or onthe television screen.

Notes and References

1. Ii. T. \,{arinetti,'lntervier,!,sur Ie futruisme', inConrcedia,26 M.rrch 19(19; rcp nied irr F. T. Marinetti,Porltt's lj1rrlfr+r5 flJaris, 1909), p. 32 3.

2. Her revien, of Roi Barftdllce, Ttu laa l.,tiaMnnif.sto Df fulrfisri, and ihe journnl |o.,sid asreprinted in /)orsin, V, Nos. 3 6 (April-Julv 1909), p. ,19.

3. See ihe c.rtalogue, Lnllnl t1ltti dcll'n|ntttuordin,1910 1910: littti.i ( scullrici 11.i ,tDt'il .iii icll' arnngLLarcli( slar)chc, ed. l-. Vergine (Milan, 1gil{)). I'ages 75,130 arc declicaied to !r'omen Futurist ariists.

4. Claudia Salaris, Lc [ut tistt: Llonn( t ]ctt.nlrtrEd'annllg adin i [talh 1909 1911 fM]lan, 19E2).

5. E. Settimelli, 'Fuh'ia Ciuliani, granLlc aftricefuturista', in Itnlitl Fuht|isln, IT, \o. 28 (9 Scptenber1L)17), p.2.

5. The ar-ilili had beer, ihe Italian shock troops in theFirst Worlcl War and hacJ forrned a nrilitaN anclp,'.ilr..le Ie In Ll . ., n\ | rprnr, l,v. \ , r | ,, \, .r rl F)r,ere in ihe forcfront of a rebellfun against theconsen,ative Covernnent in Rome.

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\,,OtUME X NUMBER 38 MAY 1994

CAMBR DGE UN] VERS]TY PRESS