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Additional resources for Avant-Garde Performance and Material Exchange: Vectors of the Radical
Somehow amid these failures, we find trace elements of vanquished vanguards. Rosenthal writes at length about Judith Malina’s decision, after her release from prison, to censor her own journal entries so as to protect activist/artist friends in Brazil who might be compromised and endangered by the publication of her writing. Acknowledgement of that self-censorship, even four decades later, points to the historical shadows where the vanquished and the vanguards coexist, only tenuously protected from the risks that they incur in the blending of politics and art.
Lynn Garafola, Diaghilev’s Ballets Russes (Cambridge, MA: Da Capo Press, 1998), 81–82. 12. Valerian Sveltov, “The Diaghileff Ballet in Paris,” The Dancing Times (Dec. 1929): 274. 13. Léonide Massine, My Life in Ballet (London: Macmillan, 1968), 107. 14. 3 (Dec. 1919): 69. 15. 1 (Apr. 9, 1917). 16. “Théâtre de la Madeleine; La Pantomime Futuriste,” Excelsior (May 13, 1927), Rome: Fondo Prampolini, Series 5, folder 115. 17. F. T. Marinetti, Teoria e invenzione futurista (Milan: Arnaldo Mondadori Editore, 1968), 256.
Giovanni Antonucci et al. (Rome: Istituto di Studi Romani, 1978), 60. 21. Silvana Sinisi, “In Italia, la danza e il balletto moderni dal futurismo a Milloss. I. La danza futurista,” in La danza moderna. I fondatori, ed. Elisa Vaccarino (Milan: Skira, 1998), 75. 22. Giovanni Lista, Lo spettacolo futurista (Firenze: Cantini, 1991), 23–24. 23. “A Parigi con Enrico Prampolini e Silvio Mix,” Rome: Fondo Prampolini, Series 5, folder 115. 24. Città Futurista, June 1929, Rome: Fondo Prampolini, Series 5, folder 115.