I 100 years of the ‘Cabaret del Diavolo’ in futuristic Rome – ViaggiArt

ROME – ”Tutti all’inferno!!! Devil’s Cabaret. Travel and return to the “Altro Mondo” strillava il celebrated volantino dell’futurist artist Fortunato Depero (1892 – 1960), for the publication of the inauguration this 100th year, on April 19, 1922, from that local chiamato point Cabaret del Diavolo, gave his idea and created in the center of Rome, in Via Basilicata, joined all’Hotel Elite et les Etragers as an American Bar. Le tre sale, denominate Inferno, Purgatorio e Paradiso, avevano ognuna a chromatic and typological specificità: i mobili del Paradiso erano azzurri, quelli del Purgatorio verdi e quelli dell’Inferno rossi. The illumination was created with white-pink-azzurrino shades in riflettere and light in the Paradiso room with images of angels and cherubini; in the white-green Purgatory for a court of green anime; rossa to give atmosphere to diavoli and da
nnati avvolti dalle fiamme nell’Inferno.

”Qui a Roma c’è estato un improviso e molteplice sboccio d’arte futuro: il futurismo applicato al cabaret”, writes Massimo Bontempelli, recalling that only in December of the year if it was open even at the Bal Tik Tak in Via Milano with ”Pitture vertiginous di moto e colori”, create, assist all’arredamento, da Giacomo Balla, and di que que que tempo fa sono stati scoperti e restaurati dei resti dell’ingresso. In this fervent period, the ”Casa d’arte” and the historical ”Teatro degli indipendenti” by Anton Giulio Bragaglia were born.

Il Cabaret del Diavolo was owned by Gino Gori, who was 46 years old: letterato, a militant critic noted for his intransigence, negli anni tra le due guerre if he became the supporter and protector of modernist culture and art, paying attention to experimental theater and the future experience. It was lui allora to give the incarico to Depero to decorate and rent the premises that aveva avuto in management of the Hotel and that soon became known as one of the più stravaganti della capitale, headquarters of the ”Brigata degli indiavolati”, poet and artisti che, with altri, ne fecero il own ritrovo, attracting so many curious clients. Sette anni prima, nel 1915, Depero assisted Balla aveva written and signed the manifesto entitled ”Ricostruzione futurist dell’Universo”, which foresees the overcoming of painting and sculpture by ”riding” and ”riplasmare” second un’aesthetica futuristica ogni scope of the human nursery. Il tempo comunque porterà i due artisti to follow percorsi with molte analogie ma diversion. Balla will continue his creative work to a life of personal research, while Depero will feel the essence of uscire in the field of exhibitions of art and of the gallery to face in a pragmatic way an applied art, useful in everyday life and in the future. mercato, enjoying one of the primi grafici e designer moderni. E’ own his queste intenzioni di Depero that started in 1918 in Italy he cosiddette ”Case d’Arte futuriste”: to Rome quelle di Enrico Prampolini, by Anton Giulio Bragaglia and his brother Carlo Ludovico, by Roberto Melli; to Bologna quella di Tato; to Palermo quella di Pippo Rizzo. Quella di Depero a Rovereto, but he will see the light in ritardo rispetto alle altre because of the various impegni dell’artista, who gave this year of the opening of the Roman Cabaret participated in a collective show at the ”Winter Club” of Torino , organizing this return for i volantini that invites us to visit the exhibition a lancio sulla città da un aireo, that of the futurist amico Fedele Azari.

1650410964 708 I 100 years of the Cabaret del Diavolo in futuristic

Forever 100 years, Balla has created, redesigned and decorated her private home in Via Oslavia, the light fixture in the futuristic room of the Casa d’Arte di Bragaglia, transferred from Via Condotti in Via degli Avignonési. Nei locali ricavati nei sotterranei dei Palazzi Tittoni e Vassalli that preserved the terme romane di Settimio Severo, in 1923 Bragaglia affiancava alla gallery, that in 1921 after the other seen the first exhibition given in Italy, also in the ”Teatro degli Indipendenti’ ‘ Per il quale Virgilio Marchi, scenographer and futurist architect, aveva realizzato il ridotto e il bar. And now dove by other stages, Bragaglia brought forward its innovation in theatrical art from a new idea of ​​royalty and the use of ”chromatic” scenography, putting on stage a large part of the testi d’autori d ‘Avanguardia italiani e stranieri di quegli anni, from Jarry ad Apollinaire ei futuristi, from Pirandello to Bontempelli or Campanile, from O’Neill to Brecht, only per fare dei nomi e capire che posto important e rivoluzionario fosse quello e Roma negli anni Venti. (ANSA).

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I 100 years of the ‘Cabaret del Diavolo’ in futuristic Rome – ViaggiArt


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