Abstract

The author reexamines Fortunato Depero's marionnette show Balli plastici, which was performed in April 1918 on the Teatro dei Piccoli's stage in Rome. The show is analysed in the context of the futurist artist's collaboration with Diaghilev and on the basis of new documentary evidence. This enables light to be shed on some aspects of the Balli plastici such as Gilbert Clavel's coreographic contribution, the musical accompaniment or the allusions conjured up in the plot. !e critical appraisal of this theatrical event at the time of its premiere is also examined with particular emphasis on Edward Gordon Craig's negative remarks.