Russian Futurism:
Main Ideas and Representatives Automatic translate

Russian Futurism was a vibrant and distinctive artistic movement of the early 20th century that became one of the most important trends in the Russian avant-garde. This literary and artistic movement emerged in Russia in the 1910s and united poets, writers, and artists who sought to create a new language of art that would meet the challenges of a rapidly changing world. The Futurists proclaimed a rejection of traditional aesthetic values, experimented with the form and content of their works, and created new artistic techniques and methods. They were distinguished by their rebellious spirit, outrageous behavior, and a desire for a radical renewal of all spheres of cultural life.

The Origin of Futurism

The term "futurism" comes from the Latin word "futurum", meaning "future". This movement originated in Italy in 1909, when the Italian poet Filippo Tommaso Marinetti published his "Manifesto of Futurism" in the Parisian newspaper "Figaro". This programmatic document proclaimed a break with the traditions of the past and the glorification of a new aesthetic based on the dynamics of modern life, speed, technology and energy. Marinetti praised the beauty of machines, speed, aggression and war as "the only hygiene of the world".

Russian Futurism, despite its common origins with its Italian counterpart, developed largely independently and had significant differences. If Italian Futurism glorified militarism and technical progress, the Russian movement was characterized by a deeper connection with archaic traditions, an interest in primitivist aesthetics and national origins. Russian Futurists sought not so much to glorify machine civilization as to create a new language of art capable of expressing a rapidly changing reality.

Unlike Italian Futurism, which was united around the figure of Marinetti, the Russian movement did not have a single leader and represented many groups and trends that often conflicted with each other. Russian Futurism was more of a literary movement, although it actively interacted with avant-garde fine art.

Ideologically, Russian and Italian Futurism also differed. While Marinetti and his followers gravitated toward right-wing political views (Marinetti later became a supporter of Italian fascism), Russian Futurists were predominantly left-wing and anti-bourgeois, and many of them subsequently welcomed the October Revolution.

Formation of Russian Futurism

Russian Futurism began to take shape in 1910-1912. The first Russian poet to use the term "Futurism" was Igor Severyanin, who published the collection "Prologue. Ego-Futurism" in 1911. However, the most significant association was the "Gileya" group, founded by the artists Burliuk brothers, primarily David Burliuk. Bright poets and artists rallied around him: Vladimir Mayakovsky, Velimir Khlebnikov, Alexei Kruchenykh, Benedikt Livshits, Elena Guro.

In 1912, the famous manifesto “A Slap in the Face of Public Taste” was published, which became the programmatic document of Russian Futurism. It contained a shocking call to “throw Pushkin, Dostoevsky, Tolstoy, etc. off the steamship of modernity.” This declaration expressed the desire of the Futurists to break with the traditions of classical literature and create a fundamentally new aesthetic.

Instead of the foreign term "futurism" Khlebnikov suggested using the word "budetlyane", formed from the word form "budet" and also referring to the art of the future. This reflected the desire of the Russian futurists to emphasize the originality of their movement, its independence from Italian influences.

An important role in the formation of the aesthetics of Russian Futurism was played by Nikolai Kulbin, whom his contemporaries called "one of the most fantastic figures of that significant era." He not only provided organizational support to young artists and poets, but also developed a number of significant theoretical positions: on the significance of dissonant structures in a work of art, on the connection between art and life, on the role of elements addressed to the unconscious level of perception, and on the problem of joint creativity between artist and viewer.

The theory of “free creativity,” which Vladimir Markov and Nikolai Kulbin formulated in their articles and lectures, gave preference not to the conceptual integrity of aesthetics, but to manifestations of creative energy that were not bound by any standards of style or program.

Currents of Russian Futurism

Russian Futurism was not a monolithic movement and included several groups and trends, each of which had its own characteristics and program. The main groups were Cubo-Futurism (the "Gilea" group), Ego-Futurism, "Mezzanine of Poetry" and "Centrifuge".

Cubo-Futurism, represented by the Gilea group, became the most influential movement of Russian Futurism. It included Velimir Khlebnikov, Vladimir Mayakovsky, Alexei Kruchenykh, the brothers David and Nikolai Burliuk, Vasily Kamensky, Benedikt Livshits, and Elena Guro. They sought to synthesize poetry and painting, experimented with language, creating "zaum", and actively used primitivism techniques. Cubo-Futurists were distinguished by their most radical attitude toward traditional culture and language.

Egofuturism, founded by Igor Severyanin, was a less radical movement. Its representatives (Ivan Ignatyev, Konstantin Olimpov, Alexander Gitovich) sought to expand the boundaries of poetic language, but retained a strong connection with symbolism. Their work combined decadent aesthetics, individualism, and interest in modern urban life.

The Moscow "Mezzanine of Poetry", created by the ego-futurists, included such poets as Vadim Shershenevich and Rurik Ivnev. This association occupied an intermediate position between ego-futurism and cubo-futurism.

The Centrifuge group, which included Sergei Bobrov, Nikolai Aseyev and the young Boris Pasternak, was distinguished by more moderate views and an interest in formal experiments while maintaining a connection with the classical poetic tradition.

In addition to these large associations, there were other futurist groups: "41 Degrees" (Kruchenykh, Terentyev, Zdanevich), "Creativity", "Liren", "Bloodless Murder". Relations between these groups were often tense, each claiming to be the true futurists.

A distinctive feature of Russian Futurism was its deep connection with neo-primitivist and sometimes expressionist aesthetics. This connection with neo-primitivism gave Russian Futurism "archaic" tones, unacceptable for the Italian Futurists. The neo-primitivist roots of Russian Futurism can also be linked to its wary, and sometimes hostile, attitude toward the new machine, mechanical reality. Russian Futurists designed a natural version of a new culture, based on the logic of a living organism, not a machine.

Aesthetics and artistic techniques

The main features of Russian Futurism were rebelliousness and anarchic worldview, expression of mass moods of the crowd, denial of cultural traditions, an attempt to create art directed to the future. Futurists opposed the usual norms of poetic speech, experimented in the field of rhythm and rhyme, focused on spoken verse, slogans, posters. They searched for a liberated "self-made" word, experimented with creating a "zaum" language.

One of the central concepts of Futurist aesthetics was the "self-contained word" - a word freed from semantic associations and everyday meanings, perceived as an autonomous sound or visual structure. Futurists sought to create a new poetic language based on fundamentally different relationships between word and meaning than in traditional poetry.

A special role in Futurist poetics was played by "zaum" - a literary device consisting of replacing elements of natural language with similar sound complexes or phrases without a specific meaning. Futurists believed that poetry should not be subordinated to reason, but, on the contrary, the word itself should be allowed to control the poem. Therefore, they often rejected logical and syntactic connections in their works.

The Futurists actively used the language of posters and advertisements, vulgar turns of speech and professional jargon. Many of them created their own neologisms – new words that were absent from the language and invented specifically for a specific work.

The visual aspect was extremely important for the Futurists. They turned to drawings, collages, combinations of typographic and drawn fonts, mathematical signs. Futurist books often became works of art in themselves – for example, the first collection of Futurist poetry, Zadok Judei, was printed on the back of wallpaper.

Shock and scandalous behavior were important elements of the Futurists’ public image. They staged provocative performances, appeared in public with painted faces, and dressed in bright, unusual costumes. As Vasily Kamensky recalled: “…when we came out (Mayakovsky in a yellow blouse, with a top hat on the back of his head, Burliuk in a frock coat and yellow vest, with a painted face, me with yellow stripes on my jacket and an airplane painted on my forehead)… the audience thundered, made noise, yelled, whistled, stood up, sat down, clapped their hands, and had fun.”

One of the main characters in futuristic works was a resident of a large city, a metropolis, leading an active life. The choice of the city as the main background is due to the fact that in an urban environment the pace of development is much faster than in a rural one.

Prominent Representatives

Russian Futurism brought together a galaxy of talented poets and artists, each of whom made a unique contribution to the development of this movement.

Velimir (Viktor Vladimirovich) Khlebnikov (1885-1922) is one of the most original Russian poets of the 20th century, a theorist of futurism, and the creator of the "zaumnoye language." Khlebnikov proposed the term "budetlyane" to describe Russian futurists. His poetic experiments were aimed at revealing the inner potential of words and identifying semantic connections between consonant words. Khlebnikov created new words based on folk etymologies and word-formation models of the Russian language. His works include the poems "Ladomir," "War in a Mousetrap," and the super-story "Zangezi."

Vladimir Vladimirovich Mayakovsky (1893-1930) is the most famous and influential of the Futurist poets. Having begun his creative path in the group "Gilea", he became one of the central figures of the Russian avant-garde. Mayakovsky developed oratorical, declamatory poetry, widely used neologisms, unusual metaphors, sharp contrasts. His early Futurist works ("Cloud in Trousers", "Flute-Spine", "War and Peace") are distinguished by rebellious pathos, vivid imagery and experimental form.

David Davidovich Burliuk (1882-1967) – “the father of Russian futurism”, poet, artist, organizer. It was thanks to his organizational skills that the Futurist association was formed. Burliuk was one of the authors of “A Slap in the Face of Public Taste” and other Futurist manifestos. His work was distinguished by its eclecticism, a combination of various artistic techniques. After the revolution, Burliuk emigrated to the United States, where he continued to engage in art.

Alexey Eliseevich Kruchenykh (1886-1968) – poet, artist, theorist of futurism, creator of the “zaumnoe language”. Kruchenykh is the author of the first completely “zaumnoe” poem “Dyr bul shchyl”, which the poet himself called “a five-line verse in which there is more of the Russian national than in all of Pushkin’s poetry”. He was also the librettist of the futurist opera “Victory over the Sun”.

Igor Severyanin (Igor Vasilyevich Lotarev, 1887-1941) is the founder of egofuturism, a poet who combined elements of symbolism and futurism in his work. Severyanin created his own recognizable poetic style, saturated with neologisms, foreign words, and vivid images. His poetry was less radical in form than that of the Cubo-Futurists, but was distinguished by its special melody and elegance.

Vasily Vasilyevich Kamensky (1884-1961) – poet, prose writer, playwright, one of the first Russian aviators. Kamensky combined futuristic experiments with folklore motifs in his work. His most famous works are “Tango with Cows”, “Stepan Razin”, “Vesneyanka Sounded”.

Elena Guro (Eleonora Genrikhovna Nothenberg, 1877-1913) – poet, prose writer, artist, one of the few women in the Futurist movement. Her work was dominated by themes of nature, childhood, compassion for all living things.

Benedikt Konstantinovich Livshits (1887-1938) – poet, translator, memoirist. Member of the group "Gilea", author of the book of memoirs about the Futurists "One and a Half-Eyed Strelets". In his poems, elements of Futurist poetics were not always clearly manifested, but he was an important participant in the Futurist almanacs of the 1910s.

Futurism and Fine Arts

Russian Futurism was closely connected with avant-garde visual art. Many Futurist poets experimented with painting, and avant-garde artists actively interacted with Futurist poetry. This interpenetration of literature and visual art became one of the distinctive features of the Russian avant-garde.

In the visual arts, the Cubo-Futurism movement acquired special significance – a combination of the principles of French Cubism with the dynamism and expression of Futurism. Such artists as Kazimir Malevich, David Burliuk, Natalia Goncharova, Olga Rozanova, Lyubov Popova, Nadezhda Udaltsova, Alexandra Exter, Alexander Bogomazov and others worked in this direction at different times.

Cubo-Futurists sought to break down form into geometric components and convey the dynamics of movement through the displacement of forms, the mixing of perspectives, and the fragmentation of objects into intersecting planes. At the same time, Russian Cubo-Futurist artists, unlike the French Cubists, often used bright, pure colors and turned to primitivist aesthetics.

A significant example of the synthesis of futurist poetry and avant-garde art was the opera Victory Over the Sun, staged in 1913. The libretto was written by Alexei Kruchenykh (the prologue by Velimir Khlebnikov), the music was created by Mikhail Matyushin, and the scenery was designed by Kazimir Malevich. In the design of the performance, Malevich used his first Suprematist works, including the famous Black Square.

The Futurists experimented with the form of the book, turning it into a work of art. They published handwritten books, used unusual materials and formats. For example, the first collection of the Futurists, "The Garden of Judges", was printed on wallpaper. Handwritten and lithographed books by the Futurists with illustrations by Mikhail Larionov, Natalia Goncharova, Olga Rozanova, and Kazimir Malevich became an important part of the artistic heritage of the Russian avant-garde.

Mikhail Larionov and Natalia Goncharova, although not directly associated with literary Futurism, created their own version of avant-garde art, Rayonism, which was close to Futurism in its aesthetic principles. Larionov was also the organizer of the Donkey’s Tail group, which called itself "futurists" and had connections with the Futurist poets.

Kazimir Malevich, the creator of Suprematism, began his creative path with Cubo-Futurism and actively collaborated with Futurist poets. His work on the design of the opera "Victory over the Sun" led to the creation of Suprematist forms, which became an important step in the development of abstract art.

Beginning in 1915, Futurism ceased to be a relevant direction in painting for Russian artists. It was replaced by non-objective art, Suprematism, and Constructivism. However, the connection between the literary and visual avant-garde was preserved in subsequent years.

The Legacy of Russian Futurism

Russian Futurism existed as an active artistic movement from about 1910 to 1920, but its influence on Russian and world culture was extremely significant. After the October Revolution, many Futurists welcomed the new government and sought to develop art in a revolutionary spirit.

In 1921, former Futurists founded the creative association "Left Front of Arts" (LEF), which included Mayakovsky, Brik, Aseyev and others. They published the magazines "LEF" and "Novy LEF", promoting the "art of life-building" and "literature of fact". However, by 1929 the association ceased to exist.

Other literary movements and schools also emerged from Russian Futurism: the Imagism of Yesenin and Mariengof, the constructivism of Selvinsky and Lugovskoy, the OBERIU of Kharms, Vvedensky, Zabolotsky and Oleynikov, and the "Nichevoki" group. Critics also include the metametaphorists A. Parshchikov and K. Kedrov, as well as G. Aygi, V. Sosnora, A. Gornon, S. Biryukov, E. Katsyuba, A. Alchuk, and N. Iskreenko among the neo-Futurists.

The theoretical developments of the Futurists had a great influence on the formation of the Russian formal school of literary criticism. Many future formalists, such as Viktor Shklovsky and Roman Jakobson, began their work in close collaboration with the Futurists.

In the international context, Russian Futurism became an important part of the world avant-garde movement, influencing the development of Dadaism, Surrealism and other modernist movements. The experiments of Russian Futurists with language, visual poetry, and the synthesis of various types of art anticipated many phenomena in the art of the second half of the 20th century.

Futurism gave birth to innovative ideas and significant achievements in literature, painting, music and theatre. Its aesthetic principles became the basis for many avant-garde experiments of the 20th century. The futuristic rebellion against “public taste”, against the deadened canons of classical heritage and “mystical ideals” opened new horizons for the development of art.

Today, the legacy of Russian Futurism remains relevant to contemporary culture. Its experiments with language, visual form, and interdisciplinary interaction find a response in the works of contemporary poets, artists, and performers. The Futurist desire for the free creation of new forms capable of expressing the essence of the future art and way of life remains attractive to new generations of creators.

Peculiarities of the poetics of Russian futurism

The poetics of Russian Futurism was distinguished by its diversity and experimental nature. The main poetic concept of Futurism was the transmission of sensations by the type of "stream of consciousness", the emphasis on sound and graphic components as opposed to meaning - onomatopoeia (sound imitation) and alliteration were actively used. In their works, Futurists often resorted to sound effects, unusual combinations of sounds that created a certain atmosphere or mood.

Futurist poetry was characterized by the destruction of traditional syntactic structures, the rejection of punctuation, and the violation of grammatical norms. Poets experimented with meters and rhythms, created new types of rhymes, and often used free verse. They rejected traditional poetic forms and created their own, more flexible and free structures.

The word as such, its sound and visual appearance, played an important role in Futurist poetry. The Futurists sought to return the word to its original strength and freshness, freeing it from its usual associations and meanings. They created new words, experimented with the morphology and syntax of the Russian language.

One of the principles of Futurist poetics was "vsechestvo" - the perception of all possible styles and trends in art, a kind of artistic syncretism. This contradicted Italian Futurism with its rigid aesthetic dogmas and allowed Russian Futurists to experiment more freely with form and content.

Futurist poetry often took the form of shocking, challenging public taste. They used harsh, shocking images, vulgar vocabulary, and addressed themes that were considered unworthy of high poetry. Futurists sought to evoke a strong emotional reaction in the reader or listener, to awaken them from aesthetic and social slumber.

The poetry of the egofuturists (Severyanin) combined elements of symbolism, salon poetry with futuristic neologisms and images of modern urban culture. Severyanin created his own poetic style, which he called "refined egofuturism", where aestheticism was combined with irony, and elegance of form - with intentional vulgarity of content.

The Cubo-Futurists (Khlebnikov, Mayakovsky, Kruchenykh) created more radical experiments with language. They developed the concept of "zaum language", which was supposed to act directly on the reader’s subconscious, bypassing rational perception. Zaum was an attempt to create a universal poetic language that would overcome national and cultural boundaries.

Velimir Khlebnikov created his "star" languages ​​by experimenting with word formation and etymology. He sought to reveal the "inner form" of a word, to find universal laws of language. Khlebnikov developed a theory of "inner declension of words", according to which the meaning of a word is determined by its initial sounds. He created new words based on these principles, some of which entered the Russian language (for example, "pilot").

Mayakovsky developed another direction of futuristic poetics – oratorical verse, designed for loud recitation in front of an audience. His poems were distinguished by powerful rhythm, unusual stanzas, active use of hyperbole and contrasting images. Mayakovsky created his own poetic system – the “ladder”, which visually reflected the rhythmic structure of the verse and made it more convenient for recitation.

Futurist manifestos and theoretical works

The Futurists paid great attention to the theoretical justification of their artistic principles. They created manifestos and declarations in which they proclaimed their aesthetic views and attitudes toward traditional art. These documents became an important part of the Futurist legacy and help to understand the ideology and aesthetic principles of the movement.

The first programmatic document of Russian Futurism was the manifesto “A Slap in the Face of Public Taste,” published in 1912. Its authors – David Burliuk, Alexander Kruchenykh, Vladimir Mayakovsky and Viktor Khlebnikov – proclaimed the rejection of traditional literature and culture, calling for “throwing Pushkin, Dostoevsky, Tolstoy, etc. off the steamship of modernity.” This outrageous call was directed against the canonization of the classics and their transformation into untouchable authorities.

In the manifesto, the Futurists formulated the rights of poets: to increase their vocabulary with arbitrary and derivative words, to hate the language that existed before them, to distance themselves in horror from the “crown of penny glory” and to stand their ground “among the whistles and indignation.” These provisions reflected the Futurists’ desire for creative freedom and independence from public expectations.

Another important manifesto was the leaflet “The Word as Such,” written by Kruchenykh and Khlebnikov in 1913. In it, the authors developed the concept of the “self-existent word” and “zaumnoye language,” which was to become a universal poetic language that transcends national boundaries. Kruchenykh wrote: “thought and speech do not keep up with the experience of inspiration, therefore the artist is free to express himself not only in a common language (concepts), but also in a personal language (the creator is individual), and in a language that does not have a specific meaning (not frozen), zaumnoye.”

In 1912, Igor Severyanin and Konstantin Olimpov published a leaflet-manifesto called “Scandalous Cup,” where they revealed the foundations of the ego-futurist program. The first position proclaimed the expansion of the boundaries of language, the second – the recognition of the individualism of the creative personality. The ego-futurists strove to create a new poetic language, while preserving individuality and freedom of creative expression.

The Futurists also published theoretical works and essays in which they substantiated their aesthetic principles. Benedikt Livshits in his book "One and a Half-Eyed Strelets" (1933) analyzed the theory and practice of Russian Futurism, examining it in the context of the European avant-garde. Khlebnikov in his articles developed the theory of "star language" and "internal declension of words".

Alexey Kruchenykh wrote in his work “Declaration of the Zaum Language” (1921): “Thought and speech do not keep up with the experience of inspiration, therefore the artist is free to express himself not only in a common language (concepts), but also in a personal language (the creator is individual) and in a language that does not have a specific meaning (not frozen) – zaum. Common language connects, free language allows one to express himself more fully.”

Futurist manifestos and theoretical works not only proclaimed the aesthetic principles of Futurism, but also became original works of art, demonstrating a new approach to language and literature. They showed that Futurism was not just a stylistic trend, but a holistic worldview, striving for a radical transformation of art and life.

Futurists and Revolution

The relationship between Russian Futurism and the 1917 Revolution was complex and ambiguous. Many Futurists welcomed the Revolution as a radical break with the past and an opportunity to create new art for a new society. Vladimir Mayakovsky, Velimir Khlebnikov, Vasily Kamensky, Osip Brik, and Nikolay Aseyev actively supported the October Revolution and sought to develop art in a revolutionary spirit.

Unlike Italian Futurism, which tended toward fascism, Russian Futurism was characterized by leftist and anti-bourgeois beliefs. Russian Futurism contains many anti-war works that oppose Marinetti’s militarism, such as Mayakovsky’s poem War and Peace and Khlebnikov’s War in the Mousetrap.

After the revolution, many futurists participated in the creation of new revolutionary art. They worked on the design of mass celebrations, created propaganda posters and poems, participated in the activities of cultural and educational institutions. Mayakovsky became one of the leading poets of the revolution, creating propaganda poems and working on the "Windows of ROSTA".

However, the relationship between the Futurists and the new authorities was not always smooth. The radical experiments of the Futurists often did not find understanding among the party leaders and ordinary people. Gradually, the official cultural policy began to lean towards more traditional and accessible forms of art, which led to the marginalization of Futurism.

In 1921, former Futurists created the LEF (Left Front of the Arts) group, which attempted to combine avant-garde artistic principles with revolutionary ideology. The LEF magazine, edited by Mayakovsky, became a platform for the theoretical justification of the new revolutionary art. The LEF members developed the theory of "social order", "literature of fact", "production art".

By the end of the 1920s, with the strengthening of totalitarian tendencies in the Soviet state, Futurism and other avant-garde movements began to be subjected to increasingly harsh criticism. In 1930, after Mayakovsky’s suicide, Futurism as an organized movement effectively ceased to exist in the USSR. Many former Futurists were repressed or forced to renounce their aesthetic principles.

Nevertheless, the influence of Futurism on Soviet art was significant. Many ideas and techniques developed by the Futurists were adopted and transformed by subsequent artistic movements such as Constructivism, Industrial Art, and Socialist Realism. The radical experiment of the Futurists became part of the cultural heritage of the 20th century and continues to inspire contemporary artists.