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The Return of FUTURISTI
MAY 31 to June 7th, 2008
Frederic Wood Theatre
6354 Crescent Road UBC
(Point Grey Campus)
Performances: Mon-Sat at 8pm
Tickets: $20/$12/$8
Box Office: 604.822.2678

Map to Theatre

Some Reviews:
Globe and Mail-Michael Harris
Georgia Straight-Colin Thomas
Plank Magazine-Meg Walker
Plank Magazine-Andrew Templeton

[By Flick Harrison]

[2 theatre playlets]
Alternation of Character & Disconcerted States of Mind

[radio playlet]
A Landscape Heard

1. Dune, parole in libertà
6:05 (F.T. Marinetti, 1914)
2. Battaglia, Peso + Odore
8:53 (F.T. Marinetti, 1912)

1,2 = Voice: L. Pennone, A. Lora-Totino from Futura Poesia Sonora (Cramps Records 1976)


BellaLuna Productions with Theatre at UBC triumphantly returns the Avant Garde Theatre of The Italian Futurism Movement to the stage 100 years since its revolutionary beginnings.


23 SINTESI [short, explosive playlets] from 1909-1939 written by Painters, Sculptors and anything but writers bring the turn of the century absurdist revolution to the stage with passion, vigor and a 100 year old vision of the future. Travel back in time with BellaLuna on an unpredictable exploration of the modern era.

Futuristi Photo Gallery With a hunger for excitement and change, the Futurists laid the foundation for the modernist movement, influencing every aspect of art: THEATRE, VISUAL ART, ARCHITECTURE, FILM, MUSIC, DANCE and FASHION. Futurism even gave birth to the V-Neck sweater!

Futurism is the rebellious philosophy launched in 1909 by Italian poet and publicist Filippo Tommaso Marinetti that swept the artistic world in the early 20th century. Inspired by the glories of the new technological world and deeply disturbed a perpetual focus on "classical" works and styles, the Italian Futurists infused art with movement and chaos. From the beginning of the movement, the Futurists saw the performing arts as one of their favorite means of expression. The Futurists challenged the traditional role of the theatre in society, the function of the performances in the life of its spectators, the communication structures employed by actors and playwrights, technical apparatus employed and every other aspect of the stage.
- 23 THEATRE SINTESI in English and Italian from Futurists including F.T. Marinetti, Sculptor Umberto Boccioni, Painter Giacomo Balla and original creations by BELLALUNA.


+ Gerald Vanderwoude
+ Susan Bertoia
+ Marijka Brusse (Stage Manager)

+ Kerry Allchin
+ Shaun Aquiline
+ Beverly Bardal
+ Susan Bertoia
+ Jamie DesJardins
+ Stefano Giulianetti
+ Joe Procyk
+ Marco Soriano
+ Astrid Varnes
+ Nathan Vass
+ More!

+ Louis Chirillo (a)
+ Flick Harrison (v)
+ Martin Ritter (a)
+ Farshid Samandari (a)

+ Carmen Alatorre (Costumes)
+ Ali Sohrabzadeh (Lights)
Gerald Vanderwoude: Futurista
Susan Bertoia: Futurista
Stefano Giulianetti: Futurista
Beverly Bardal: Futurista
Flick Harrison: Futurista
Joe Procyk: Futurista
Marco Soriano: Futurista
Astrid Varnes: Futurista
Kerry Allchin: Futurista
Marijka Brusse: Futurista
Carmen Alatorre: Futurista
Nathan Vass: Futurista
Shaun Aquiline: Futurista

In the spirit of the turn of the century Italian Futurists, an ensemble of like-minded artists of various mediums with a hunger for excitement and change, Directors Gerald Vanderwoude (UBC) and Susan Bertoia (BellaLuna Productions) have assembled a prodigious ensemble of performers, designers and artists to re-create, pay tribute to and experiment with an art form that had an incredible impact on the shape of art and life as we know it.
It should be noted that the Futurist theatre was the public expression of a movement that involved every aspect of life. Not simply a Theatre movement, or a style, it was the megaphone of a changing society. The world was experiencing a great deal of technological advances at an astounding rate; futurism was the industrial revolution personified of the art world.
While the paintings and sculptures of the Futurists are better remembered due to their lasting tangible nature, very little is known about the theatre, because many of the theatre scripts were created without the possibility of production. For example, FRANCESCO CANGIULLO’s Detonation that has as the protagonist a bullet fired on a cold deserted night after an uncomfortable silence. This scene is easily imagined today as a film short, a form that was just beginning at the time when it was written.
The influence of this new way of presenting reality and absurdity is seen in playwrights like Beckett and continues to inspire artists with its rebellious, even revolutionary style. In 1909, the theatre was a very traditional and studied craft that was not to be altered… We can thank the Italian Futurists for breaking the mold.

Italian Futurism (1909-39) was one of the 20th century's first and most influential avant-garde art movements. Founded February 20th 1909 with Filippo Tommaso Marinetti’s publication in the Paris Newspaper “Le Figaro” of THE MANIFESTO OF FUTURISM.

It exclaimed: “Today we establish Futurism, because we want to free this land from its smelly gangrene of professors, archaeologists and antiquarians.”

20th Century Italian Futurism was (and is) a refreshing contrast to the weepy sentimentalism of Romanticism. The Futurists loved speed, noise, machines, pollution, and cities; they embraced the exciting new world that was then upon them rather than hypocritically enjoying the modern world’s comforts while loudly denouncing the forces that made them possible. Fearing and attacking technology has become almost second nature to many people today; the Futurist manifestos show us an alternative philosophy.

Futurists sought to bring movement and chaos to the theatre world, to create a theatre of mechanization and movement, a theatre which captured the true spirit of the future.

Futurists: Theatre. No other art could better demonstrate the movement's concept of 'art as action', propagate its anti-traditionalist stance and demonstrate its modernist aims and aesthetics. Ironically, the writers of the pieces are NOT writers but sculptors, painters and poets. The entertainment would 'symphonize' the feelings of the public, exploring and revealing them in every possible way.

The dramatic 'synthesis', which will take the place of the traditional play, will be 'autonomous, unreal, and alogical'. The synthesis will resemble nothing but itself. With color, forms, sounds and noises, it will, like the works of Futurist painters and musicians, assault the nerves.... The spectators will be made to 'forget the monotony of everyday life' through a 'labyrinth of sensations'.

The Futurists created new elements of astonishments, heightening the theatrical experience while exposing the truth and farce of humanity. The beginning of the Second World War would mark the end of Futurism.

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Futuristi was first Premiered at UBC's Frederic Wood Theatre October 11-13, 2007 in collaboration with Theatre at UBC and The Italian Cultural Institute in Vancouver as part of Italian language Week.
Grazie Mille!


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