Italian Futurist Radio
by Pino Masnata
Translation, Introduction by Margaret Fisher
The only published source for Masnata’s manuscript
+ listings of hundreds of Futurist broadcasts.
Second Evening Art Publishing, 2012, first edition
208 pages, perfectbound (paper), ISBN 9781613646373, $45.00
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About the work
Pino Masnata, co-author of the 1933 Futurist Radio Manifesto with Filippo Tommaso Marinetti, wrote a sequel to the Manifesto, “Il Nome Radia,” to explain the Manifesto's cryptic and poetic language and the Futurist vision. Masnata’s gloss securely places the Radio Manifesto within the context of “new” physics—what Kenneth Ford calls “the physics of the very small” and “the physics of the very fast.” The intent, however, is nothing less than to conquer the infinite cosmos with the acoustic art of radio and the exploitation of the electromagnetic spectrum by Futurism's “new man.” Worried that the Manifesto’s abstruse references to wave motion and the behavior of sub-atomic particles might be overlooked, Masnata—surgeon, soldier, poet and playwright—wrote,
Table of Contents
Masnata stressed the importance of original form and structure over content. His willingness to treat psychological content contrasted Marinetti’s aims for Futurist drama, “We are not concerned with producing dramas of humanized matter. It is the solidity of a sheet of steel that interests us for its own sake . . .” (Technical Manifesto of Futurist Literature, 1912). With radio, however, the attention to psychology was not optional. Radio drama required the participation of the listener, whose imagination and interpretation, beyond the reception of sound waves, were essential to the realization of a work of art. Marinetti described his lieutenant’s work as sui generis.
Masnata wrote a number of radio sintesi (brief, condensed works) and radio dramas in the 1930s and 40s, only one of which was broadcast, the fifteen-minute Tum tum ninna nanna, renamed Il cuore di Wanda (Wanda’s heart) for broadcast 20 December 1931. This collaboration with composer Carmine Guarino secured Masnata’s reputation as a radio artist. Billed as the first Italian opera written specifically for radio, Tum Tum was humorous, spare, conceptually rigorous, and concise. Masnata’s other radio sintesi, include Il bambino, Fox trot, Rosa rosso, L'aviatrice, Gaby Angelini, Uno schiaffo, Ricerca sperimentale, Il fischio, Beethoven (translated in this volume RADIA) and La Bambina ammalata (The Sick Child).
Fisher’s methodology for recovering media history is described by Russell Potter in his 2003 review of Ezra Pound’s Radio Operas: “Fisher...in a brilliant chapter, provides a new perspective on radio history in 1930s Europe by contextualizing the radio theory and practice of Pound with the rise of radio aesthetics and theory across Europe. Drawing on the work of F. T. Marinetti, Bertholt Brecht, Rudolf Arnheim, and others, Fisher reveals that aesthetics and theory can be placed in a central position for approaching European radio history during this period. She extends this approach into the production studio, discussing such innovations as echo chambers, resonance, silence, recording technologies, and the sound mixing board...thus linking production and aesthetics into a novel, and valuable, reading of radio history.” (Historical Journal of Film, Radio, and Television 23.4:399)
Praise for RADIA
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