20.500.12556/RUL-178937 Futuristični aeroples in Giannina Censi Futurist aerodance and Giannina Censi Članek obravnava razvoj futurističnega plesa in vlogo Giannine Censi kot ključne osebnosti te umetniške oblike. Futurizem je kot umetniško gibanje zavračal tradicionalne estetike, zlasti balet in klasični ples, ter si prizadeval za radikalno prenovo plesnih izraznih sredstev. Osrednje zamisli futurističnega plesa so temeljile na negaciji gracioznosti, lepote in simetrije ter na poveličevanju strojev, tehnologije, hitrosti in agresivnosti. Sočasni razvoj modernega in sodobnega plesa pa je v umetniško formo prinesel koncept svobode, osvoboditve telesa in upor proti družbenim normam, pri čemer je ženskam uspelo dosegati vlogo avtonomnih izvajalk in ustvarjalk. Pionirke, kot so Isadora Duncan, Loïe Fuller in druge, so s svojimi inovacijami v plesu poudarile subjektivnost, samozavest in feministične elemente. Ta vpliva sta se zlila v plesalki Giannini Censi, ki je na področju futurističnega plesa predstavljala edinstveno figuro, saj je s sodelovanjem s F. T. Marinettijem in z neposrednim uresničevanjem njegove vizije ustvarila koncept aeroplesa ali aerodanza. Njen ples je temeljil na mehanični gestiki, ki je izražala mehaničnost strojev, hkrati pa je vsebovala tudi erotične elemente in poudarjala žensko telo kot nosilca futuristične tehnologije. S svojo umetniško ekspresijo je zavrnila moški futuristični ideal in vpeljala svojo, žensko subjektivnost, kar je predstavljalo pomemben odklon od tradicionalnih in ideološko sterilnih oblik futurističnega plesa. This article discusses the development of Futurist dance and Giannina Censi’s role as a key figure in this artistic form. As an artistic movement, Futurism rejected traditional aesthetics, particularly ballet and classical dance, and sought a radical reinvention of dance’s means of expression. The central ideas of Futurist dance were based on denying gracefulness, beauty and symmetry, while celebrating machines, technology, speed and aggression. The concurrent development of modern and contemporary dance introduced freedom, the liberation of the body and rebellion against social norms into the artistic realm, enabling women to emerge as autonomous performers and creators. Pioneers such as Isadora Duncan, Loïe Fuller and others emphasised subjectivity, self-confidence and feminist elements through their innovations in dance. These two influences merged in dancer Giannina Censi, who represented a unique figure in the field of Futurist dance through her collaboration with F. T. Marinetti and by directly realising his vision, thereby creating the concept of aerodance or aerodanza. Her dance was based on mechanical gestures, expressing the mechanical quality of machines while also containing erotic elements and emphasising the female body as the carrier of futuristic technology. Through her artistic expression, she rejected the male Futurist ideal and introduced her own female subjectivity, marking an important departure from traditional, ideologically sanitised forms of Futurist dance. futurizem moderni ples spol ženske v futurozmi avantgardna gibanja futurism modern dance gender women of futurism avant-garde movements true false true Slovenski jezik Angleški jezik Članek v reviji 2026-02-02 12:10:39 2026-02-02 12:10:46 2026-02-03 04:26:08 0000-00-00 00:00:00 2025 0 0 Str. 46-65 št. 2 Let. 13 2025 0000-00-00 Zaloznikova Objavljeno NiDoloceno 0000-00-00 0000-00-00 2025-01-01 793.3:7.037.3 1855-4539 10.51937/Amfiteater-2025-2/46-65 266452483 RAZ_Lipoglavsek_Manca_2025.pdf RAZ_Lipoglavsek_Manca_2025.pdf 1 AC17144BCB062007633608691580DE46 35b6da5ecde7bef50c752a7f53e681c89a945f83c567eb4433fcdbbdbf0f99f6 c14f88ab-0027-11f1-a1ba-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=226978 https://www.slogi.si/publikacije/amfiteater-revija-za-teorijo-scenskih-umetnosti-letnik-13-stevilka-2/ 0 03afa3ba-0028-11f1-a1ba-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=226979 Akademija za gledališče, radio, film in televizijo Amfiteater 0 0 0