In the introductory part of the article, the author highlights some elements of the performing arts that are often connected in Futurist manifestos and performances and interact as building blocks of their discursive-visual events: the deconstruction of dramatic character, the mechanisation of the performer, and the staging space. The author pays special attention to Enrico Prampolini, one of the most penetrating visual artists of Italian Futurism, who often created set designs in the theatre, occasionally also directed and, in the 1920s and 1930s, collaborated with numerous prominent representatives of the avant-garde movements of the time throughout Europe. The core of the author’s research interest in this article is the Futurist Pantomime Theatre (Théâtre de la Pantomime Futuriste), which, despite all the difficulties and compromises, was an exceptional achievement in the creative oeuvre of Enrico Prampolini and his collaborators. Among them were the pioneers of Slovenian dance art, Václav Vlček and Lidija Wisiak, who performed in the leading roles at the Futurist Pantomime Theatre in Paris in 1927 and the following year in some Italian cities. This brief but important collaboration between the Czech–Slovenian artistic tandem and two other ballet soloists from Ljubljana (Erna Mohar and Vali Smerkolj) with Enrico Prampolini has been almost completely ignored in Slovenian theatre historiography. Therefore, the author has attempted to shed light on the achievements of this collaboration between Italian, Slovenian and other theatre artists in the period of the historical avant-garde.
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