Vibrazioni, superfici, linee, forme: la riflessione sulle arti nel primo Hugo Ball

Lorella Bosco

Abstract


The paper investigates Hugo Ball’s aesthetic reflection on Modern art
in his early essayistic works, starting from his reception of Futurist
paintings (Die Reise nach Dresden, 1913) and Kandinsky (the lecture
held in 1917) over his engagement with Wedekinds (1914) and Rudolf
von Labans theatrical breakthroughs. By exceeding the conventional
categories of vision and perception, and introducing the issue of energy
and ‘presence’, Modern art undermines the linear understanding
of time and the traditional notion of space and spatiality.


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