Gertrude Stein, all courage and will, is a soldier of minimalism. Her work, unlike the resonating silences in the art of Samuel Beckett, embodies in its loquacity and verbosity the curious paradox of the minimalist form. This art of the nuance in repetition and placement she shares with the orchestral compositions of Philip Glass.
At the crowded Costanzi Theater in Rome, while I was listening to the orchestral performance of your overwhelming Futurist music,1 together with my Futurist friends Marinetti, Boccioni, Carrà, Balla, Soffici, Papini, and Cavacchioli, there came to my mind the idea of a new art, one that only you can create: the Art of Noises, a logical consequence of your marvelous innovations.luigi russolo
The growing drama has outgrown such toys Of simulated stature, face, and speech: It also peradventure may outgrow The simulation of the painted scene, Boards, actors, prompters, gaslight, and costume, And take for a worthier stage the soul itself, Its shifting fancies and celestial lights, With all its grand orchestral silences To keep the pauses of its rhythmic sounds.
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