there are no Futurist novels (since novels are neither pared down nor compressed). Futurism in the theatre Traditional theatre often served as a target for Futurists because of its deep roots in classical societies. In its stead, the Futurists exalted the variety theatre, vaudeville, and music hall because, they argued, it "had no tradition; it was a recent discovery". Vaudevillian acts aligned themselves well to the notions of "stupefaction" as there was the desire to surprise and excite the audience. Furthermore, the heavy use of machinery attracted the Futurists, as well as Vaudevillian acts' tendency to "destroy" the masterpieces of the past through parody and other forms of depreciation. By adding other Futurist ideals mentioned above, they firmly rooted their beliefs into theatre. They wanted to blur the line between art and life in order to reach below the surface to reality. In practice, this manifested itself in various ways: "Collaboration between the public and the actors was to be developed to the point of indistinction of roles—such cooperating confusion was to be partly impromptu…e.g. chairs were to be covered with glue so that ladies' gowns would stick to them; and tickets sold in such a way as to bring side by side men of the extreme right and those of the extreme left, prudes and prostitutes, teachers and pupils. Sneezing powders, sudden darkening of the hall, and alarm signals were all means to insure the proper functioning of this universal human farce". However, the most important aspect of the work was the discrediting of the great works of theatre. These new theatrical ideal of the Futurists helped to establish a new genre of theatre: the synthetic play. Synthetic play This type of play took the idea of compression to an extreme, where "a brief performance in which entire acts were reduced to a few sentences, and scenes to a handful of words. No sentiments, no psychological development, no atmosphere, no suggestiveness. Common sense was banished, or rather, replaced by nonsense". There did exist some plays similar to this before the Futurists, but they did not conform to the Futurist agenda. The creator of the first modern synthetic play is thought to be Verlaine, with his aptly titled work Excessive Haste. Examples Excerpt from Marinetti's free verse poem To a Racing Car Veemente dio d’una razza d’acciaio, Automobile ebbra di spazio, che scalpiti e fremi d’angoscia rodendo il morso con