Looking at the course of Futurism and Dadaism, we realized the close relationship that the representatives of those movements were looking for with the Media (radio, press), the sensationalist techniques using peculiar tricks to the audience, the compose of manifestos, in which the movements were stating and spreading their artistic ideas, the search for improvisational methods and the passionate feelings of the artists to disdain, to renounce, to doubt, disrupt balances.
Why did those movements choose the performance art as their main means of expression? For supposedly rationalization of art, performance seemed to be the only way. It was the only kind of art that managed to incorporate emotion as it spontaneously arises through the improvisation and the pulse of the public. The boundaries of the stage and the space occupied by the actor are phased out, the influence of the public in their troupes freely shapes the course and time of the action. Plus artists addressed the crowds with a powerful voice and beyond any mannerism of the past. The performance contains components, relativity and multiple sightings of art in a way that the rationality of the past could not incorporate.