Abstract
This article analyzes the role of proper names, used by Marinetti for his piéce titled Locomotive where feelings and objects become names of characters that contribute to the creation and enrichment of Marinetti’s proposal for break- ing the tradition and refer to various arts and daily practices simultaneously. The simultaneity is reviewed in the theater to create a synthesis of visual, aural, tactile and olfactory starting by names that also becomes an emblem of the aesthetics of speed enhanced by futurism.