This course aims to provide students with tools of theoretical and historical knowledge concerning artistic, social, material and relational aspects of theatre arts, in the broader sense of the performative dimensions of human behaviour. The central objective is a wide and inclusive knowledge of the past and present of the scenic arts, oriented to enable the student to recognize, to experience and to activate creative processes, research actions and skills of practical organization within the horizon of performing arts. The first part of the course provides direct approaches to texts, profiles, documents and phenomena that during the last century changed the notion of theatre and transformed traditions, skills, values, concepts and terms of the theatre practices. In the final part the course will share materials, documents, meetings and fieldworks, in order to orientate the students to take part in ongoing projects of their cultural context.
Curriculum
Canali
teacher profile teaching materials
In its first part, the course deals with texts and contexts of books considered as groundbreaking sources for the theory and practice of the Western performer in 20th century (Artaud, Brecht, Grotowski).
In the second period, through the reading of Shakespeare's Hamlet, a focus will concern the dramatic tradition in European modern theatre.
In the final period, taking part in meeting and panels with operators, curators and performers, the students will share ongoing projects and current trends in Italian contemporary theatre
W. Shakespeare, Amleto, edizione e traduzione a c. di A. Serpieri, Marsilio
2 testi a scelta tra i seguenti tre:
M. Schino, L’età dei maestri, Viella, Roma; E. Barba, La conquista della differenza, Bulzoni, Roma; F. Cruciani, Lo spazio del teatro, Laterza, Bari.
For non attending students: R. Guarino, Shakespeare. La scrittura nel teatro, Carocci, Roma; oppure il terzo dei testi a scelta.
Programme
The course aims to offer a global vision of the historical development of European Theatre, through a series of close ups on themes and changes of its values and conditions, from Mediaeval culture to contemporary performance. The notion of cultural performance will be assumed as a key concept, in order to enlarge the horizon of the artistic and cultural values of theatre to other fields and practices of representation (Dance, ritual, celebration).In its first part, the course deals with texts and contexts of books considered as groundbreaking sources for the theory and practice of the Western performer in 20th century (Artaud, Brecht, Grotowski).
In the second period, through the reading of Shakespeare's Hamlet, a focus will concern the dramatic tradition in European modern theatre.
In the final period, taking part in meeting and panels with operators, curators and performers, the students will share ongoing projects and current trends in Italian contemporary theatre
Core Documentation
A. Artaud, Il teatro e il suo doppio, Einaudi, Torino; B. Brecht, Scritti teatrali, Einaudi, Torino; J. Grotowski, Testi. Volume II, Il teatro povero (1965-69),La casa Usher, Firenze;W. Shakespeare, Amleto, edizione e traduzione a c. di A. Serpieri, Marsilio
2 testi a scelta tra i seguenti tre:
M. Schino, L’età dei maestri, Viella, Roma; E. Barba, La conquista della differenza, Bulzoni, Roma; F. Cruciani, Lo spazio del teatro, Laterza, Bari.
For non attending students: R. Guarino, Shakespeare. La scrittura nel teatro, Carocci, Roma; oppure il terzo dei testi a scelta.
Type of delivery of the course
Frontal lessonsAttendance
Non-attending students should add another text to the program, suggested or arranged with the teacher.Type of evaluation
Oral exam. The questions regard the texts treated and explained during the course. teacher profile teaching materials
Actresses
The course is focused on the situation of actresses in Italy between the nineteenth and twentieth centuries, with particular reference to the case of Eleonora Duse. In the theatre of this period, unlike what happens outside the theatre, unpredictably women have autonomy of movement, can run companies, can be heads of companies, can be successful and be points of reference for the world theater. The course explores this theatrical anomaly.
Donatella Orecchia, La prima Duse. Nascita di un’attrice moderna, Roma, Artemide, 2007
Francesca Simoncini, Eleonora Duse capocomica, Firenze, Le Lettere, 2011
Mirella Schino, L’età dei maestri. Appia, Craig, Stanislavskij, Mejerchol’d, Copeau, Artaud e gli altri, Roma, Viella, 2017
Fabrizio Cruciani, Lo spazio del teatro, Roma-Bari, Laterza,
Students will also read at least one of these three dramas of their choice (plus an introduction or an in-depth biographical profile of the author): 1) Gabriele d'Annunzio, La città morta, or 2) Alexandre Dumas, La signora dalle camelie, (the drama and not the novel), or 3) Giuseppe Giacosa, Tristi amori.
Programme
2019-20Actresses
The course is focused on the situation of actresses in Italy between the nineteenth and twentieth centuries, with particular reference to the case of Eleonora Duse. In the theatre of this period, unlike what happens outside the theatre, unpredictably women have autonomy of movement, can run companies, can be heads of companies, can be successful and be points of reference for the world theater. The course explores this theatrical anomaly.
Core Documentation
Mirella Schino, Il teatro di Eleonora Duse, Roma, Bulzoni, 2008Donatella Orecchia, La prima Duse. Nascita di un’attrice moderna, Roma, Artemide, 2007
Francesca Simoncini, Eleonora Duse capocomica, Firenze, Le Lettere, 2011
Mirella Schino, L’età dei maestri. Appia, Craig, Stanislavskij, Mejerchol’d, Copeau, Artaud e gli altri, Roma, Viella, 2017
Fabrizio Cruciani, Lo spazio del teatro, Roma-Bari, Laterza,
Students will also read at least one of these three dramas of their choice (plus an introduction or an in-depth biographical profile of the author): 1) Gabriele d'Annunzio, La città morta, or 2) Alexandre Dumas, La signora dalle camelie, (the drama and not the novel), or 3) Giuseppe Giacosa, Tristi amori.
Reference Bibliography
Mariani Laura, Il tempo delle attrici: emancipazionismo e teatro in Italia fra Ottocento e Novecento, Bologna: Mongolfiera, 1991 Mariani Laura, Sarah Bernhardt, Colette e l’arte del travestimento, Bologna: Il Mulino, 1996 Martin-Fugier Anne, Comédiennes. Les actrices en France au XIXe siècle, Paris: Seuil, 2008 Meldolesi Claudio, Pensare l’attore, Mirella Schino and Ferdinando Taviani eds., Roma: Bulzoni, 2013 Davis Tracy C., Actresses as Working Women: Their Social Identity in Victorian Culture, London-New York: Routledge, 1991 Evain Aurore, L'apparition des actrices professionnelles en Europe, Paris: L’Harmattan, 2001 Gale Maggie B. and Gardner Vivien eds., Women, Theatre, and Performance: New Histories, New Historiographies, New York: Palgrave, 2000Type of delivery of the course
The course includes: a group of frontal lessons on actresses between the nineteenth and twentieth centuries; a group of frontal lessons around some basic books; a meeting with Iben Nagel Rasmussen, actress of the Odin Teatret, a multi-voiced dialogue on the situation of the actresses.Attendance
Frequency is not compulsory.Type of evaluation
four questions about specific notions, three general questions: one hour of time. All answers are open.Canali
teacher profile teaching materials
In its first part, the course deals with texts and contexts of books considered as groundbreaking sources for the theory and practice of the Western performer in 20th century (Artaud, Brecht, Grotowski).
In the second period, through the reading of Shakespeare's Hamlet, a focus will concern the dramatic tradition in European modern theatre.
In the final period, taking part in meeting and panels with operators, curators and performers, the students will share ongoing projects and current trends in Italian contemporary theatre
W. Shakespeare, Amleto, edizione e traduzione a c. di A. Serpieri, Marsilio
2 testi a scelta tra i seguenti tre:
M. Schino, L’età dei maestri, Viella, Roma; E. Barba, La conquista della differenza, Bulzoni, Roma; F. Cruciani, Lo spazio del teatro, Laterza, Bari.
For non attending students: R. Guarino, Shakespeare. La scrittura nel teatro, Carocci, Roma; oppure il terzo dei testi a scelta.
Mutuazione: 20710328 TEATRO, SPETTACOLO, PERFORMANCE in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 A - L GUARINO RAIMONDO
Programme
The course aims to offer a global vision of the historical development of European Theatre, through a series of close ups on themes and changes of its values and conditions, from Mediaeval culture to contemporary performance. The notion of cultural performance will be assumed as a key concept, in order to enlarge the horizon of the artistic and cultural values of theatre to other fields and practices of representation (Dance, ritual, celebration).In its first part, the course deals with texts and contexts of books considered as groundbreaking sources for the theory and practice of the Western performer in 20th century (Artaud, Brecht, Grotowski).
In the second period, through the reading of Shakespeare's Hamlet, a focus will concern the dramatic tradition in European modern theatre.
In the final period, taking part in meeting and panels with operators, curators and performers, the students will share ongoing projects and current trends in Italian contemporary theatre
Core Documentation
A. Artaud, Il teatro e il suo doppio, Einaudi, Torino; B. Brecht, Scritti teatrali, Einaudi, Torino; J. Grotowski, Testi. Volume II, Il teatro povero (1965-69),La casa Usher, Firenze;W. Shakespeare, Amleto, edizione e traduzione a c. di A. Serpieri, Marsilio
2 testi a scelta tra i seguenti tre:
M. Schino, L’età dei maestri, Viella, Roma; E. Barba, La conquista della differenza, Bulzoni, Roma; F. Cruciani, Lo spazio del teatro, Laterza, Bari.
For non attending students: R. Guarino, Shakespeare. La scrittura nel teatro, Carocci, Roma; oppure il terzo dei testi a scelta.
Reference Bibliography
Mariani Laura, Il tempo delle attrici: emancipazionismo e teatro in Italia fra Ottocento e Novecento, Bologna: Mongolfiera, 1991 Mariani Laura, Sarah Bernhardt, Colette e l’arte del travestimento, Bologna: Il Mulino, 1996 Martin-Fugier Anne, Comédiennes. Les actrices en France au XIXe siècle, Paris: Seuil, 2008 Meldolesi Claudio, Pensare l’attore, Mirella Schino and Ferdinando Taviani eds., Roma: Bulzoni, 2013 Davis Tracy C., Actresses as Working Women: Their Social Identity in Victorian Culture, London-New York: Routledge, 1991 Evain Aurore, L'apparition des actrices professionnelles en Europe, Paris: L’Harmattan, 2001 Gale Maggie B. and Gardner Vivien eds., Women, Theatre, and Performance: New Histories, New Historiographies, New York: Palgrave, 2000Type of delivery of the course
Frontal lessonsAttendance
Non-attending students should add another text to the program, suggested or arranged with the teacher.Type of evaluation
Oral exam. The questions regard the texts treated and explained during the course. teacher profile teaching materials
Actresses
The course is focused on the situation of actresses in Italy between the nineteenth and twentieth centuries, with particular reference to the case of Eleonora Duse. In the theatre of this period, unlike what happens outside the theatre, unpredictably women have autonomy of movement, can run companies, can be heads of companies, can be successful and be points of reference for the world theater. The course explores this theatrical anomaly.
Donatella Orecchia, La prima Duse. Nascita di un’attrice moderna, Roma, Artemide, 2007
Francesca Simoncini, Eleonora Duse capocomica, Firenze, Le Lettere, 2011
Mirella Schino, L’età dei maestri. Appia, Craig, Stanislavskij, Mejerchol’d, Copeau, Artaud e gli altri, Roma, Viella, 2017
Fabrizio Cruciani, Lo spazio del teatro, Roma-Bari, Laterza,
Students will also read at least one of these three dramas of their choice (plus an introduction or an in-depth biographical profile of the author): 1) Gabriele d'Annunzio, La città morta, or 2) Alexandre Dumas, La signora dalle camelie, (the drama and not the novel), or 3) Giuseppe Giacosa, Tristi amori.
Mutuazione: 20710328 TEATRO, SPETTACOLO, PERFORMANCE in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 M - Z SCHINO MIRELLA
Programme
2019-20Actresses
The course is focused on the situation of actresses in Italy between the nineteenth and twentieth centuries, with particular reference to the case of Eleonora Duse. In the theatre of this period, unlike what happens outside the theatre, unpredictably women have autonomy of movement, can run companies, can be heads of companies, can be successful and be points of reference for the world theater. The course explores this theatrical anomaly.
Core Documentation
Mirella Schino, Il teatro di Eleonora Duse, Roma, Bulzoni, 2008Donatella Orecchia, La prima Duse. Nascita di un’attrice moderna, Roma, Artemide, 2007
Francesca Simoncini, Eleonora Duse capocomica, Firenze, Le Lettere, 2011
Mirella Schino, L’età dei maestri. Appia, Craig, Stanislavskij, Mejerchol’d, Copeau, Artaud e gli altri, Roma, Viella, 2017
Fabrizio Cruciani, Lo spazio del teatro, Roma-Bari, Laterza,
Students will also read at least one of these three dramas of their choice (plus an introduction or an in-depth biographical profile of the author): 1) Gabriele d'Annunzio, La città morta, or 2) Alexandre Dumas, La signora dalle camelie, (the drama and not the novel), or 3) Giuseppe Giacosa, Tristi amori.
Reference Bibliography
Mariani Laura, Il tempo delle attrici: emancipazionismo e teatro in Italia fra Ottocento e Novecento, Bologna: Mongolfiera, 1991 Mariani Laura, Sarah Bernhardt, Colette e l’arte del travestimento, Bologna: Il Mulino, 1996 Martin-Fugier Anne, Comédiennes. Les actrices en France au XIXe siècle, Paris: Seuil, 2008 Meldolesi Claudio, Pensare l’attore, Mirella Schino and Ferdinando Taviani eds., Roma: Bulzoni, 2013 Davis Tracy C., Actresses as Working Women: Their Social Identity in Victorian Culture, London-New York: Routledge, 1991 Evain Aurore, L'apparition des actrices professionnelles en Europe, Paris: L’Harmattan, 2001 Gale Maggie B. and Gardner Vivien eds., Women, Theatre, and Performance: New Histories, New Historiographies, New York: Palgrave, 2000Type of delivery of the course
The course includes: a group of frontal lessons on actresses between the nineteenth and twentieth centuries; a group of frontal lessons around some basic books; a meeting with Iben Nagel Rasmussen, actress of the Odin Teatret, a multi-voiced dialogue on the situation of the actresses.Attendance
Frequency is not compulsory.Type of evaluation
four questions about specific notions, three general questions: one hour of time. All answers are open.