The course aims to provide the conceptual and operational instruments for the design, organization and management of performing arts productions.
At the end of the course the student will:
• know the different types of theater, music, dance and circus productions, the consequent models and production practices, the standards in use;
• understand the dynamism of project management and processes of performing arts, with respect to their evolutionary forms;
• know how to build a cognitive framework of the design environment (analytical skills), identify intervention methods (strategic, planning and service skills), manage the project (managerial capacity), measure results and outcomes (assessment skills);
• being able to communicate the project in all its phases and to all stakeholders with appropriate tools;
• have learned the critical sense towards organizational phenomena, the importance of systemic action, the relevance of problem setting & solving, attention to synthesis and reworking, the elements of artistic and managerial complexity.
teacher profile | teaching materials


- The theories: culture as a production of immaterial wealth (human capital, knowledge, social value), the organizational perimeter of the theater and live performance (the design fields, the complexity, the professional skills involved, the teamwork, the languages of production), the design work (the trigger, the starting requirements, the organizational translation of the artistic concept, the system of constraints as opportunities, the production feasibility, marketing, economic and financial, markets and distribution, public funding / private);
- The practices: production management, staging, technical, administrative, economic, communication and promotion aspects, tour management, various theatrical production and live performance models;

Core Documentation

For students who will attend classes:
- Lucio Argano, "La gestione dei progetti di spettacolo, FrancoAngeli Ed., Milan, edition 2019 (pp.331);
- Francesca D’Ippolito, “Produrre teatro in Italia oggi”, Audino Ed., Rome, 2022 (pp. 128).

For students who will not attend classes:
- Lucio Argano, "La gestione dei progetti di spettacolo, Franco Angeli, Milan, edition 2019 (pp.331);
- Francesca D’Ippolito, “Produrre teatro in Italia oggi”, Audino Ed., Rome, 2022 (pp. 128)
Moreover a book to be chosen between: Alessandro Pontremoli e Gerarda Ventura, "La danza: organizzare per creare", FrancoAngeli, Milan, 2019, oppure Carlini C., Gallina M., Ponte di Pino O. (eds), "Reinventare i luoghi della cultura contemporanea. Nuovi spazi, nuove creatività, nuove professioni, nuovi pubblici", FrancoAngeli, Milan, 2017

Reference Bibliography

Solima Ludovico, "Management per l’impresa culturale", Carocci, Rome, 2019 Valenti Alessandro, "La legislazione per lo spettacolo e le attività musicali", Giappichelli, Turin, 2012 Gallina Mimma, "Rio-organizzare teatro", FrancoAngeli, Milan, 2014 Balestra Cecilia, Malaguti Alfonso, "Organizzare musica", FrancoAngeli, Milan, 2003 Balzani Domenico, Magri Geo, "Manuale di organizzazione, diritto e legislazione dello spettacolo", Giappichelli, Turin, 2019 Gilleri Alessandro, Bisleri Pier Paolo, "Lo spettacolo va in scena", FrancoAngeli, Milan, 2014

Type of delivery of the course

Lectures with classroom exercises and analysis of case studies


Absences will not be detected but, in any case, maximum attendance is recommended in the lectures because the Course includes economic and legal topics that will be the subject of the final evaluation.

Type of evaluation

- Attending students: oral exam on the drafting of a project with a feasibility study of a theatrical, musical or dance event assigned by the teacher and questions related to the two textbooks - Non-attending students: oral exam on textbooks, plus a third book chosen from among the exam texts.