Actors and performance in modern and contemporary world.
O: Analysis of the key texts and of the leading experiences in the 20th century Theatre and performance cultures. Traditions and organization in modern and contemporary Theatre.
P: Analysis of the texts that have changed the art of playing and the presence of the performer in the 20th century (Artaud, Grotowski, Brecht). Dramatic texts as documents of modern theatre cultures.
O: Analysis of the key texts and of the leading experiences in the 20th century Theatre and performance cultures. Traditions and organization in modern and contemporary Theatre.
P: Analysis of the texts that have changed the art of playing and the presence of the performer in the 20th century (Artaud, Grotowski, Brecht). Dramatic texts as documents of modern theatre cultures.
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.
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
Francesca Simoncini, Eleonora Duse capocomica, Firenze, Le Lettere, 2011 (https://filosofiacomunicazionespettacolo.el.uniroma3.it)
Mirella Schino, L’età dei maestri. Appia, Craig, Stanislavskij, Mejerchol’d, Copeau, Artaud e gli altri, Roma, Viella, 2017
Claudio Meldolesi, Pensare l’attore, Roma, Bulzoni, 2013
Gli studenti leggeranno inoltre almeno uno di questi tre drammi a scelta (più una introduzione o un approfondito profilo biografico sull’autore): 1) Gabriele d’Annunzio, La città morta, oppure 2) Alexandre Dumas, La signora dalle camelie, (il dramma e non il romanzo), oppure 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
Eleonora Duse. 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, 2008Francesca Simoncini, Eleonora Duse capocomica, Firenze, Le Lettere, 2011 (https://filosofiacomunicazionespettacolo.el.uniroma3.it)
Mirella Schino, L’età dei maestri. Appia, Craig, Stanislavskij, Mejerchol’d, Copeau, Artaud e gli altri, Roma, Viella, 2017
Claudio Meldolesi, Pensare l’attore, Roma, Bulzoni, 2013
Gli studenti leggeranno inoltre almeno uno di questi tre drammi a scelta (più una introduzione o un approfondito profilo biografico sull’autore): 1) Gabriele d’Annunzio, La città morta, oppure 2) Alexandre Dumas, La signora dalle camelie, (il dramma e non il romanzo), oppure 3) Giuseppe Giacosa, Tristi amori.
Type of delivery of the course
The course includes: a group of frontal lectures on Eleonora Duse and actresses between the nineteenth and twentieth century; a group of frontal lectures around some fundamental books in the program, discussion and research work of the students.Attendance
Frequency is not mandatoryType of evaluation
Written examinations (if possible): four questions about specific notions, three general questions: one hour of time. All answers are open.