81587 - Theatre in Asia (1) (LM)

Learning outcomes

Through this course, the student will: - acquire knowledge about the origins and development of the main Asians theaters; - know how to contextualize Asian theaters within an appropriate historical and anthropological framework; - develop skills in research and interpretation of relevant documentary evidences (oral and written). He or she will also: - be able to recognize and interpret the aesthetic and theatrical principles underlying the different languages of the Asian theater; - know how to decode, on a cultural and theatrical plan, the main Asian models of theater; - be able to interpret the intercultural dynamics between Eastern and Western theatrical traditions.

Course contents

First module:
The course will investigate, by means of a preliminary anthropological contextualization, the codification of theatrical knowledge in Asia. In particular, the mechanisms of knowledge transmission from master to pupil over the centuries will be examined. A specific focus will present the sperimental ways that made, and makes, classical Japanese and Chinese theatres a contemporary theatre.

Second module:
The second module will be devoted to the male interpretation of female roles in the main traditionals genre of Japanese (nōgaku, kabuki, bunraku) and Chinese (Peking Opera) theatre. The module, also, aims to present a concise overview of theatrical music in Asia.

 

Optional seminars
All the students are encouraged to attend one or both the seminars that will be held at the end of the course.

 

1) Dancing for the gods: the scenic communication of Nātyaśāstra.

Dr. Shilpa Bertuletti
16, 17 aprile 2017
ore 9-11
Aula Ferrero

The seminar wants to examine, through theoretical lessons, projections and a little demonstration, the performative and anthropological aspects of traditional genres of indian classical dances. Ample space will be devoted to the theory of emotions (rasa) present in the Indian treatises and to the aesthetic experience of odissi dancer in relation to the traditional hindu mythological narrative.

 

2) Robotics and Theatre: the Android-Human Theater by Hirata Oriza.

Dr. Cinzia Toscano
18, 19 aprile 2017
ore 9-11
Aula Ferrero

The seminar aims to investigate the work of Japanese director Hirata Oriza with androids and humanoids. In particular through the analysis of the performances produced in the frame of the Android-Human Theatre project we will focus on Japanese robotics, one of the most interesting and relevant topics not only in contemporary Japan.

Readings/Bibliography

Program Examination: 6 CFU for attending students

-Giovanni Azzaroni e Matteo Casari, Asia il teatro che danza, Le Lettere, Firenze, 2011.

-Casari Matteo, Teatro nō. La via dei maestri e la trasmissione dei saperi, CLUEB, Bologna, 2008.

-Matilde Mastrangelo, Luca Milasi e Stefano Romagnoli, a cura di, Il teatro giapponese. La macchina scenica tra spazi urbani e riforme, Aracne, Roma, 2014.

-Matteo Casari, a cura di, Teatro nō, orizzonti possibili, numero monografico di “Prove di drammaturgia”, n. 1, febbraio 2012 pp. 3-39.

 

Program examination: 6 CFU for working groups during lessons
Attending students may choose to participate in working groups carrying out activities in-depth on some topics of the course. For these students the program examination is:

-3 chapters of your choice of : Giovanni Azzaroni e Matteo Casari, Asia il teatro che danza, Le Lettere, Firenze.

-Casari Matteo, Teatro nō. La via dei maestri e la trasmissione dei saperi, CLUEB, Bologna, 2008.

-Matilde Mastrangelo, Luca Milasi e Stefano Romagnoli, a cura di, Il teatro giapponese. La macchina scenica tra spazi urbani e riforme, Aracne, Roma, 2014.

-Matteo Casari, a cura di, Teatro nō, orizzonti possibili, numero monografico di “Prove di drammaturgia”, n. 1, febbraio 2012 pp. 3-39.

 

Program Examination: 12 cfu for attending students

-Giovanni Azzaroni e Matteo Casari, Asia il teatro che danza, Le Lettere, Firenze, 2011.

-Casari Matteo, Teatro nō. La via dei maestri e la trasmissione dei saperi, CLUEB, Bologna, 2008.

-Matilde Mastrangelo, Luca Milasi e Stefano Romagnoli, a cura di, Il teatro giapponese. La macchina scenica tra spazi urbani e riforme, Aracne, Roma, 2014.

-Matteo Casari, a cura di, Teatro nō, orizzonti possibili, numero monografico di “Prove di drammaturgia”, n. 1, febbraio 2012 pp. 3-39.

-Bonaventura Ruperti, Scenari del teatro giapponese. Caleidoscopio del nō, Cafoscarina, Venezia, 2016, solo pp. 1-43 e 73-103.

-Matteo Casari, Teatro, vita di Mei Lanfang. Con la traduzione integrale di Addio mia concubina, CLUEB, Bologna, 2003.

-Daniele Sestili, Musica e tradizione in Asia orientale, Squi[libri], Roma, 2010.

 

Program examination: 12 CFU for working groups during lessons
Attending students may choose to participate in working groups carrying out activities in-depth on some topics of the course. For these students the program examination is:

-3 chapters of your choice of Giovanni Azzaroni – Matteo Casari, Asia il teatro che danza, Le Lettere, Firenze.

-Casari Matteo, Teatro nō. La via dei maestri e la trasmissione dei saperi, CLUEB, Bologna, 2008.

-Matilde Mastrangelo, Luca Milasi e Stefano Romagnoli, a cura di, Il teatro giapponese. La macchina scenica tra spazi urbani e riforme, Aracne, Roma, 2014.

-Matteo Casari, a cura di, Teatro nō, orizzonti possibili, numero monografico di “Prove di drammaturgia”, n. 1, febbraio 2012 pp. 3-39.

-Bonaventura Ruperti, Scenari del teatro giapponese. Caleidoscopio del nō, Cafoscarina, Venezia, 2016, solo pp. 1-43 e 73-103.

-Matteo Casari, Teatro, vita di Mei Lanfang. Con la traduzione integrale di Addio mia concubina, CLUEB, Bologna, 2003.

-Daniele Sestili, Musica e tradizione in Asia orientale, Squi[libri], Roma, 2010.

 

Not attending students will also have to prepare on a text chosen from:

-Azzaroni Giovanni, Teatro in Asia. Malaysia – Indonesia – Filippine – Giappone, vol. I, CLUEB, Bologna, 1998, solo pp. 273-388.

-Azzaroni Giovanni, Teatro in Asia. Tibet – Cina – Mongolia – Corea, vol. III, CLUEB, Bologna, 2003, solo pp. 101-256.

-Azzaroni Giovanni, Teatro in Asia. Nepal, Bhutan, India, Sri Lanka, vol. IV, CLUEB, Bologna, 2006, solo pp. 149-338.

Brandon James R., Sui troni d’oro. Epica e cultura indonesiana nel teatro delle ombre di Giava, Claudio Gallone editore, Milano, 1998.

-Matteo Casari e Giuditta de Concini, a cura di, Danzare il Natya. Permanenze e trasformazioni del teatro-danza indiano, in Arti della Performance: orizzonti e culture, n. 5, 2015, Alma Mater Studiorum - Università di Bologna, Dipartimento delle Arti e ALMADL, Bologna (free download).

-Casari Matteo e Elena Cervellati, a cura di, Butō. Prospettive europee e sguardi dal Giappone. Omaggio o Ōno Kazuo, in Arti della Performance: orizzonti e culture, n. 6, 2015, Alma Mater Studiorum - Università di Bologna, Dipartimento delle Arti e ALMADL, Bologna (free download)

Teaching methods

The teaching will be a balanced mix of theoretical and practical examples, in anthropological context, in order to allow all students to be able to reach the final target.

Assessment methods

During the lessons the lecturer will involve the students in an active discussion of the lesson topics. The exchanges will be addressed to bringing out any difficulties concerning the subject matter, but not to actually forming part of the final mark.
The final exam will consist of an oral test. The exam will be the chance for the student to prove his/her knowledge of the course books. Students attending the class may refer their answers back to the topics actually analyzed in class.
Students studying the course set books, especially the core text, should pay attention to the fundamental aspects of the topics and, of course, to the ways in which they are connected to one another rather than to learn by rote.

Teaching tools

Dance performances videos relating to the topics presented during the course.

Office hours

See the website of Matteo Casari