89978 - History of the New Theatre

Learning outcomes

By the end of the course the student: knows the main artistic experiences that characterize the history of the New Theatre since the second half of the 20th century, also through video evidence; is able to identify the historical fundamentals and master the theoretical-methodological aspects; matures skills about the different forms of live performance, the analysis of expressive languages, economic and organizational models, social and cultural contexts of reference; learns how to critically organize bibliographic and documentary materials; knows how to analyze and comment on a spectacular text in relation to context, creative process, scenic writing.

Course contents

Module 1 (6 CFU): “New Theatre,” a historically grounded critical label.

The first module of the course historically traces the definition of “New Theatre” and the main international artistic experiences that, since the second half of the twentieth century, have contributed to the broad and articulate rethinking of expressive forms and organizational and professional practices, marking a transformation from the past on the production, dramaturgical and receptive levels. Particular attention will be given to the critical analysis of some performances by Living Theatre, Grotowski, Barba and Brook in relation to their theoretical texts.

Module 2 (6 CFU): New Theatre in Italy between research, participation and community.

The second module of the course focuses on the history of New Theatre in Italy through three key words that constitute deeply interconnected perspectives of analysis: research, participation and community. The main methodological elements of reading live performance will be introduced: construction and analysis of sources, visual documentation, non-fiction and other cultural materials useful for investigation. This methodology will be applied to the analysis of some contemporary theatrical experiences as case studies through the establishment of working groups. An in-depth theoretical-practical analysis will be dedicated to Dario Fo (1926-2016), innovator of the Commedia dell'Arte and inventor of narrative theatre.

Readings/Bibliography

Examination program for attending and non-attending students:

1. F. Perrelli, I maestri della ricerca teatrale. Il Living, Grotowski, Barba e Brook, Roma-Bari, Laterza, 2007.

2. C. Valenti, Storia del Living Theatre. Conversazioni con Judith Malina, Corazzano, Titivillus, 2018.

3. D. Visone, La nascita del nuovo teatro in Italia 1959-1967, Corazzano, Titivillus, 2010.

4. B. Holm, Il fenomeno Fo. Giullare, pittore, amico, Bologna, Cue Press, 2026.

5. Learning materials pubblished on Virtuale.

6. One volume of your choice from the following (two volumes for non-attending students):

• A. Attisani (a cura di), Teatro/Educazione, Mimesis Journal n. 2, 2022.
• M. De Marinis, Il Nuovo Teatro 1947-1970, Milano, Bompiani, 2000.
• G. Di Palma (a cura di), Dario Fo. Il teatro nel sociale come teatro della parola viva, Biblioteca Teatrale nn. 131-132, 2019.
• A. Frattali, La drammaturgia aperta dell'Odin Teatret 1974-1984, Bologna, Cue Press, 2025.
• S. Margiotta, Il nuovo teatro in Italia 1968-1975, Corazzano, Titivillus, 2013. Open access: https://archive.org/details/ilnuovoteatroini0000marg/mode/2up
• C. Pedullà, Il teatro partecipativo. Paradigmi ed esperienze, Corazzano, Titivillus, 2021.
• F. Perrelli, Gli spettacoli di Odino. La storia di Eugenio Barba e dell’Odin Teatret, Bari, Pagina, 2005.
• A. Petrini, Carmelo Bene, Roma, Carocci, 2021.
• A. Pontremoli, A. Rossi Ghiglione, R. M. Fabris, V. Zangirolami (a cura di), Performare il sociale. Performing arts, well-being e salute di comunità, Roma Bulzoni, 2025.
  
• A. Rossi Ghiglione, Teatro sociale e di comunità. Drammaturgia e messa in scena con i gruppi, Roma, Dino Audino, 2013.
• A. Rossi Ghiglione, R. M. Fabris, A. Pagliarino (eds.), Caravan Next. A Social Community Theatre Project. Methodology, Evaluation and Analysis, Milano, Franco Angeli, 2019. Open Access: http://ojs.francoangeli.it/_omp/index.php/oa/catalog/book/394
• C. Tafuri, D. Beronio (a cura di), Ivrea Cinquanta. Mezzo secolo di Nuovo Teatro in Italia 1967-2017, Genova, AkropolisLibri, 2018.
• C. Valenti (a cura di), Scenari del terzo millennio. L’osservatorio del Premio Scenario sul giovane teatro, Corazzano, Titivillus, 2018.
• C. Valenti (a cura di), Scenario in Festival. Progetti e visioni per un nuovo teatro (2018-2024), Corazzano, Titivillus, 2025.
• V. Valentini, Nuovo Teatro Made in Italy. 1963-2013, Roma, Bulzoni, 2015.
• M. Valentino, Il nuovo teatro in Italia 1976-1985, Corazzano, Titivillus, 2015.

Teaching methods

Lectures are face-to-face and consist of phases of explanation, appreciation of audiovisual materials, readings of theoretical and critical texts, questions, discussion and group work. Meetings with artists and scholars are scheduled. Viewings of performances in city theaters form an integral part of the course.

Assessment methods

The exam consists of an oral test with open-ended questions on the topics covered in class and on the recommended reading list.

Active participation in classroom discussion and working groups is an element of evaluation for those who attend.

Those who do not attend will be examined to ascertain both critical knowledge of the bibliographic material and the viewing and analysis of at least five performances, either in videographic transcription or live.

The student's achievement of an organic view of the topics covered in class together with their critical use, a good command of expression and specific language will be evaluated with grades of excellence.
A mnemonic knowledge of the subject matter together with synthesis and analysis skills articulated in correct but not always appropriate language will lead to fair grades.
Formative gaps and/or inappropriate language - albeit in the context of minimal knowledge of the examination material - will lead to grades that do not exceed sufficiency.
Formative gaps, inappropriate language, lack of orientation within the bibliographic materials offered during the course will be negatively graded.

Students with learning disorders and\or temporary or permanent disabilities: please, contact the office responsible (https://site.unibo.it/studenti-con-disabilita-e-dsa/en/for-students ) as soon as possible so that they can propose acceptable adjustments. The request for adaptation must be submitted in advance (15 days before the exam date) to the lecturer, who will assess the appropriateness of the adjustments, taking into account the teaching objectives.

Teaching tools

Slides, viewing audiovisual materials, web sources, learning materials on Virtual, TEAMS Platform, meetings with artists and scholars.

Office hours

See the website of Rita Maria Fabris