B8689 - Analysis of the Creative Process in Theatre and Choreography (1) (LM)

Learning outcomes

At the end of the course the student: - acquires the rudiments to understand the functioning of the creative processes in theatre and choreography. Starting from the analysis of representative works and from the discussion of the main national and international theoretical-critical positions, the student: - acquires the interdisciplinary methodological tools to inscribe practices - both historical and contemporary - in a perspective of continuity and rupture with the historical framework of the discipline. In terms of competences, this knowledge provides the student with: - transversal analytical tools to be applied in the educational, essayistic and critical field; - analytical tools to be applied in the field of design and curation of specific spectacular - theatrical and choreographic events.

Course contents

Title: Creativity and stage expression

 

The course aims to analyse certain aspects of the creative processes employed by contemporary artists, in close connection with contemporary research into sound.

Starting from a reflection on the act of creation, the course aims to analyse the compositional processes of international artists such as Romeo Castellucci|Societas Raffaello Sanzio, Christoph Marthaler, Heiner Goebbels, Bob Wilson, Crystal Pite, Angelica Liddell and others, defining the theoretical framework of the acoustic image.

On the contemporary stage, forms, sounds and colors seem to arise a problem about the vision, they put it into question, and, after all, theatre is the place of the vision. So the point is to question what one sees at theatre: the epiphany of beings could be an answer. Within this framework we will therefore consider a reflection on the image, visual and acoustic. It is exactly in this sense that the acoustic image can emerge. The sound, just like the color, represents the scene’s temperature in order to re-orient the perceptive faculties of the audience becoming a sort of immersive sensation to be inhabited. From this standpoint, to talk about the atmosphere in theatrical sense is to consider some acoustic and chromatic elements that extend and persist by acting on all the points of the scenic device in a latent way. In this scenario, the composition is a tension between the visible and the invisible, between the audible and inaudible that is manifested on the scene as a magnetic field. I will argue that this analytic perspective changes the point of view and the methodology of looking at contemporary theatre and dance and ultimately also the concept of listening.

 

Students with SLD or temporary or permanent disabilities. It is suggested that they get in touch as soon as possible with the relevantUniversity office [https://site.unibo.it/studenti-con-disabilita-e-dsa/en]and with the lecturer in order to seek together the most effective strategies for following the lessons and/or preparing for the examination.

Readings/Bibliography

1)- a book of your choice from:

Emilio Garroni, Creatività, Macerata, Quodlibet, 2024.

Nick Rubin, L'atto creativo: un modo di essere, Milano, Mondadori, 2023 (The Creative Act : A Way of Being, London, Canongate Books, 2023).

2)- a book of your choice from:

M. De Marinis, Ripensare il Novecento teatrale. Paesaggi e spaesamenti, Roma, Bulzoni, 2018.L. Mango, La scrittura scenica, Roma, Bulzoni, 2003.

H-T. Lehmann, Il teatro postdrammatico, Imola, Cuepress, 2017.

Erika Fischer-Lichte, Estetica del performativo, Roma, Carocci, 2014.

3)- a book of your choice from:

E. Pitozzi, Del tragico acustico. Indagine sul teatro del suono, Bologna, Sigarette Edizioni Grafiche, 2024.

E. Pitozzi (a cura di), Teatri del suono, numero monografico di «Culture Teatrali», n. 27, 2018;

Y. Meerzon (a cura di), La sémiotique du son : Vers une architecture de l’acoustique et de l’auralité dans le théâtre postdramatique / Semiotics of Sound : Toward an Architecture of Acoustics and Aurality in Postdramatic Theatre, “Recherches Semiotic / semiotiques Inquiry”, Vol. 35, n. 2-3 / Vol. 36, n.1-2, 2018.

P. Di Matteo (a cura di), Toccare il reale. L’arte di Romeo Castellucci, Napoli, Cronopio, 2015.

H. Goebbels, Aesthetics of Absence. Texts on Theatre, London-New York, Routledge, 2015;

V. Valentini, Drammaturgie sonore, Roma, Bulzoni, 2012.

Susan Bennett, Theory for Theatre Studies: Sound, Dublin, Bloomsbury, 2019.

Ross Brown, Sound: A Reader in Theatre Practice, London, Palgrave Macmillan, 2009.

A. Mastropietro, Nuovo Teatro Musicale fra Roma e Palermo, 1961-1973, Lucca, LIM, 2020.

4)- lecture notes

Teaching methods

Frontal lessons, with analysis and deepening of the concepts treated, guided analysis of the audiovisual works of the theatre.

Other bibliographical indications, in a foreign language, will be provided and discussed during the course, so as to frame the issues raised in a broader analytical framework.
In-depth analyses and critical readings, as well as a card with an indication of the materials discussed during each lesson, will be uploaded to the "Virtuale" platform of the teaching.

Assessment methods

The evaluation of the course will be carried out according to the ways, timing and guidelines established by the course of study. It will be based on an oral interview. Students may also agree with the Lecturer to prepare an essay on the aspects developed within the module. The written text shall be approx 10 pages and shall be provided to the Lecturer one week before the oral test date. Evaluation will be according to the modes, timing and directive set up for the course and will be based on an oral test.

The final exam will be an oral one, with questions aimed to verify the student's knowledge of the themes discussing during frontal lectures (only for attending students) as well as those treated in the program's texts. Attending students may, alternatively, present a written work agreed with the teacher.

The assessment will concentrate particularly on the skill displayed by the student in handling the material in the exam bibliography and his ability to find and use information and examples to illustrate and correlate the various themes and problems addressed in the course.

The assessment will thus examine the student's:

- factual knowledge of the subject;

- ability to summarise and analyse themes and concepts;

- familiarity with the terminology associated with the subject and his ability to use it effectively.

Top marks will be awarded to a student displaying an overall understanding of the topics discussed during the lectures, combined with a critical approach to the material and a confident and effective use of the appropriate terminology (30 cum laude and 30).

Average marks will be awarded to a student who has memorized the main points of the material and is able to summarise them satisfactorily and provide an effective critical commentary, while failing to display a complete command of the appropriate terminology (29-27).

A mnemonic knowledge of the subject, together with the capacity for synthesis and analysis articulated in a correct language, but not always appropriate, will lead to discreet evaluations (26-24).

Gaps in training and/or imprecise language - albeit in a context of minimal knowledge of the examination material - will lead to sufficient marks (23-21).

Training gaps and/or imprecise language - albeit in a context of minimal knowledge of the examination material - will lead to just enough grades (20-18).

Insufficient training, inappropriate language, lack of orientation within the bibliographic material will be evaluated negatively (<18).

Students with SLD or temporary or permanent disabilities. It is necessary to contact the relevant University office [https://site.unibo.it/studenti-con-disabilita-e-dsa/en/for-students] with ample time in advance: the office will propose some adjustments, which must in any case be submitted 15 days in advance to the lecturer, who will assess the appropriateness of these in relation to the teaching objectives.

Teaching tools

Audiovisual material from theatre, digital archives; platforms and websites.

Office hours

See the website of Enrico Pitozzi