B8709 - Dance Theory (1) (LM)

Learning outcomes

At the end of the Course, the student possesses an articulated framework of the theories and poetics developed between the 19th century and the present day regarding dance, thanks to the comparison with the theories and poetics of scholars, critics, spectators, artists, and with the concretisation of these ideas in choreographic languages, creative processes, works (or ‘choreographic objects’); he/she acquires methodological tools useful for autonomously exercising his/her ability to analyse theoretical texts regarding dance. In terms of skills, this knowledge provides the student with analytical and reflective tools that can be applied in theoretical research and artistic creation; in essay writing and critical journalism; in the design and management of performance events.

Course contents

The course aims to provide students with useful guidelines for navigating the diverse landscape of theatrical dance theories conceived and implemented by choreographers active from the 19th century to the present day—that is, to introduce them to various concepts of the dancing body, choreographic language, the creative process, and the construction of a performance.

We will therefore focus on the theories developed by the writer, librettist, and theater critic Théophile Gautier (1811–1871) through his fragmented yet dense writings, before moving on to explore the theories put into practice by certain 20th-century and contemporary choreographers, such as Merce Cunningham, Pina Bausch and Carolyn Carlson, with whom a conference is scheduled.

Across the two thematic areas outlined above, particular attention will be given to the relationship between dance, digital media, XR, and artificial intelligence, exploring the new forms of presence, spectatorship, memory, authorship, and choreographic creation introduced by immersive environments and generative processes.

The classes will be enriched by meetings with artists and scholars, which will take place both on campus and, when possible, at local theaters and cultural venues.

 

This course participates in the UPRAISE project, an initiative co-funded by the European Union through the European Health and Digital Executive Agency (HaDEA) under Grant Agreement No. 101225920.

Readings/Bibliography

Preparation for the exam will focus on the study of two volumes:

1) Elena Cervellati, Théophile Gautier e la danza. La rivelazione del corpo nel balletto del XIX secolo, AlmaDiamond - Alma Mater Studiorum-Università di Bologna, Bologna 2026, online: https://books.unibo.it/almadiamond/catalog/book/31;

2) Elena Randi, Il corpo pensato. Teorie della danza nel Novecento, Dino audino, Roma 2020.

The study of the listed texts must be supplemented by viewing a selection of performances chosen from those mentioned in the texts themselves. Non-attending students must present a list of the performances they have viewed at the exam.

Attending students may substitute one of the required readings with a written paper and, if applicable, an oral presentation to be given in class.

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 methods

Classroom lessons will be supplemented by guided viewings of video recordings of performances. Active participation by attending students will be encouraged through case studies and classroom discussions. Participation in festivals and roundtable discussions related to the course content will also be encouraged.

Assessment methods

The students’ learning outcomes on the course’s themes will be verified through an interview concerning the recommended bibliography.

It will be assessed as excellent the performance of those students achieving an organic vision of the course contents, the use of a proper specific language, the originality of the reflection as well as the familiarity with the tolls for analyzing the course’s themes.

It will be assessed as discrete the performance of those students showing mostly mechanical or mnemonic knowledge of the subject, not articulated synthesis and analysis capabilities, a correct but not always appropriate language, as well as a scholastic study of the course’s themes.

It will be assessed as barely sufficient the performance of those students showing learning gaps, inappropriate language, lack of knowledge of the discipline.

It will be assessed as insufficient the performance of those students showing learning gaps, inappropriate language, no orientation within the recommended bibliography and inability to analyze the course’s themes.

Teaching tools

The courses will be supplemented by iconographic and videographic material. In addition, they will be enriched by the presence of artists and scholars.

Office hours

See the website of Elena Cervellati