Academic Year 2023/2024

  • Teaching Mode: Traditional lectures
  • Campus: Forli
  • Corso: First cycle degree programme (L) in Languages and Technologies for Intercultural Communication (cod. 5979)

Learning outcomes

The student is familiar with the basic techniques of oral presentation and the basic elements of theatrical culture; he/she is able to work in a team and manage verbal and non-verbal communication in intercultural contexts; he/she is able to provide linguistic services in the field of inter-semiotic translation of written, oral and multimedia texts belonging to different genres.

Course contents

The «Classroom-stage», Teatro in Lingua course presents an integrated path in which, by applying the expressive languages of the theatre, linguistic and soft and life skills come together:

- ethnoempathic competence;

- intercultural communicative competence;

- competence to integrate verbal and non-verbal communication.

- entrepreneurship skills (creative ability, problem solving, project management, empowerment)

- teamwork.

The linguistic-cultural objectives of the «Aula-stage» are the following:

- knowing how to facilitate communication between different cultures;

- knowing how to use different languages (verbal and non-verbal aspects);

- knowing how to recontextualize messages to make them understandable by all participants;

- improve their linguistic (phonetics and prosody), sociolinguistic and pragmalinguistic skills.

The transversal objectives from an intercultural perspective are the following:

- kinesic competence: body language, facial expressions, gestures;

- proxemic competence;

- vestimic competence;

- object competence.

- relational competence: knowing how to observe; know how to relativize; knowing how to suspend judgment; being able to listen actively; knowing how to negotiate meanings;

- communicative sensitivity and empathetic/exotopic ability.

The deontological-professional objectives:

- know how to independently manage and organize one's own work;

- knowing how to respect group dynamics and the project timetable;

- know how to solve critical issues with new creative combinations.

The course is divided into two modules, with the co-presence of Dr. Marie-Line Zucchiatti as expert teacher:

Theater in language - The text
Theater in language - The scene

Humor and the forms of the comic, from an intercultural and intersemiotic perspective, are the thematic leitmotif of the two modules, with the aim of bringing the sixth sense on stage. In fact, the final product of the course consists in the staging of a multilingual theatrical text created/translated by the participating students. The territory of the "rice" explored starts from the well-known statement of F. Rabelais: « Mieulx est de ris que de larmes escripre / Pour ce que rire est le propre de l'homme » [«Better is laughter than tears writing/Ché rider above all is a human thing» Rabelais, F. (1973). Gargantua and Pantagruel (p. 5). Einaudi].

The final show will be presented on the occasion of the SSenzaLiMITi University Theater Review in foreign language "Theatrical Babel under Construction":





Dossier available on the VIRTUAL platform with texts of the following works:

Aristotele (2008). Poetica, a cura di Pierluigi Donini. Einaudi.

Bachtin, M. (1979). L’opera di Rabelais e la cultura popolare. Riso, carnevale e festa nella tradizione medievale e rinascimentale, trad. it. di Mili Romano. Einaudi.

Bergson, H. (1991). Il riso. Saggio sul significato del comico, Introduzione di Fabio Ceccarelli, trad. it. di Franco Stella. Rizzoli.

Campanile, A. (1973). Manuale di conversazione. Rizzoli.

Campanile, A. (1978). Tragedie in due battute. Rizzoli.

Eco, U. (1985). Pirandello Ridens. In U. Eco Sugli specchi ed altri saggi (pp.

261–270). Bompiani,

Eco U (1985) Ma che cosa è questo Campanile? In: U. Eco Sugli specchi ed altri saggi (pp. 271-279). Bompiani.

Johnstone, K. (2004). Impro. Teorie e tecnica dell’improvvisazione. Dall’invenzione scenica a quella drammaturgica. Dino Audino Editore.

Pirandello, Luigi (1986), L’umorismo, Mondadori.

Seignovert, R. (2019). De qui se moque-t-on? Tour d’Europe en 345 blagues. Les Éditions de l'Opportun.

Spadaro, L. (2019). L’attore specchio. Training attoriale e neuroscienze in 58 esercizi. Dino Audino Editore.

Teaching methods

The chosen teaching approach meets the criteria of a model of cooperative learning and experiential learning in a classroom-stage environment, based on the teaching principle: action > reflection > action. The method provides for the active involvement of students, called to interact proactively in the organization and staging of theater in the foreign languages studied. Compared to the traditional classroom, the student/actor can discover hidden traits of his own personality and explore his "intra/interpersonal intelligence" with a careful balance between oral language, written language, linguistic action and metalinguistic and metatranslation awareness thanks to creative writing and scripts for acting and surtitling. The classroom-stage also allows for the application of intergenerational learning and interaction between students and professionals in the sector. It should also be emphasized that the theatrical performance, due to the nature of its reception, connects the academic community with citizenship, deepening the relationship established between performer and spectator since it opens up common ground for the shared research of the fundamentals of the human being.

Different methodologies of theater pedagogy converge in the theater language teaching adopted:

-Orazio Costa's mimic method: exercises aimed at developing observation, self-observation and active listening skills;

- Theater statue of Augusto Boal: exercises aimed at developing the ability to communicate with different languages, verbal and non-verbal;

-Impro: exercises aimed at developing the ability to recognize and represent the dynamics of daily relationships;

-BioArt by Madeleine Barchevska: use of the neutral mask. Acknowledging other people's emotions/exotopic detachment.

- Luca Spadaro's mirror actor (neuroscientific approach): action>reaction (perception/observation/understanding/inter-understanding/involvement/involvement and exotopic detachment).

Assessment methods

The final exam consists in the presentation of the realized theatrical project (writing, translation, staging), in the discussion on the creative process and in the self-evaluation of the final performance.

Evaluation grid

30-30L excellent test demonstrating very broad, complete and in-depth knowledge of the translation process, well-established ability to apply theoretical concepts;

27-29 above average test demonstrating precise and complete knowledge of the contents, good ability to apply theoretical concepts, ability to analyze and synthesise, sure and correct exposition

24-26 valid test that demonstrates knowledge of the appropriate contents, good ability to apply the theoretical concepts, articulated presentation of the contents

21-23 sufficient evidence demonstrating appropriate but not in-depth knowledge of the contents, ability to apply theoretical concepts only partially, acceptable presentation of the contents

18-20 just sufficient test that demonstrates sufficient but general knowledge of the contents, simple exposition, uncertainties in the application of theoretical concepts

Insuff. insufficient evidence that does not demonstrate adequate acquisition of knowledge of the contents which are fragmentary and superficial, with errors in applying the concepts, and deficient exposition

Teaching tools

Multimedia laboratory with silent room, ADOBE pro and PROTOOLS programs for the production of podcasts, video mapping, video art, slideshows, post-production of multimedia materials, surtitling, etc.

Office hours

See the website of Maria Isabel Fernandez Garcia