95881 - Theories and Practices of Dance (Lm)

Learning outcomes

At the end of the course students will acquire articulated knowledge about the theoretical thoughts developed between XIX Century and the present days about on the theatrical dance; will acquire articulated knowledge about the practices developed by choreographers and dancers in the same period; will be able to autonomously practice their own ability of analysis on critical and theoretical texts about dance; will be able to analyze related iconographical and video documents.

Course contents

The aim of the course is to offer useful coordinates to orient in the panorama of the theories and practices of theatrical dance conceived and implemented by choreographers active between the 20th century and today, that is, to approach different ideas of the dancing body, choreographic language, the creative process, the construction of the performance; in short: of human being and world vision.

In order to touch upon and share reflections on these themes, in the first part of the course (modulo 1) we will focus on the vision of some significant examples of performances resulting from these theories and on the reading of texts written by the artists themselves, briefly contextualising their activities and highlighting their reciprocal relationships; in the second part of the course (module 2) we will develop and practise in the classroom some methods of analysing the dance performance, starting from the viewing of recordings of live performances and creations created specifically for the screen (screeendance), also in order to draw up a written paper, the contents of which may be shared in the classroom by those who wish to do so.

The lessons will be complemented by meetings with artists and scholars, which will take place both on site and, when possible, at theatres and local venues.

Practical information

The lessons will be divided into two modules. Lessons for modulo 1 will take place from 18 September to the end of October; lessons for modulo 2 will take place from 13 November to mid-December). Depending on their study plan, students will be able to take either the 6 cfu exam, taking module 1 only, or the 12 cfu exam, taking both module 1 and module 2.

Readings/Bibliography

6 cfu course

In order to take the 6 cfu exam, you need to study two texts, the one indicated in point 1 and a text of your choice from those indicated in point 2, taking care to view a good selection of the cited examples of performances:

1) Elena Randi, Il corpo pensato. Teorie della danza nel Novecento, Dino Audino, Roma 202;

2) A single volume of your choice from the following:

• Isadora Duncan, L’arte della danza, Dino Audino, Roma 2016;
• Irma Duncan, La tecnica di Isadora Duncan, Dino Audino, Roma 2017;
• Isadora Duncan, La mia vita. Una grande pioniera della danza moderna, Dino Audino, Roma 2003;
• Loïe Fuller, Una vita da danzatrice. Memorie di un mito della danza moderna, Dino Audino, Roma 2013;
• Martha Graham, La memoria del sangue. Un’autobiografia, Dino Audino, Roma 2022;
• Vera Maletic, Rudolf Laban. Lo sviluppo del suo pensiero in movimento, Dino Audino, Roma 2023;
• Ted Shawn, Ogni più piccolo movimento. François Delsarte e la danza, Dino Audino, Roma 2018.

 

 

12 cfu course

To take the 12 cfu exam, you need to study three texts: the one indicated in point 1, a text of your choice from those indicated in point 2 and the one indicated in point 3, taking care to view a good selection of the examples of performances cited in the same tests; in addition, you need to write a written paper, as indicated in point 4.

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

2) A single volume of your choice from the following:

• Isadora Duncan, L’arte della danza, Dino Audino, Roma 2016;
• Irma Duncan, La tecnica di Isadora Duncan, Dino Audino, Roma 2017;
• Isadora Duncan, La mia vita. Una grande pioniera della danza moderna, Dino Audino, Roma 2003;
• Loïe Fuller, Una vita da danzatrice. Memorie di un mito della danza moderna, Dino Audino, Roma 2013;
• Martha Graham, La memoria del sangue. Un’autobiografia, Dino Audino, Roma 2022;
• Vera Maletic, Rudolf Laban. Lo sviluppo del suo pensiero in movimento, Dino Audino, Roma 2023;
• Ted Shawn, Ogni più piccolo movimento. François Delsarte e la danza, Dino Audino, Roma 2018.

3) Elena Cervellati - Silvia Garzarella (a cura di), Tra videodanza e realtà estesa: alcune esperienze italiane, Dino Audino, Roma 2024 (in corso di stampa).

Written paper
4) Examination preparation will be completed by a written paper, drafted individually or in small groups, the content of which, in any case to be agreed with the professor, will focus on the analysis of one or more performances examined starting from their video recording, or on the analysis of a screendance creation.

The paper must be between 5 and 10 pages long, complete with bibliography and videography, and follow the editorial rules found among the materials made available on the ‘Virtuale’ online platform.

Attending students will be able to present their work during the lessons.

Non-attending students are required to agree with the lecturer on the topic of the paper, to hand it in at least one week before the exam date and to be able to present its content orally during the exam.

 

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Bibliographical variations are possible, in accord with the professor.

 

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Students with SLD or temporary or permanent disabilities are suggested to contact as soon as possible with the relevant University 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.

Teaching methods

Lessons will be supported by commented view of the videos and pictures, as well as by meetings with artists and, possibly, attending at live performances. The active participation of the attending students will be solicited suggesting readings and discussions.

Assessment methods

The students’ learning outcomes on the course’s themes will be verified through an interview concerning the recommended bibliography and through a conversation about the written paper.

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.

 

Students with SLD or temporary or permanent disabilities are suggested to contact the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en) 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

Visual documentation through projections of fixed and moving images.

Office hours

See the website of Elena Cervellati