27928 - Laboratory (1) (LM) (G. G)

Learning outcomes

By the end of the workshop the student will have gained skills for the practical application of the notions developed during the courses. The student is able to use their knowledge within professional activities in the fields of planning, production, and live performance.

 

Course contents

Between philosophy, music, and theatre:

Modern and contemporary reinterpretations of the myth of Prometheus

The workshop will be dedicated to the myth of Prometheus, and in particular to the philosophical meaning of various modern and contemporary musical and theatrical reinterpretations of it.

First there will be a general outline of the history of the myth of Prometheus - with particular reference to Hesiod and Plato and some well-known modern interpretations.

Secondly, the workshop will focus on various musical and theatrical reinterpretations proposed at the turn of the modern and contemporary ages: The Creatures of Prometheus (set to music by Beethoven with choreography by Salvatore Viganò), the symphonic poem Prometheus by Liszt, inspired by Herder's Prometheus Liberated, and the play Pandora by Goethe.

The last part of the workshop will be dedicated to Luigi Nono's Prometeo: Tragedia dell'ascolto.

Particular importance will be placed on listening to and viewing the works and engaging with their philosophical assumptions.

Starting date: 12th February 2025

Wednesday, 17:00 - 19:00, aula Picchi (Palazzo Marescotti, via Barberia 4)

Thursday, 15:00 - 17:00, aula Picchi (Palazzo Marescotti, via Barberia 4)

Friday, 15:00 - 17:00, aula Picchi (Palazzo Marescotti, via Barberia 4)

 

Readings/Bibliography

1. Literary sources:

Selected parts * of these texts:

Esiodo, Teogonia, Einaudi, Torino 2023

Id., Opere e giorni, Garzanti, Milano 2020

Eschilo, Prometeo incatenato con i frammenti della trilogia, Rizzoli, Milano 2004

Platone, Protagora, BUR, Milano 2010

Luciano di Samosata, Prometeo o il Caucaso, in Id., Tutti gli scritti, Bompiani, Milano 2007

 

2. Modern and contemporary authors:

Selected parts * of these texts:

 J.W. Goethe, Inno a Prometeo, Opere complete, Sansoni 1970

Id., Pandora, in Opere complete, Sansoni 1970

J. Herder, Prometeo liberato **

Salvatore Viganò, Prometeo: libretto del ballo (1813), a cura di Stefano Tomassini, Torino 1999 **

Prometeo: tragedia dell'ascolto (riproduzione anastatica di: Luigi Nono, Verso Prometeo, a cura di Massimo Cacciari, Venezia 1984), La Biennale, Venezia 2024 ***

 

3. Musical scores and audiovisual material:

** During the workshop, the scores of the works of Beethoven and Liszt will be made available, but they will not be studied analytically.  

*** Depending on the time available and the number of participants, one or more productions of the Luigi Nono's opera will be viewed. 

 

* The selected parts of the texts will be collected in a handout (See Teaching Resources)

4. Critical readings (optional) ****:

4a. On mith and philosophy

H. Blumenberg, Elaborazione del mito, il Mulino, Bologna 1991, pp. 25- 364

Id., Il futuro del mito, Medusa, Milano 2002

E. Cassirer, Filosofia delle forme simboliche, vol. 2: Il pensiero mitico, La Nuova Italia, Firenze 1964

P. Philippson, Origini e forme del mito greco, Bollati Boringhieri, Torino 1983

J.-P. Vernant, Mito e pensiero presso i greci, Einaudi, Torino 1970

4b. On Prometheus

H. Blumenberg, Elaborazione del mito, Bologna 1991, pp. 365 segg.

R. Trousson, Le thème de Prométhée dans la littérature européenne, Librairie Droz, Ginevra 1964

J. Duchemin, Prométhée. Le mythe et ses origines, Les Belles Lettres, Paris 1974

K. Kerényi, Prometheus. Die menschliche Existenz in griechischer Deutung, Rowohlt, Zurigo 1959 [oppure in traduzione inglese: Prometheus : Archetypal Image of Human Existence, Bollinghen, New York 1963]

Id., Prometeo: il mitologema greco dell'esistenza umana, in Id., Miti e misteri, Bollati Boringhieri, Torino 2000, pp. 150-208

 

**** Critical readings are not obligatory. You can consult one or more of the texts indicated at Point 4 if you want to deepen your understanding of specific aspects of the history and philosophy of myth.

 

The programme is the same both for students who attend the lectures and those who don’t.

 

Teaching methods

Frontal lectures with discussions in class of the most crucial issues

Assessment methods

The student can choose one of two of the following: giving a short presentation (max 20 minutes) during the workshop, or writing a short essay (no more than 4200 words) *.

The workshop is aimed at the application of the theory studied, so the paper or presentation must focus above all on proposals/hypotheses for planning, production, and dissemination in the context of live performance activities of the analysed works. Papers and presentations must also highlight their philosophical contents.

* The paper must be sent by email (Microsoft Word document or PDF format) and delivered as a hard copy (to Prof. Imbriano’s office or the reception of Palazzo Marescotti) at least two weeks before the date of the exam session.

 

Students with SLD or temporary or permanent disabilities

It is necessary to contact the relevant University office 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

Traditional lectures and discussion with the support of Power Point and projection of audiovisual material. 

 

Office hours

See the website of Gennaro Imbriano