B8700 - Choreutic Writing (1) (LM)

Learning outcomes

At the end of the course the student: - acquires basic information on choreographic notations; - learns a scientific method for the reconstruction of choreographies from the past; - knows how to connect, in a general way, choreographic and musical dictation thanks to the correlation between the skills acquired in modules I and II; - acquires the fundamental notions for producing a critical choreographic edition accompanied by musical dictation. This knowledge provides the student with: - basic skills to study choreographic witnesses; - basic skills to philologically reconstruct choreographies of the past on paper and to identify their relationship with the musical text; - sufficient skills to set up a critical choreographic edition, accompanied by music, useful for a possible staging.

Course contents

The course aims to teach a scientific method for reconstructing choreographies from the past, particularly classical nineteenth-century choreographies, and for drafting a critical edition of the choreography.

The focus will be on repertoire ballets that are still performed in today's theatres (such as Giselle by Coralli and Perrot, Le réveil de Flore and Arlequinade by Marius Petipa), but in heavily reworked versions, which will be reproduced, at least in general terms, in an “edition” as close as possible to the original.

Students will also acquire preliminary basic information on some 19th-century choreographic notations.

In order to achieve the minimum musicological skills required to relate musical notation to choreography, integration with the teaching of "Education for Understanding Music" will be essential.

Readings/Bibliography

Attending students:

• Lecture notes.
• Elena Randi, La storia di Giselle: due secoli di metamorfosi, Kinètes, Benevento, 2025, pp. 9-108, 127-15, and a chapter of your choice from those by Chiara Rampazzo, Elena Cervellati, Marco Argentina, Annamaria Corea, and Lester Tomé.
• Elena Randi, Primi appunti per un progetto di edizione critica coreica, in «SigMa. Rivista di letterature comparate, teatro e arti dello spettacolo», vol. IV, 2020, pp. 755-771.
• Elena Randi, L'Arlecchinata di Petipa: fonte d'ispirazione o balletto da conservare, in «Biblioteca teatrale», nuova serie, n. 134, 2020, pp. 97-126.
• Elena Randi, Per un’edizione critica della danza: riflessioni metodologiche e applicative, in «Danza e Ricerca. Laboratorio di studi, scritture, visioni», n. 14, dicembre 2022, pp. 145-159, online: https://danzaericerca.unibo.it/article/view/16068/15230.
• Caterina Piccione, In search of lost ballet. Challenges and resources in the creation of a critical dance edition, in From Fragments to Form, edited by Caterina Piccione and Marco Argentina, Bologna, Alma Diamond, Alma Mater Studiorum Univeristà di Bologna, 2025, pp. 8-20 [Italian translation provided in class].

For further information on Stepanov notation, we recommend:

• Matteo Ferraresso, Note che trascrivono il gesto: la notazione Stepanov per il balletto, in «Danza e ricerca. Laboratorio di studi, scritture, visioni», n. 16, 2023, pp. 7-36, online: https://danzaericerca.unibo.it/article/view/18749/17281.

For further study of the editorial method, we recommend:

• Alfredo Stussi, Breve avviamento alla filologia italiana, Il Mulino, Bologna, 2015.
  

Non-attending students:

In lieu of lecture notes, non-attending students are required to study:

• Alfredo Stussi, Breve avviamento alla filologia italiana, Il Mulino, Bologna, 2015
  

and all publications recommended for attending students.

Teaching methods

The teaching includes lectures, choreographic reconstruction exercises, and discussions with students.

Assessment methods

The level of learning will be assessed through an oral exam that will focus on the topics covered during the course and the texts indicated in the exam syllabus.

Achieving a comprehensive understanding of the topics covered, mastering expressive skills and specific language, and familiarity with the analytical tools of dance philology will be assessed with excellent marks. A predominantly rote or rote knowledge of the subject matter, an incomplete ability to synthesize and analyze, or correct but inappropriate language will result in a fair grade. Occasional gaps in mastery of the subject matter, poor ability to synthesize and analyze, and inappropriate language will result in a passing grade. Significant gaps in learning, inappropriate language, or an inability to analyze the fundamentals of dance philology will result in a failing grade.

Students with learning disabilities (LD) or temporary or permanent disabilities: please contact the relevant University office promptly (https://site.unibo.it/studenti-con-disabilita-e-dsa/it). They will be responsible for suggesting any accommodations to the students concerned. These accommodations must be submitted to the instructor for approval 15 days in advance, who will evaluate their suitability, also taking into account the course's learning objectives.

Teaching tools

Viewing videos and illustrations, reading text sources; if possible, watching performance rehearsals and listening to oral histories from dancers/choreographers/ballet masters.

Office hours

See the website of Elena Randi