29019 - History of Directing (1) (2nd cycle)

Learning outcomes

For the purposes of the Fundamentals of Theatre Directing (1) classes, the concept of theatre directing will be considered as potentially referring to all forms of live performance, including musical theatre. At the end of the course unit, the students will know: - the main theoretical and methodological aspects of directing, in connection with the artistic context of the theatre and with the framework of human sciences in general; - the main study tools with which to set up a research on a director's work; Moreover, they will be able to: - employ the language of directing effectively; - work out a mature and original critical thought on the art of staging and correctly carry out a research of their own, in the field of theatre directing, that makes use of various sources of information (documentary and not), intended to be presented either in writing or in spoken form.

Course contents

Title: Stage Direction: Interiority and Scenic Form

 

The course offers a critical introduction to the historical, theoretical, and methodological foundations of theatre directing, examining its emergence and consolidation as an autonomous artistic practice within the context of modern theatre from the late nineteenth to the early twentieth century. Through the analysis of major European directing traditions—from Konstantin Stanislavski to Jan Fabre, including Vsevolod Meyerhold, Bertolt Brecht, Jerzy Grotowski, and Tadeusz Kantor, among others—the course explores the transformation of the director’s role from that of a coordinator of the theatrical event to an authorial figure responsible for the overall composition of the performance, encompassing its textual, spatial, physical, sonic, and visual dimensions. The course examines different directorial poetics through the study of theoretical writings, artistic practices, and documentary materials, with particular attention to the processes of performance-making and the relationships between dramaturgy, the actor’s body, and scenic devices. Within the context of contemporary theatre directing, the first case study focuses on Eimuntas Nekrošius, whose work profoundly influenced European theatre through a conception of the stage as a poetic and metaphorical space, grounded in the centrality of the actor, the expressive potential of materiality, and the sensory dimension of performance. A second case study is devoted to the work of Federico Tiezzi, with particular emphasis on his engagement with iconography and scenic composition, examining how images and visual references contribute to the formal construction of the stage. The course aims to provide students with the theoretical and analytical tools necessary to understand theatre directing as a practice of interpretation, artistic research, and the production of meaning within the field of contemporary live performance.

 

Students with SLD or temporary or permanent disabilities. It is suggested that they get in touch as soon as possible with the relevant University office and with the lecturer in order to seek together the most effective strategies for following the lessons and/or preparing for the examination.

Readings/Bibliography

1)- A book of your choice from

 

a)- M. Schino, La nascita della regia teatrale, Roma-Bari, Laterza, 2003.

b)- Umberto Artioli (a cura di), Il teatro di regia: genesi ed evoluzione (1870-1950), Roma, Carocci, [2004] 2018.

c)- Lorenzo Mango, La scrittura scenica. Un codice e le sue pratiche nel teatro del Novecento, Roma, Bulzoni, 2004

d)- Annalisa Sacchi, Il posto del re. Estetiche della regia teatrale nel modernismo e nel contemporaneo, Roma, Bulzoni, 2012.

e)- M. De Marinis, Ripensare il Novecento teatrale. Paesaggi e spaesamenti, Roma, Bulzoni, 2018.

f)- Mirella Schino, L’étà dei maestri, Viella, 2017.

g)- Lorenzo Mango, Il Novecento del teatro. Una storia, Roma, Carocci, 2019.

 

2)- two books of your choice from

 

a)- A. Appia, Attore, musica e scena: la messa in scena del dramma wagneriano, la musica e la messa in scena, l’opera d’arte vivente, Milano, Feltrinelli, 1975.

b)- G. Craig, Il mio teatro, a cura di F. Marotti, Milano, Feltrinelli, 1971;

c)- M. Shavtsova, Stanislavskij. Teatro e spiritualità, Roma, Carocci, 2026.

d)- V.E. Mejerchol´d, L'attore biomeccanico, Milano, Ubulibri, 1993;

e)- P. Brook, Il punto in movimento 1946-1987, Milano, Ubulibri, 1988;

f)- T. Kantor, Il teatro della morte, Milano, Ubulibri, 2000;

g)- V. Valentini (a cura di), Eimuntas Nekrosius, Soveria Mannelli (CZ), Rubettino, 1999;

h)- L. Mango, Federico Tiezzi, Roma, Carocci, 2025.

Teaching methods

Frontal lessons, with analysis and deepening of the concepts treated, guided analysis of the audiovisual works of the theatre.

Other bibliographical indications, in a foreign language, will be provided and discussed during the course, so as to frame the issues raised in a broader analytical framework.
In-depth analyses and critical readings, as well as a card with an indication of the materials discussed during each lesson, will be uploaded to the "Virtuale" platform of the teaching.

Assessment methods

The evaluation of the course will be carried out according to the ways, timing and guidelines established by the course of study. It will be based on an oral interview. Students may also agree with the Lecturer to prepare an essay on the aspects developed within the module. The written text shall be approx 10 pages and shall be provided to the Lecturer one week before the oral test date. Evaluation will be according to the modes, timing and directive set up for the course and will be based on an oral test.

The final exam will be an oral one, with questions aimed to verify the student's knowledge of the themes discussing during frontal lectures (only for attending students) as well as those treated in the program's texts. Attending students may, alternatively, present a written work agreed with the teacher.

The assessment will concentrate particularly on the skill displayed by the student in handling the material in the exam bibliography and his ability to find and use information and examples to illustrate and correlate the various themes and problems addressed in the course.

The assessment will thus examine the student's:

- factual knowledge of the subject;

- ability to summarise and analyse themes and concepts;

- familiarity with the terminology associated with the subject and his ability to use it effectively.

Top marks will be awarded to a student displaying an overall understanding of the topics discussed during the lectures, combined with a critical approach to the material and a confident and effective use of the appropriate terminology (30 cum laude and 30).

Average marks will be awarded to a student who has memorized the main points of the material and is able to summarise them satisfactorily and provide an effective critical commentary, while failing to display a complete command of the appropriate terminology (29-27).

A mnemonic knowledge of the subject, together with the capacity for synthesis and analysis articulated in a correct language, but not always appropriate, will lead to discreet evaluations (26-24).

Gaps in training and/or imprecise language - albeit in a context of minimal knowledge of the examination material - will lead to sufficient marks (23-21).

Training gaps and/or imprecise language - albeit in a context of minimal knowledge of the examination material - will lead to just enough grades (20-18).

Insufficient training, inappropriate language, lack of orientation within the bibliographic material will be evaluated negatively (<18).

Students with SLD or temporary or permanent disabilities. It is necessary to contact the relevant University office [https://site.unibo.it/studenti-con-disabilita-e-dsa/en/for-students ] 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.

AI can be a useful tool to support individual study through in-depth analyses, summaries, and self-assessment activities. However, with regard to the assessment of learning, the use of AI is prohibited during in-person examinations. Any use of AI in this context constitutes a violation of academic integrity.

Teaching tools

Audiovisual material from theatre, digital archives; platforms and websites.

Office hours

See the website of Enrico Pitozzi