B8689 - Analysis of the Creative Process in Theatre and Choreography (1) (LM)

Learning outcomes

At the end of the course the student: - acquires the rudiments to understand the functioning of the creative processes in theatre and choreography. Starting from the analysis of representative works and from the discussion of the main national and international theoretical-critical positions, the student: - acquires the interdisciplinary methodological tools to inscribe practices - both historical and contemporary - in a perspective of continuity and rupture with the historical framework of the discipline. In terms of competences, this knowledge provides the student with: - transversal analytical tools to be applied in the educational, essayistic and critical field; - analytical tools to be applied in the field of design and curation of specific spectacular - theatrical and choreographic events.

Course contents

Title: Scenic Composition: Melancholy and Creation

This course explores the relationship between melancholy and scenic creation—both theatrical and choreographic—approaching melancholy not merely as a psychological category but as an aesthetic and philosophical paradigm deeply intertwined with the practice of the performing arts. Through an interdisciplinary perspective, the course examines the principal aesthetic qualities historically attributed to melancholy, from the classical tradition to contemporary thought, placing them in dialogue with current forms of scenic composition.

Particular attention will be devoted to artists such as Robert Wilson, Crystal Pite, Romeo Castellucci, Caroline Guiela Nguyen and Shiro Takatani, among others, whose work has transformed experiences of loss, limitation, absence, and existential unease into generative devices for scenic creation and formal research within an aesthetic of grace. Through the analysis of performances, audiovisual materials, and critical texts, students will investigate the relationship between inner experience, the imaginal world, and scenic composition, with particular emphasis on the role of sound and image.

The course also considers the stage as a site of symbolic elaboration and a privileged space for questioning the human condition, highlighting the generative potential of melancholy within creative processes. Teaching activities combine lectures, seminar discussions, and the analysis of artistic works, providing students with methodological and interpretive tools for understanding theatrical and choreographic practices in their historical, theoretical, aesthetic, and compositional complexity.

Students with SLD or temporary or permanent disabilities. It is suggested that they get in touch as soon as possible with the relevantUniversity 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.

Readings/Bibliography

1)- a book of your choice from:

a)- Emilio Garroni, Creatività, Macerata, Quodlibet, 2024.

b)- Nick Rubin, L'atto creativo: un modo di essere, Milano, Mondadori, 2023 (The Creative Act: A Way of Being, London, Canongate Books, 2023).

2)- Jean Starobinski, L’inchiostro della malinconia, Torno, Einaudi, 2014.

3)- a book of your choice from:

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

b)- L. Mango, La scrittura scenica, Roma, Bulzoni, 2003.

c)- H-T. Lehmann, Il teatro postdrammatico, Imola, Cuepress, 2017.

d)- E. Pitozzi, Del tragico acustico. Indagine sul teatro del suono, Bologna, Sigarette Edizioni Grafiche, 2024.

e)- E. Montnari, E. Pitozzi, Cellula. Anatomia dello spazio scenico, Quodlibet, Macerata, 2021.

f)- P. Di Matteo (a cura di), Toccare il reale. L’arte di Romeo Castellucci, Napoli, Cronopio, 2015.

g)- H. Goebbels, Aesthetics of Absence.Texts on Theatre, London-New York, Routledge, 2015;

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