B8697 - History and Historiography of Modern and Contemporary Music (1) (LM)

Learning outcomes

At the end of the course the student: - acquires the methodological and critical foundations of theatre historiography relating to the history of theatre during the 20th and 21st centuries, placing them in the broader cultural and artistic framework. In terms of skills, this knowledge provides the student with: - analytical tools to be applied to the historical analysis and investigation of compositional processes, in the historical-critical and curatorial field of theatrical events.

Course contents

The first part examines the emergence of theatre studies as a discipline in Europe, the United States and Italy, and provides an overview of the subjects of study: from performance to stage direction, from the role of the actor to the script, from documentary sources to historical narrative.

The second part focuses on the history of nineteenth-century Scandinavian theatre, characterised by a deep interconnection between choreographic, musical and dramatic forms. By way of example, a number of productions by August Bournonville, Henrik Ibsen and August Strindberg will be analysed.

The third part explores the historiography of dance, offering a broad historical and methodological spectrum covering philology, reconstruction, pedagogies, and queer and post-colonial studies through a comparative analysis of Italian research from 2002 to 2026. Using the nineteenth-century case of the Ballet School of the San Carlo Theatre in Naples, the module will examine how archival documentation can take shape within a historical narrative.

Readings/Bibliography

Examination programme for attending and non-attending students:

R. Ferraresi, La rifondazione degli studi teatrali in Italia dagli anni Sessanta al 1985, Torino, Accademia University Press, 2019.

F. Perrelli, Il teatro scandinavo, Roma, Carocci, 2024.

Eugenia Casini Ropa, Note sulla nuova storiografia della danza, in Storia e storiografia del teatro, oggi. Per Fabrizio Cruciani, atti del convegno (14-16 novembre 2002), «Culture Teatrali», 7-8 (2002-03), pp. 97-105

Alessandro Pontremoli, “Il bel danzar che con virtù s’acquista...”. Note sugli studi della danza in Italia, «Il Castello di Elsinore», 56 (2007), pp. 129-153.

R. Ferraresi, Per una “storia delle storie” della nascita degli studi in danza nell’università italiana fra pratiche di disciplinizzazione e tendenza agli sconfinamenti, in «Mimesis Journal. Scritture della performance», 12, 2, 2023, pp. 17-41.

Flavia Pappacena, La ricerca sulla danza in Italia: esperienze e prospettive, «Acting Archives Review. Rivista di studi sull’attore e la recitazione», XVI, 31 (Maggio 2026), pp. 143-176 https://www.actingarchives.it/en/review/last-issue/315-la-ricerca-sulla-danza-in-italia-esperienze-e-prospettive.html

Maria Venuso, La Scuola di Ballo del Teatro di San Carlo. L’Ottocento, Kinetès, Benevento 2025, pp. 9-56.

Lecture notes and learning materials published on Virtuale.

Those who do not attend must submit a 10-page written report on a topic agreed in advance with the professor. This report must be submitted to the professor at least 7 days before the exam.

If students do not have specific knowledge of theatre history, it is strongly recommended that they study:

Roberto Alonge, Franco Perrelli, Storia del teatro e dello spettacolo, terza edizione, Utet, Torino, 2026

 

Teaching methods

Lectures are face-to-face and consist of phases of explanations, reading of textual materials, analysis of iconographic and audiovisual materials, questions, discussion and group work. Meetings with artists and scholars are also planned. Attending rehearsals and/or performances in city theatres or participating in workshops is an integral part of the course.

Assessment methods

The exam consists of an oral test with open-ended questions on the topics covered in class and on the recommended reading list.

Active participation in classroom discussion and working groups is an element of evaluation for those who attend.

The aim of the oral exam is to assess the student’s ability to apply their knowledge and to make the necessary logical and deductive connections. Final mark scale:

Substantially comprehensive knowledge of the topics covered in the course, ability to make independent choices regarding critical analysis and making connections, full command of specialist terminology, and the ability to argue a case and engage in self-reflection → 30–30L;

Knowledge of a wide range of topics covered in the course, ability to make independent choices regarding critical analysis, command of specialist terminology → 25–29;

Knowledge of a limited number of topics covered in the course and the ability to analyse independently only on purely
practical matters, expressed in correct language → 20–24;

Knowledge of a very limited number of topics covered in the course and an ability to analyse that emerges only with the help of the lecturer, expressed in generally correct language → 18–19.

 

Students with learning disorders and\or temporary or permanent disabilities: please, contact the office responsible (https://site.unibo.it/studenti-con-disabilita-e-dsa/en/for-students) as soon as possible so that they can propose acceptable adjustments. The request for adaptation must be submitted in advance (15 days before the exam date) to the lecturer, who will assess the appropriateness of the adjustments, taking into account the teaching objectives.

Teaching tools

Slides, iconographic and audiovisual materials, web sources, cooperative learning, questionnaire, learning materials on Virtuale, TEAMS platform, meetings with artists and scholars.

AI can be a useful tool to support independent study by providing further insights.

Office hours

See the website of Rita Maria Fabris