69521 - Forms of Multimedia Stage (1) (LM)

Course Unit Page

  • Teacher Enrico Pitozzi

  • Credits 6

  • SSD L-ART/05

  • Teaching Mode Traditional lectures

  • Language Italian

  • Course Timetable from Nov 10, 2014 to Dec 17, 2014

Academic Year 2014/2015

Course contents

Course Title

Theatres of sound: body, colours and acoustic presence.

Course Date

Start: November 10th

End: December 17th

 Days:

Monday / Tuesday / Wednesday

Hours: 13.00 to 15.00

Room C - Cruciani, Via Barberia 4

Starting from an interdisciplinary perspective of methodological integration of the concepts of body and sound in the contemporary scene, this paper will attempt to define the general aesthetic notion of Theatres of sound. Through a survey of some key practices from the contemporary dance and theatre scene such as Romeo Castellucci, Dumb Type, Teatro Valdoca, Cindy Van Acker, Ginette Laurin, Teatro delle Albeand others –I will analyse the relation with the audiovisual dimension developed in the work by electronic sound artistssuch as Scanner, Ryoji Ikeda, Scott Gibbons, Luigi Ceccarelli o Mika Vainio. This audiovisual and composition of a scene is the focus of the lessons, and it is defined as the sonorous body. This concept can be read through two interpretations. In the first one, the sound is a body: in this perspective the sound for the electronic scene is an acoustic material; from the other point of view the body is a sound: in this case the body produces the soundscape of a scene. In this sense we have a series of modifications that influence both the performer's perception as well as that of the spectator. I will argue that this analytic perspective changes the point of view and the methodology of looking at contemporary dance and ultimately also the concept of listening.

Readings/Bibliography

1)- E. Fischer-Lichte, Estetica del performativo, Roma, Carocci, 2014

2)-  The book E. Pitozzi, Cindy Van Acker: la percezione del movimento / Cindy Van Acker : la perception du mouvement  / Cindy Van Acker : percpetion and movement, Macerata, Quodlibet, June 2015, will be used for examinations in  October 2015; please, replacing use V. Valentini (a cura di), Drammaturgie sonore, Roma, Bulzoni, 2012.

3)- R. Castellucci, P. Di Matteo (a cura di), In Wagner, Mantova, Corraini, 2014

4)- R. Castellucci, P. Di Matteo (a cura di), Unheard, Mantova, Corraini, 2014

5)- Lesson's notes.

N.B.: Non-attending students: in alternative of lesson notes, see this book: L. Amara, P. Di Matteo (a cura di), Teatri di voce, “Culture Teatrali”, n. 20, 2010. For booking this book see: iqdelbattelloebbro@libero.it

 



 



 



Teaching methods

Frontal lessons with seminars.

Assessment methods

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.

Teaching tools

The module will take into account the theoretical, analytical and critical-operative contributions of both lecturer and students and it will be developed in two cross-related ways: the first part includes lessons on the theoretical part; the second will be developed as a workshop - with direct involvement of the students – and will be dedicated to the analysis of audiovisual material from contemporary theatre using digital technologies.

Office hours

See the website of Enrico Pitozzi