28147 - History of Acting (1) (2nd cycle)

Learning outcomes

At the end of the Course the student will have acquired knowledge about the theory and practice of the art of acting in history, particularly in the nineteenth and twentieth centuries, and in the contemporary world; - skills for the study and analysis of both reciting and performing modes of past and present; - methodological tools for reading the sources also from the point of view of the gender.

Course contents

FUNDAMENTALS OF THE HISTORY OF THE ACTOR.

A HISTORY OF ACTRESSES IN THEATRE

In the historical part, we will address the theoretical-methodological problems related to the study of the actor/actress in the Italian-French and English area, from the birth of professionalism with the Commedia dell’arte to the end of the twentieth Century, always keeping in mind the gender cathegory. In addition to changes in ideas, techniques, theories, acting styles, we will study the materiality of the trade, the micro-societies of the actors, some leading actors/actresses.

For the monographic section, the general history of the theatre is questioned with the aim of focusing on actresses: their history is at the meantime specific, a gendered history, and general as for premises and deeds. We will deal with two centuries, 1800 and 1900, up to present times, without forgetting the origins into Commedia dell’arte, with actresses on stage for the first time in history.

Course begins March 30, 2022.

Timetable: Wednesdays , Thursdays, Fridays 15-17h (Aula Donatoni)

Readings/Bibliography

Claudio Meldolesi, Pensare l'attore, Bulzoni, Roma 2013

Laura Mariani, Sarah Bernhardt, Colette e l'arte del travestimento, Cue Press, Imola 2016 [1996]

Laura Mariani, L'Ottocento delle attrici, “Acting Archives Review", 2017, n. 14 www.actingarchives.it

Laura Mariani, Dopo l'Ottocento delle attrici, qualche punto fermo sulle attrici italiane del Novecento, "Italica Wratislaviensia"", 2019, vol. 10

Some essays, mostly available online, will be indicated later.  

Non-attending students must read: Adelaide Ristori, Ricordi e Studi artistici, Dino Audino Editore, Roma 2005 [1887]

Teaching methods

Lectures and seminars, particularly about finding and reading various source texts. Formation of working groups. In-house projection of films and video recordings, meeting artists.

Assessment methods

The final oral exam will assess the basic knowledge of the subject from a historical, theoretical and methodological point of view. The ability to analyze the performance of an actor starting from images, texts and live experiences will be verified and participation in group work and possible papers produced will also be evaluated.

Teaching tools

These include face-to-face lessons accompanied by audiovisual materials, working groups, meetings with artists and watching performances.

Office hours

See the website of Anna Laura Mariani