96365 - Processes and Forms of Scenic Creation. Laboratory (1) (A-L)

Course Unit Page

SDGs

This teaching activity contributes to the achievement of the Sustainable Development Goals of the UN 2030 Agenda.

Quality education Reduced inequalities

Academic Year 2021/2022

Learning outcomes

By the end of the laboratory the student: knows how to recognize and contextualize the compositional and dramaturgical processes on stage, starting from the analysis of direct and indirect sources; knows how to identify and analyze – starting from audiovisual documents – the philosophical, intertextual, intercultural and iconographic references that guide the process of composition; knows how to orient himself in the creative processes of the contemporary scene, recognizing their expressive forms and placing them in a historical perspective.

Course contents

Period: November 16 - December 17, 2021

Days:
Tuesday 15h-17h
Thursday 15h-17h
Friday 15h-17h

Classroom: Classroom III - Via Zamboni 38

Attendance in the presence is strongly recommended. It is possible to take the exam with the program by attending students only if the threshold of 80% attendance of each module is exceeded, that is 24 hours. If you do not reach this threshold or do not have the opportunity to attend the course, you must take the exam with the program for non-attending students (details in the dedicated section). Virtual participation through TEAMS contributes to reaching the threshold for attending students after verification of attendance.

The viewing of the recorded lessons is not counted as attendance.

Passage of letter (A-L => M-Z; M-Z => A-L)
The teaching of History of Theatre and Entertainment is divided into two courses according to the letter of the surname (A-L; M-Z). The passage from one letter to another is only possible in the presence of: (i) overlap with another course; (ii) proven work needs. In both cases, it is necessary to contact the teacher of the destination course and justify the request for change by producing adequate documentation.

 

Course title: Forms of vision

This workshop section is the natural continuation, in operational terms, of the previous historical-critical section. It tends to develop in a laboratory way, therefore with the involvement of the students, individually or in groups, in the vision and analysis of the creative processes adopted by some artists in the composition of works that recall the themes developed and discussed in the historical-theoretical section. Specifically - and in the light of the theme of illusion and dream - we will deconstruct the creative process adopted by some directors in composing the scenic images as a point of fall of the representation. In this sense, we will carry out a real contextual analysis of the compositional elements, both of scenic and extra-scenic nature (literary, iconographic, etc.), in order to recognise and contextualise the compositional and dramaturgical processes of a staging, starting from the analysis of direct and indirect sources.

 

Specifically, the works we will focus on are:

Tadeusz Kantor, La classe morta, 1975.

Peter Brook, Mahābhārata, 1985.

Thierry Salmon, Le troiane, 1988.

Eimuntas Nekrosius, Macbetas, 1999.

Mario Martone, Edipo re, 2000.

Compagnia Lombardi-Tiezzi, Caldèron, 2016.

Romeo Castellucci, Parsifal, 2014.

 

And others to be defined.

Readings/Bibliography

one volume of your choice among:

a)- P. Pavis, L’analisi degli spettacoli, Milano, Lindau, 2008.

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

c)- V. Di Bernardi, Mahābhārata. L’epica indiana e lo spettacolo di Peter Brook, Roma, Bulzoni, 1989 + V. Valentini, Eimuntas Nekrosius, Catanzaro, Rubettino, 2000.

Teaching methods

Seminar-based lectures, with analysis and in-depth study of the concepts covered in the first part of the course, guided analyses of audiovisual works of the theatre scene.

The course brings into play the theoretical, analytical and critical-operational contribution of the teacher and the students and will develop according to a seminar approach - with the direct intervention of the students in the elaboration of individual or group analyses of audiovisual materials. Meetings with artists working in this field of research and creation will be decisive for the development of the course.

 

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.

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).

Teaching tools

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

Office hours

See the website of Enrico Pitozzi