27117 - Organisation of Theatre Spaces (1)

Learning outcomes

At the end of the course students acquire a basic knowledge of the modes of organization of the theatre space in relation to the different places and buildings from the Ancient times up to day. They will also learn about the main critical sources, as well as technical and terminological skills.

Course contents

Which elements participate in the definition of the theatrical space? How are they related to the cultural imagery and to the place of representation? How does the construction of the space affect the relationship with the spectator? We will try to answer these questions by analyzing both the formal elements and the relational dynamics different spaces reconfigure.

While grounding this topic in history, we will mainly focus on contemporary case studies in dance, theatre and performance in order to compare the artists' choices and creative strategies within their cultural contexts and times. After an historical and terminological introduction, we will consider the de-localization of theatre and dance from the traditional theatres and outside the cultural centers, we will study the place dramaturgies and urban dance which developed since the second half of the Twentieth Century. We will question the relationship with the spectators that these places and formats produce and reconsider the distinction between public space and public sphere in respect to theatre.

Readings/Bibliography

The bibliography is made of an anthology of texts including textbook references, critical and primary sources (all amounting to around 400 pages). On the e-learning page, the least available sources and primary sources will be made available since the beginning of the course.

A. Textbooks:

1) Allegri Luigi, Prima lezione sul teatro che abbiamo in mente, Laterza, Roma-Bari, 2012, pp. 82-102; 2) Cruciani Fabrizio, Lo spazio del teatro, Laterza, Roma-Bari, 1998, pp. 3-16; 99-124; 163-212; 3) Guarino Raimondo (a cura di), Teatri Luoghi Città, Officina Edizioni, Roma, pp. 7-34; 107-158; 4) Rossella Mazzaglia. Danza e Spazio. Le metamorfosi dell’esperienza artistica contemporanea, Mucchi Editore, Modena, 2012 (seconda edizione e-book: 2015), pp. 7-32; 75-128.

B. Case studies:

1. Peter Brook, Il punto in movimento 1946-1987, pp. 133-141; 2. Taviani Ferdinando, Baratti (2007), reperibile su http://www.odinteatretarchives.com/odinstory/doc-nando-taviani-baratti-2007

3. Dossier sul Living Theatre: Aldo Rostagno, Julian Beck, Judith Malina, Per le strade come commandos, in “Sipario”, n. 272, dicembre 1968, ora in https://nuovoteatromadeinitaly.sciami.com/anni-70/beck-malina-rostagno-strade-come-commandos-sipario-1968/ ); b. Valenti Cristina, Storia del Living Theatre. Conversazioni con Judith Malina, Titivillus, Corazzano (Pisa), 2008, pp. 159-178; c. Grazia Felli, Il Living Theatre alla Terza Strada, in “Teatro e Storia”, anno VIII, n. 2, ottobre 1993, 315-333.

4. Vittoria Biasi, L’esperienza di Formia. Intervista a Fabrizio Crisafulli, in Raimondo Guarino (a cura di), Teatro dei luoghi. Il teatro come luogo e l’esperienza di Formia (1996-1998), G.A.T.D., Roma, 1998, pp. 65-86.

5. Pietro Floridia, Paesaggio con spettatori. Appunti su uno spazio scenico da viaggio, in Id. Teatro in Viaggio. Lungo la rotta dei migranti, Edizioni Nuova Sì, Funo di Argelato (BO), 2011, pp. 96-111

6. Dossier su Christoph Schilingensief: a. Forrest Tara, Scheer Anna Teresa (a cura di), Christoph Schlingensief. Art Without Borders, Intellect, Bristol - Chicago, 2010, pp. 105-121; b. Balme Christopher B., The Theatrical Public Sphere, Cambridge University Press, Cambridge, 2014, pp. 178-184.

C.Primary sources and links shown in class and shared on the elearning page

Non attending students are required to read the material above and add: - the full reading of Rossella Mazzaglia, Danza e Spazio. Le metamorfosi dell’esperienza artistica contemporanea, Mucchi Editore, Modena, 2012; the essay: De Marinis Marco, Le Rivoluzioni del Novecento, in AA.VV. Breve Storia del Teatro per Immagini, pp. 247-313.

Teaching methods

Lectures and seminars. Meetings with researchers and operators mentioned in the program.

Assessment methods

The exam consists of an oral exam.

Students are requested to identify artists and themes and to connect them to their historical, cultural and aesthetic context. They should prove to be able to make connections between the various sources.

Proper language and the ability to critically speak about the texts content will lead to a good/excellent final grade.

Acceptable language and the ability to resume the texts content will lead to a sufficient/fair grade.

Insufficient linguistic proficiency and fragmentary knowledge of the books' content will lead to a failure in passing the exam.

Teaching tools

During the classes, audio-visual sources and primary written, oral and media sources will be used. The e-learning page will also serve as a platform to share material and communications. 

Office hours

See the website of Rossella Nancy Maria Mazzaglia