28139 - Eastern Theatres (LM)

Learning outcomes

Course contents

First module:
The course will investigate, by means of a preliminary anthropological contextualization, the codification of theatrical knowledge in Asia. In particular, the mechanisms of knowledge transmission from master to pupil over the centuries will be examined, and the consequent relationship between tradition and modernity.

Second module:
The second module will be devoted to Japanese theater. In particular, the aim will be to investigate the various experiments that blossomed - and are still blossoming - from classical theater like nō, kyōgen and kabuki. A specific focus will be devoted to Zeami Motokyo, founder of the nō theater, in the 650th anniversary of the birth.

Readings/Bibliography

Program Examination: 6 CFU for attending students
-Zeami Motokiyo, Il segreto del teatro nō, Adelphi, Milano, 1987 (o successive edizioni).
-Giovanni Azzaroni – Matteo Casari, Asia il teatro che danza, Le Lettere, Firenze, 2011.
-Matteo Casari, a cura di, Teatro nō, orizzonti possibili, numero monografico di “Prove di drammaturgia”, n. 1, febbraio 2012 pp. 3-39.

Program examination: 6 CFU for working groups during lessons
Attending students may choose to participate in working groups carrying out activities in-depth on some topics of the course. For these students the program examination is:
-Zeami Motokiyo, Il segreto del teatro nō, Adelphi, Milano, 1987 (o successive edizioni).
-3 chapters of your choice of: Giovanni Azzaroni – Matteo Casari, Asia il teatro che danza, Le Lettere, Firenze, 2011.

Program Examination: 12 cfu for attending students
-Zeami Motokiyo, Il segreto del teatro nō, Adelphi, Milano, 1987 (o successive edizioni).
-Giovanni Azzaroni – Matteo Casari, Asia il teatro che danza, Le Lettere, Firenze, 2011.
-Casari Matteo, Teatro nō. La via dei maestri e la trasmissione dei saperi, CLUEB, Bologna, 2008.
-Matteo Casari, a cura di, Teatro nō, orizzonti possibili, numero monografico di “Prove di drammaturgia”, n. 1, febbraio 2012 pp. 3-39.
-Giovanni Azzaroni – Matteo Casari, a cura di, Dossier teatro in Giappone oggi, in “Hystrio”, n. 1, 2012, pp. 31-59.-Casari Matteo, Mishima jo ha kyū, in “Antropologia e Teatro. Rivista di studi”, n. 2, 2011, pp. 226-240 (free download).
-Cinzia Toscano, Bunraku e Android-Human Theater. Un confronto tra scena tradizionale e contemporanea in Giappone, in “Antropologia e Teatro. Rivista di studi”, n. 4, 2013, pp. 1-27 (free download).

Program examination: 12 CFU for working groups during lessons
Attending students may choose to participate in working groups carrying out activities in-depth on some topics of the course. For these students the program examination is:
-Zeami Motokiyo, Il segreto del teatro nō, Adelphi, Milano, 1987 (o successive edizioni).
-3 chapters of your choice of: Giovanni Azzaroni – Matteo Casari, Asia il teatro che danza, Le Lettere, Firenze, 2011.
-Casari Matteo, Teatro nō. La via dei maestri e la trasmissione dei saperi, CLUEB, Bologna, 2008.
-Matteo Casari, a cura di, Teatro nō, orizzonti possibili, numero monografico di “Prove di drammaturgia”, n. 1, febbraio 2012 pp. 3-39.
-Giovanni Azzaroni – Matteo Casari, a cura di, Dossier teatro in Giappone oggi, in “Hystrio”, n. 1, 2012, pp. 31-59.
-Casari Matteo, Mishima jo ha kyū, in “Antropologia e Teatro. Rivista di studi”, n. 2, 2011, pp. 226-240 (free download).
-Cinzia Toscano, Bunraku e Android-Human Theater. Un confronto tra scena tradizionale e contemporanea in Giappone, in “Antropologia e Teatro. Rivista di studi”, n. 4, 2013, pp. 1-27 (free download).

Not attending students will also have to prepare on a text chosen from:
-Azzaroni Giovanni, Teatro in Asia. Malaysia – Indonesia – Filippine – Giappone, vol. I, CLUEB, Bologna, 1998, solo pp. 273-388.
-Azzaroni Giovanni, Teatro in Asia. Tibet – Cina – Mongolia – Corea, vol. III, CLUEB, Bologna, 2003, solo pp. 101-256.
-Matteo Casari, Teatro, vita di Mei Lanfang. Con la traduzione integrale di Addio mia concubina, CLUEB, Bologna, 2003.
-Katja Centonze, ed., Avant-gardes in Japan. Anniversary of Futurism and Butō: Performing Arts and Cultural Practices between Contemporariness and Tradition, Cafoscarina, Venezia, 2010, solo pp. 27-171.
-Alessandra Consonni, a cura di, ‘Cham yig, CLUEB, Bologna, 2008.
-Margherita De Giorgi, "To be renewed again". Esperienze di butō in Europa: Yvonne pouget, Imre Thormann e Xavier Le Roy, in Arti della Performance: orizonti e culture, n. 2, 2012, Alma Mater Studiorum - Università di Bologna, Dipartimento delle Arti e ALMADL, Bologna, solo pp.1-183 (free download).
-Alessandro Guidi, Lo Yueji. Il pensiero musicale nelle Cina antica, CLUEB, Bologna, 2005.
-Nandikeshvara, Abhinayadarpaṇa, trad. it. di Pietro Chierichetti, Alfredo Ferrero Editore, Torino, 2010.

Teaching methods

The teaching will be a balanced mix of theoretical and practical examples, in anthropological context, in order to allow all students to be able to reach the final target.

Assessment methods

During the lessons the lecturer will involve the students in an active discussion of the lesson topics. The exchanges will be addressed to bringing out any difficulties concerning the subject matter, but not to actually forming part of the final mark.
The final exam will consist of an oral test. The exam will be the chance for the student to prove his/her knowledge of the course books. Students attending the class may refer their answers back to the topics actually analyzed in class.
Students studying the course set books, especially the core text, should pay attention to the fundamental aspects of the topics and, of course, to the ways in which they are connected to one another rather than to learn by rote.

Teaching tools

Dance performances videos relating to the topics presented during the course.

Links to further information

http://corsi.unibo.it/Magistrale/DisciplineMusicaTeatro/Pagine/default.aspx

Office hours

See the website of Matteo Casari