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

Learning outcomes

At the end of the course the student acquires a complete overview of the aesthetic theories and technological integration strategies in place on the performance scene, as well as the relations with experimentation in the field of sound. Starting from the analysis of representative works and the discussion of the main national and international theoretical-critical positions, the student: - acquires the methodological tools to inscribe contemporary practices in a perspective of continuity and rupture with the historical framework of the discipline in question. In terms of skills, this knowledge provides students with: - analytical tools to be applied in the field of education, essay writing, criticism and journalism; - analytical tools to be applied in the field of planning, design and management of specific spectacular events - theatrical and choreographic - linked to the use of technologies and new media.

Course contents

Lessons start: 26 September 2022
Lessons end: 31 October 2022

Monday 9-11 a.m.
Tuesday 9-11am
Wednesday 9-11am

 

AULA DIONISO (Barberia Street, 4)

Title: Of presence: perception, corporeity and technological devices.

Taking a close look at the contemporary choreographic scene, technology - in its various declinations from video to artificial intelligence (AI) - is conceived and practised as an extension of the dancers' imagery (biofeedback), allowing them to elaborate novel gestural scores. This course is therefore dedicated to an in-depth analysis of the creative processes through which choreographers - from Merce Cunningham to Isabelle Van Grimde, via William Forsythe, Wayne McGregor, Ginette Laurin and N+N Corsino - have redefined the notion of stage presence thanks to technological mediation. Moreover, at the centre of this reflection are the relationships they establish with visual arts, sound and architecture, discussed in the broader aesthetic framework of immersive environments. This operative notion thus allows for a contextual analysis of the compositional strategies through which the spectator finds himself immersed in an audiovisual environment that modifies and extends his perception of the work.

Readings/Bibliography

1)- I. Choinière, E. Pitozzi, A. Davidson, Through the Prism of the Senses: Mediation and New Realities of the Body in Contemporary Performance Technology, Cognition and Emergent Research-Creation Methodologies, Bristol, BETWEEN Intellect Ltd, 2019.

2)- Bleeker, M. (ed.), Transmission in Motion. The Technologizing of Dance, London, Routledge, 2017.

3)- E. Pitozzi, Magnetica. La composizione coreografica di Cindy Van Acker / La composition chorégraphique de Cindy Van Acker / The choreographic composition of Cindy Van Acker, Macerata, Quodlibet, 2015.

For students not attending the exam consists of an oral interview on the texts in the bibliography + the addition of this book:

a)- Letizia Gioia Monda, Choreographic bodies. L'esperienza della Motion Bank nel progetto multidisciplinare di Forsythe, Roma, Dino Audino, 2016.

b)- E. Pitozzi (a cura di), On Presence, numero monografico della rivista “Culture Teatrali”, n. 21, 2012.

Teaching methods

Frontal lessons, with analysis and deepening of the concepts treated, guided analysis of the audiovisual works of the theatre, choreographic and installation scene.

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. 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.

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