95890 - History of Opera Direction (1) (LM)

Learning outcomes

At the end of the course the student knows the history of opera productions; he knows the artistic and theoretical currents that have applied to the opera theatre the innovations from the theatrical direction; he knows how to analyze the relationships between the literary text, musical dramaturgy and stage production; acquire knowledge of the transformation involved in the practice of directing at the level of singers' acting training, technological renewal and audience perceptions; acquires the main instruments of study to set investigations on the opera direction and develop a mature and original critical reflection on the application of the arts of staging to the representation of musical dramaturgies.

Course contents

The course deals with the different set-up practices of opera from the historical invention of the genre to contemporary directorial practices. A particularly representative exhibition will be examined for each historical period.

First lesson

Wednesday, 8/11/2023, 9-11, Aula Colonne (Via Barberia 4)

last lesson

Tuesday, 12/12/2023, 9-11, Aula Camino (Via Barberia 4)

 

Timetable and classrooms of the lessons

Monday, 9-11, AULA COLONNE (via Barberia, 4)

Tuesday, 9-11, AULA CAMINO (via Barberia, 4)

Wednesday, 9-11, AULA COLONNE (via Barberia, 4)

Readings/Bibliography

Gerardo Guccini, La regìa lirica, un teatro contemporaneo, Cue Press, soon to be published.

Olga Jesurum, Le regìe liriche di Stefano Vizioli, soon to be published.

Non-attending students must bring Laura Pernice, Immaginazioni multimediali. Le regie liriche di Fanny & Alexander, Edizioni Kaplan, 2023.

 

Teaching methods

Lessons are held in the presence. The course is organized in frontal lessons, with analysis and deepening about dramatics texts, concepts treated and audio-visual documents.

Assessment methods

Oral examen. The achievement of an organic vision of the issues addressed, the possession of an expressive mastery and a specific language, the originality of the reflection as well as the familiarity with the instruments of analysis of the dramaturgy will be evaluated with marks of excellence. The mostly mechanical or mnemonic knowledge of the subject, a capacity for uncoordinated synthesis and analysis or a correct but not always appropriate language, as well as a scholastic domain of dramaturgy will lead to discrete evaluations. Formal gaps or inappropriate language, as well as a lack of knowledge of the instruments of drama will lead to votes that will stand on the threshold of sufficiency. Formal gaps, inappropriate language, lack of orientation within the bibliography and inability to analyze dramaturgy can only be negatively assessed.

Teaching tools

Frontal lessons supported by formative meetings and seminars.

Office hours

See the website of Gerardo Guccini