96430 - Performative Cultures of Asia (1)

Learning outcomes

By the end of the course the student: acquires general knowledge of Asian performative cultures and the main traditional genres of dance-theatre in Asia, putting them in the correct historical and anthropological context; knows how to identify and analyze the fundamental components, linking them to the belonging culture; learns the basic methodological tools to interpret and explain the performative and theatrical phenomena in Asia.

Course contents

Asia on stage between performers, puppets and robots.

The course will investigate, by means of a preliminary anthropological contextualization of Asian scenes, the relationship between the organic and inorganic in the performances' practices: the Asian performer, indeed, has and is an artificial body – an artfully built body – that makes him/her able to transform the nature in art arousing emotion and generating beauty. The course will examine in depth examples referred to those figure theatres who have influenced the theater of actors (especially in Japan and Southeastern Asia) with a look at performances with robots on stage.

Readings/Bibliography

-Cinzia Toscano, IIl teatro dei robot. La meccanica delle emozioni nel Robot-Human Theatre di Hirata Oriza, CLUEB, Bologna, 2019.

-Marazzi Antonio, Uomini, cyborg e robot umanoidi. Antropologia dell’uomo artificiale, Carocci, Roma, 2012.

-Lecture notes.

Not attending students will also have to prepare on a text chosen from:

-Azzaroni Giovanni, Sguardi sul corpo tra Oriente e Occidente. Studi di antropologia filosofica, Bologna, CLUEB, 2019.

-Azzaroni Giovanni, Teatro in Asia. Malaysia – Indonesia – Filippine – Giappone, vol. I, CLUEB, Bologna, 1998, solo pp. 273-388.

-Azzaroni Giovanni, Teatro in Asia. Myanmar – Thailandia – Laos – Kampuchea – Viêt Nam, vol. II, CLUEB, Bologna, 2000, solo pp. 273-388.

-Azzaroni Giovanni, Teatro in Asia. Tibet – Cina – Mongolia – Corea, vol. III, CLUEB, Bologna, 2003, solo pp. 101-256.

-Azzaroni Giovanni, Teatro in Asia. Nepal, Bhutan, India, Sri Lanka, vol. IV, CLUEB, Bologna, 2006, solo pp. 149-338.

-Matteo Casari, Teatro, vita di Mei Lanfang. Con la traduzione integrale di Addio mia concubina, CLUEB, Bologna, 2003.

-Matteo Casari e Giuditta de Concini, a cura di, Danzare il Nāṭya. Permanenze e trasformazioni del teatro-danza indiano, in Arti della Performance: orizzonti e culture, n. 5, 2015, Alma Mater Studiorum - Università di Bologna, Dipartimento delle Arti e ALMADL, Bologna (free download).

 -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).

-Vito Di Bernardi, Il Mahābhārata. L'epica indiana e lo spettacolo di Peter Brook, Bulzoni, Roma, 1989.

- Mastrangelo Matilde et al., a cura di, Il teatro giapponese. La macchina scenica tra spazi urbani e riforme, Roma, Aracne, 2014.

-Gioia Ottaviani, I fondamenti del teatro in Asia, Aracne, Roma, 2004.

-Zeami Motokiyo, Il segreto del teatro nō, Adelphi, Milano, 1987 (o successive edizioni).

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.

The exame will take account of the propriety and the adequacy of oral linguistic expression:

30 cum laude: excellent performance showing soundness of knowledge, rich discursive articulation, appropriate expression, interest of critical contribution;
30: Excellent performance, complete, and appropriate knowledge, well-articulated and appropriately expressed, with interesting critical contributions;
29-27: Good performance, more than satisfactory knowledge, correct expression.
26-24: Standard performance, essential knowledge, but not comprehensive and / or not always correctly expressed;
23-21: Sufficient performance, general but superficial knowledge; often inappropriate expression and/or confused articulation of speech;
20-18: Poor performance, sufficient expression and articulation of speech with significant gaps;
<18: Insufficient performance, knowledge absent or very incomplete, lack of orientation in the discipline, poor and seriously flawed expression.

Teaching tools

Performances videos relating to the topics presented during the course.

Office hours

See the website of Matteo Casari