27114 - Scenography: Elements, Theory, History

Learning outcomes

At the end of the course the student will be able to: - know in depth the historical and constructive evolution of the scenography and of the scenic space in the West; - analyze specific themes, models and aesthetic principles of scenography and scenic space, contextualize them in a historical-anthropological perspective and develop them using methods, tools and documentation typical of scientific research; - research autonomously a topic using different document sources; - knows how to critically interpret the relationship between ritual and performance, also in reference to extra-western traditions.

 

Course contents

The course is divided into a module corresponding to 60 teaching hours and 12 credits (credits).

Beginning: 1/02 2021.

End: April 2021.

(Ritual) Performances and the Animals

The reference to animality is strongly present in the theater since the beginning of its history, the aim of the course will be to investigate theatrical civilizations in the light of this instance, from the animal choirs of the Greek tragedy to the contemporary scene.

The introductory part of the course concerns the history of schenography and the theories related to it and intends to provide the student with a guide for the knowledge of the evolution of the theatrical space and of the relative stagecraft from classical to contemporary theater.

Readings/Bibliography

1. For those who have not yet taken theater history exams we recommend: Titomanlio Carlo, On stage. History of scenography and theatrical architecture, Florence-Lucca, La Casa Usher, 2019. For those who already have knowledge of theater history we recommend: Perrelli Franco, History of scenography. From Antiquity to the 21st Century, 2nd ed., Rome, Carocci publisher, 2013 (You need to get this edition).
2. Course notes, handouts indicated by the teacher, participation in a group work with writing of a final electorate.
3. Budriesi Laura, Michel Leiris. Il teatro della possessione, Bologna, Pàtron Editore, 2017.
4. Giacobbe Borelli Maia (a cura di),Teatro Natura. Il teatro nel paesaggio di Sista Bramini e il progetto "Mila di Codra", Spoleto (PG), Editoria& Spettacolo, 2015.
5. For non-attending students only: one text chosen from the following list:
   • Agire il Paesaggio. Teatri, pensieri, politiche del luogo in Ricerca di S/Confine, 2013. freedownload: https://www.ricerchedisconfine.info/dossier-1/index.htm
   • Azzaroni Giovanni, Budriesi Laura, Natali Cristiana (a cura di) Danzare l’Africa oggi in: "Arti della performance: orizzonti e culture", collana on line a cura di Casari Matteo, Guccini Gerardo. Free download://www.dar.unibo.it/it/ricerca/prodotti-della-ricerca/arti-della-performance-orizzonti-e-culture.
     
   • Budriesi Laura Michel Leiris sui palcoscenici della possessione. Etiopia e Haiti. Scritti 1930-1983, Bologna, Pàtron, 2017.
     
   • Cruciani Fabrizio, Lo spazio del teatro, Bari-Roma, Laterza, 2005.
   • Dal Min Silvia, Decapitare la Gorgone. Ostensione dell'immagine e della parola nel teatro di Anagoor, Corazzano (Pi), 2016.
   • Guarino Raimondo (a cura di) Teatri, luoghi, città, Roma, Officina Edizioni, 2008.
   • Marchiori Fernando (a cura di) Il teatro vagante di Giuliano Scabia, Milano, Ubulibri, 2005.
     
   • Marino Massimo (a cura di) Teatro delle Ariette. La vita attorno a un tavolo, Corazzano (Pi), Titivillus, 2017.
     
   • Ponte Di Pino Oliviero, Romeo Castellucci & Socìetas Raffaello Sanzio, Ateatro-Doppiozero, 2013 (formato ebook).
   • Perrelli Franco, Le origini del teatro moderno. Da Jarry a Brecht, Bari, Laterza, 2016.
   • Porcheddu Andrea, Teatro Stalla. Animali, uomini, dei, Bergamo, Moretti & Vitali Editori, 2014
   • Dallagiovanna Emanuela (a cura di), Teatro Valdoca, Roma, Rubettino, 2003.

 

Teaching methods

In addition to lectures, the course includes the active participation of attending students who will be guided to the analysis of the scenographic elements through the commented vision of iconographic materials, shows, ethnographic documentaries. Meetings will be organized with artists and scholars who will present some of the essays in the program.

Attending students (who will bring a slightly reduced program) will also be required to participate in a group work.
Compatibly with the restrictive measures envisaged for health reasons, short excursions can be planned during the course.

Assessment methods

Partial tests consisting in the analysis of iconographic documents, videos or in the critical comment following specific participations in the current theater season which will be recommended by the teacher.

For students attending:

1. writing and presentation (Power Point) of a short critical analysis presented in class relative to one of the 5 shows chosen during the course that can replace the fifth book of the list if the outcome of the project is positive.
2. Final oral examination during the exam.

(attending students must be present with a maximum of 5 absences)

For non-attending students: oral examination.

The final interview will focus on the texts indicated in the program in order to ascertain the student's ability to orientate himself between the different types of stage and theatrical space in the various historical periods, managing to establish in-time continuity and changes of the scenographic forms ; to punctually comment on iconographic materials relating to the most significant moments in the history of theater from the Greek classics to contemporary theater with particular attention to the monographic part of the course itself.
The achievement of an organic vision of the topics addressed in class, the possession of an expressive and lexical mastery and the ability to orientate him/herself within the bibliography will be evaluated with marks of excellence. The mostly mechanical or mnemonic knowledge of the subject, a limited articulated and not always appropriate language will lead to discrete evaluations. Formal gaps, inappropriate language, limited knowledge of the exam material will lead to the threshold of insufficiency. Formal gaps, inappropriate language, lack of orientation within the bibliography will be negatively evaluated.

Teaching tools

Videoprojections of iconographic materials, of plays, of ethnographic documentaries, visions of live shows, visits to one or more theaters.

Seminary activities (not optional) for attending students: a 2 days conference scheduled towards the end of the course (DamsLab Program).

Short Seminary for a critical theatre writing.

Office hours

See the website of Laura Budriesi