27117 - Organisation of Theatre Spaces (1)

Learning outcomes

At the end of the course students acquire a basic knowledge of the modes of organization of the theatre space in relation to the different places and buildings from the Ancient times up to day. They will also learn about the main critical sources, as well as technical and terminological skills.

Course contents

The theatrical space will be illustrated in its multiplicity in order to highlight its changing dramaturgical and relational function in the course of time and in the contemporary world. After a brief historical excursus, we will analyze the theatrical phenomena that from the 1960s to the global crisis of 2020 have triggered an unprecedented relationship among artists and between them and the spectators, through the definition of new formats motivated by ethical, social and political goals.

We will consequently observe the processes of relocation of performative art from theatrical buildings and from the main cultural centers, street performances, open workshops, site-specific creations and the enriched environments of social theatre, in addition to installations and multimedia models, to arrive at outlining a post-humanist concept of performative space that situates the artist within an extended system of relationships and redesigns the map of performance action.

Readings/Bibliography

The bibliography is made of an anthology of texts including textbook references, critical and primary sources (all amounting to around 400 pages). The reader will be available on the e-learning page of the course by March 2021. 

A. Textbooks: 1.) Allegri Luigi, Prima lezione sul teatro che abbiamo in mente, Laterza, Roma-Bari, 2012, pp. 82-102; 2) Cruciani Fabrizio, Lo spazio del teatro, Laterza, Roma-Bari, 1998, pp. 3-16; 99-124; 163-212; 3) Guarino Raimondo (a cura di), Teatri Luoghi Città, Officina Edizioni, Roma, pp. 7-34;

B. Reader: Rossella Mazzaglia (a cura di), Lo spazio espanso del teatro (available in March 2021).Case studies:

C. Notes from class

Non attending students are required to read the material above and add the essay: De Marinis Marco, Le Rivoluzioni del Novecento, in AA.VV. Breve Storia del Teatro per Immagini, pp. 247-313. They are highly recommended the reading of any text on the Post-human. For instance, see the short article by Francesca Ferrando, Postumanesimo, transumanesimo, antiumanesimo, metaumanesimo e nuovo materialismo. Relazioni e differenze, in “Lo Sguardo. Rivista di Filosofia”, n. 24, 2017, pp. 51-61.

Teaching methods

The teaching will be carried out with blended methods: the first weeks will be taught remotely. In April classes will continue in a blended mode: the teacher will be in class and students wishing to attend will have to book their seat using the App presente. Every other student will be able to attend remotely.

Assessment methods

The exam consists of an oral exam.

Students are requested to identify artists and themes and to connect them to their historical, cultural and aesthetic context. They should prove to be able to make connections between the various sources.

Proper language and the ability to critically speak about the texts content will lead to a good/excellent final grade.

Acceptable language and the ability to resume the texts content will lead to a sufficient/fair grade.

Insufficient linguistic proficiency and fragmentary knowledge of the books' content will lead to a failure in passing the exam.

Teaching tools

During the classes, audio-visual sources and primary written, oral and media sources will be used. The e-learning page will also serve as a platform to share material and communications.

Office hours

See the website of Rossella Nancy Maria Mazzaglia