95884 - Techniques of Drama Composition (1) (Lm)

Learning outcomes

The student at the end of the course acquires technical knowledge on the compositional dynamics of the text and the dramatic performance; learns to apply the different forms of writing for the scene adapting them to the characteristics of new operating contexts; knows how to recognize and develop the dramatic potential of textual and performative elements; knows how to analyze the interactions between technical procedures and stage reception; through exercises of dramatic composition, he learn to relate to the processes of scenic realization.

Course contents

TITLE OF THE COURSE

Society, writing, performance in compositional dynamics from the early twentieth century to Pier Paolo Pasolini

The course of Teorie e tecniche della composizione drammatica is divided into two modules of 6 credits each. The Module 2 Tecniche della composizione drammatica (6 credits) starts on 8 novembre 2021. The total amount of hours is 30 per module.

The Module 2 will empirically address the compositional process of the Pasolini’s tragedies by writing exercises based on the analysis of communication strategies and dramaturgical techniques used by the author. In particular, we will examine the semantic stratigraphy of the Pasolinian texts that penetrate lyrical and confessional contents, allegorical representations of anthropological changes in progress and a pedagogy of the scandal that, experimented to the measure of the limited theatrical audience, it would then condition the journalistic activity and the filmic work of the last Pasolini. During the activities the participants will analyze the projections of the Pasolinian autoral ego in dramaturgies, lyrics and journalistic writing, drawing from these insights and comparisons textual exercises aware of the different reference levels (critical, impulsive, political, corporeal) that are crossed by interactions of thought and writing.

Start of the lessons of the second module: Monday 8/11/2021 (Salone Marescotti, Via Barberia 4).
End of lessons of the second module: Wednesday 15/12/2021. (Salone Marescotti, Via Barberia 4)
Lesson schedule. Second module (8 Nov. - 15 Dec.)
Monday, 11-13, Salone Marescotti, Via Barberia 4.
Tuesday, 11-13, Salone Marescotti, Via Barberia 4.
Wednesday 11-13, Salone Marescotti, Via Barberia 4.

Readings/Bibliography

Gerardo Guccini, Nicoletta Lupia, Laboratorio Pasolini (the text is included amng the course's networked materials)

The following dramatic texts by Pier Paolo Pasolini: Affabulazione, Porcile, Bestia da stile.

A text of your choise between

Pier Paolo Pasolini, Lettere luterane

Pier Paolo Pasolini, Scritti corsari

Non-attending students must add.: Giorgio Taffon, Pier Paolo Pasolini: scrivere per un teatro che non c'è (o è stato o sarà), in Id., Maestri drammaturghi nel teatro italiano del '900, Ed. Laterza.

Teaching methods

Due to the restrictions imposed by the current health emergency, teaching is carried out in blended learning mode: lessons are held in the presence, with streaming through the TEAMS platform.
The Module 1 is organized in frontal lessons, with analysis and deepening about dramatics texts, concepts treated and audio-visual documents.
Module 2 provides for the meeting with professionals, the critical reading of the texts and the realization of writing exercises starting from the paths and creative principles derived from the study of the works.

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 equipped by audiovisual tools

Office hours

See the website of Gerardo Guccini