96368 - Processes and Forms of Dramatic Creation. Laboratory (1) (Modulo 2)

Learning outcomes

By the end of the laboratory the student: acquires knowledge on the empirical dynamics and the material components of modern contemporary dramaturgy; knows how to analyze the transitions between literary text and scenic text; knows how to apply basic skills to identify the conditions, tools and objectives of dramaturgical practice; knows how to relate the different dramaturgical practices, recognizing their theoretical components and cultural references.

Course contents

 

The Drammaturgia course is divided into two modules of 6 credits each. The Module 2 of the course - Storia della drammaturgia. Istituzioni (6 credits) - starts on 21 March 2022. The total amount of hours is 30 per module.

The Module 1 explores the forms of monologue and storytelling by examining works by four authors: Cechov (Il giardino dei ciliegi e Una domanda di matrimonio), Beckett (Non io), Stefano Massini (Ladies Football Club) and Marco Martinelli (Rumore di acque). The lessons will investigate the compositional process of the texts and the reactions of the theatrical audience, highlighting the impulses that animate the dramaturgy of our times. Particular attention will be given to the relationship between writing and performance, between the playwright and the actor, between the construction of the plot and the social impact of the show. Module 2 also aims to highlight the currents of thought that are established between playwright, actor and spectator. In order to identify and understand the functioning of this fundamental dynamic it is not enough to take on historical or theoretical notions, but it is necessary to ask yourself what position you intend to hold in relation to the text and assume, consequently, your own responsibilities of coauthor. Each reading, in fact, regenerates the text read to measure the experiences of the reader. Module 2 deepens this particular creative dimension by addressing from an empirical point of view the theoretical principles examined in Module 1 and providing for the realization of exercises based on the principles derived from the works examined. Lessons include meetings with actors and playwrights.

 

Lessons start: Monday 21 March, 11-13.

Lessons end: Wednesday 4 May, 11-13

The lessons are held on Monday, Tuesday, Wednesday, in the Berti Hall  of the Nosadella Cinema,with the following calendar:

Monday, 11-13. (Berti Room)

Tuesday, 11-13. (Berti Room)

Wednesday, 11-13 (Berti Room)

 

Readings/Bibliography

A. P. Čechov, Il giardino dei ciliegi

A. P. Čechov, Una domanda di matrimonio

S. Beckett, Non io

S. Massini, Ladies Football Club

M. Martinelli, Drammi al presente, a cura di Gerardo Guccini, Editoria & Spettacolo, 2020

Non-attending students must choose one of the following texts

1) J. P. Sarrazac, Lessico del dramma moderno e contemporaneo, Cue Press

2) L. Allegri, Il teatro e le arti. Un confronto fra linguaggi, Carrocci Editore

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 exam. 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 and textual

exercises

Office hours

See the website of Gerardo Guccini