96365 - Processes and Forms of Scenic Creation. Laboratory (1) (M-Z)

Learning outcomes

By the end of the laboratory the student: knows how to recognize and contextualize the compositional and dramaturgical processes on stage, starting from the analysis of direct and indirect sources; knows how to identify and analyze – starting from audiovisual documents – the philosophical, intertextual, intercultural and iconographic references that guide the process of composition; knows how to orient himself in the creative processes of the contemporary scene, recognizing their expressive forms and placing them in a historical perspective.

Course contents

Course start: 19 September 2022
Course end: 14 December 2022
Lessons in the presence at via Zamboni 38

Class schedule (period I)
Monday 9-11 (classroom Tibiletti)
Tuesday 9-11 (classroom Tibiletti)
Wednesday 9-11 (classroom Tibiletti)

Class schedule (period II)
Monday 9-11 (classroom Tibiletti)
Tuesday 9-11 (classroom V)
Wednesday 9-11 (classroomTibiletti)

Course organization

The History of Theatre and Entertainment (M-Z) course is divided into two modules of 6 credits each. The course starts on 19 September 2022 with the module History of Theatre. Institutions (6 credits), at the end of which starts the module Processes and forms of scenic creation. Laboratory (6 credits). The total amount of hours is 30 per module.

Attendance in the presence is strongly recommended. It is possible to take the exam with the program by attending students only if the threshold of 80% attendance of each module is exceeded, that is 24 hours per module. If you do not reach this threshold or do not have the opportunity to attend the course, you must take the exam with the program for non-attending students (details in the dedicated section).

Passage of letter (A-L => M-Z; M-Z => A-L)
The teaching of History of Theatre and Entertainment is divided into two courses according to the letter of the surname (A-L; M-Z). The passage from one letter to another is only possible in the presence of: (i) overlap with another course; (ii) proven work needs. In both cases, it is necessary to contact the teacher of the destination course and justify the request for change by producing proper documentation.

Course title:
The stranger from the Greek theatre to Shakespeare

The course offers an overview of the history of theatre from the Greco-Roman classicism to the twentieth century, using as a common thread a classic theme of Western theatre: the stranger. The relationship between our communities and the aliens of any sort  is in fact a recurring theme from antiquity to the Baroque and in its many declinations it still continues today to offer considerable ideas for dramartugies, acting, for the evolution of scenography and stage direction, for the production of shows, and the consumption choices of the audience.

The Institutions module tackles the history of Western theatre and entertainment through the perspectives offered by the relationship with the concept of "stranger", focusing on some particularly significant stages from Greek theatre to the twentieth-century revivals of Shakespearean suggestions. The aim is to present the history of the theatre in its multiplicity of perspectives, which substantiate the live performance as the complex product of heterogeneous components (dramaturgy, acting, space, scenography, economy, etc.) that change according to times and social contexts of reference.

The Laboratory module provides an in-depth study of the theme the "Stranger" through a detailed analysis of William Shakespeare's Othello and its fortune as a play capable of generating continuous transpositions, rereadings, code and meaning changes over the centuries, crossing different genres (from theatre, to opera, to cinema) and adapting to the shifting languages and cultural consumption.

Readings/Bibliography

Module Institutions (6 cfu)

The programme for attending students is composed by the readings of Section A and the following texts: one reading from Section B or two readings from Section C (atteding students' programme = A+B or A+2C).

Section A

• Personal notes on the classes
  
• Roberto Alonge e Franco Perrelli, Storia del teatro e dello spettacolo, Torino, UTET (any edition from 2015), excluding chapters from 22 to 32 (pp. 375-446).

Section B (one book of your choice):

• Siro Ferrone, Arlecchino. Vita e avventure di Tristano Martinelli attore, Bari-Roma, Laterza, 2006.
• Mirella Schino, L'età dei maestri: Appia, Craig, Stanislavskij, Mejerchol’d, Copeau, Artaud e gli altri, Roma, Viella, 2017.
• Marco De Marinis, Ripensare il Novecento teatrale. Paesaggi e spaesamenti, Roma, Bulzoni, 2018.

Section C (two books of your choice):

• Marco De Marinis, Visioni della scena. Teatro e scrittura, Bari-Roma, Laterza, 2004.
• Franco Perrelli, I maestri della ricerca teatrale: Il Living, Grotowski, Barba e Brook, Bari-Roma, Laterza, 2007.
• Livia Cavaglieri, Il sistema teatrale, Roma, Audino, 2021.
• Matteo Paoletti, «A huge revolution of theatrical commerce». Walter Mocchi and Italian Musical Theatre Business in South America, Cambridge, Cambridge University Press, 2020.

Non-attending students should integrate the above-mentioned programme by studying one extra reading from Section B (programme for non-attending student = A + 2B or A+B+2C)

Module Laboratory (6 cfu)

The programme for attending students is primarily based on the reading of any edition of William Shakespeare's Othello, on the notes taken during the lessons, and on:

• Alessandra Petrina, Shakespeare: guida ad Otello, Roma, Carocci, 2022.

Non-attending students must add the readings uploaded in the virtual classroom.

Teaching methods

The lessons (30 hours "Institutions" + 30 hours "Laboratory") will be carried out in the presence. The course is organized in frontal lessons, with analysis and deepening of the concepts treated, guided analysis of the audiovisual works of the theatre and opera. The module Laboratory will host practitioners and includes the reading of critical essays.

Assessment methods

The evaluation of the course will be carried out according to the ways, timing and guidelines established by the course of study. It will be based on an oral interview, with questions aiming at verifying the student's knowledge of the themes discussed during frontal lectures (only for attending students) as well as those treated in the program's compulsory readings.

The assessment will particularly focus on the skill displayed by the student in handling the material in the exam bibliography and his ability to find and use information and examples to illustrate and correlate the various themes and problems addressed in the course.

The assessment will thus examine the student's:

• factual knowledge of the subject;
• ability to summarize and analyze themes and concepts;
• familiarity with the terminology associated with the subject and his ability to use it effectively.

Top marks will be awarded to a student displaying an overall understanding of the topics discussed during the lectures, combined with a critical approach to the material and a confident and effective use of the appropriate terminology (30 cum laude and 30).

Average marks will be awarded to a student who has memorized the main points of the material and is able to summarise them satisfactorily and provide an effective critical commentary, while failing to display a complete command of the appropriate terminology (29-27).

A mnemonic knowledge of the subject, together with the capacity for synthesis and analysis articulated in a correct language, but not always appropriate, will lead to discreet evaluations (26-24).

Gaps in training and/or imprecise language - albeit in a context of minimal knowledge of the examination material - will lead to sufficient marks (23-21).

Training gaps and/or imprecise language - albeit in a context of minimal knowledge of the examination material - will lead to just enough grades (20-18).

Insufficient training, inappropriate language, lack of orientation within the bibliographic material will be evaluated negatively (<18).

Teaching tools

Audiovisual material from theatre, digital archives; platforms and websites.

Office hours

See the website of Matteo Paoletti