03534 - Entertainment Organisation and Economics

Learning outcomes

By the end of the course the student: knows the historic evolution of the Italian theatre system, the laws to manages theatre’s events, the problematic issues of theater production and distribution also deepening real case histories, the fundamentals of public and private funding to cultural activities; builds experiences and develops skills for working in national’s cultural institutions, as he/she is able to collaborate in production, promotion and communication.

Course contents

The course is articulated on two units.

Unit 1 (Prof. Matteo Casari, lecture):

1) The system of live performance in Italy: the course will provide a general outline of the system of live performance in Italy, its historical origins and current set-up. A specific focus will be dedicated to the regulatory framework governing Residency Centres (Centri di residenza) and Artists in the territories (Artisti nei territory).

2) Theatre festivals and sustainability: the festival as a way to organize and spread culture is very common nowadays. Theatre festivals are confronting sustainability issues with increasing awareness and continuity, imagining artistic and production paths that respect the environment and are based on the environment. Some concrete examples from the Italian panorama will be considered.

3) Elements of project management, communication and cultural marketing: project management, communication theory and cultural marketing are becoming common and indispensable work tools for cultural operators.

Unit 2 (curated by ERT – Emilia Romagna Teatro Fondazione, lecture)

1) Simulating all the steps of the making of a theatre show: the production and the marketing communication strategy (as weel as, eventually, the selling and distribution to other Theatres and the organisation of a tournée). Only the students who attend the class, divided in small groups, will agree with the Professors a range of in-depth activities aimed at experiencing the contents of the course, starting from the simulating of a case study concerning the organization of a cultural event.

2) Quiz, drills and forum (online on Virtuale)

ATTENTION. Given the fluidity of the emergency situation and since this program is published in July 2021, it is possible that the methods of teaching will change in the coming months. In this case, the data will be promptly communicated with an update of this page, as well as through appropriate notices published on the usual institutional channels, namely: on the professor page; on the DAMS website and the official DAMS Facebook page. All students are invited to periodically consult these resources.

Readings/Bibliography

-M. Gallina, Ri-organizzare teatro. Produzione, distribuzione, gestione, FrancoAngeli, Milano, 2014.

-M.Caporale, D. Donati, M. Gallina, F. Panozzo, a cura di, Le politiche per lo spettacolo dal vivo tra Stato e Regioni, FrancoAngeli, Milano, 2023.

-A. Bollo, Il marketing della cultura, Carocci, Roma, 2012.

-L. Argano, La gestione dei progetti di spettacolo. Elementi di project management, FrancoAngeli, Milano, 2010.

-Associazione TrovaFestival, a cura di, Patrimonio culturale e sostenibilità, Altra Economia, Milano, 2024.

Non-attending students shall prepare one text chosen among the following:

-Edoardo Donatini, Gerardo Guccini, La funzione culturale dei festival. Un seminario, CUE Press, Imola, 2019.

-L. Argano, P. Dalla Sega, Nuove organizzazioni culturali. Atlante di navigazione strategica, FrancoAngeli, Milano, 2010.

-F. Biondi, L. Donati, Incontro al futuro. I teatri delle residenze in Italia: un’inchiesta, L’arboreto, Mondaino, 2023.

-F. Benhamou, L’economia della cultura, il Mulino, Bologna, 2020 (nuova edizione).

-A. Carù, S. Salvemini, Management delle istituzioni artistiche e culturali, Egea, Milano, 2011.

-L. Cavaglieri, Il sistema teatrale. Breve storia dell'organizzazione, dell'economia e delle politiche del teatro in Italia, Roma, Dino Audino, 2021.

-Paul DiMaggio, Organizzare la cultura. Imprenditoria, istituzioni e beni culturali, il Mulino, Bologna, 2009.

-A. Foglio, Il marketing dello spettacolo. Strategia di marketing per cinema, teatro, concerti, radio/tv, eventi sportivi e show business, FrancoAngeli, Milano, 2005.

-Pasquale Gagliardi, Il gusto dell’organizzazione. Estetica, conoscenza, management, Guerini e Associati, 2011.

- M. Gallina, L. Monti, O. Ponte di Pino, Attore... Ma di lavoro cosa fai? Occupazione, diritti, welfare nello spettacolo dal vivo, FrancoAngeli, Milano,

-D. Haselbach, A. Klein, P. Knüsel, S. Optiz, Kulturinfarkt. Azzerare i fondi pubblici per far rinascere la cultura, Marsilio, Venezia, 2012.

-A. Taormina, Osservare la cultura, FrancoAngeli, Milano, 2012.

-A. Turrini, Politiche e management pubblico per l'arte e la cultura, Egea, Milano, 2009.

Teaching methods

During the lessons the lecturer will involve the students in an active discussion of the lesson topics. The exchanges will be addressed to bringing out any difficulties concerning the subject matter, but not to actually forming part of the final mark.

Assessment methods

Students will be first assessed during the lectures, as involved in active discussion of the topics. This dialogue aims to bring out any difficulties concerning the subject, not to form the final mark.

The final exam will consist of a written test with several open-ended questions, one question for each textbook cited in the course bibliography. The questions will normally elicit a general description of the topic as well as a more detailed description of its idiosyncrasies and facets.

The exame will take account of the propriety and the adequacy of written and oral linguistic expression:

30 cum laude: excellent performance showing soundness of knowledge, rich discursive articulation, appropriate expression, interest of critical contribution;

30: Excellent performance, complete, and appropriate knowledge, well-articulated and appropriately expressed, with interesting critical contributions;

29-27: Good performance, more than satisfactory knowledge, correct expression.

26-24: Standard performance, essential knowledge, but not comprehensive and / or not always correctly expressed;

23-21: Sufficient performance, general but superficial knowledge; often inappropriate expression and/or confused articulation of speech;

20-18: Poor performance, sufficient expression and articulation of speech with significant gaps;

<18: Insufficient performance, knowledge absent or very incomplete, lack of orientation in the discipline, poor and seriously flawed expression.

Students with learning disorders and\or temporary or permanent disabilities: please, contact the office responsible (https://site.unibo.it/studenti-con-disabilita-e-dsa/en/for-students) as soon as possible so that they can propose acceptable adjustments. The request for adaptation must be submitted in advance (15 days before the exam date) to the lecturer, who will assess the appropriateness of the adjustments, taking into account the teaching objectives.

Teaching tools

Video projections, web sources, meetings with experts.

Office hours

See the website of Matteo Casari

See the website of Valentina Falorni