Corso di laurea in DAMS
Discipline delle Arti, della Musica e dello Spettacolo

Consistently with its denomination, this course is aimed at presenting and critically discussing a part of the specific contents of the whole formative course, by providing students with hermeneutical tools required for the knowledge and understanding of spatial organisation, image and vision in theatrical, performative and multimedia events, as well as effective models allowing to apply acquired knowledge and understanding to specific cultures and/or historical phenomena related to those events.

At the end of the course students will have to show they have acquired knowledge and skills of learning and understanding concerning the evolution of theory and history of scenography, as well as the ability to apply them to the analysis and design of performing arts events; they will have to expound them with adequate independence of judgement and communicational skills.

The aforesaid kwowledge and skills will be verified according to the historical-theorical macro-contexts explicitly stated under the voice “programme”

Class of 36 hours (6 CFU).

The course will be developed by expounding its contents according to an unitary and organic conceptual framework, implemented in a graphical form connecting all contents to a single conceptual field (space/image/vision of the play/performance/show); the implementation of the framework will be open to contributions from the attending students' collective.

Students will show their knowledge and abilities as a result of an oral interview, which will be held according to the procedures exposed below (see "Testi consigliati e bibliografia") depending on whether the student has actually attended the course

ATTENDING students will be required to relate their understanding of the conceptual framework the course is based upon, supplemented by general knowledge from specific bibliographical references; NON-ATTENDING students will have to show their acquired knowledge and skills through an interview EXCLUSIVELY focused on their knowledge and understanding of definite bibliographical references.

Anyway, students will be judged to have attained adequate results (from 18/30 to 30/30) if they will show to have acquired the ability to critically appreciate, evaluate and analyse theatrical, cinematographic, performative and multimedia products, by making use of historical knowledge as well as the necessary aesthetic and methodological instruments.

Theoretical aspects and historical implementations of the experience of space, image, and vision in the experience of representational and performative events:

- Representation in ritual and cult

- Classical theatre in its Greek, Hellenistic, and Roman variants

- Mediaeval theatre

- Pre-modern and modern theatrical cultures

- The reforms of the stage between the 19th and the 20th century

- Performance

- Technological performance, from cinema to contemporary multimedia

ATTENDING STUDENTS

NB: The interview with ATTENDING STUDENTS will focus on the content of the course and cannot be substituted with specific literature, but must be integrated with the knowledge of the specific data and historical-theoretical perspectives presented in the following references:

Allardyce Nicoll, Lo spazio scenico. Storia dell’arte teatrale, Bulzoni, Roma, 1992;

Franco Perrelli, Storia della scenografia. Dall’antichità al XXI secolo, Carocci, Roma, 2013 ( limitatamente ai capp. 1-3, 4-7 compresi).

Further bibliographical references will be provided during the course, if needed by single students and/or the attending students' collective to widen and elaborate the programme's themes

NON-ATTENDING STUDENTS

NB: NON-ATTENDING STUDENTS will be required to show an appreciable independently acquired knowledge and skills on the main issues of the program, exercising these skills in the analysis of main theatrical cultures, under the historical connection between spaces (buildings, stages, decorative-visual equipment) and performances. These purposes can be attained with a thorough and systematic study of the following references, which the exam interview will focus EXCLUSIVELY upon:

Allardyce Nicoll, Lo spazio scenico. Storia dell’arte teatrale, Bulzoni, Roma, 1992;

Franco Perrelli, Storia della scenografia. Dall’antichità al XXI secolo, Carocci, Roma, 2013 (integrale);

plus a choice of  essays which may be choosed among the following:

A) Adolphe Appia, Attore, musica e scena, Feltrinelli, Milano, 1975;

     Vjačeslav Ivanov, “Wagner e l’Atto dionisiaco”, in «Il castello di Elsinore», 1988, n. 3, pp. 76-78;

     Alfred Jarry, “Dell’inutilità del teatro a teatro”, in: Silvia Carandini, La melagrana spaccata, Valerio Levi, Roma, 1988, pp. 97-101.

B) Vsevolod Mejerchol’d, La rivoluzione teatrale, Editori Riuniti, Roma, 1975 (limitatamente ai primi 3 capitoli, pp. 1-126);

     Konstantin Stanislavskij, Le mie regie. 1. Tre sorelle. Il giardino dei ciliegi, Ubulibri, Milano, 1986 (limitatamente a “Tre sorelle”).

C) Roberto Tessari, Teatro e avanguardie storiche, Laterza, Roma-Bari, 2005.

D) Ferruccio Marotti, Lo spettacolo dall'Umanesimo al Manierismo. Teoria e tecnica, Feltrinelli, Milano, 1974

E) Ludovico Zorzi, Il teatro e la città - Saggi sulla scena italiana, Einaudi, Torino, 1979