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

MODULE I

The module I aims to provide:

a) knowledge of a general outline of the history of dance from the Middle Ages to present day;

b) some tools for critical and theoretical approach to phenomenology of dance;

c) a monographic study about Contemporary European Dance, with particular focus on Italy.

MODULE II

The module II aims to provide:

a) knowledge of the basic elements of the history and theory of theatrical performance and its

disciplinary field that interweaves theatrology, dance studies and gender studies;

b) a methodology of study through key words in their historical variation (event, social play,

ritual, embodiment, etc.);

c) research tools on the material status of theatrical performance;

d) application of the research tools to a case study.

MODULE I

Students will gain:

Knowledge and understanding: Knowledge of the general lines of the history of dance from the Middle Ages to the present day through the study of the manual (periodization, the main protagonists of the choreic scene, the important elements of the choreographic forms, styles and techniques).

Applying knowledge and understanding: applying the major theoretical and critical tools (mainly worked in the field of dance studies) for reading and interpretation of both artistic and spectacular dance forms and their social and cultural events;

Making judgements: ability to apply learned knowledge in an historical-critical analysis of a particular aspect of the history of dance and related issues.

Communication skills: ability to use the tools of contemporary communication effectively and consciously.

Learning skills: ability to autonomously continue the study and research in the field of dance and performance studies.

MODULO II

Students will gain:

a) knowledge and understanding of the historical and theoretical issues relating to theatrical performance and related keywords;

b) applying knowledge and understanding to the analysis of the main forms of performance through the use of keywords;

c) making judgements in recognising the material status of performance within the contemporary arts;

d) communication skills in using terminology and key words clearly and effectively;

e) learning skills: ability to independently pursue study and research in the field of theatrical performance.

MODULE I

The module will be divided into three parts. The first one, focusing on the outline of the history of Western dance, will provide some historical interpretations for home study of the manual. The second one will provide the essential tools for critical, interpretative and aesthetic reading of theatrical and social dance, following the acquisitions of the most recent theoretical studies. The third one will be a monographic subject and it will address some significant moments in the history of European contemporary dance, through the analysis and study of some of the works in their videographic transcriptions.

MODULE II

The module is divided into three parts: the first part deals with the historical and theoretical horizon in which theatrical performance has been elaborated; the second part deals with the emergence of keywords through exemplification of performance forms and theories; the third part explores a case study of theatrical performance with the proposal of an analysis methodology.

Lessons will be face-to face in attendance. The Moodle platform will be used as an integrated learning environment by uploading contributions that can be used asynchronously.

Expected knowledge and skills will be verified through an oral interview with questions about the content of the course. Preparation will be considered adequate (grades will be in thirtieths) if the student demonstrates proper exposure and autonomus judgments about the analyzed coreutic and performance phenomena.

In detail:

• Students will have to demonstrate that they know how to relate to the individual show/performance analyzed during the course.
• They will have to demonstrate knowledge of the fundamental elements of the history of choreography and theatrical performance with related keywords.
• They will have to demonstrate that they have assimilated the fundamental principles of choreographic design and performance.
• The exam could take about 30 minutes.
  
  

SLD students are asked to contact the teacher during the reception hours to define compensatory instruments and individualized treatments.

Usefull links for SLD students and students with disability:

The teachers are available to discuss and integrate the contents during the semester of the course and provide all the necessary support to those who want it.

The indicated bibliography is compulsory

Bibliography:

1. Alessandro Pontremoli, Storia della danza dal Medioevo ai giorni nostri, Firenze, Le Lettere, ristampa 2015.

2. Alessandro Pontremoli, La danza. Storia teoria estetica nel Novecento, Roma-Bari, Laterza, settima ristampa 2015. "Il titolo è accessibile in versione ebook tramite il servizio Trovaopen_in_new"

3. Alessandro Pontremoli, La danza 2.0.Paesaggi coreografici del nuovo millennio, Roma-Bari, Laterza, 2018. "Il titolo è accessibile in versione ebook tramite il servizio Trovaopen_in_new"

4. Erika Fischer-Lichte, Estetica del performativo. Una teoria del teatro e dell’arte, Roma, Carocci, 2014.

5. Fabrizio Fiaschini (a cura di), Controcampi. Estetiche e pratiche della performance negli spazi del sociale, Roma, Bulzoni, 2022.

6. Fabrizio Deriu, Dionysus in 1969 da Euripide per Richard Schechner e il Performance Groupe, Pisa, ETS, 2022.

-----------

IN ADDITION, FOR NON-ATTENDING STUDENTS ONLY, a text of your choice from the following:

- Luigi Allegri, Il teatro e le arti. Un confronto fra linguaggi, Roma, Carocci, 2017.

- Elena Cervellati, La danza in scena. Storia di un'arte dal Medioevo ad oggi, Milano, Bruno Mondatori, 2009.

- Mauro Di Rosa, Swan Lake di Matthew Bourne. Un "classico" del "Gender Reversal", Roma, Aracne, 2014.

- Ornella Di Tondo, La censura sui balli teatrali nella Roma dell'Ottocento, Torino, UTET Università, 2008.

- Susan Leigh Foster, Coreografia e narrazione. Corpo, danza e società dalla pantomima a Giselle, Roma, Dino Audino, 2004.

- Roberto Giambrone, Pina Bausch. Le coreografie del viaggio, Macerata, Ephemeria, 2008.

- Rudolf Laban, La danza moderna educativa, a cura di Laura Delfini e Franca Zagatti, Macerata, Ephemeria, 2009.

- Rossella Mazzaglia, Virgilio Sieni. Archeologia di un pensiero coreografico, Spoleto, Editoria & Spettacolo, 2015.

- Rossella Mazzaglia, Judson Dance Theater. Danza e controcultura nell'America degli anni Sessanta, Macerata, Ephemeria, 2010.

- Valeria Morselli, L'essere scenico. Lo Zen nella poetica e nella pedagogia della Compagnia Abbondanza/Bretoni, Macerata, Ephemeria, 2007.

- Cecilia Nocilli, Coreografare l'identità. La danza alla corte aragonese di Napoli (1442-1502), Torino, UTET Università, 2011.

- Stefania Onesti, Di passi, di storie e di passioni. Teorie e pratiche del ballo teatrale nel secondo Settecento italiano, Torino, Accademia University Press, 2016.

- Silvio Paolini Merlo (a cura di), Le pioniere della nuova danza italiana. Le autrici, i centri di formazione, le compagnie, Milano, ABEditore, 2016.

- Flavia Pappacena, La danza classica. Le origini, Roma-Bari, Laterza, 2009. "Il titolo è accessibile in versione ebook tramite il servizio Trovaopen_in_new"

- Alessandro Pontremoli, Danza e Rinascimento. Cultura coreica e "buone maniere" nella società di corte del XV secolo, Macerata, Ephemeria, 2011.

- Alessandro Pontremoli e Adriana Cava (a cura di), La danza jazz, Roma, Aracne, 2014.

- Alessandro Pontremoli e Elena Zo, Anna Sagna, Torino, UTET Università, 2005.

- Ted Shawn, Dobbiamo danzare/Dance We Must, a cura di Alessio Fabbro, introduzione di Stefano Tomassini, Roma, Gremese, 2008.

- Silvana Sinisi, L'interprete totale. Ida Rubinstejn tra teatro e danza, Torino, UTET Università, 2011.

- Elena Randi, Protagonisti della danza del XX secolo. Poetiche ed eventi scenici, Roma, Carocci, 2014.

- Rosella Simonari, Letter to the World. Martha Graham danza Emily Dickinson, Roma, Aracne, 2015.

- Giulia Taddeo, Un serio spettacolo non serio. Danza e stampa nell'Italia fascista, Milano-Udine, Mimesis, 2017.

- Alessandro Pontremoli e Gerarda Ventura, La danza, organizzare per creare. Lo scenario, le specificità tecniche, gli assetti, le pratiche, il quadro normativo, il pubblico, Milano, Franco Angeli, 2019.

- Alessandro Pontremoli, Chiara Gelmetti (a cura di), Cesare Negri. Un maestro di danza e la cultura del suo tempo, Venezia, Marsilio, 2020.

- Annamaria Corea, Louis Henry e il balletto a Napoli in età napoleonica, Lucca, LIM, 2021.

- Maria Venuso, Giselle e il teatro musicale. Nuove visioni per la storia del balletto, Firenze, Leonardo, 2021.