OVERVIEW

A hybrid and mixed discipline and as such potentially equipped with ambiguous beauty and charm even if it lacks an autonomous scientific and methodological statute, it looks at all possible interferences between literature and theatre. The course, which is for first students of the performance programme and whoever else is interested, outlines an original path through the history of theatre and literature. 

AIMS AND CONTENT

LEARNING OUTCOMES

A hybrid and mixed discipline and as such potentially equipped with ambiguous beauty and charm even if it lacks an autonomous scientific and methodological statute, it looks at all possible interferences between literature and theatre. The course, which is for first students of the performance programme, has the main aim of introducing literary texts (both written and oral) that, from the origins to the 20th century and beyond have made a fundamental contribution to the history of Theatre and Performance: the capacity to read and analyse “dramatic texts”, the ephemeral presence which is also repository of the author’s will (when it exists) and tradition is what this course aims to give to students. 

TEACHING METHODS

Lectures

SYLLABUS/CONTENT

PROGRAM (6 CREDITS COURSE)

1) Dramatic text: history, tradition, analysis strategies.
2)  Comedy from XV th to XVIIth century or 3) Tragedy from the end of the Nineteenth to the Twentieth century.

Preparatory readings: Aristotele, Poetica; Orazio, Ars poetica. (available on aulaweb).
Module 2. Angelo Poliziano, La fabula di Orfeo (aulaweb); Comedy in Cinquecento: Prologhi (aulaweb), Nicolò Machiavelli, La Mandragola, Ruzante, Il Parlamento e Bilora (aulaweb); Pietro Aretino, La cortigiana. Torquato Tasso, Aminta ; Gb Guarini, Pastor fido. Giovan Battista Della Porta, Li due fratelli rivali , Giovan Battista Andreini, Le due commedie in commedia  orAmor nello specchio; Flaminio Scala, un testo da Il teatro delle favole rappresentative (aulaweb). 

Module 3. Giuseppe Giacosa, Come le foglie e Tosca (by Illica for Giacomo Puccini), Gabriele d’Annunzio, La figlia di Iorio (or La città morta), Luigi Pirandello, Il giuoco delle parti e/o Sei personaggi in cerca d’autore con Prefazione 1925; extraits from teatro futurista e di varietà (aulaweb); Eduardo De Filippo, Filumena Marturano; Giovanni Testori, L’Arialda, Pier Paolo Pasolini, Porcile; Carmelo Bene, Lorenzaccio racconto (view the full exhibition on youtube).

One chosen texts between: Anton Cechov, Il gabbiano, Henrick Ibsen, Casa di bambola, August Strindberg, La signorina Julie, Alfred Jarry, Ubu re.

PROGRAM (9 CREDITS COURSE)

1) Dramatic text: history, tradition, analysis strategies.2)  Comedy from XV th to XVIIth century

3) Tragedy from the end of the Nineteenth to the Twentieth century.

Preparatory readings: Aristotele, Poetica; Orazio, Ars poetica. (available on aulaweb).
Module 2. Angelo Poliziano, La fabula di Orfeo (aulaweb); Comedy in Cinquecento: Prologhi (aulaweb), Nicolò Machiavelli, La Mandragola, Ruzante, Il Parlamento e Bilora (aulaweb); Pietro Aretino, La cortigiana. Torquato Tasso, Aminta ; Gb Guarini, Pastor fido. Giovan Battista Della Porta, Li due fratelli rivali , Giovan Battista Andreini, Le due commedie in commedia  orAmor nello specchio; Flaminio Scala, un testo da Il teatro delle favole rappresentative (aulaweb). 

Module 3. Giuseppe Giacosa, Come le foglie e Tosca (by Illica for Giacomo Puccini), Gabriele d’Annunzio, La figlia di Iorio (or La città morta), Luigi Pirandello, Il giuoco delle parti e/o Sei personaggi in cerca d’autore con Prefazione 1925; extraits from teatro futurista e di varietà (aulaweb); Eduardo De Filippo, Filumena Marturano; Giovanni Testori, L’Arialda, Pier Paolo Pasolini, Porcile; Carmelo Bene, Lorenzaccio racconto (view the full exhibition on youtube).

One chosen texts between: Anton Cechov, Il gabbiano, Henrick Ibsen, Casa di bambola, August Strindberg, La signorina Julie, Alfred Jarry, Ubu re.

RECOMMENDED READING/BIBLIOGRAPHY

BIBLIOGRAPHY (6 CREDITS COURSE)

Annamaria Cascetta, Laura Peja, Ingresso a teatro. Guida all’analisi della drammaturgia, Firenze, Le Lettere, 2003, chap. III. La parola per la scena: teoria, forme e problemi di metodo, pp. 139-232.

Professor’s lecture notes about History of theatrical literature on aulaweb.

Some of the dramatic texts will be available on aulaweb. For others, see on the aulaweb the bibliography that will be published at the beginning of the course.

Non-attendants students will need to study, in addition to the ordinary bibliography, a volume or essay between:

Roberto Alonge, La riscoperta rinascimentale del teatro in Storia del teatro moderno e contemporaneo. Cinquecento-Seicento, R. Alonge, G. D. Bonino, Torino, Einaudi, 2000, pp. 5-118 available in library (for module 2)

Giovanni Antonucci, Storia del teatro italiano contemporaneo, Milano, Studium, 2012, chapters to be defined (for module 3).

 BIBLIOGRAPHY (9 CREDITS COURSE)

Annamaria Cascetta, Laura Peja, Ingresso a teatro. Guida all’analisi della drammaturgia, Firenze, Le Lettere, 2003, chap. III. La parola per la scena: teoria, forme e problemi di metodo, pp. 139-232.

Professor’s lecture notes about History of theatrical literature on aulaweb.

Some of the dramatic texts will be available on aulaweb. For others, see on the aulaweb the bibliography that will be published at the beginning of the course.

Non-attendants students will need to study, in addition to the ordinary bibliography, a volume or essay between:

Roberto Alonge, La riscoperta rinascimentale del teatro in Storia del teatro moderno e contemporaneo. Cinquecento-Seicento, R. Alonge, G. D. Bonino, Torino, Einaudi, 2000, pp. 5-118 available in library (for module 2)

Giovanni Antonucci, Storia del teatro italiano contemporaneo, Milano, Studium, 2012, chapters to be defined (for module 3).

TEACHERS AND EXAM BOARD

Exam Board

SIMONA MORANDO (President)

MARCO BERISSO

EMANUELA CHICHIRICCO'

LESSONS

Class schedule

ITALIAN LITERATURE THEATRE

EXAMS

ASSESSMENT METHODS

Oral exam

Exam schedule