OVERVIEW

In the astonishing and misleading archive of the documents of the theater, the written texts are those that most influence us today in terms of number, ease of transmission (publication) and autonomous poetic value; but a path aimed at their real functional understanding - both in the historical and current sense - can only consider them in their physiology, of show projects - as explicitly the etymology of “dramaturgy”, ‘work (functioning) of actions’.

AIMS AND CONTENT

LEARNING OUTCOMES

The course aims to provide students with examples and critical tools to appreciate the function of dramaturgy in an anthropological perspective, that is the way in which the actions literally operate in the theater, interact and finally activate a show project, of which actors and spectators are equally co-constituting (and therefore from the beginning explicit or implicit variables of the eventual text); in relation both to the cursus of literary studies and to the Spettacolo curriculum.

AIMS AND LEARNING OUTCOMES

In particular, the course aims to develop some skills: recognizing the “physiology” of a dramatic text, between de-writing and pre-writing; appreciating the variety of historical and cultural forms; knowing some important examples; distinguishing a dramatic text from the performative text of the show; appreciating the genesis of writing for the scene, between summary and estimate of the creative experience.

PREREQUISITES

Anyone.

TEACHING METHODS

Lectures with audiovisual material and practical exercises.

SYLLABUS/CONTENT

If it is true that the 'scene' (from skené, ‘curtain’), in advance of the place of result of the representation, is the threshold through which one makes visible what is invisible (the “open door” mentioned by Peter Brook), the dramaturgy is first of all a project of staging the ob-scenum (of what is literally out of scene), of unveiling, which operates according to three main directives: as an organizing principle and stimulus for the physical actions of the actors (the “Dramaturgy of actions” from Aristotle, to the Commedia dell'Arte, to Stanislavskij); as exploration and expansion of the mechanisms of collaboration between actor and spectator (the “metateatro” from Shakespeare, to Brecht, to Sinisterra); as a permanent lexical and syntactic creation (from the theatrical languages ​​of Ruzante, Arlecchino, Testori to the so-called “dialects”).

RECOMMENDED READING/BIBLIOGRAPHY

Mandatory texts

Gerardo Guccini (a cura di), La bottega dei narratori. Storie, laboratori e metodi di Marco Baliani, Ascanio Celestini, Laura Curino, Marco Paolini, Gabriele Vacis, Roma, Dino Audino, 2005

Antonin Artaud, Il teatro e il suo doppio

Recommended texts

Giovan Battista Andreini, Le due commedie in commedia

Aristofane, Le rane

Aleksandr Blok, La baracca dei saltimbanchi

Calderon de la Barca, Il gran teatro del mondo

Pierre Corneille, L’illusion comique

Eduardo De Filippo, Sik sik artefice magico

Denis Diderot, Il figlio naturale

Michael Frayn, Rumori fuori scena

Jean Genet, Il balcone

Carlo Goldoni: Il teatro comico, La cameriera brillante

Thomas Kyd, Tragedia spagnola

Pierre Marivaux, Gli attori in buona fede

Molière, L’improvviso di Versailles

Luigi Pirandello: Sei personaggi in cerca d’autore, Enrico IV, I giganti della montagna

Josè Sanchiz Sinisterra, Ay Carmela!

Flaminio Scala, Prologo de Il finto marito

William Shakesperare: Tito Andronico, Amleto, Enrico V, Sogno di una notte di mezza estate, La tempesta

Ludwig Tieck, Il mondo alla rovescia

Peter Weiss, Marat-Sade

TEACHERS AND EXAM BOARD

Exam Board

ROBERTO CUPPONE (President)

LIVIA CAVAGLIERI

LESSONS

LESSONS START

2018, 18th September, Wednesday

Class schedule

The timetable for this course is available here: Portale EasyAcademy

EXAMS

EXAM DESCRIPTION

Oral.

ASSESSMENT METHODS

The evaluation will be in equal parts (3/3) a) on learning the informative contents of the prescribed texts, b) on the ability to critically process their contents, and c) on the personal in-depth study.

Exam schedule

FURTHER INFORMATION

It is recommended to contact the teacher for bibliographic indications or materials related to the lessons; to solve any problems in the availability of texts; to agree on motivated changes to the program.