|CREDITS||6 credits during the 3nd year of 8457 Letters and Humanities (L-10) GENOVA|
|SCIENTIFIC DISCIPLINARY SECTOR||L-ART/05|
|TEACHING LOCATION||GENOVA (Letters and Humanities)|
The historical study of theater, overcoming the nineteenth-century prejudice (theater = literature), became autonomous in the last century, focusing on the performative aspects (“Storia del Teatro e dello Spettacolo”); today there is the need for a third approach, which considers the variety of theatrical behaviors in their unfolding, without the presumption of a linear narrative, as improbable as ephemeral is its object, but rather subtended by the understanding of the present.
Even without constituting discipline, the anthropological approach to the study of theater is able to speak, together, of what it has been and of what is still for us; incorporating and even using our inevitable prejudices in the story itself of its irreducible differences, historical and geographical. The course aims to retrace, among ancient and contemporary examples, Western and Oriental, theatrical and media, the main issues related to the theater and its relevance: the body, improvisation, the rite, the voice, the myth, the space, mask and disguise; because, when and how the theater works.
In particular, the following skills are pursued: in a historical perspective, appreciating the differences (irreducibility?) of theatrical phenomena among them; in a cultural perspective, considering the traits of transmediality, multidisciplinarity and interculturality of theatrical forms; in a critical perspective, understanding the creative and social diversity of current theater, between actor, director and community theater.
Elementary knowledge of theatre history.
Streaming lectures, with the aid of audiovisual material and practical exercises.
Brief "anti-history" of the theater for problems: legends of the origins (Icario, Tespi and Solone; but also Ishtar, Bharata, Amaterasu); théatron, first crime scene (from Oedipus king to CSI); from mìmesis to kathàrsis (pity and fear according to Aristotle and the Mirror Neurons); succession or simultaneity (from the Sacred Representation to Ronconi); the return of the masks, poor devils (Arlecchino and the coup de théâtre: "in questo", the theater); the theater malgré lui (from San Genesio fingido verdadero, to the holy actor by J. Grotowski); the theatrum mundi by E. Barba (theaters of the West and the East: birth of the "theatrical anthropology"); between Living Theater and reality show (body and politics); on the ruins of “teatro all’italiana” by P. Brook's (from the "deadly" theater again to a "sacred" one).
Victor Turner, Dal rito al teatro, Bologna, il Mulino, 1986
Eugenio Barba, Nicola Savarese, I cinque continenti del teatro. Fatti e leggende della cultura materiale dell’attore, Bari, edizionidipagina, 2017
Antonin Artaud, Il teatro e il suo doppio
Jerzy Grotowski, Per un teatro povero, Roma, Bulzoni, 1970
Franco Perrelli, I maestri della ricerca teatrale. Il Living, Grotowski, Barba e Brook, Roma-Bari, Laterza, 2007
Richard Schechner, Introduzione ai Performing Studies, a cura di Dario Tomasello, Bologna, Cuepress, 2018
Gabriele Sofia, Le acrobazie dello spettatore, Roma, Bulzoni, 2013
Roberto Tessari, Teatro e antropologia. Tra rito e spettacolo, Roma, Carocci, 2004
Office hours: After each lesson or by appointment.
ROBERTO CUPPONE (President)
ESTER FUOCO (Substitute)
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.
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.