|SCIENTIFIC DISCIPLINARY SECTOR||L-ART/05|
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’.
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.
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.
Elementary knowledge of theatre history.
Streaming lectures, with the aid of audiovisual material and practical exercises.
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”).
Monographic course 2022-23: "But pardon, gentles all: you and us, the Chorus"
Masolino D’Amico, Scena e parola in Shakespeare, Torino, Einaudi, 1974
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
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
Carlo Goldoni: Il teatro comico
Thomas Kyd, Tragedia spagnola
Pierre Marivaux, Gli attori in buona fede
Molière, L’improvviso di Versailles
Luigi Pirandello, Enrico IV
Josè Sanchiz Sinisterra, Ay Carmela!
Flaminio Scala, Il Teatro delle Favole Rappresentative
William Shakesperare, La tempesta
Ludwig Tieck, Il mondo alla rovescia
For non-attending students
A theatrical text of your choice among the recommended is required.
Lessons start 2018, 25th September, Wednesday
Office hours: After each lesson or by appointment.
ROBERTO CUPPONE (President)
ESTER FUOCO (Substitute)
ROBERTO TROVATO (Substitute)
27 September 2022
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.