Teaching code

4S004002

Teacher

Simona Brunetti

Coordinator

Simona Brunetti

Credits

6

Language

Italian

Scientific Disciplinary Sector (SSD)

L-ART/05 - PERFORMING ARTS

Period

1 A, 1 B

Lessons timetable Moodle Seminars 0

Learning objectives

The course aims to provide methods and tools to critically analyse a dramatic text and a theatrical performance in their mutual dependence, in comparison with other literary and representative genres, in relation to their specific literary and scenic purposes, from antiquity to the digital age. At the end of the course, students will be able to understand the various possible interactions between dramaturgy and performance; analyse from an historical point of view the cultural, social, and ideological aspects underneath them; critically analyse specific texts or performing events in relation to the circumstances that directly or indirectly determined their creation; acquire the tools to improve their theatrical knowledge in time.

Prerequisites and basic notions

Students who have not taken any other exam in Performing Arts must integrate the bibliography with Luigi Allegri, Prima lezione sul teatro, Rome-Bari, Laterza, 2012.

Program

In the last plays of Anton Chekhov the structure of dialogue is elaborated in a radically new form, presenting the mechanism of communication in the negative, that is, showing the difficulties that continually stand in the way of establishing and maintaining contact. Samuel Beckett, on the other hand, resolves the meaning of the whole drama in the empty dialogue, useful to pass the time. Starting from these premises, the theater of Natalia Ginzburg interpreted by Giulia Lazzarini proposes female figures who place conversation at the center as an antidote to the abyss of silence and a life in expectation. Referral texts 1. Notes from the lectures and in-depth materials. Non-attending students will integrate the bibliography with the study of: Luigi Allegri, Scritture per la scena. Reading the theatrical texts, Rome-Bari, Laterza, 2021. 2. Critical study of the following theatrical texts and in-depth essays: a. Anton Chekhov, Uncle Vanya; The cherry garden. Roberto Alonge, Theater and entertainment in the second half of the nineteenth century, Rome Bari, Laterza, 1993, pp. 120-130; Peter Szondi, Theory of modern drama, Turin, Einaudi, 2000, pp. 9-15 and pp. 24-31. b. Samuel Beckett, Waiting for Godot; Happy days. Paolo Bertinetti, Invitation to reading Beckett, Milan, Mursia, 2017, pp. 93-102 and pp. 111-114. 3. Critical analysis of the following plays by Natalia Ginzburg: I married you for joy; The interview. 4. Study of Simona Brunetti, Actors in video in the second half of the twentieth century, Bari, Edizioni di Pagina, 2022, pp. 51-123 (chapters II, III, IV and V).

Bibliography

Didactic methods

Lectures alongside the analysis of sources of various kinds (archive documents, iconography, theatrical performances, films, video fragments, audio, etc.).
Conferences, sources, readings, and critical texts will be further specified during the course. Some materials, necessary for the preparation of the exam, will be available in the e-learning site. The critical commentary of the theatrical or cinematographic adaptations analysed during the lectures will be part of the examination.
N.B.
Students in isolation for Covid 19 are invited to send an e-mail to the teacher.

Learning assessment procedures

Oral exam with final evaluation expressed by a mark out of thirty.

Evaluation criteria

Questions proposed to candidates will aim on the one hand to verify their learning of specific theoretical and methodological items, on the other hand, to test their ability to analyse dramas and examples of contemporary performances following models proposed in classes.

Criteria for the composition of the final grade

The final graduation is determined by four questions worth three points each on the topics covered in the lessons.

Exam language

Italiano