Teaching code

4S004002

Teacher

Simona Brunetti

Coordinatore

Simona Brunetti

Credits

6

Language

Italian

Scientific Disciplinary Sector (SSD)

L-ART/05 - PERFORMING ARTS

Period

1 A, 1 B

Lessons timetable Moodle Seminars

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 an existence in expectation.

References
1. Non-attending students will integrate the bibliography with the study of: Luigi Allegri, Scritture per la scena. Leggere i testi teatrali, Roma-Bari, Laterza, 2021.
2. Critical analysis of the following dramas and essays:
a. Anton Čechov, Zio Vanja; Il giardino dei ciliegi. Roberto Alonge, Teatro e spettacolo nel secondo Ottocento, Roma Bari, Laterza, 1993, pp. 120-130; Peter Szondi, Teoria del dramma moderno, Torino, Einaudi, 2000, pp. 9-15 e pp. 24-31.
b. Samuel Beckett, Aspettando Godot; Giorni felici. Paolo Bertinetti, Invito alla lettura di Beckett, Milano, Mursia, 2017, pp. 93-102 e pp. 111-114.
3. Critical analysis of the following dramas by: Ti ho sposato per allegria; L’intervista.
4. Simona Brunetti, Attori in video nel secondo Novecento, Bari, Edizioni di Pagina, 2022, pp. 51-123 (chapters II, III, IV e 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.

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