ID:
509201
Duration (hours):
36
CFU:
6
SSD:
DISCIPLINE DELLO SPETTACOLO
Year:
2025
Overview
Date/time interval
Primo Semestre (22/09/2025 - 19/12/2025)
Syllabus
Course Objectives
The course aims to provide the student with critical and interpretative tools for the knowledge and study of the performance, not only from a theoretical and methodological point of view, but also through historical analysis of the main expressive forms it has taken during the twenties century, interacting with artistic, cultural, ritualistic and sociological processes. At the end of the course the student must demonstrate:
1) To have acquired the basic skills to read and understand the complex structure of performance (artistic, anthropological, social)
2) To be able to analyse its communicative forms, with special reference to the relationships between product and process, aesthetics and ethics, visual arts and social action.
3) To be able to contestualize the model of performance in the context of contemporary theatrical practices
1) To have acquired the basic skills to read and understand the complex structure of performance (artistic, anthropological, social)
2) To be able to analyse its communicative forms, with special reference to the relationships between product and process, aesthetics and ethics, visual arts and social action.
3) To be able to contestualize the model of performance in the context of contemporary theatrical practices
Course Prerequisites
The course requires the basic knowledge of the history of the theatre , study and analysis of the scenic languages in the twenties century
Teaching Methods
The course is based on the following teaching methods:
1) Lectures
2) Slides, especially concerning visual and iconographic sources
3) Case studies: view and comment of videos of theatrical plays and performances
4) Planning of theatrical plays selected from the theatres of Pavia and Milan to be viewed by the students.
5) Sharing of all teaching materials on the web-based platform Kiro
1) Lectures
2) Slides, especially concerning visual and iconographic sources
3) Case studies: view and comment of videos of theatrical plays and performances
4) Planning of theatrical plays selected from the theatres of Pavia and Milan to be viewed by the students.
5) Sharing of all teaching materials on the web-based platform Kiro
Assessment Methods
The oral exam aims to verify the knowledge and the skills acquired by the students about these didactic fields: 1) Lectures 2) Reference texts
Texts
1) Lectures 2) Mandatory essays available on the Kiro platform EUGENIA CASINI ROPA, Il corpo ritrovato. Danza e teatro tra pedagogia, ginnastica e arte, «Teatro e Storia», 3, 1987, pp. 295-346. FABRIZIO FIASCHINI, Dionysus in 69: Richard Schechner tra teoria e prassi della performance, «Mantichora», 1, 2011, pp. 238-261 rivista on line (www.mantichora.it) FABRIZIO FIASCHINI, Verso il corpo-memoria: la via blasfema di Jerzy Grotowski, in Segni, immagini, rappresentazioni della memoria, a cura di Lorenzo Donghi, Deborah Toschi, Pavia, Pavia University Press, 2017, pp. 27-46. FABRIZIO FIASCHINI, Alle radici del teatro sociale: la pratica rivoluzonaria di Asja Lacis, in L’Ottobre delle Arti, Accademia University Press, Torino 2019, pp. 211-231. JERZY GROTOWSKI, Il performer, «Teatro e Storia», 1, 1988, pp. 165-169. FRANCO RUFFINI, Quel vuoto d’anni. Il libro di Jerzy Grotowski, in Craig, Grotowski, Artaud. Teatro in stato d’invenzione, Laterza, Roma Bari 2009, pp. 71-96. One text of your choice: RICHARD SCHECHNER, Introduzione ai Performance Studies, CuePress, Bologna 2018 FABRIZIO DERIU, Performatico. Teoria delle arti dinamiche, Bulzoni, Roma 2012. ERIKA FISCHER-LICHTE, Estetica del Performativo, Carocci, Roma 2014. LORENZO MANGO, La scrittura scenica. Un codice e le sue pratiche nel teatro del Novecento, Bulzoni, Roma 2003. EUGENIO BARBA, La canoa di carta. Trattato di antropologia teatrale, Il Mulino, Bologna 1993. JERZY GROTOWSKI, Per un teatro povero, Bulzoni, Roma 1970 NICOLA SAVARESE, Teatro e spettacolo fra Oriente e Occidente, Laterza, Roma Bari 1992 VICTOR TURNER, Dal rito al teatro, Il Mulino, Bologna 1984 MARCO DE MARINIS, Il teatro dell'altro, La Casa Usher, Firenze 2012 ALESSANDRO PONTREMOLI, La danza. Storia, teoria, estetica nel Novecento, Laterza, Roma Bari 2004.
Contents
The contents of the course are so structured: 1. The notion of performance in the different disciplinary approaches (artistic, linguistic, anthropological, sociological) 2. The performative model in the system of the arts: the crisis of the concept of the opera as product and the end of the primacy of the text and author 3. Ethics / Aesthetics, Process / Product 4. The partecipatory paradigm 5. The birth of performance: the notion of event and the social performances (the universal and colonial expositions); the korperkultur 6. Performance and new dance: Monte Verità (Rudolph Laban, Mary Wigman, Loie Fuller, Ruth Saint Denis, Isadora Duncan) 7. Performance and the Vanguards (especially Futurism and Dadaism) 8. The performance in second part of twentieth century 9. Grotowski: the performer 10. Schechner (Dionysus in ’69)
Course Language
Italian
More information
Non-attending students have to supplement with two more books chosen into the list.
Degrees
Degrees (2)
HISTORY AND PROMOTION OF CULTURAL HERITAGE
Master’s Degree
2 years
TEXTS AND PROJECTS FOR VISUAL AND PERFORMING ARTS
Master’s Degree
2 years
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