Building knowledge and appreciation of theatre, dramatic literature, and performance in their cultural, historical, and interdisciplinary contexts with special proficiency in at least one area of theatrical endeavor. Ability to deal with a range of methodologies in critical studies, playwriting and performance. Understanding and questioning theatre as a collaborative art form with social impact. Awareness of developments and controversies within the field. Applies what has been learned through opportunities for small performance, critical and creative work in small groups, and independent study.
Expected learning outcomes
Students will acquire the knowledge of the general lines of the history of British theatre and will read several pivotal plays. They will also acquire and develop the critical and methodological tools enabling them to understand and analyze the dramatic texts as well as their productions. They will be able to place the plays within the broader literary, cultural and socio-political contexts and to discuss them in critical terms. They will gain a specific theatre language. They will learn to appreciate the ethical potential of theatre and to question and discuss the play's interaction with the audience. Thy will develop learning skills as well as the competences that are needed in case of team working, discussing in groups and presenting short papers or creative appropriation of the plays to the rest of the class.
Lesson period: Second semester
(In case of multiple editions, please check the period, as it may vary)
Titol: "'Words, words, words'. Power and Art on Stage" (40/60 ore, 6/9 CFU)
A: "Romeo and Juliet" and the breaking of the order B: Museums on stage C: The poetics of Things
The course focuses on two important periods of the history of British theatre: Elizabethan Theatre and contemporary theatre. Besides, it concentrates on the critical and methodological tools for analyzing the dramatic texts as well as their productions. A is dedicated to William Shakespeare's theatre and its relevance to the present day. In particular, it focuses on the analysis of "Romeo and Juliet" and of recent productions. Cinema adaptations are also taken into considerations.
B is dedicated to some plays written in the last thirty years and revolving around the world of the visual arts. In particular, it focuses on the representation on stage of museums (and art galleries) and discusses the role of art and artists in contemporary British society.
Unit C investigates the functions of objects in contemporary British theatre.
- Students who wish to acquire 6 CFU should study two modules. If students wish to acquire 9 CFU they should study all three modules.
- The programme is valid until July 2022.
- The website of the course is online on the Ariel platform (http://ariel.unimi.it): students will be able to download slides and other materials. Critical essays on general questions or on specific texts will be available. The website also contains general information on the course.
Prerequisites for admission
The course is taught in Italian, but the bibliography and teaching materials are almost entirely in English, so students need to have a good knowledge of the language.
The course emplys the following teaching methods: lectures include close reading and analysis of the plays; lectures of professionals (playwrights, directors, actors, etc.). Students also watch video material and attend theatre performances. Students are encouraged to actively participate in textual analysis and to comment critically on the videos. Students are also encouraged to read aloud some scenes from the play and critically comment them.
A ___W. Shakespeare, "Romeo and Juliet", The New Cambridge Shakespeare, Cambridge UP, Cambridge, 2003.
B. __ David Edgar, "Pentecost", NHB, London, 1994 __ Lee Hall, "The Pitmen Painters", Faber and Faber, London, 2008 __ Breach, "It's True, It's True, It's True", Oberon Books, London, 2018
C. __ Samuel Beckett, "Happy Days", Grove Press, New York, 1961 (1989) __ Tim Crouch, "Adler & Gibb", Oberon Books, London, 2014 __ M. Ravenhill, "Pool (no water)", in "Pool (no water) Citizenship", Bloomsbury, London.. __Simon Stephens, "The Curious Incident of the Dog in the Night Time", Methuen Drama, London
Assessment methods and Criteria
The exam aims to assess whether the candidate is able to contextualise the plays in the specific historical, social and cultural background to which they belong, as well as assessing the student's ability to critically evaluate the plays in the programme. Qustions aim to evaluate the student's ability to deploy critical terms and to engage with the critical works in the programme. The various questions and disuccion are all part of the evaluation. Incoming international and Erasmus students are asked to contact the teacher as soon as possible. Disabled students students and those with learning difficulties should discuss the exam with the teachers, together with the appropriate University Office. The final mark (30 e lode maximum and 18 minimum, a pass) may be accepted or rejected by the student. If a student rejects the mark, her or his exam will be registered as ' ritirato'.