History of Contemporary Drama
A.Y. 2024/2025
Learning objectives
The course intends to offer a wide-ranging overview of the history of theater and performing arts by following the evolution and adaptation of a particularly significant and long-lasting theatrical theme or phenomenon that has characterized its history as a thread from time to time. The subject matter will be examined within the production and receptive context, investigating the pathways through which themes and phenomena have migrated through time and space.
Given that theater has always been particularly effective media in the dissemination of characters, myths, role models, mentalities, habits, ideas, aesthetic canons, and customs-contributing to their change, transformation, and/or entrenchment in different social and cultural contexts-retracing the evolution of certain phenomena, from their origins to the present day, will be an opportunity to reflect on their relevance or discontinuity in relation to the contemporary world.
Given that theater has always been particularly effective media in the dissemination of characters, myths, role models, mentalities, habits, ideas, aesthetic canons, and customs-contributing to their change, transformation, and/or entrenchment in different social and cultural contexts-retracing the evolution of certain phenomena, from their origins to the present day, will be an opportunity to reflect on their relevance or discontinuity in relation to the contemporary world.
Expected learning outcomes
At the end of the course, students will have acquired the methodological skills precipitous to the history of theater and performing arts, that is, the ability to interpret the phenomena dealt with through an interdisciplinary point of view, based on a rigorous critique of sources (literary, visual, musical, etc.), being able to orient themselves in the retrieval and selection of information through the different types of media. They will know how to independently analyze a dramatic text and at the same time relate it to its staging. They will know how to discuss and argue in a seminar context the topics covered in the course, both by applying the methods learned and by developing and refining autonomous strategies of analysis. Finally, they will know how to prepare individual written work of adequate methodological rigor.
Lesson period: Second semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course can be attended as a single course.
Course syllabus and organization
Single session
Responsible
Lesson period
Second semester
Course syllabus
Course title: "Contemporary theater and the search for the absolute."
Part A (20 hours - 3 cfu): "Twentieth-century theater between contestation, crisis and renewal."
Part B (20 hours - 3 cfu): "From theory to praxis. Poetics and methods: acting, directing, function of theater. What consequences?"
The course aims to offer a reflection on the birth and evolution of the main theatrical poetics and theories of the twentieth century, placing them in their historical-cultural context and questioning their repercussions on the Italian and European scene.
Learning Unit A
The first part will develop the topic diachronically, providing students with an overview of the issues. It will first illustrate the methodology, namely that of the history of theater and performing arts, which will be defined from a historiographical and semiological point of view, emphasizing in particular the question of the use of sources and the problems related to the reconstruction of a staging.
It will be provided a brief survey of pre-twentieth-century theater and spectacle circumscribed to a few salient moments relating to the evolution of its many areas, - such as dramaturgy, acting, set design, theatrical architecture, political and economic management, etc. - in order to better frame contemporary practices and poetics and understand whether and to what extent they constitute a phenomenon of rupture. The course will then focus on the various renewal movements, starting from the so-called 'historical avant-gardes' of the early 20th century to those following World War II, which will be framed in a European context, highlighting their transformations as they migrated between one nation and another, as well as any mutual influences.
Learning Unit B
The second part will focus on some particularly relevant and incisive aspects, issues or figures through which various areas of the theatrical art have been redefined, such as the function of theater itself, the relationship with institutions and audiences, acting methods, staging modes, and so on. Class discussion and active contribution by students will be particularly encouraged at this stage. To this end, students will be asked to choose from the following thematic cores 1) Brecht 2) Artaud 3) Stanislavsky [see "Reference Materials" section] and prepare an oral presentation, either individually or in groups, in ways that will be provided during the course. Each student will then submit an individual written work, on the chosen thematic core (1, 2, 3), to be handed in in written form two weeks before the exam (20,000 characters).
Part A (20 hours - 3 cfu): "Twentieth-century theater between contestation, crisis and renewal."
Part B (20 hours - 3 cfu): "From theory to praxis. Poetics and methods: acting, directing, function of theater. What consequences?"
The course aims to offer a reflection on the birth and evolution of the main theatrical poetics and theories of the twentieth century, placing them in their historical-cultural context and questioning their repercussions on the Italian and European scene.
Learning Unit A
The first part will develop the topic diachronically, providing students with an overview of the issues. It will first illustrate the methodology, namely that of the history of theater and performing arts, which will be defined from a historiographical and semiological point of view, emphasizing in particular the question of the use of sources and the problems related to the reconstruction of a staging.
It will be provided a brief survey of pre-twentieth-century theater and spectacle circumscribed to a few salient moments relating to the evolution of its many areas, - such as dramaturgy, acting, set design, theatrical architecture, political and economic management, etc. - in order to better frame contemporary practices and poetics and understand whether and to what extent they constitute a phenomenon of rupture. The course will then focus on the various renewal movements, starting from the so-called 'historical avant-gardes' of the early 20th century to those following World War II, which will be framed in a European context, highlighting their transformations as they migrated between one nation and another, as well as any mutual influences.
Learning Unit B
The second part will focus on some particularly relevant and incisive aspects, issues or figures through which various areas of the theatrical art have been redefined, such as the function of theater itself, the relationship with institutions and audiences, acting methods, staging modes, and so on. Class discussion and active contribution by students will be particularly encouraged at this stage. To this end, students will be asked to choose from the following thematic cores 1) Brecht 2) Artaud 3) Stanislavsky [see "Reference Materials" section] and prepare an oral presentation, either individually or in groups, in ways that will be provided during the course. Each student will then submit an individual written work, on the chosen thematic core (1, 2, 3), to be handed in in written form two weeks before the exam (20,000 characters).
Prerequisites for admission
Knowledge of Italian. Basic knowledge of major events in contemporary European history and related chronological partitioning. Curiosity about artistic phenomena and related languages, critical sense, willingness to experiment and get involved. In addition, it would be helpful, but not essential, to have taken other performing arts area exams, such as History of Theater and Spectacle, History of Radio and Television, History and Criticism of Cinema.
Teaching methods
Classes are face-to-face and interactive. They aim to develop students' analytical and critical skills and abilities. They will be conducted with the support of written, visual and/or audiovisual documentary materials. They provide for both sections of frontal teaching and moments of plenary discussion. In addition, group, pair or individual work will be encouraged, as well as practical exercises in the use of sources.
Teaching Resources
Bibliography for Attending Students
For 6 cfu: prepare Learning Units A and B
Bibliography:
Learning Unit A
- Lectures notes from Learning Unit A
- Lorenzo Mango, "Il Novecento del teatro. Una storia", Roma, Carocci, 2019 and Alfred Jarry, Ubu Re (1896), preferably the Einaudi or Adelphi edition (for students who know French: an original language edition is also fine)
Learning Unit B
- Lectures notes from Learning Unit B
- One thematic core from a choice of 1) 2) and 3)
1- Bertold Brecht, "Scritti teatrali", Torino, Einaudi, 1962 (all subsequent reprints are also fine) and Bertold Brecht, L'opera da tre soldi (1928) in the Einaudi edition (for students who know German, the one with the original text opposite is preferable).
2- Antonin Artaud, "Il teatro e il suo doppio", Torino, Einaudi, 1968 (all subsequent reprints are also fine) and August Strindberg, Il sogno (1901), both the Adelphi (edited by Giorgio Zampa) and Edizioni di Pagina (edited by Franco Perrelli) editions are fine
3- Konstantin Stanislavskij, "Il lavoro dell'attore su stesso", edited by Gerardo Guerrieri, preface by Fausto Malcovati, Roma-Bari, Laterza, 1996, pp. VII-XLV, 1-295 (all subsequent reprints are also fine) and Anton Čechov, Il gabbiano, (1895), either the Einaudi edition (edited by Gerardo Guerrieri) or the Mondadori edition (edited by Angelo Maria Ripellino) is fine. For students who know Russian, the edition edited by Fausto Malcovati (with the reproduction of Stanislavsky's director's notes, Bologna, Cue Press, 2016) is preferable.
Bibliography for not attending students
6 cfu exam program for non-attending students
- Lorenzo Mango, "Il Novecento del teatro. Una storia", Roma, Carocci, 2019 and Alfred Jarry, Ubu Re (1896), preferably the Einaudi or Adelphi edition (for students who know French: an original language edition is also fine)
- Two thematic cores to be chosen from 1) 2) 3) of teaching unit B
Please pay attention!
Attending student = a student who actively and continuously participates in classes, discussions, and proposed activities. Those who are present but not in a participatory manner and those who do not attend (in the sense indicated) at least 75% of the lectures are considered non-attending.
For 6 cfu: prepare Learning Units A and B
Bibliography:
Learning Unit A
- Lectures notes from Learning Unit A
- Lorenzo Mango, "Il Novecento del teatro. Una storia", Roma, Carocci, 2019 and Alfred Jarry, Ubu Re (1896), preferably the Einaudi or Adelphi edition (for students who know French: an original language edition is also fine)
Learning Unit B
- Lectures notes from Learning Unit B
- One thematic core from a choice of 1) 2) and 3)
1- Bertold Brecht, "Scritti teatrali", Torino, Einaudi, 1962 (all subsequent reprints are also fine) and Bertold Brecht, L'opera da tre soldi (1928) in the Einaudi edition (for students who know German, the one with the original text opposite is preferable).
2- Antonin Artaud, "Il teatro e il suo doppio", Torino, Einaudi, 1968 (all subsequent reprints are also fine) and August Strindberg, Il sogno (1901), both the Adelphi (edited by Giorgio Zampa) and Edizioni di Pagina (edited by Franco Perrelli) editions are fine
3- Konstantin Stanislavskij, "Il lavoro dell'attore su stesso", edited by Gerardo Guerrieri, preface by Fausto Malcovati, Roma-Bari, Laterza, 1996, pp. VII-XLV, 1-295 (all subsequent reprints are also fine) and Anton Čechov, Il gabbiano, (1895), either the Einaudi edition (edited by Gerardo Guerrieri) or the Mondadori edition (edited by Angelo Maria Ripellino) is fine. For students who know Russian, the edition edited by Fausto Malcovati (with the reproduction of Stanislavsky's director's notes, Bologna, Cue Press, 2016) is preferable.
Bibliography for not attending students
6 cfu exam program for non-attending students
- Lorenzo Mango, "Il Novecento del teatro. Una storia", Roma, Carocci, 2019 and Alfred Jarry, Ubu Re (1896), preferably the Einaudi or Adelphi edition (for students who know French: an original language edition is also fine)
- Two thematic cores to be chosen from 1) 2) 3) of teaching unit B
Please pay attention!
Attending student = a student who actively and continuously participates in classes, discussions, and proposed activities. Those who are present but not in a participatory manner and those who do not attend (in the sense indicated) at least 75% of the lectures are considered non-attending.
Assessment methods and Criteria
The examination consists of an oral interview in Italian. Questions are designed to test knowledge of the course topics and the in-depth bibliography included in the examination program, with particular attention to argumentative ability and terminological competence in the discipline. The grade is expressed in thirtieths and takes into account, for attending and not attending students, the grade given in the written paper. The candidate has the right to reject the grade (in which case it will be verbalized as "withdrawn").
For both, attending students and not attending students, the written paper is just one.
Examination arrangements for students with disabilities and/or DSAs should be agreed upon with the professor at least 20 days before the exam, indicating to the professor the required measures based on the certificate previously agreed with the office in charge (https://www.unimi.it/it/ugov/ou-structure/cosp-ufficio-servizi-studenti-con-disabilita-e-dsa)
For both, attending students and not attending students, the written paper is just one.
Examination arrangements for students with disabilities and/or DSAs should be agreed upon with the professor at least 20 days before the exam, indicating to the professor the required measures based on the certificate previously agreed with the office in charge (https://www.unimi.it/it/ugov/ou-structure/cosp-ufficio-servizi-studenti-con-disabilita-e-dsa)
L-ART/05 - PERFORMING ARTS - University credits: 6
Lessons: 40 hours
Professor:
Fantappie' Francesca
Professor(s)