Aesthetics and Performance Languages in Live Art
A.Y. 2025/2026
Learning objectives
The course aims to provide students with a general understanding of performative languages through philosophical-aesthetic inquiry. Through critical analysis and practical exploration, the course seeks to develop the ability to theoretically interpret live performance in its creative and compositional mechanisms. Additionally, students will be equipped with tools to reach a high-level artistic, creative, and cultural awareness of live performance.
Expected learning outcomes
Ability to identify and theoretically analyze performative languages from the eighteenth century to the present. Skills to critically evaluate the cultural and historical context of live theater in its development and performative peculiarities. Development of creative competencies to design dramaturgy for live performance.
Lesson period: Second semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course cannot be attended as a single course. Please check our list of single courses to find the ones available for enrolment.
Course syllabus and organization
Single session
Responsible
Lesson period
Second semester
Course syllabus
The course explores the fundamental concepts of aesthetics - judgment of taste, perception, genius, and creativity - maintaining a constant interrelation with the performing arts.
A specific focus will be dedicated to the nature of theatrical experience, understood both as staged action and as the spectator's lived experience. The course will examine the eighteenth-century roots of theatre, with particular attention to the figure of the actor, their gestures, the emotional dimension of "performed" lives, and their relationship with other art forms.
This historical perspective will be complemented by an investigation into how twentieth-century philosophical thought revisited and redefined these issues, framing theatre as a form of knowledge and as a threshold between reality and fiction - an essential element for understanding our contemporary world.
Finally, the theoretical dimension will be accompanied by a creative writing workshop focused on dramaturgy. Students will develop short theatrical texts and engage in the analytical study of selected works from ancient, modern, and contemporary drama. This component aims to stimulate critical reflection on the languages of the stage, intertwining the practice of writing with the conceptual tools of aesthetics. The final project may also involve the use of digital, online, and artificial intelligence tools, fostering a conscious and critical approach to digital technologies in the creation and analysis of theatrical languages.
A specific focus will be dedicated to the nature of theatrical experience, understood both as staged action and as the spectator's lived experience. The course will examine the eighteenth-century roots of theatre, with particular attention to the figure of the actor, their gestures, the emotional dimension of "performed" lives, and their relationship with other art forms.
This historical perspective will be complemented by an investigation into how twentieth-century philosophical thought revisited and redefined these issues, framing theatre as a form of knowledge and as a threshold between reality and fiction - an essential element for understanding our contemporary world.
Finally, the theoretical dimension will be accompanied by a creative writing workshop focused on dramaturgy. Students will develop short theatrical texts and engage in the analytical study of selected works from ancient, modern, and contemporary drama. This component aims to stimulate critical reflection on the languages of the stage, intertwining the practice of writing with the conceptual tools of aesthetics. The final project may also involve the use of digital, online, and artificial intelligence tools, fostering a conscious and critical approach to digital technologies in the creation and analysis of theatrical languages.
Prerequisites for admission
Attendance of the course does not require any specific prerequisites. However, a strong interest and passion for the performing arts, as well as an excellent command of the Italian language, are essential.
Teaching methods
The course is structured around the analysis, synthesis, and discussion of philosophical, dramatic, and literary texts, with the aim of fostering in each student the development of an independent critical perspective on the topics addressed. Particular attention will be devoted to the close reading of theatrical texts, accompanied by targeted creative writing exercises, conceived as a means to explore the languages and structures of the stage through direct experience.
Teaching Resources
Attending Students
Part A
M. Mazzocut-Mis, C. Rozzoni, Aesthetics of Theatre, Morcelliana.
Part B
M. Mazzocut-Mis, Frammenti di sipario, Mimesis.
Part C
A selection of texts from ancient, modern, or contemporary drama.
M. Mazzocut-Mis, Teatro da leggere, Le Monnier.
M. Mazzocut-Mis, Vuoti a rendere, vuoti a perdere, Le Monnier.
Non-Attending Students
Part A
M. Mazzocut-Mis, C. Rozzoni, Aesthetics of Theatre, Morcelliana.
E. Fischer-Lichte, Estetica del performativo, Carocci.
Part B
M. Mazzocut-Mis, Frammenti di sipario, Mimesis.
A. Costazza, La filosofia a teatro, Cisalpino.
Part C
M. Mazzocut-Mis, Teatro da leggere, Le Monnier.
M. Mazzocut-Mis, Vuoti a rendere, vuoti a perdere, Le Monnier.
L. Allegri (ed.), La drammaturgia occidentale. Scrivere per il teatro dall'antichità a oggi, Carocci.
Students Taking the Exam in English
- M. Mazzocut-Mis, C. Rozzoni, Aesthetics of Theatre, Morcelliana.
- M. Mazzocut-Mis, How Far Can We Go? Pain, Excess and the Obscene, Cambridge Scholars Publishing.
- E. Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics.
- Two volumes, or ten academic essays, or one volume accompanied by a selection of dramatic texts, to be agreed upon with the Professor.
- selection of dramatic texts, to be agreed upon with the Professor.
Part A
M. Mazzocut-Mis, C. Rozzoni, Aesthetics of Theatre, Morcelliana.
Part B
M. Mazzocut-Mis, Frammenti di sipario, Mimesis.
Part C
A selection of texts from ancient, modern, or contemporary drama.
M. Mazzocut-Mis, Teatro da leggere, Le Monnier.
M. Mazzocut-Mis, Vuoti a rendere, vuoti a perdere, Le Monnier.
Non-Attending Students
Part A
M. Mazzocut-Mis, C. Rozzoni, Aesthetics of Theatre, Morcelliana.
E. Fischer-Lichte, Estetica del performativo, Carocci.
Part B
M. Mazzocut-Mis, Frammenti di sipario, Mimesis.
A. Costazza, La filosofia a teatro, Cisalpino.
Part C
M. Mazzocut-Mis, Teatro da leggere, Le Monnier.
M. Mazzocut-Mis, Vuoti a rendere, vuoti a perdere, Le Monnier.
L. Allegri (ed.), La drammaturgia occidentale. Scrivere per il teatro dall'antichità a oggi, Carocci.
Students Taking the Exam in English
- M. Mazzocut-Mis, C. Rozzoni, Aesthetics of Theatre, Morcelliana.
- M. Mazzocut-Mis, How Far Can We Go? Pain, Excess and the Obscene, Cambridge Scholars Publishing.
- E. Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics.
- Two volumes, or ten academic essays, or one volume accompanied by a selection of dramatic texts, to be agreed upon with the Professor.
- selection of dramatic texts, to be agreed upon with the Professor.
Assessment methods and Criteria
For attending students, the examination consists of a written test to be held at the end of the course (in May), comprising multiple-choice questions based on the required readings for Units A, B, and C. Alternatively, attending students may choose to take an oral examination, scheduled during the official exam sessions. The oral exam consists of a discussion of the topics covered in the syllabus and is intended to assess the knowledge and competences acquired.
Non-attending students are required to take an oral examination during the official exam sessions. This oral exam will cover the contents of Units A, B, and C (see "Bibliography for Non-Attending Students").
Students who wish to take the exam in English may do so by submitting a written paper (approximately 20,000 characters in length). The topic must be agreed upon in advance with the Professor. Guidelines and evaluation criteria will be provided upon request via email. The paper may be submitted in May, September, or December. The grade will be registered in the subsequent exam session.
Non-attending students are required to take an oral examination during the official exam sessions. This oral exam will cover the contents of Units A, B, and C (see "Bibliography for Non-Attending Students").
Students who wish to take the exam in English may do so by submitting a written paper (approximately 20,000 characters in length). The topic must be agreed upon in advance with the Professor. Guidelines and evaluation criteria will be provided upon request via email. The paper may be submitted in May, September, or December. The grade will be registered in the subsequent exam session.
Part A and B
M-FIL/05 - PHILOSOPHY AND THEORY OF LANGUAGE - University credits: 6
Lessons: 40 hours
Part C
M-FIL/05 - PHILOSOPHY AND THEORY OF LANGUAGE - University credits: 3
Lessons: 20 hours
Professor(s)