British and Irish Theatre and Performance
A.Y. 2026/2027
Learning objectives
The course aims to provide advanced knowledge in the field of Drama and Theatre Studies, while developing skills in the analysis of dramatic texts and theatrical practices within a British historical and cultural context. It encourages reflection on the reciprocal influence between contemporary theatre and different forms of expression, focusing at different times on particular authors, periods or key issues such as interactions with other media, the dynamics between innovation and tradition, and aesthetic, social and political implications. A historical-evolutionary perspective will be integral to the training, alongside an awareness of the developments and critical debates that have shaped the history of British theatre. The course also includes practical opportunities for students to apply their acquired skills and methodologies through activities such as attending scheduled performances, producing short plays or performances, and engaging in group work.
Expected learning outcomes
Knowledge and understanding of the history, sources, methods and tools of theatre studies and the practices of dramaturgy, performance and directing, with particular reference to the British tradition. Knowledge of some of the major theatre figures, dramaturgies and practices, their historical-political, cultural and aesthetic contexts, stage practice, interlingual and interlinguistic transfer. An understanding of the theoretical, methodological and historical-cultural issues involved in the study of British theatre, including its intermedial and intercultural dissemination. Ability to apply knowledge and understanding: ability to analyse and interpret the dramatic text and staging; ability to discuss and argue in a seminar context on the topics covered in the course and to apply the method to further examples; ability to apply the skills acquired in the production of both creative and critical (written or oral) individual or group work of appropriate methodological rigour.
Lesson period: First 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
First semester
Course syllabus
A. Intermedial Hamlet
B. Questions of identity and authenticity in contemporary British Theatre
C. The art gallery on stage
_______________________
A. Intermedial Hamlet
This unit explores intermedial adaptations of William Shakespeare's "Hamlet" in theatre, film and street art. Particular focus is given to the work of Gregory Doran (2009) and Simon Godwin (2016), whose interpretations offer fascinating insights into how the tragedy is reimagined through different media and cultural perspectives.
Texts:
_William Shakespeare, Hamlet Prince of Denmark, The New Cambridge Shakespeare, Cambridge UP, Cambridge, 2019
_BBC Hamlet (2009), directed by Gregory Doran (available at the link: https://m.ok.ru/video/1326184335970)
_RSC Live Cinema Hamlet (2016) directed by Simon Godwin and Robin Lough
Critical works:
_Philip Edwards' Introduction to William Shakespeare, Hamlet Prince of Denmark, The New Cambridge Shakespeare, Cambridge UP, Cambridge, 2019, pp. 1-82.
_S. Lefait, "This same strict and most observant watch" (1.1.71): Gregory Doran's Hamlet as Surveillance Adaptation" (in Ariel)
_P. Aebischer, "Hamlet in Parts: Robin Lough's RSC Live Cinema Broadcast of Simon Godwin's Hamlet (8 June 2016)", in Shakespeare, Spectatorship and the Technologies of Performance, Cambridge, Cambridge UP, 2020, pp. 157-90 (UNIMI digital library).
_M. Cavecchi, "Tagging the Bard: Shakespeare Graffiti on and off the Stage", Shakespeare Survey 69, 2016, pp. 361-79 (in Ariel)
_M. Cavecchi, "Shakespeare's or Banksy's? Looking for Hamlet in Street Art", in Shakespeare Personal Trainer, edited by M. Rose, C. Paravano, Cambridge, Cambridge University Press, 2018, pp. 157-180. (in Ariel)
Not-attending students must also add:
_Pascale Aebischer, "Introduction. Shakespeare, Spectatorship and the Technologies of Performance", in Shakespeare, Spectatorship and the Technologies of Performance, Cambridge, Cambridge UP, 2020, pp. 1-32 (UNIMI digital library).
_Douglas Lanier, Shakespeare and Modern Popular Culture, Oxford, Oxford UP, 2002 (in the Anglistica library)
_______________________
B. Questions of identity and authenticity in contemporary British theatre
Unit B explores how contemporary British playwrights challenge traditional notions of authenticity, truth, identity and representation. Rather than presenting stable or 'authentic' realities, these plays explore the processes by which authenticity is created, performed and contested. Through close analysis of dramatic texts alongside key theoretical writings, students will explore topics such as ethical representation, political theatre, documentary aesthetics, fragmented identity, and post-dramatic dramaturgy.
Playtexts:
_ Samuel Beckett, "Not I" in Samuel Beckett. The Collected Shorter Plays, New York, Grove Press, 1984
_the film version of Beckett's Not I is available at the link: https://www.facebook.com/watch/?v=1900011526788616
_Martin Crimp, Attempts on Her Life, London, Faber and Faber, 1997 (in Ariel)
_Ella Hickson, Eight, Nick Hern Books, London, 2009
_Mary Kirkwood, I Felt Empty When the Heart Went at First but It Is Alright Now (2023)
Critical works:
A bibliography of critical works will be provided at the start of the course.
Non-attending students must also add:
_ D. Rebellato, modern british playwriting 2000-2009, London, Bloomsbury, 2013, pp. 1-98 (in Biblioteca di Anglistica)
_National Theatre Education - Katie Mitchell's Attempts on Her Life Research Pack 2007 (in Ariel)
_______________________
C. The art gallery on stage
This unit focuses on contemporary British plays that treat galleries and art museums as sources of inspiration and spaces for encounters (and clashes), as well as mirrors of the stage. It demonstrates how the not always peaceful intersection between art and theatre reflects latent conflicts affecting not only individuals (such as artists, art dealers, and subjects of the work), but also society and the nation as a whole.
Playtexts:
_Tim Crouch, ENGLAND. A Play for Galleries, London, Oberon Modern Plays, 2007 (in Ariel)
_Mark Ravenhill, "pool (no water)", in Mark Ravenhill. Plays 2, London, Bloomsbury, 2016, pp. 293-323 (in Ariel)
_BREACH Theatre, It's True, It's True, It's True, London, Oberon Books, 2018 (in Ariel)
_the video recording of BREACH's It's True, It's True, It's True is available at the link: https://unimi2013.sharepoint.com/:v:/s/StoriadelteatroingleseLT2020-212/EWHYqCoSv_dImXsvMFulBVgBlknvZKNU7NXY8Mryyp49ag?nav=eyJyZWZlcnJhbEluZm8iOnsicmVmZXJyYWxBcHAiOiJTdHJlYW1XZWJBcHAiLCJyZWZlcnJhbFZpZXciOiJTaGFyZURpYWxvZy1MaW5rIiwicmVmZXJyYWxBcHBQbGF0Zm9…
Critical works:
_M. Cavecchi, The Art Gallery on Stage, London, Bloomsbury, 2024, pp. 1-24 (in Ariel)
_S. Bottoms, "Materializing the Audience: Tim Crouch's Sight Specifics in ENGLAND and The Author", Contemporary Theatre Review (in Ariel)
__E. Mackay, "It's True, It's True, It's True: Artemisia on Trial by Breach Theatre", Theatre Journal, vol. 27, 4, December 2020, pp. 509-12 (in Ariel)
_S. Graham, "pool. A Comprehensive Guide", pp. 1-31 (in Ariel)
_Delgado-García, "Subjectivities. Political gestures in a post-political scenario: Tim Crouch's ENGLAND" in Rethinking Character in Contemporary British Theatre Collective, Berlin/Boston, De Gruyter, 2015, pp. 154-96 (in Ariel)
Non-attending students must also add:
A bibliography of critical works will be provided at the start of the course.
_______________________
Additional Suggested Readings
To gain a deeper understanding of the cultural context of the plays, please refer to the additional reading material listed below:
_A. Sierz, modern british playwriting. The 1990s, London, Bloomsbury, 2012 (in Biblioteca di Anglistica)
_D. Rebellato, modern british playwriting. 2000-2009, London, Bloomsbury, 2013 (in Biblioteca di Anglistica)
Attendance at least three of the productions listed below is compulsory for everyone (attending and not attending students):
_Amleto2, by and with Filippo Timi (Teatro Franco Parenti, 22-27 Sept. 2026)
_Sette bambine ebree, by Caryl Churchill (Teatro Filodrammatici, 13-18 Oct. 2026)
_Eight, by Ella Hickson, directed by Michele Di Giacomo (Elfo Puccini, 3-8 Nov. 2026)
_Un marito ideale, by Oscar Wilde, directed by Ferdinando Bruni and Francesco Frongia (Teatro Elfo Puccini, 12 Nov. 2026 - 6 Jan 2027)
_Di a da in con su per tra fra Shakespeare, by Serena Sinigaglia (Teatro Elfo Puccini, 2 Nov. 2026)
If you have any problems, please contact the teacher to arrange an alternative:
Students attending the course are also expected to take part in a group activity involving creative rewriting of scenes from "Hamlet".
B. Questions of identity and authenticity in contemporary British Theatre
C. The art gallery on stage
_______________________
A. Intermedial Hamlet
This unit explores intermedial adaptations of William Shakespeare's "Hamlet" in theatre, film and street art. Particular focus is given to the work of Gregory Doran (2009) and Simon Godwin (2016), whose interpretations offer fascinating insights into how the tragedy is reimagined through different media and cultural perspectives.
Texts:
_William Shakespeare, Hamlet Prince of Denmark, The New Cambridge Shakespeare, Cambridge UP, Cambridge, 2019
_BBC Hamlet (2009), directed by Gregory Doran (available at the link: https://m.ok.ru/video/1326184335970)
_RSC Live Cinema Hamlet (2016) directed by Simon Godwin and Robin Lough
Critical works:
_Philip Edwards' Introduction to William Shakespeare, Hamlet Prince of Denmark, The New Cambridge Shakespeare, Cambridge UP, Cambridge, 2019, pp. 1-82.
_S. Lefait, "This same strict and most observant watch" (1.1.71): Gregory Doran's Hamlet as Surveillance Adaptation" (in Ariel)
_P. Aebischer, "Hamlet in Parts: Robin Lough's RSC Live Cinema Broadcast of Simon Godwin's Hamlet (8 June 2016)", in Shakespeare, Spectatorship and the Technologies of Performance, Cambridge, Cambridge UP, 2020, pp. 157-90 (UNIMI digital library).
_M. Cavecchi, "Tagging the Bard: Shakespeare Graffiti on and off the Stage", Shakespeare Survey 69, 2016, pp. 361-79 (in Ariel)
_M. Cavecchi, "Shakespeare's or Banksy's? Looking for Hamlet in Street Art", in Shakespeare Personal Trainer, edited by M. Rose, C. Paravano, Cambridge, Cambridge University Press, 2018, pp. 157-180. (in Ariel)
Not-attending students must also add:
_Pascale Aebischer, "Introduction. Shakespeare, Spectatorship and the Technologies of Performance", in Shakespeare, Spectatorship and the Technologies of Performance, Cambridge, Cambridge UP, 2020, pp. 1-32 (UNIMI digital library).
_Douglas Lanier, Shakespeare and Modern Popular Culture, Oxford, Oxford UP, 2002 (in the Anglistica library)
_______________________
B. Questions of identity and authenticity in contemporary British theatre
Unit B explores how contemporary British playwrights challenge traditional notions of authenticity, truth, identity and representation. Rather than presenting stable or 'authentic' realities, these plays explore the processes by which authenticity is created, performed and contested. Through close analysis of dramatic texts alongside key theoretical writings, students will explore topics such as ethical representation, political theatre, documentary aesthetics, fragmented identity, and post-dramatic dramaturgy.
Playtexts:
_ Samuel Beckett, "Not I" in Samuel Beckett. The Collected Shorter Plays, New York, Grove Press, 1984
_the film version of Beckett's Not I is available at the link: https://www.facebook.com/watch/?v=1900011526788616
_Martin Crimp, Attempts on Her Life, London, Faber and Faber, 1997 (in Ariel)
_Ella Hickson, Eight, Nick Hern Books, London, 2009
_Mary Kirkwood, I Felt Empty When the Heart Went at First but It Is Alright Now (2023)
Critical works:
A bibliography of critical works will be provided at the start of the course.
Non-attending students must also add:
_ D. Rebellato, modern british playwriting 2000-2009, London, Bloomsbury, 2013, pp. 1-98 (in Biblioteca di Anglistica)
_National Theatre Education - Katie Mitchell's Attempts on Her Life Research Pack 2007 (in Ariel)
_______________________
C. The art gallery on stage
This unit focuses on contemporary British plays that treat galleries and art museums as sources of inspiration and spaces for encounters (and clashes), as well as mirrors of the stage. It demonstrates how the not always peaceful intersection between art and theatre reflects latent conflicts affecting not only individuals (such as artists, art dealers, and subjects of the work), but also society and the nation as a whole.
Playtexts:
_Tim Crouch, ENGLAND. A Play for Galleries, London, Oberon Modern Plays, 2007 (in Ariel)
_Mark Ravenhill, "pool (no water)", in Mark Ravenhill. Plays 2, London, Bloomsbury, 2016, pp. 293-323 (in Ariel)
_BREACH Theatre, It's True, It's True, It's True, London, Oberon Books, 2018 (in Ariel)
_the video recording of BREACH's It's True, It's True, It's True is available at the link: https://unimi2013.sharepoint.com/:v:/s/StoriadelteatroingleseLT2020-212/EWHYqCoSv_dImXsvMFulBVgBlknvZKNU7NXY8Mryyp49ag?nav=eyJyZWZlcnJhbEluZm8iOnsicmVmZXJyYWxBcHAiOiJTdHJlYW1XZWJBcHAiLCJyZWZlcnJhbFZpZXciOiJTaGFyZURpYWxvZy1MaW5rIiwicmVmZXJyYWxBcHBQbGF0Zm9…
Critical works:
_M. Cavecchi, The Art Gallery on Stage, London, Bloomsbury, 2024, pp. 1-24 (in Ariel)
_S. Bottoms, "Materializing the Audience: Tim Crouch's Sight Specifics in ENGLAND and The Author", Contemporary Theatre Review (in Ariel)
__E. Mackay, "It's True, It's True, It's True: Artemisia on Trial by Breach Theatre", Theatre Journal, vol. 27, 4, December 2020, pp. 509-12 (in Ariel)
_S. Graham, "pool. A Comprehensive Guide", pp. 1-31 (in Ariel)
_Delgado-García, "Subjectivities. Political gestures in a post-political scenario: Tim Crouch's ENGLAND" in Rethinking Character in Contemporary British Theatre Collective, Berlin/Boston, De Gruyter, 2015, pp. 154-96 (in Ariel)
Non-attending students must also add:
A bibliography of critical works will be provided at the start of the course.
_______________________
Additional Suggested Readings
To gain a deeper understanding of the cultural context of the plays, please refer to the additional reading material listed below:
_A. Sierz, modern british playwriting. The 1990s, London, Bloomsbury, 2012 (in Biblioteca di Anglistica)
_D. Rebellato, modern british playwriting. 2000-2009, London, Bloomsbury, 2013 (in Biblioteca di Anglistica)
Attendance at least three of the productions listed below is compulsory for everyone (attending and not attending students):
_Amleto2, by and with Filippo Timi (Teatro Franco Parenti, 22-27 Sept. 2026)
_Sette bambine ebree, by Caryl Churchill (Teatro Filodrammatici, 13-18 Oct. 2026)
_Eight, by Ella Hickson, directed by Michele Di Giacomo (Elfo Puccini, 3-8 Nov. 2026)
_Un marito ideale, by Oscar Wilde, directed by Ferdinando Bruni and Francesco Frongia (Teatro Elfo Puccini, 12 Nov. 2026 - 6 Jan 2027)
_Di a da in con su per tra fra Shakespeare, by Serena Sinigaglia (Teatro Elfo Puccini, 2 Nov. 2026)
If you have any problems, please contact the teacher to arrange an alternative:
Students attending the course are also expected to take part in a group activity involving creative rewriting of scenes from "Hamlet".
Prerequisites for admission
A solid knowledge of the history of British theatre and excellent English language skills are prerequisites for this advanced course.
Teaching methods
Lectures and seminars will alternate throughout the semester. During class sessions, students will be asked to read aloud scenes from the plays listed on the syllabus. They will also watch video content and attend theatre performances listed in the programme, for which they will receive discounted tickets. Students are expected to engage critically with the video content and performances. They will also work in small groups to develop a multimedia theatre project.
Teaching Resources
A. Intermedial Hamlet
B. Questions of identity and authenticity in contemporary British Theatre
C. The art gallery on stage
_______________________
A. Intermedial Hamlet
This unit explores intermedial adaptations of William Shakespeare's "Hamlet" in theatre, film and street art. Particular focus is given to the work of Gregory Doran (2009) and Simon Godwin (2016), whose interpretations offer fascinating insights into how the tragedy is reimagined through different media and cultural perspectives.
Texts:
_William Shakespeare, Hamlet Prince of Denmark, The New Cambridge Shakespeare, Cambridge UP, Cambridge, 2019
_BBC Hamlet (2009), directed by Gregory Doran (available at the link: https://m.ok.ru/video/1326184335970)
_RSC Live Cinema Hamlet (2016) directed by Simon Godwin and Robin Lough
Critical works:
_Philip Edwards' Introduction to William Shakespeare, Hamlet Prince of Denmark, The New Cambridge Shakespeare, Cambridge UP, Cambridge, 2019, pp. 1-82.
_S. Lefait, "This same strict and most observant watch" (1.1.71): Gregory Doran's Hamlet as Surveillance Adaptation" (in Ariel)
_P. Aebischer, "Hamlet in Parts: Robin Lough's RSC Live Cinema Broadcast of Simon Godwin's Hamlet (8 June 2016)", in Shakespeare, Spectatorship and the Technologies of Performance, Cambridge, Cambridge UP, 2020, pp. 157-90 (UNIMI digital library).
_M. Cavecchi, "Tagging the Bard: Shakespeare Graffiti on and off the Stage", Shakespeare Survey 69, 2016, pp. 361-79 (in Ariel)
_M. Cavecchi, "Shakespeare's or Banksy's? Looking for Hamlet in Street Art", in Shakespeare Personal Trainer, edited by M. Rose, C. Paravano, Cambridge, Cambridge University Press, 2018, pp. 157-180. (in Ariel)
Not-attending students must also add:
_Pascale Aebischer, "Introduction. Shakespeare, Spectatorship and the Technologies of Performance", in Shakespeare, Spectatorship and the Technologies of Performance, Cambridge, Cambridge UP, 2020, pp. 1-32 (UNIMI digital library).
_Douglas Lanier, Shakespeare and Modern Popular Culture, Oxford, Oxford UP, 2002 (in the Anglistica library)
_______________________
B. Questions of identity and authenticity in contemporary British theatre
Unit B explores how contemporary British playwrights challenge traditional notions of authenticity, truth, identity and representation. Rather than presenting stable or 'authentic' realities, these plays explore the processes by which authenticity is created, performed and contested. Through close analysis of dramatic texts alongside key theoretical writings, students will explore topics such as ethical representation, political theatre, documentary aesthetics, fragmented identity, and post-dramatic dramaturgy.
Playtexts:
_ Samuel Beckett, "Not I" in Samuel Beckett. The Collected Shorter Plays, New York, Grove Press, 1984
_the film version of Beckett's Not I is available at the link: https://www.facebook.com/watch/?v=1900011526788616
_Martin Crimp, Attempts on Her Life, London, Faber and Faber, 1997 (in Ariel)
_Ella Hickson, Eight, Nick Hern Books, London, 2009
_Mary Kirkwood, I Felt Empty When the Heart Went at First but It Is Alright Now (2023)
Critical works:
A bibliography of critical works will be provided at the start of the course.
Non-attending students must also add:
_ D. Rebellato, modern british playwriting 2000-2009, London, Bloomsbury, 2013, pp. 1-98 (in Biblioteca di Anglistica)
_National Theatre Education - Katie Mitchell's Attempts on Her Life Research Pack 2007 (in Ariel)
_______________________
C. The art gallery on stage
This unit focuses on contemporary British plays that treat galleries and art museums as sources of inspiration and spaces for encounters (and clashes), as well as mirrors of the stage. It demonstrates how the not always peaceful intersection between art and theatre reflects latent conflicts affecting not only individuals (such as artists, art dealers, and subjects of the work), but also society and the nation as a whole.
Playtexts:
_Tim Crouch, ENGLAND. A Play for Galleries, London, Oberon Modern Plays, 2007 (in Ariel)
_Mark Ravenhill, "pool (no water)", in Mark Ravenhill. Plays 2, London, Bloomsbury, 2016, pp. 293-323 (in Ariel)
_BREACH Theatre, It's True, It's True, It's True, London, Oberon Books, 2018 (in Ariel)
_the video recording of BREACH's It's True, It's True, It's True is available at the link: https://unimi2013.sharepoint.com/:v:/s/StoriadelteatroingleseLT2020-212/EWHYqCoSv_dImXsvMFulBVgBlknvZKNU7NXY8Mryyp49ag?nav=eyJyZWZlcnJhbEluZm8iOnsicmVmZXJyYWxBcHAiOiJTdHJlYW1XZWJBcHAiLCJyZWZlcnJhbFZpZXciOiJTaGFyZURpYWxvZy1MaW5rIiwicmVmZXJyYWxBcHBQbGF0Zm9…
Critical works:
_M. Cavecchi, The Art Gallery on Stage, London, Bloomsbury, 2024, pp. 1-24 (in Ariel)
_S. Bottoms, "Materializing the Audience: Tim Crouch's Sight Specifics in ENGLAND and The Author", Contemporary Theatre Review (in Ariel)
__E. Mackay, "It's True, It's True, It's True: Artemisia on Trial by Breach Theatre", Theatre Journal, vol. 27, 4, December 2020, pp. 509-12 (in Ariel)
_S. Graham, "pool. A Comprehensive Guide", pp. 1-31 (in Ariel)
_Delgado-García, "Subjectivities. Political gestures in a post-political scenario: Tim Crouch's ENGLAND" in Rethinking Character in Contemporary British Theatre Collective, Berlin/Boston, De Gruyter, 2015, pp. 154-96 (in Ariel)
Non-attending students must also add:
A bibliography of critical works will be provided at the start of the course.
_______________________
Additional Suggested Readings
To gain a deeper understanding of the cultural context of the plays, please refer to the additional reading material listed below:
_A. Sierz, modern british playwriting. The 1990s, London, Bloomsbury, 2012 (in Biblioteca di Anglistica)
_D. Rebellato, modern british playwriting. 2000-2009, London, Bloomsbury, 2013 (in Biblioteca di Anglistica)
Attendance at least three of the productions listed below is compulsory for everyone (attending and not attending students):
_Amleto2, by and with Filippo Timi (Teatro Franco Parenti, 22-27 Sept. 2026)
_Sette bambine ebree, by Caryl Churchill (Teatro Filodrammatici, 13-18 Oct. 2026)
_Eight, by Ella Hickson, directed by Michele Di Giacomo (Elfo Puccini, 3-8 Nov. 2026)
_Un marito ideale, by Oscar Wilde, directed by Ferdinando Bruni and Francesco Frongia (Teatro Elfo Puccini, 12 Nov. 2026 - 6 Jan 2027)
_Di a da in con su per tra fra Shakespeare, by Serena Sinigaglia (Teatro Elfo Puccini, 2 Nov. 2026)
If you have any problems, please contact the teacher to arrange an alternative:
Students attending the course are also expected to take part in a group activity involving creative rewriting of scenes from "Hamlet".
B. Questions of identity and authenticity in contemporary British Theatre
C. The art gallery on stage
_______________________
A. Intermedial Hamlet
This unit explores intermedial adaptations of William Shakespeare's "Hamlet" in theatre, film and street art. Particular focus is given to the work of Gregory Doran (2009) and Simon Godwin (2016), whose interpretations offer fascinating insights into how the tragedy is reimagined through different media and cultural perspectives.
Texts:
_William Shakespeare, Hamlet Prince of Denmark, The New Cambridge Shakespeare, Cambridge UP, Cambridge, 2019
_BBC Hamlet (2009), directed by Gregory Doran (available at the link: https://m.ok.ru/video/1326184335970)
_RSC Live Cinema Hamlet (2016) directed by Simon Godwin and Robin Lough
Critical works:
_Philip Edwards' Introduction to William Shakespeare, Hamlet Prince of Denmark, The New Cambridge Shakespeare, Cambridge UP, Cambridge, 2019, pp. 1-82.
_S. Lefait, "This same strict and most observant watch" (1.1.71): Gregory Doran's Hamlet as Surveillance Adaptation" (in Ariel)
_P. Aebischer, "Hamlet in Parts: Robin Lough's RSC Live Cinema Broadcast of Simon Godwin's Hamlet (8 June 2016)", in Shakespeare, Spectatorship and the Technologies of Performance, Cambridge, Cambridge UP, 2020, pp. 157-90 (UNIMI digital library).
_M. Cavecchi, "Tagging the Bard: Shakespeare Graffiti on and off the Stage", Shakespeare Survey 69, 2016, pp. 361-79 (in Ariel)
_M. Cavecchi, "Shakespeare's or Banksy's? Looking for Hamlet in Street Art", in Shakespeare Personal Trainer, edited by M. Rose, C. Paravano, Cambridge, Cambridge University Press, 2018, pp. 157-180. (in Ariel)
Not-attending students must also add:
_Pascale Aebischer, "Introduction. Shakespeare, Spectatorship and the Technologies of Performance", in Shakespeare, Spectatorship and the Technologies of Performance, Cambridge, Cambridge UP, 2020, pp. 1-32 (UNIMI digital library).
_Douglas Lanier, Shakespeare and Modern Popular Culture, Oxford, Oxford UP, 2002 (in the Anglistica library)
_______________________
B. Questions of identity and authenticity in contemporary British theatre
Unit B explores how contemporary British playwrights challenge traditional notions of authenticity, truth, identity and representation. Rather than presenting stable or 'authentic' realities, these plays explore the processes by which authenticity is created, performed and contested. Through close analysis of dramatic texts alongside key theoretical writings, students will explore topics such as ethical representation, political theatre, documentary aesthetics, fragmented identity, and post-dramatic dramaturgy.
Playtexts:
_ Samuel Beckett, "Not I" in Samuel Beckett. The Collected Shorter Plays, New York, Grove Press, 1984
_the film version of Beckett's Not I is available at the link: https://www.facebook.com/watch/?v=1900011526788616
_Martin Crimp, Attempts on Her Life, London, Faber and Faber, 1997 (in Ariel)
_Ella Hickson, Eight, Nick Hern Books, London, 2009
_Mary Kirkwood, I Felt Empty When the Heart Went at First but It Is Alright Now (2023)
Critical works:
A bibliography of critical works will be provided at the start of the course.
Non-attending students must also add:
_ D. Rebellato, modern british playwriting 2000-2009, London, Bloomsbury, 2013, pp. 1-98 (in Biblioteca di Anglistica)
_National Theatre Education - Katie Mitchell's Attempts on Her Life Research Pack 2007 (in Ariel)
_______________________
C. The art gallery on stage
This unit focuses on contemporary British plays that treat galleries and art museums as sources of inspiration and spaces for encounters (and clashes), as well as mirrors of the stage. It demonstrates how the not always peaceful intersection between art and theatre reflects latent conflicts affecting not only individuals (such as artists, art dealers, and subjects of the work), but also society and the nation as a whole.
Playtexts:
_Tim Crouch, ENGLAND. A Play for Galleries, London, Oberon Modern Plays, 2007 (in Ariel)
_Mark Ravenhill, "pool (no water)", in Mark Ravenhill. Plays 2, London, Bloomsbury, 2016, pp. 293-323 (in Ariel)
_BREACH Theatre, It's True, It's True, It's True, London, Oberon Books, 2018 (in Ariel)
_the video recording of BREACH's It's True, It's True, It's True is available at the link: https://unimi2013.sharepoint.com/:v:/s/StoriadelteatroingleseLT2020-212/EWHYqCoSv_dImXsvMFulBVgBlknvZKNU7NXY8Mryyp49ag?nav=eyJyZWZlcnJhbEluZm8iOnsicmVmZXJyYWxBcHAiOiJTdHJlYW1XZWJBcHAiLCJyZWZlcnJhbFZpZXciOiJTaGFyZURpYWxvZy1MaW5rIiwicmVmZXJyYWxBcHBQbGF0Zm9…
Critical works:
_M. Cavecchi, The Art Gallery on Stage, London, Bloomsbury, 2024, pp. 1-24 (in Ariel)
_S. Bottoms, "Materializing the Audience: Tim Crouch's Sight Specifics in ENGLAND and The Author", Contemporary Theatre Review (in Ariel)
__E. Mackay, "It's True, It's True, It's True: Artemisia on Trial by Breach Theatre", Theatre Journal, vol. 27, 4, December 2020, pp. 509-12 (in Ariel)
_S. Graham, "pool. A Comprehensive Guide", pp. 1-31 (in Ariel)
_Delgado-García, "Subjectivities. Political gestures in a post-political scenario: Tim Crouch's ENGLAND" in Rethinking Character in Contemporary British Theatre Collective, Berlin/Boston, De Gruyter, 2015, pp. 154-96 (in Ariel)
Non-attending students must also add:
A bibliography of critical works will be provided at the start of the course.
_______________________
Additional Suggested Readings
To gain a deeper understanding of the cultural context of the plays, please refer to the additional reading material listed below:
_A. Sierz, modern british playwriting. The 1990s, London, Bloomsbury, 2012 (in Biblioteca di Anglistica)
_D. Rebellato, modern british playwriting. 2000-2009, London, Bloomsbury, 2013 (in Biblioteca di Anglistica)
Attendance at least three of the productions listed below is compulsory for everyone (attending and not attending students):
_Amleto2, by and with Filippo Timi (Teatro Franco Parenti, 22-27 Sept. 2026)
_Sette bambine ebree, by Caryl Churchill (Teatro Filodrammatici, 13-18 Oct. 2026)
_Eight, by Ella Hickson, directed by Michele Di Giacomo (Elfo Puccini, 3-8 Nov. 2026)
_Un marito ideale, by Oscar Wilde, directed by Ferdinando Bruni and Francesco Frongia (Teatro Elfo Puccini, 12 Nov. 2026 - 6 Jan 2027)
_Di a da in con su per tra fra Shakespeare, by Serena Sinigaglia (Teatro Elfo Puccini, 2 Nov. 2026)
If you have any problems, please contact the teacher to arrange an alternative:
Students attending the course are also expected to take part in a group activity involving creative rewriting of scenes from "Hamlet".
Assessment methods and Criteria
For attending students, the evaluation will also take the following into consideration:
- active participation in class discussions;
- the results of a mid-term written assignment on the plots of the plays (optional);
- the mid-term group project on Hamlet.
Final grades are expressed on a scale of thirty. Students have the right to reject the proposed grade. In such cases, the result will be recorded as 'Withdrawn'.
International and/or incoming Erasmus students are encouraged to contact me ([email protected]) as soon as possible.
Arrangements for exams for students with disabilities and/or specific learning disorders must be agreed with the instructor in consultation with the relevant university office.
- active participation in class discussions;
- the results of a mid-term written assignment on the plots of the plays (optional);
- the mid-term group project on Hamlet.
Final grades are expressed on a scale of thirty. Students have the right to reject the proposed grade. In such cases, the result will be recorded as 'Withdrawn'.
International and/or incoming Erasmus students are encouraged to contact me ([email protected]) as soon as possible.
Arrangements for exams for students with disabilities and/or specific learning disorders must be agreed with the instructor in consultation with the relevant university office.
Modules or teaching units
Part A and B
ANGL-01/A - English Literature - University credits: 6
Lessons: 40 hours
Professor:
Cavecchi Mariacristina
Part C
ANGL-01/A - English Literature - University credits: 3
Lessons: 20 hours
Professor:
Cavecchi Mariacristina
Professor(s)
Reception:
2/7, 3.00pm; 7/7, 2.30pm; 13/7, 3pm. Online. Teams: i2vrlh3.
Teams