Università Roma Tre

Emigration, Migration and Embodied History

“The 'classical' does not concern only the past: it is also concerned with the present and a vision of the future” (Settis). The program compares the Italian school and repertory in Russia (Italian dancers’ emigration across 19th-20th centuries); the relationship between the idealized dancing body ("Bella Figura") and the patterns of individual human movements across the world’s stage, in the era of world migration.

3 Obligatory Texts
1. C. Lo Iacono, Il danzatore attore, Dino Audino editore, Rome 2007
2. C. Lo Iacono, Il volo della Tersicore russa. Una storia per immagini (1636 - 2009), Massimiliano Piretti Editore, Bologna (to be published, 2016/2017)
3. E. Guzzo Vaccarino, Danze plurali/l’altrove qui, Ephemeria, Macerata 2009.

Videography: at least 6 videos or films to be chosen from the list below (remember to book ahead at our Videoteca, via Ostiense 139)
Giselle (chor. M. Ek); or Sleeping Beauty (chor. M. Ek);
Smoke (chor. M. Ek, int. S. Guillem);
Pétrouchka (chor. Fokin) or Les Noces (chor. B. Nijinska);
Le Sacre du Printemps [The Rite of Spring], chor. Nijinsky and Pina Bausch versions; Ahnen, Ahnen, chor. Pina Bausch; or Pina3D by W. Wenders;

Optional, regarding philological reconstructions of the repertoire, the comparison between the two versions of Raymonda, mus. Glazunov: Bolshoi Theatre (int. N. Bessmertnova) and Teatro alla Scala (int. A. Novikova). See also Sylvie Guillem au travail (Raymonda, chor. Noureev/Nureyev) in the box set by A. Labarthe, La danse au travail (2012).

For non attending students, in addition: Apollo’s Angels: a History of Ballet, Random House, New York, 2010

ORAL EXAM

EMAIL: concetta.loiacono@uniroma3.it

LESSONS: II semester (II period)