Teacher
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Capitta Gianfranco
(syllabus)
What is, today, the actual consistency (and meaning, and strength and influence, and therefore "finality") of theatrical criticism? the era of the "great critics", authors of elegant and cultured writings with which every newspaper endowed itself (sometimes even with gestures and contracts of real competition) ended a few years ago (indicatively with the end of the last century) and today it dominates a new form of theatrical criticism highly developed on all levels (and tools) of communication. Without wishing to give discriminatory judgments or licenses, it will be interesting to investigate and learn about the ways of writing and of influence between those who work in print, those on the web, those on the technological tools (no longer only verbal) available today. For example, by examining how sometimes even what was once a description, investigation, analysis of a show, can now turn itself into an operation of "artistic creativity". It will be interesting to investigate (involving the students personally) on possible contradictions, conflicts of interest and ambitions that make the world and the ways of "theatrical criticism" complex today. After this introductory in-depth study, it will be appropriate to briefly retrace the origins, development and methods of criticism, in print and new media, up to its relative transformation from a predominantly "literary" (or beautifully written) operation into subsequent ones of information. of a generalist and massive type that can lead today in some cases to certain forms of "overlap" between the role of the critic and that of the press office. Investigate, therefore, the possible "morality" of a role and function, or even their possibilities and purposes; or whether the information and instrumental need of the reader / viewer is still primary today.
(reference books)
La bibliografia di riferimento verrà definita, nel corso delle lezioni, insieme agli studenti
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