Università Roma Tre

The course introduces the study of the actor in the European theatrical culture from the modern age to the twentieth century.

The course introduces the study of the actor in the European theatrical culture from the modern age to the twentieth century.

Teatro e culture della performance – Theatre and performance cultures
Actors and performance in modern and contemporary world.
O: Analysis of the key texts and of the leading experiences in the 20th century theatre and performance cultures. Traditions and organization in modern and contemporary theatre.
P: Analysis of the texts that have changed the art of playing and the presence of the performer in the 20th century (Artaud, Grotowski, Brecht). Dramatic texts as documents of modern theatre cultures.

An introduction to theatre studies. The course explores different environments and eras of the history of performance in a transversal perspective, taking as reference point the work of actors and/or directors and/or writers on dramaturgy, or the “composition of the scenic action”.

Teatro e culture della performance – Theatre and performance cultures
Actors and performance in modern and contemporary world.
O: Analysis of the key texts and of the leading experiences in the 20th century theatre and performance cultures. Traditions and organization in modern and contemporary theatre.
P: Analysis of the texts that have changed the art of playing and the presence of the performer in the 20th century (Artaud, Grotowski, Brecht). Dramatic texts as documents of modern theatre cultures.

An introduction to theatre studies. The course explores different environments and eras of the history of performance in a transversal perspective, taking as reference point the work of actors and/or directors and/or writers on dramaturgy, or the “composition of the scenic action”.

THE COURSE AIMS: A) TO INTRODUCE DIFFERENT TRADITIONS AND INSTITUTIONS IN WESTERN THEATRICAL DANCE HISTORY; B) TO DISCUSS 20TH CENTURY DANCE FORMS AND TO COMPARE THE CREATIVE WORKS OF 21ST CENTURY CHOREOGRAPHERS.

The workshop aims to develop skills of self-employment for the creation of new cultural and entertainment activities. It envisages the draft of a business project, according to a fixed schedule, in which the student must explore the realistic feasibility of his business idea in its market, organizational and economic size. Texts to support: L. Argano, C. Brizzi, M. Frittelli, G. Marinelli L'impresa di spettacolo dal vivo. Officina, Rome, 2004; Professor’s lecture notes downloadable from the website www.lucioargano.it. The final exam consists of a business plan, completed in its entirety.

The course introduces the study of the actor in the European theatrical culture from the modern age to the twentieth century.

An introduction to theatre studies. The course explores different environments and eras of the history of performance in a transversal perspective, taking as reference point the work of actors and/or directors and/or writers on dramaturgy, or the “composition of the scenic action”.

To provide an overview of key theoretical and topical issues in cultural anthropology and to promote critical, informed readings of anthropological debates, past and present about body, embodiment and gender.

Teatro e culture della performance – Theatre and performance cultures
Actors and performance in modern and contemporary world.
O: Analysis of the key texts and of the leading experiences in the 20th century theatre and performance cultures. Traditions and organization in modern and contemporary theatre.
P: Analysis of the texts that have changed the art of playing and the presence of the performer in the 20th century (Artaud, Grotowski, Brecht). Dramatic texts as documents of modern theatre cultures.

TO PROVIDE TOOLS TO FACE THE STUDY OF EUROPEAN AND EXTRA-EUROPEAN THEATRICAL CULTURES IN AN HISTORICAL-COMPARATIVE PERSPECTIVE. TO THIS END, SOME THEATRICAL EXPERIENCES WILL BE EXAMINED AS “MODELS” FOR THE RESEARCH OF THE DIFFERENT CULTURAL MATRICES AND OF THEIR TECHNICAL JUNCTION POINTS.

An introduction to theatre studies. The course explores different environments and eras of the history of performance in a transversal perspective, taking as reference point the work of actors and/or directors and/or writers on dramaturgy, or the “composition of the scenic action”.

The course introduces the study of the actor in the European theatrical culture from the modern age to the twentieth century.

An introduction to theatre studies. The course explores different environments and eras of the history of performance in a transversal perspective, taking as reference point the work of actors and/or directors and/or writers on dramaturgy, or the “composition of the scenic action”.

The course introduces the study of the actor in the European theatrical culture from the modern age to the twentieth century.

THE COURSE IS AIMED TO EXPLAIN FORMATS, EXPRESSIONS AND PRODUCTION FORMS OF CONTEMPORARY RADIO AND TELEVISION.

ACQUISITION OF NEW POINTS OF VIEW ON THE HISTORY AND THEORIES OF CINEMA

PART ONE: NARRATION CONTENTS

I. Archetypes.

The stories that have always been told. The identification of narrative persistence in search of the lowest common denominator in the art of storytelling. The significant narrative structure identity between storytelling, screenwriting and filming. The definition of archetype as a basic part of any story.

A. The myth of the golden age (explanation of how the absence of conflict does not lead to storytelling. Clear example: "The lion will sleep with the lamb." The story age, in Greek mythology, begins with the end of the Golden Age. In Christianity, with the banishment from the Garden of Eden)

B. Jason and the Argonauts: the journey to retake the golden age (Jason seeking the Golden Fleece; by possessing it he can claim the throne of Iolcus, usurped by his father Aeson: the birth of the epic narration coincides with the story of a journey for the conquest of a precious element of social and civil growth. Similarities with the myth of the Round Table and the quest for the Grail).
• Introduction to the idea of McGuffin, the "stakes" in American movies
Introduction to the idea of a hero's journey: the adventure in the strict sense of the word, which has as its purpose the restoration of harmony or the establishment of a new harmony:

C. Aeneas and the journey towards the unknown in order to build a new world (the old balance, Troy, is lost. The journey towards the unknown to build a new city as a mark of civilization and universal order: Rome)

D. Orpheus and his descent to the underworld (the hero defies the opponent who threatened and modified the balance: Orpheus descends to the underworld to tear his beloved Eurydice from Hades.)
• Introduction to the concept of "point of death"

E. Ulysses and the Nostos: the homecoming hero (destroying the opponent does not automatically recover the ancient balance. The hero must purify through the adventure to gain a return).
• Introduction to the idea of the unavoidable growth of the protagonist.

II. The story structure.

The story refers to models that are repeated unchanged over the centuries. The Fairy Tale morphology according to Vladimir Yakovlevich Propp.
A. The protagonist, the opponent, the mission and the trigger.
B. The call to adventure.
C. The hero's journey.
D. Restoration of the Golden Age.

Persistence and analogies between mythology, fairy tales and cinematic storytelling.

NEOREALISM
THE COURSE PROPOSES A HISTORICAL, CRITICAL AND THEORETICAL ANALYSIS OF NEOREALISM.

To provide an overview of key theoretical and topical issues in cultural anthropology and to promote critical, informed readings of anthropological debates, past and present about body, embodiment and gender.

PRESENTATION OF PROGRAMS 2014/2015
THE COURSE AIMS TO PROVIDE ELEMENTS OF KNOWLEDGE OF MANAGEMENT, PRODUCTION AND ORGANIZATIONAL ACTIVITIES RELATED TO ARTS AND ENTERTAINMENT EVENTS.

NEOREALISM
THE COURSE PROPOSES A HISTORICAL, CRITICAL AND THEORETICAL ANALYSIS OF NEOREALISM.