The course is focussed on the digitization of audio-visual media, on multimedia convergence, on videogame cultures, on the multiplication of the distribution platforms, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione aggiornata, Bologna, Il Mulino, 2016;
T. Bonini, M. Perrotta, Che cos'è il podcast, Roma, Carocci, 2023;

più 3 tra questi 4 saggi:

- T. Bonini, A. Caliandro, G. Anselmi, "La diffusione della musica pop nel sistema ibrido dei media: tra piattaforme digitali e broadcaster tradizionali", Studi Culturali, XVI, 2, pp. 225-56, 2019

- T. Bonini, E. Treré, F. Murtula, “Resistenza e solidarietà algoritmica nelle piattaforme digitali Un’indagine etnografica dei gruppi di engagement su Instagram”, Studi Culturali, XIX, 2, pp. 177-206, 2022

- M. Perrotta, From Niche to Mainstream. The emergence of a podcasting culture and market in the Italian radio context. In "The Routledge Companion to Radio and Podcast Studies", edited by Mia Lindberg and Jason Loviglio, London, Routledge, pp.418-428.

- N. Bilchi, Cinema e videogame. Narrazioni, estetiche, ibridazioni, Milano, Unicopli, 2019 (EXTRACT)
All materials will be distributed during class.

The course deals the organizational phenomena of theater and performing arts within the evolution of the urban and territorial dimension in its morphological, social, perceptual and cultural components. The traditional structures and practices of theatre, dance, music and circus are highlighted, but also the new forms of organization of urban cultural production and the relationship with the transformations of the city in terms of regeneration, social innovation, sustainability, current urban issues. Using case-studies, including international ones, with particular regard to the ECoC (European Capital of Culture), the Italian Capitals of Culture, the Unesco creative cities, the role of theatrical and cultural organizations in strategic planning of the city is also illustrated.
• Economics of culture, cultural policies and urban policies
• The evolution of the city and the territory
• The interpretation of the city in its various dimensions
• The cultural enterprise
• The organizational geography of the performing arts
• Traditional theatrical spaces
• Festivals
• The politics of major events
• The cultural initiatives bottom up and the social innovation
• The theatrical residences
• The new cultural spaces and urban regeneration
• The Capitals of Culture and creative cities
• Strategic cultural planning

For students who will attend classes:
Lucio Argano "Guida alla progettazione della città culturale" FrancoAngeli, Milan, 2021 (pp.514).

For students who will not attend classes:
Lucio Argano "Guida alla progettazione della città culturale" FrancoAngeli, Milan, 2021 (pp.514).
Oliviero Ponte di Pino “Un teatro per il XXI secolo. Lo spettacolo dal vivo ai tempi del digitale” Franco Angeli, Milan, 2021 (pp. 150).

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on videogame cultures, on the multiplication of the distribution platforms, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione aggiornata, Bologna, Il Mulino, 2016;
T. Bonini, M. Perrotta, Che cos'è il podcast, Roma, Carocci, 2023;

più 3 tra questi 4 saggi:

- T. Bonini, A. Caliandro, G. Anselmi, "La diffusione della musica pop nel sistema ibrido dei media: tra piattaforme digitali e broadcaster tradizionali", Studi Culturali, XVI, 2, pp. 225-56, 2019

- T. Bonini, E. Treré, F. Murtula, “Resistenza e solidarietà algoritmica nelle piattaforme digitali Un’indagine etnografica dei gruppi di engagement su Instagram”, Studi Culturali, XIX, 2, pp. 177-206, 2022

- M. Perrotta, From Niche to Mainstream. The emergence of a podcasting culture and market in the Italian radio context. In "The Routledge Companion to Radio and Podcast Studies", edited by Mia Lindberg and Jason Loviglio, London, Routledge, pp.418-428.

- N. Bilchi, Cinema e videogame. Narrazioni, estetiche, ibridazioni, Milano, Unicopli, 2019 (EXTRACT)
All materials will be distributed during class.

The course deals the organizational phenomena of theater and performing arts within the evolution of the urban and territorial dimension in its morphological, social, perceptual and cultural components. The traditional structures and practices of theatre, dance, music and circus are highlighted, but also the new forms of organization of urban cultural production and the relationship with the transformations of the city in terms of regeneration, social innovation, sustainability, current urban issues. Using case-studies, including international ones, with particular regard to the ECoC (European Capital of Culture), the Italian Capitals of Culture, the Unesco creative cities, the role of theatrical and cultural organizations in strategic planning of the city is also illustrated.
• Economics of culture, cultural policies and urban policies
• The evolution of the city and the territory
• The interpretation of the city in its various dimensions
• The cultural enterprise
• The organizational geography of the performing arts
• Traditional theatrical spaces
• Festivals
• The politics of major events
• The cultural initiatives bottom up and the social innovation
• The theatrical residences
• The new cultural spaces and urban regeneration
• The Capitals of Culture and creative cities
• Strategic cultural planning

For students who will attend classes:
Lucio Argano "Guida alla progettazione della città culturale" FrancoAngeli, Milan, 2021 (pp.514).

For students who will not attend classes:
Lucio Argano "Guida alla progettazione della città culturale" FrancoAngeli, Milan, 2021 (pp.514).
Oliviero Ponte di Pino “Un teatro per il XXI secolo. Lo spettacolo dal vivo ai tempi del digitale” Franco Angeli, Milan, 2021 (pp. 150).

The course teaches the linguistic skills, in written and oral production, necessary to reach a B2 level, with particular attention to those associated with the artistic and multimedia worlds. We will focus on the grammar, syntax and lexicon related to the communicative context of the artistic field and which allow the thorough understanding of texts about cinema, theatre and television.

Peter May, "Compact First. Student's Book with Answers. Second Edition", Cambridge University Press.

Raymond Murphy, "English Grammar in Use. Fifth Edition," Cambridge University Press.

Particularly focusing on the Fifteens and the Sixties, the course analyses Italian ethnographic documentary cinema and its most relevant directors. The second part of the class centers upon Cecilia Mangini’s films, also investigating her relationship with documentary and fiction cinema of that period and, more generally, the cultural production and the socio-cultural context of those years.

Required bibliography:
– Mattia Cinquegrani, Il cinema di Cecilia Mangini, Venezia, Marsilio, 2024.
– Selection of essays edited by the teacher

The course aims to problematize the teaching of cinema and audiovisual disciplines within the broader context of media education, both from a theoretical-methodological and operational perspective. Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in educational settings, the first part of the course will focus on the presence and function of media in pedagogical practice, both as objects of study (media and film language education) and as support for teaching in numerous different disciplines (education through media), with particular attention to audiovisual media.
In the second part of the course, media education will be in dialogue with some of the most recent developments in media theory and image theory. Building upon this dialogue, possible strategies for the use of media and images in learning environments will be analyzed.
Specific focuses will be dedicated to the following topics: the use of web documentaries, desktop cinema, and social media in learning contexts; the function of virtual museums for teaching art history; digital storytelling as a tool for education; and the development of a literacy project on cinema and audiovisual media in schools.

Exam Bibliograhy:

- Pier Cesare Rivoltella, "Media Education. Idea, metodo, ricerca", ELS La Scuola, Brescia 2017
- Kresimir Purgar, Luca Vargiu (a cura di), "Studiare le immagini. Teorie, concetti, metodi", Carocci, Roma 2023
- Lecture notes edited by the teacher

Recommended Books:

- Pier Cesare Rivoltella, "Che cos'è un EAS. L'idea, il metodo, la didattica", Scholé, Brescia 2021
- Cristina Maurelli, "Video partecipativo. Fare cinema come strumento educativo: il metodo PVCODE", Dino Audino, Roma 2019
- Nicoletta Di Blas, "Storytelling digitale a scuola", Milano 2019

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

Pier Cesare Rivoltella, Nuovi alfabeti. Educazione e culture nella società post-mediale, Scholé, Brescia, 2020.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop “4 Appunti” of Via G. Chiabrera, 174.

For non-attendance students:
Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.

FILM AND VIDEOGRAPHY:
feature films: Be Kind Rewind (2007) Michel Gondry; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;

short films, experimental videos, music videos: I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Stereoscope (2008) Chaos Computer Club;

anthology of found footage films: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;

anthology of crito-films: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);

anthology of video-essays: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course teaches the linguistic skills, in written and oral production, necessary to reach a B2 level, with particular attention to those associated with the artistic and multimedia worlds. We will focus on the grammar, syntax and lexicon related to the communicative context of the artistic field and which allow the thorough understanding of texts about cinema, theatre and television.

Peter May, "Compact First. Student's Book with Answers. Second Edition", Cambridge University Press.

Raymond Murphy, "English Grammar in Use. Fifth Edition," Cambridge University Press.

The course will offer some useful tools to plan inclusive and interdisciplinary music activities.
In the perspective of school inclusion, the course will deal with the organization of inclusive teaching as a fundamental variable to guarantee the quality of processes and equity in the school.
Specifically, the theoretical-applicative principles that underlie the most effective organizational-didactic models will be proposed, with reference to the role of the teacher as the main factor of effective teaching.
Starting from a reflection about the aims of the discipline, we will analyze the most known and significant models of organization of inclusive teaching in formal education contexts with attention to the individualization and personalization models of the teaching, also in relation to the recent contribution provided by the 'evidence-based-education.
In this context, as well as in the light of the results of neuroscience, the potential of music as a methodological facilitator for the promotion of learning and participation of all students, in particular students with disabilities and with Specific Learning Disorders (DSA) will be analyzed .

The essential teaching contents are the following:
- the values, the theoretical-applicative principles and the concepts that are the basis of inclusive teaching;
- the characteristics of students with special educational needs;
- the theoretical principles of music for inclusion;
- the methods for designing an inclusive lesson based on musical experience: methodologies, tools, methods of assess and evaluation;
- the role of the musician teacher as facilitator for inclusion.

- Rizzo A. L. (2021). Giochi musicali e disturbi dell'apprendimento. Roma: Carocci.
- Rizzo A.L., Spadolini, A. (2024).Musica per la compensazione dei DSA. Proposte didattiche inclusive tra neuroscienze e ricerca educativa. Milano: Volontè.
-Miur (2012). Nuove indicazioni nazionali per il curricolo della scuola dell'infanzia e del I ciclo di istruzione.

The course will be made up of two sections:

- In the first part the course will present and analyse the principles of scenic composition through the new perspectives opened by the cognitive sciences and the theories of embodied cognition.
- Then, the works and the theories of the Russians director Vsevolod Meyerhold will be analysed.

- Gabriele Sofia, “Le acrobazie dello spettatore. Dal teatro alle neuroscienze e ritorno”, Roma, Bulzoni, 2013.

- Vsevolod Mejerchol'd, “Sul teatro. Scritti 1907-1912”, Roma, Dino Audino Editore, 2015.

- Angelo Maria Ripellino, “Il trucco e l'anima. I maestri della regia nel teatro russo del Novecento”, Torino, Einaudi Editore, 2002.


FOR NON-ATTENDING STUDENTS:

- Vsevolod Mejerchol'd, "L'Ottobre Teatrale. 1918-1939", Imola, Cue Press, 2020.

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on videogame cultures, on the multiplication of the distribution platforms, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione aggiornata, Bologna, Il Mulino, 2016;
T. Bonini, M. Perrotta, Che cos'è il podcast, Roma, Carocci, 2023;

più 3 tra questi 4 saggi:

- T. Bonini, A. Caliandro, G. Anselmi, "La diffusione della musica pop nel sistema ibrido dei media: tra piattaforme digitali e broadcaster tradizionali", Studi Culturali, XVI, 2, pp. 225-56, 2019

- T. Bonini, E. Treré, F. Murtula, “Resistenza e solidarietà algoritmica nelle piattaforme digitali Un’indagine etnografica dei gruppi di engagement su Instagram”, Studi Culturali, XIX, 2, pp. 177-206, 2022

- M. Perrotta, From Niche to Mainstream. The emergence of a podcasting culture and market in the Italian radio context. In "The Routledge Companion to Radio and Podcast Studies", edited by Mia Lindberg and Jason Loviglio, London, Routledge, pp.418-428.

- N. Bilchi, Cinema e videogame. Narrazioni, estetiche, ibridazioni, Milano, Unicopli, 2019 (EXTRACT)
All materials will be distributed during class.

BODIES/MEDIA: FIGURES, ENERGY, MOTIONS
Starting from Eisenstein's assessments about Meyerhold and biomechanics, the course tackles the definitions and techiques of motion and expression in the first half of the 20th century moving across the fields of visual arts, cinema and anthropology.

Any edition of W.Benjamin,The Work of Art in the Age of mechanical reproduction.
S. M. Eisenstein, The Film form, Faber and Faber.
Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia, ed. by AIma Law

The course will observe developments and transformations of modern and contemporary Western dance, starting with the search for a new expressiveness that animated the German dance scene in the first half of the 20th century up to the innovative creations, from the 1970s, of dance-theatre.

1) Eugenia Casini Ropa, "La danza e l'agitprop: i teatri-non-teatrali nella cultura tedesca del primo Novecento", Bologna, il Mulino, 1988 - up to p. 122 (Foreword and chapters 1. Tre casi and 2. Kõrperseele: il corpo anima). A new edition of the volume is also available, Cue Press 2015, in book or e-book.
2) Elena Cervellati, "Storia della danza", II edition, Milano-Torino, Pearson, 2020.
3) Handouts and videos.

Not-attending students will add:
4) Susanne Franco, "Martha Graham", Palermo, L'Epos, 2003.
or Marta Graham, La memoria del sangue. Un'autobiografia, Roma, Audino, 2022.

The course will be made up of two sections:

- In the first part the course will present and analyse the principles of scenic composition through the new perspectives opened by the cognitive sciences and the theories of embodied cognition.
- Then, the works and the theories of the Russians director Vsevolod Meyerhold will be analysed.

- Gabriele Sofia, “Le acrobazie dello spettatore. Dal teatro alle neuroscienze e ritorno”, Roma, Bulzoni, 2013.

- Vsevolod Mejerchol'd, “Sul teatro. Scritti 1907-1912”, Roma, Dino Audino Editore, 2015.

- Angelo Maria Ripellino, “Il trucco e l'anima. I maestri della regia nel teatro russo del Novecento”, Torino, Einaudi Editore, 2002.


FOR NON-ATTENDING STUDENTS:

- Vsevolod Mejerchol'd, "L'Ottobre Teatrale. 1918-1939", Imola, Cue Press, 2020.

BODIES/MEDIA: FIGURES, ENERGY, MOTIONS
Starting from Eisenstein's assessments about Meyerhold and biomechanics, the course tackles the definitions and techiques of motion and expression in the first half of the 20th century moving across the fields of visual arts, cinema and anthropology.

Any edition of W.Benjamin,The Work of Art in the Age of mechanical reproduction.
S. M. Eisenstein, The Film form, Faber and Faber.
Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia, ed. by AIma Law

Starting with an examination of Stéphane Mallarmé's work in prose and verse, the course proposes a close analysis of the texts, placing these works within their historical-literary context.

Mallarmé, Poesie e prose, tr. A. Guerrini – V. Ramacciotti, Garzanti, 2005
Mallarmé, Poesie, tr. C. De Carolis, Marsilio, 2017
M. Luzi, Studio su Mallarmé, Solfanelli, 2018.

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on videogame cultures, on the multiplication of the distribution platforms, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione aggiornata, Bologna, Il Mulino, 2016;
T. Bonini, M. Perrotta, Che cos'è il podcast, Roma, Carocci, 2023;

più 3 tra questi 4 saggi:

- T. Bonini, A. Caliandro, G. Anselmi, "La diffusione della musica pop nel sistema ibrido dei media: tra piattaforme digitali e broadcaster tradizionali", Studi Culturali, XVI, 2, pp. 225-56, 2019

- T. Bonini, E. Treré, F. Murtula, “Resistenza e solidarietà algoritmica nelle piattaforme digitali Un’indagine etnografica dei gruppi di engagement su Instagram”, Studi Culturali, XIX, 2, pp. 177-206, 2022

- M. Perrotta, From Niche to Mainstream. The emergence of a podcasting culture and market in the Italian radio context. In "The Routledge Companion to Radio and Podcast Studies", edited by Mia Lindberg and Jason Loviglio, London, Routledge, pp.418-428.

- N. Bilchi, Cinema e videogame. Narrazioni, estetiche, ibridazioni, Milano, Unicopli, 2019 (EXTRACT)
All materials will be distributed during class.

The course aims at providing the knowledge of acoustics and lighting with particular regard to the applications in the field of architectural design and construction components. The course will supply, on one hand, the needed tools to face the problem of indoor and outdoor environments’ sound and acoustic protection, on the other hand, it will deal with the design of the halls’ acoustics and lighting quality (theaters, concert halls, conference rooms, etc.). Moreover, the course aims to give the ground needed to address the applied acoustics and lighting problems, such as noise assessment and control and proper indoor lighting design, considering both Standards and technical aspects.

Material provided by the lecturer.

Introduction:
• What is music analysis
• History of music analysis
Principal methodologies of music analysis
Exercises of phraseological analysis
Exercises of morphological analysis
Exercises of analysis of thematic derivation

CLEMENS KÜHN, Il linguaggio delle forme nella musica occidentale, Milano, Unicopli, 1987: parte III (Musica e tempo), IV (Elementi strutturali della composizione), V (Melodia) e VI (Forma musicale e opera musicale)
IAN BENT – WILLIAM DRABKIN, Analisi musicale, Torino, EDT, 1990: capitoli I (L’analisi musicale in generale) e IV (La metodologia dell’analisi)

The relationship between visual arts, sound and music crosses the modernity and configure a space for linguistic experimentation that the definition of Sound Art only partially describes. Starting from John Cage's experimentation and aesthetic revolution, which broadened the horizon of music to sound-noise, the course intends to analyze moments of collaboration between visual artists and musicians on both sides of the Atlantic with experiences that define the new horizons of the performative, between Happening, Environment and Fluxus, in an expanding network of international relations that gradually becomes global. Specifically, 1) behavioral-performative practices that have focused their poetics on the voice and on bodily sounds will be analysed, also in relation to the use of new technologies or as a possibility of identity self-affirmation; 2) environmental installations that used sound and music in a research scenario that crosses Process Art, Arte Povera to arrive at the contemporary in relation to the ecological question and the environmental crisis.

1) F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003, pp. 36-221 [PDF scaricabili sul moodle del corso]

2) F. De Sanctis Mangelli e G. Pedace (a cura di), When Sound Becomes form. Sperimentazioni sonore in Italia 1950-2000, Mandredi Edizioni, Imola 2019

3) Art or sound, catalogo della mostra (Venezia, Fondazione Prada Ca’ Corner della Regina, 7 giugno – 8 novembre 2014), a cura di G. Celant, Fondazione Prada, Milano 2014 [in particolare i saggi: G. Celant, Dal plurilinguismo al multisensoriale; C. Cox, Vedere non è sentire. Sinestesia, anestesia e arte audiovisiva; L. Chessa, Un’orchestra metafisica. Una ricerca sulla ricostruzione degli intonarumori; R. Young, Così brutalmente forzata. La svolta del dopoguerra dalla musica al suono; E. de Visscher, Il silenzio come scultura musicale. John Cage e gli strumenti di 4’33’’; G. Dayal, Musica sperimentale e performance. David Tudor, John Cage e Merce Cunningham; J. Applin, Rumore ottico. Il suono della scultura negli anni ’60; A. Licht, Il rumore della superficie. Rendere l’arte udibile nel XX Secolo; S. Menegoi, Sound Art? Arti visive e suono al passaggio fra anni ’70 e ’80; H. Rogers, Sinestesia distorta. Il video musicale e le arti visive]

4) P. Fameli, Il corpo risonante. Vocalità e gestualità nel Novecento, Campanotto Editore, Pasian di Prato (UD) 2013, pp. 43-84

Not attending will integrate with an in-depth study to be agreed with the Professor.

The course aims to problematize the teaching of cinema and audiovisual disciplines within the broader context of media education, both from a theoretical-methodological and operational perspective. Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in educational settings, the first part of the course will focus on the presence and function of media in pedagogical practice, both as objects of study (media and film language education) and as support for teaching in numerous different disciplines (education through media), with particular attention to audiovisual media.
In the second part of the course, media education will be in dialogue with some of the most recent developments in media theory and image theory. Building upon this dialogue, possible strategies for the use of media and images in learning environments will be analyzed.
Specific focuses will be dedicated to the following topics: the use of web documentaries, desktop cinema, and social media in learning contexts; the function of virtual museums for teaching art history; digital storytelling as a tool for education; and the development of a literacy project on cinema and audiovisual media in schools.

Exam Bibliograhy:

- Pier Cesare Rivoltella, "Media Education. Idea, metodo, ricerca", ELS La Scuola, Brescia 2017
- Kresimir Purgar, Luca Vargiu (a cura di), "Studiare le immagini. Teorie, concetti, metodi", Carocci, Roma 2023
- Lecture notes edited by the teacher

Recommended Books:

- Pier Cesare Rivoltella, "Che cos'è un EAS. L'idea, il metodo, la didattica", Scholé, Brescia 2021
- Cristina Maurelli, "Video partecipativo. Fare cinema come strumento educativo: il metodo PVCODE", Dino Audino, Roma 2019
- Nicoletta Di Blas, "Storytelling digitale a scuola", Milano 2019

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

Pier Cesare Rivoltella, Nuovi alfabeti. Educazione e culture nella società post-mediale, Scholé, Brescia, 2020.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop “4 Appunti” of Via G. Chiabrera, 174.

For non-attendance students:
Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.

FILM AND VIDEOGRAPHY:
feature films: Be Kind Rewind (2007) Michel Gondry; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;

short films, experimental videos, music videos: I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Stereoscope (2008) Chaos Computer Club;

anthology of found footage films: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;

anthology of crito-films: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);

anthology of video-essays: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course intends to investigate some experiences of dance in the second half of the 20th century that have proposed an unprecedented conception of the body and movement and that propose a renewal of choreographic languages on the contemporary scene. One part of the course will be devoted to the experience of second-generation Butō dancers who have personalised the lesson of the founders and formed performers straddling East and West. The second part, which will take place in conjunction with the Teatri di vetro festival, will be devoted to the contemporary scene and to direct observation through guided viewing of performances and meetings with performers and cultural operators.

- Dossier Il corpo solitario. Masaki Iwana e La Maison du Butoh Blanc, a cura di Samantha Marenzi, «Teatro e Storia», n. 44, 2023
- Trasform’azioni – rassegna internazionale di danza butō. Fotografia di un'esperienza, a cura di Samantha Marenzi, Editoria & Spettacolo, Roma 2010
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, Postcart, Roma 2018.
- Lecture notes by the teacher

The relationship between visual arts, sound and music crosses the modernity and configure a space for linguistic experimentation that the definition of Sound Art only partially describes. Starting from John Cage's experimentation and aesthetic revolution, which broadened the horizon of music to sound-noise, the course intends to analyze moments of collaboration between visual artists and musicians on both sides of the Atlantic with experiences that define the new horizons of the performative, between Happening, Environment and Fluxus, in an expanding network of international relations that gradually becomes global. Specifically, 1) behavioral-performative practices that have focused their poetics on the voice and on bodily sounds will be analysed, also in relation to the use of new technologies or as a possibility of identity self-affirmation; 2) environmental installations that used sound and music in a research scenario that crosses Process Art, Arte Povera to arrive at the contemporary in relation to the ecological question and the environmental crisis.

1) F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003, pp. 36-221 [PDF scaricabili sul moodle del corso]

2) F. De Sanctis Mangelli e G. Pedace (a cura di), When Sound Becomes form. Sperimentazioni sonore in Italia 1950-2000, Mandredi Edizioni, Imola 2019

3) Art or sound, catalogo della mostra (Venezia, Fondazione Prada Ca’ Corner della Regina, 7 giugno – 8 novembre 2014), a cura di G. Celant, Fondazione Prada, Milano 2014 [in particolare i saggi: G. Celant, Dal plurilinguismo al multisensoriale; C. Cox, Vedere non è sentire. Sinestesia, anestesia e arte audiovisiva; L. Chessa, Un’orchestra metafisica. Una ricerca sulla ricostruzione degli intonarumori; R. Young, Così brutalmente forzata. La svolta del dopoguerra dalla musica al suono; E. de Visscher, Il silenzio come scultura musicale. John Cage e gli strumenti di 4’33’’; G. Dayal, Musica sperimentale e performance. David Tudor, John Cage e Merce Cunningham; J. Applin, Rumore ottico. Il suono della scultura negli anni ’60; A. Licht, Il rumore della superficie. Rendere l’arte udibile nel XX Secolo; S. Menegoi, Sound Art? Arti visive e suono al passaggio fra anni ’70 e ’80; H. Rogers, Sinestesia distorta. Il video musicale e le arti visive]

4) P. Fameli, Il corpo risonante. Vocalità e gestualità nel Novecento, Campanotto Editore, Pasian di Prato (UD) 2013, pp. 43-84

Not attending will integrate with an in-depth study to be agreed with the Professor.

The course aims to problematize the teaching of cinema and audiovisual disciplines within the broader context of media education, both from a theoretical-methodological and operational perspective. Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in educational settings, the first part of the course will focus on the presence and function of media in pedagogical practice, both as objects of study (media and film language education) and as support for teaching in numerous different disciplines (education through media), with particular attention to audiovisual media.
In the second part of the course, media education will be in dialogue with some of the most recent developments in media theory and image theory. Building upon this dialogue, possible strategies for the use of media and images in learning environments will be analyzed.
Specific focuses will be dedicated to the following topics: the use of web documentaries, desktop cinema, and social media in learning contexts; the function of virtual museums for teaching art history; digital storytelling as a tool for education; and the development of a literacy project on cinema and audiovisual media in schools.

Exam Bibliograhy:

- Pier Cesare Rivoltella, "Media Education. Idea, metodo, ricerca", ELS La Scuola, Brescia 2017
- Kresimir Purgar, Luca Vargiu (a cura di), "Studiare le immagini. Teorie, concetti, metodi", Carocci, Roma 2023
- Lecture notes edited by the teacher

Recommended Books:

- Pier Cesare Rivoltella, "Che cos'è un EAS. L'idea, il metodo, la didattica", Scholé, Brescia 2021
- Cristina Maurelli, "Video partecipativo. Fare cinema come strumento educativo: il metodo PVCODE", Dino Audino, Roma 2019
- Nicoletta Di Blas, "Storytelling digitale a scuola", Milano 2019

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

Pier Cesare Rivoltella, Nuovi alfabeti. Educazione e culture nella società post-mediale, Scholé, Brescia, 2020.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop “4 Appunti” of Via G. Chiabrera, 174.

For non-attendance students:
Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.

FILM AND VIDEOGRAPHY:
feature films: Be Kind Rewind (2007) Michel Gondry; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;

short films, experimental videos, music videos: I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Stereoscope (2008) Chaos Computer Club;

anthology of found footage films: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;

anthology of crito-films: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);

anthology of video-essays: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

Bodies/Media: Techniques and Visions.
The course deals with groundbreaking texts (Benjamin, Warburg) and meaningful case studies (about foto,film and dance), introducing the students to the cultural interpretation of thr interplay between the cultures of physical action and the production of images.

Walter Benjamin, L'opera d'arte nell'epoc della sua riproducibilità tecnica, a c. di F. Desideri, Feltrinelli. ANY EDITION OF The work of art in the age of mechanical reproduction
Samantha Marenzi, Immagini di danza. fotografia e arte del movimento nel primo Novecento, Editoria e Spettacolo.
Aby Warburg, Botticelli, Abscondita.
La scena dell'immagine, a c. di S.Geraci, R. Guarino, S. Marenzi, Officina edizioni (download in pdf)

Alessandra Cristiani
A performative alphabet. Bodily practices and methodologies between East and West: Ephesian Technique, White Butō, Non-ordinary Movement.
Practical proposal is open to all students and professionals ones, who desire to deepen and explore their body language and who are looking for new creative impulses. Different methodologies derive from some familiar working materials learned by historical avant-garde figures of Ankoku , butō in the research field of Steiner Eurythmy and about Seitai discipline. The artistic figures of the following dancers will be introduced from a theoretical and practical point of view: Masaki Iwana for the White Butō, a response to the dance of darkness of Tatsumi Hijikata; Akira Kasai and his Ephesus Technique, a more personal aspect of Rudolf Steiner's Eurythmy and the dancer Yoko Muronoi and her non-ordinary Movement. It is a dance declination of Seitai exercises, a Japanese health practice concerned with spontaneous and regenerating movement of the body. These performative pedagogies can trace a path of awareness for participants, which stimulates their perceptive faculties and draws on the organic mechanisms of human nature, on the primary aspects of corporeal materiality. An alchemy of creative techniques made up of echoes, assonances, contrasts will allow us to cross the various exercise and dance proposals, suggesting and encouraging participants to rely more and more on their most ineffable resources by exploring a possible poetic register of the action nourished and relaunched by an essential source: the invisible, the mysterious, the unknown. Every day meetings will begin with a deep rooting in the body activated with precise breathing techniques to introduce a stretching of meridians, a health practice which awakens and engages the most internal energetic stratifications to bring them back to the surface. Gradually the movement will grow more and more organically in the space and in accordance with the possibilities of each participant. At the beginning the spine and joints will be moved very carefully thanks to the White Butō training methodology, then we will arrive at the dynamics in space proposed by the forms of Eurythmy. Space becomes volume, place and phenomenon. In a full self-presence a work on the voice can be introduced about the vocalization of vowels and some consonants. Ephesus Technique is the experience of a bodily state, its internal activation and its release into the surrounding space, as if by a sort of echo, thanks to a particular emission of sound. The next step will be some vocal formulas: the mantras especially that of the vowel A and that of the consonant L which act respectively on the expansion of a vitality from an inside to an outside and on the spread of energy from the center to the periphery of the body and vice versa. Forms, Mantras, Ephesus Technique, these are interesting equivalences of the bodily states investigated by the creative strategy of the White Butō. The dance exercises such as: Pollen, Fog, Giacometti, Rainbow, Withering, Blooming, a leaf of lotus, Needles and further evolutions such as Medusa, With the corner of the eye, Animal from the back, Coral...translate some bodily attitudes of the human being into a language linked to phenomena in Nature. Partecipants, relating to the organic mechanisms that put them into action, they have to be- from the begining- engaged in a deep dialogue with their own personal imagination, and with a precious and mysterious bodily antenna. You are an author from your first steps. It is important to recognize one’s own body as an inexhaustible creative source. It is in its skeletal, in muscular structures, in the aspect of liquids and masses that life experiences in the past, present and future time, settle themselves in the body and cause of this they can be translated poetically for the scene. This bodily aspect is the key of an important methodology of images, which has its focus in the use of Haiku, short poetic compositions, which become essential tools for digging into the invisible, intuitive resources of the performer. From this point of view, the dancer Yoko Muronoi stated that the true creative source belongs to the organs, the bones and it is not necessary to access them in a direct way. She developed, in her short life, a series of exercises taken from Seitai, which map further roots of the movement: mobile focuses, fixed focuses, the space between the joints. Breathing and the techniques to contact its elusive nature, are the perceptive tool around which discovering a lost body, an absent body for a future dance. This program will not be offered in a schematic way, but in response to the sensibility and performative attitude of every body involved in the working process. In this adventure the body can receive a sort of alphabet, he can awake a lot of impressions, sensations, emotions, desires, memories. People can experience their own dimensions of the body, time and space and share them with others. At the end of the workshop there will be an open day.

As an alternative to the practical part, the performative issues will be treated theoretically through the extrapolation of some key points in work notebooks and in the following texts:
Handouts by the teacher
Akira Kasai. A book called body, edited by Maria Pia D'Orazi, Artdigiland
Itsuo Itsuda, The dialogue of silence, School of breathing, Luni editor
Itsuo Itsuda, Not doing, School of breathing, Luni publishing house

The human voice as a musical instrument
- basic notions of anatomy and physiology of the vocal organ
- breathing techniques for singing
- phonation, emission and management of the sung sound
- voices range classification
- basic criteria and methodologies for voice education, modulation and pitch
- singing and body expression

The Choir
- role of conductor/teacher
- children's cohir, women's choir, men's choir, mixed choir
- school choirs
- didactic objectives and training purposes
- choir as a collective musical instrument
- creation of an inclusive musical environment
- listening and performing
- musical score learning technics
- "a cappella" chorus and accompanied chorus
- choral acoustics
- psychology in musical behaviour and experience
- organization models for choral work

Consultation and direction
- choral repertoires
- choice and adaptation of the repertoire
- rhythmic, melodic and harmonic elements of the score
- music/sung text ratio
- the impromptu processing
- instrumental accompaniment
- elements of musical organology
- choral music and technology tools
- elements of choral conducting technique
- communicative strength of the conducting gesture: technical/concertative, interpretative, poetic nature
- executive practice

Choral singing and conducting practice

Bibliography and handouts will be indicated over the lessons.

PROBLEMS OF HISTORIOGRAPHY OF THE PLAY
a.a. 2020-2021
Art Theater of Naples. Viviani between Naples and Europe
(L-ART/05) 6 credits; master’s degree
Professor: Valentina Venturini

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000),and the docu-film "Viva Viviani" written and directed by Mario e Stefano Martone, and of unpublished documentary clips.

ATTENDING STUDENTS
(to be considered attending the student can not make more than 2 absences):
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Ettore Petrolini, "Modestia a parte", a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
4) Eventuali materiali a cura del docente (caricati nella sezione “FILE” del corso sulla piattaforma TEAMS)
5) FILM: "La tavola dei poveri" di A. Blasetti
6) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) "Viva Viviani" di M. e S. Martone [vimeo.com/nephilafilm/vivaviviani; password: VIVIANIVIVA]
[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].

NON ATTENDING STUDENTS:
1) Valentina Venturini, Raffaele Viviani. La compagnia, Napoli e l’Europa, Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, Dalla vita alle scene. L’altra biografia (1888-1947), a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Franca Angelini, Teatro e spettacolo nel primo Novecento, Bari-Roma, Laterza, 2009
4) Ettore Petrolini, Modestia a parte, a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
5) FILM: La tavola dei poveri di A. Blasetti
6) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM "Viva Viviani" di M. e S. Martone [vimeo.com/nephilafilm/vivaviviani; password: VIVIANIVIVA]
[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].

The course will investigate the plurality of the idea of directing in Italy between the 1930s and the second half of the 20th century, looking in particular at debates on the pre-eminence of dramatic text or performance. The practices and theories of some of the leading directors of the time will be observed. An in-depth analysis will be dedicated to Bertolt Brecht's Threepenny Opera and its Italian reception.

Claudio Meldolesi, Fondamenti del teatro italiano. La generazione dei registi, Rome, Bulzoni, 2008 (1984).
Pleas note: Given its limited availability, the text is replaced by:
Claudio Meldolesi, Fra Totò e Gadda : sei invenzioni sprecate dal teatro italiano, Roma, Bulzoni, 1987, soon to be reprinted by Cue Press,.
Raffaella Di Tizio, L’opera dello straccione di Vito Pandolfi e il mito di Brecht nell’Italia fascista, Roma, Aracne, 2018.

Bertolt Brecht, L’opera da tre soldi, Torino, Einaudi, 2002.

Handouts.

The course teaches the linguistic skills, in written and oral production, necessary to reach a B2 level, with particular attention to those associated with the artistic and multimedia worlds. We will focus on the grammar, syntax and lexicon related to the communicative context of the artistic field and which allow the thorough understanding of texts about cinema, theatre and television.

Peter May, "Compact First. Student's Book with Answers. Second Edition", Cambridge University Press.

Raymond Murphy, "English Grammar in Use. Fifth Edition," Cambridge University Press.