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20710411 -
Hystory of cinema
(objectives)
The course of Film History is part of the formative activities defined as characteristic of the Degree Course in DAMS (Arts, Music and Drama). This Degree Course aims at offering an adequate foundation training, an extensive knowledge and appropriate methodological and critical instruments in performing arts and film, television and digital media, offering as well an adequate know how for the organization of cultural, performing arts, film and audiovisual events. In the context of the two training courses offered by the Degree Course, the course of Film History is intended to provide 1) a foundation training of the film language, of the reference experiences and authors/authoresses in the world film history; 2) the ability to contextualize, compare and critically analyze films according to a plurality of references (a handbook, some theoretical articles, critical contributions of the time) and in the light of the direct vision of works; 3) the historic, critical and theoretical concepts necessary to the study of film history and useful to get a good mastery of expression in oral and written form.
Group:
A - L
-
Derived from
20710411 STORIA DEL CINEMA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 A - L DE FRANCESCHI LEONARDO
(syllabus)
By relying on a set of reference contributions in film and media studies, we will review the main steps that marked the process of film history as an art, a language and an industry, from the so-called pre-cinema to classical Hollywood, dealing with the avant-gardes of 1920s, the transition to sound film, the emergence of different models of Studio System. Renoir and the modernity of The Rules of the Game. Welles’ experimentalism in Citizen Kane. Neorealism as seen by Rossellini. Hieratic classicism in Ozu. Modern author cinemas (Bergman, Antonioni, Tarkovskij). Bazin’s lesson and Nouvelle Vague (Godard). Cinema Novo (Rocha). New Hollywood (Coppola). New Iranian Cinema (Kiarostami). The emergence of Women’s Cinema and the cinema-television synergy (Campion). The transition to digital and the relaunch of 3D (Avatar).
(reference books)
Filmography (feature films):
Cabiria (G. Pastrone, 1913), The Birth of a Nation (David W. Griffith, 1915), The Outlaw and His Wife (Victor Sjöstrom, 1917), Eldorado (M. L’Herbier, 1921), Nosferatu, a Symphony of Horror (Friedrich W. Murnau, 1922), Battleship Potemkin (Sergej M. Ejzenštejn, 1926), The Man with a Movie Camera (Dziga Vertov, 1929), Sisters of Gion (Mizoguchi Kenji, 1936), Stagecoach (John Ford, 1939), The Rules of the Game (Jean Renoir, 1939), Citizen Kane (Orson Welles, 1941), Paisà (Roberto Rossellini, 1946), Tokyo Story (Yasujirô Ozu, 1953), Wild Strawberries (Ingmar Bergman, 1957), L’avventura (Michelangelo Antonioni, 1960), Breathless (Jean-Luc Godard, 1960), Antonio das Mortes (Glauber Rocha, 1969), Solaris (Andrej A. Tarkovskij, 1972), Xala (Sembene Ousmane, 1975), Apocalypse Now – Final Cut (Francis Ford Coppola, 1979-2019), Close-up (Abbas Kiarostami, 1990), An Angel at My Table (Jane Campion, 1990), Avatar (James Cameron, 2009). A selection of shorts, edited by the teacher (1897-1918).
Group:
M - Z
-
Derived from
20710411 STORIA DEL CINEMA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 M - Z PERNIOLA IVELISE
(syllabus)
The invention of cinema, between science and ontology. Lumière, Méliès and the "primitive way of representation". The affirmation of the "institutional mode of representation" from the School of Brighton to Griffith. The rise of Hollywood and the birth of genres: the slapstick comedy, Chaplin and Keaton. The avant-gardes of the 1920s in France (abstraction, dadaism and surrealism). German expressionism. Soviet Union (theories and practices of editing). Sound and American classic cinema. The Hollywood genres and the Studio System. Poetic realism and Renoir. Welles, Bazin and modern cinema. The Nouvelle Vague. The big film directors of modern cinema: Ingmar Bergman, Michelangelo Antonioni, Pier Paolo Pasolini, Federico Fellini. New Hollywood. The elaboration of contemporary genres: post-modern cinema.
(reference books)
Bibliography:
C. Uva, V. Zagarrio (a cura di), Le storie del cinema. Dalle origini al digitale, Carocci, Roma 2020. Students can find extra essays on the main topics of the course on Moodle. FILMOGRAPHY: SHORT FILMS Arrivée d'un train à la Ciotat (Arrivo di un treno alla stazione Ciotat, L. Lumière, 1895), Arrivée des congressistes à Neville-sur-Saône (Arrivo dei congressisti a Neville-sur-Saône, L.Lumière, 1895), Sortie d'usine (Uscita dalla fabbrica, L. Lumière), Répas de bébé (Pasto del bambino, L. Lumière, 1895), Arroseur et arrosé (Innaffiatore e innaffiato, L.Lumière, 1896), Départ de Jerusalem en chemin de fer (Partenza da Gerusalemme in treno, prod.Lumière, 1896), L'Homme orchestre (L'uomo orchestra, G.Méliès, 1900), L'Homme à la tête en caoutchouc (L'uomo dalla testa di caucciù, G.Méliès, 1901), Voyage dans la lune (Viaggio sulla Luna, G.Méliès, 1902), Le Mélomane (Il melomane, G.Méliès, 1903), The Countryman and the Cinematograph (Il contadino e il cinema, R.W.Paul, 1901), As seen through a Telescope (Visto da un cannocchiale, G.A.Smith, 1900), Mary Jane's Mishap (La disavventura di Mary Jane, G.A.Smith, 1903), Ladies Skirts Nailed to a Fence (Gonne di signore inchiodate ad un recinto, prod. Bamforth, 1900), A Big Swallow (Un bel boccone, J.Williamson, 1901), Fire! (Fuoco!, J.Williamson, 1901), Stop Thief! (Ferma ladro!, J.Williamson, 1901), Rescued by Rover (Salvata da Rover, L.Fitzhamon, 1905). The Great Train Robbery (La grande rapina al treno, E.S.Porter, 1903), A Corner in Wheat (Un accaparramento di grano, D.W.Griffith, 1909), The Musketeers of Pig Alley (La banda di Pig Alley, D.W.Griffith,1912), The Immigrant (L'emigrante, C.S.Chaplin, 1917), Entr'acte (Id. R.Clair, 1924), Un chien andalou (Un cane andaluso, L. Buñuel, 1929). FEATURE FILMS: Lungometraggi: Sherlock Junior (B.Keaton, 1924) Körkarlen (Il carretto fantasma, V.Sjostrom, 1921) Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919) Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926) Chelovek s kino-apparatom (L'uomo con la macchina da presa, D.Vertov, 1929) Citizen Kane (Quarto Potere, Orson Welles, 1941) Paisà (R. Rossellini, 1946) Ladri di biciclette (V. De Sica, 1948) Bellissima (L.Visconti, 1951) Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952) L'eclisse (M. Antonioni, 1962) Les 400 Coups (I 400 Colpi, F.Truffaut, 1959) Á bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960) La battaglia di Algeri (Gillo Pontecorvo, 1966) Taxi Driver (M. Scorsese, 1976) |
12 | L-ART/06 | 72 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20703401 -
THEATRE MANAGEMENT MODELS
(objectives)
The main goal of the course is to provide students with the knowledge of the various theatre realities through direct analysis of Italian theatre organisations.
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DI GIACOMO CLAUDIA
(syllabus)
The program consists in the analysis of the system of performing arts, with reference to the different management models of Italian and European theaters and creative companies. The sector legal framework is analyzed, both from the point of view of current legislation and of its applications. In particular, the methods of access to public financing, in relation to Europe, the State, the Regions and local Authorities, are examined in depth. The program provides for the examination of specific cases of Italian management models with the presence in class of some professionals (production managers, directors, artists) who provide evidence of their organizational model, their artistic programming and economic sustainability of a cultural enterprise. Some reference models of foreign theaters and festivals will be examined too.
(reference books)
Among the covered topics: the mapping of the system, which cheaters and which companies; the organisational dimension (function chart and organization chart of cultural enterprises), the legal dimension (profit and non profit), the economic dimension, European funding (Creative Europe and Erasmus Plus), state funding (analysis of the 2017 and later modifications of MiBact decree). “Ri-organizzare teatro. Produzione, distribuzione, gestione” di Mimma Gallina, NEW EDITION Franco Angeli 2016
Professor’s lecture notes to be asked to the e-mail: direzione@pav-it.eu. Moreover for students who will not attend classes More professor's lecture notes to be asked to the e-mail: direzione@pav-it.eu |
6 | SECS-P/10 | 36 | - | - | - | Related or supplementary learning activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20702652 -
CULTURAL ANTHROPOLOGY
(objectives)
General introduction and fundamentals. Methods and techniques. The fieldwork. Anthropology today: who are the others; migrations; traditional societies; societies and cultures in the globalised world. A basic course useful to teachers, professors, and social workers.
-
DE MATTEIS STEFANO
(syllabus)
Theme of this year's course: Living life.
(reference books)
Ways and forms of how people "build" their lives. Biographical paths, individual paths and collective exchanges. Individual strategies and social organization. Perfomative systems: from subjectivity to community. The environment, the space, the house, the objects. 1. A textbook for the general part:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori, 2015. 2. The monographic part includes: Stefano De Matteis, La forza della vulnerabilità, Milano, Meltemi. Andrea Staid,La casa vivente. Riparare gli spazi, imparare a costruire, Milano, And. Ernesto de Martino, Oltre Eboli, Roma, e/o. |
6 | M-DEA/01 | 36 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20705080 -
Theatrical Cultures compared
(objectives)
To provide tools to face the study of European and extra-European theatrical cultures in a 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.
-
VENTURINI VALENTINA
(syllabus)
After tracing a synthetic profile of the relationships between the theatrical cultures of the East and the West, and in particular, between the theaters of figure between Asia and Europe, some specific experiences will be examined, including those of some great theater reformers of the twentieth century, some particular traditions of puppet and oriental figure theaters and those of the Sicilian puppet theater.
(reference books)
ATTENDING STUDENTS (to be considered attending the student can not make more than 2 absences)
1) Valentina Venturini, "Il teatro di Gaetano Greco", Napoli, Editoriale Scientifica, 2018 2) Valentina Venturini, "Nato e cresciuto tra i pupi", Napoli, Editoriale Scientifica, 2017 3) Nicola Savarese, "Il teatro eurasiano", Roma-Bari, Laterza, 2015 4) Materials by the teacher uploaded in the FILE section of the course on the TEAMS platform. NON ATTENDING STUDENTS 1) Valentina Venturini, "Il teatro di Gaetano Greco", Napoli, Editoriale Scientifica, 2018 2) Valentina Venturini, "Nato e cresciuto tra i pupi", Napoli, Editoriale Scientifica, 2017 3) Nicola Savarese, "Teatro e spettacolo tra Oriente e Occidente", Roma-Bari, Laterza, 2009 4) Materials edited by the teacher (to download folder "NOT ATTENDING Lecture notes Comparative theater cultures 2022/23" from the download area of the teacher's website: http://filosofiacomunicazionespettacolo-uniroma3-it.mirror.uniroma3.it/vventurini/category/materiale-didattico/). 5) "Don Giovanni all’Opera dei pupi" di M. Cuticchio (film) ((https://www.youtube.com/watch?v=MGUZ34-x1Bw) [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]. |
6 | L-ART/05 | 36 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20702967 -
PRODUCTION PROCESSES FOR A PERFORMANCE
(objectives)
The course aims to provide the conceptual and operational instruments for the design, organization and management of performing arts productions.
At the end of the course the student will: • know the different types of theater, music, dance and circus productions, the consequent models and production practices, the standards in use; • understand the dynamism of project management and processes of performing arts, with respect to their evolutionary forms; • know how to build a cognitive framework of the design environment (analytical skills), identify intervention methods (strategic, planning and service skills), manage the project (managerial capacity), measure results and outcomes (assessment skills); • being able to communicate the project in all its phases and to all stakeholders with appropriate tools; • have learned the critical sense towards organizational phenomena, the importance of systemic action, the relevance of problem setting & solving, attention to synthesis and reworking, the elements of artistic and managerial complexity.
-
ARGANO LUCIANO
(syllabus)
- The theories: culture as a production of immaterial wealth (human capital, knowledge, social value), the organizational perimeter of the theater and live performance (the design fields, the complexity, the professional skills involved, the teamwork, the languages of production), the design work (the trigger, the starting requirements, the organizational translation of the artistic concept, the system of constraints as opportunities, the production feasibility, marketing, economic and financial, markets and distribution, public funding / private);
(reference books)
- Practices: production management, staging, technical, administrative, economic, communication and promotion aspects, space management, tour management, various theatrical production and live performance models; - The experiences: the meeting with some operators, professionals and theater structures able to narrate specific and critical aspects of the production process in the performing arts and the connection with artistic and creative practices. For students who will attend classes:
Lucio Argano, "La gestione dei progetti di spettacolo, Franco Angeli, Milan, 8a edition 2019; For students who will not attend classes: Lucio Argano, "La gestione dei progetti di spettacolo, Franco Angeli, Milan, 8a edition 2019; Moreover a book to be chosen between: Alessandro Pontremoli e Gerarda Ventura, "La danza: organizzare per creare", FrancoAngeli, Milan, 2019, oppure Carlini C., Gallina M., Ponte di Pino O. (eds), "Reinventare i luoghi della cultura contemporanea. Nuovi spazi, nuove creatività, nuove professioni, nuovi pubblici", FrancoAngeli, Milan, 2017 |
6 | SECS-P/10 | 36 | - | - | - | Related or supplementary learning activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20702647 -
HISTORY OF MELODRAMA
(objectives)
THE COURSE AIMS TO TEACH THE MAIN FORMS OF EXPRESSION OF ITALIAN MUSICAL THEATER (1600-1900 CA)
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AVERSANO LUCA
(syllabus)
History of Italian Opera from Monteverdi to Puccini.
(reference books)
THERE WILL BE A GENERAL AND A MONOGRAPHIC PART. IN THE GENERAL ONE, THE EVOLUTION OF OPERA FROM ITS ORIGINS TO THE EARLY TWENTIETH CENTURY (FUNDAMENTAL AUTHORS, DRAMATURGICAL PRINCIPLES AND DRAMATIC MUSICAL STRUCTURES) WILL BE TRACED. THE MONOGRAPHIC PART WILL ANALYZE THREE OPERAS FROM THE CLASSICAL REPERTOIRE OF ITALIAN OPERA, WHICH WILL BE INDICATED AT THE BEGINNING OF THE LESSONS AND SELECTED ALSO ON THE BASIS OF THE ARTISTIC SEASON OF THE OPERA DI ROMA. - GILLES DE VAN, L’OPERA ITALIANA. LA PRODUZIONE, L’ESTETICA, I CAPOLAVORI, CAROCCI, 2012 (PRIMA ED. 2002).
- SELECTED ESSAYS AND DVDS ON THE MONOGRAPHIC PART OF THE COURSE. SELECTED ESSAYS WELL BE AVAILABLE IN COPY SHOPS (VIA GIULIO ROCCO). DVDS WILL BE AVAILABLE IN THE BIBLIOTECA DI SPETTACOLO “LINO MICCICHÈ". STUDENTS WHO DO NOT ATTEND THE LESSONS HAVE TO STUDY THE FOLLOWING ADDITIONAL BOOK: - FABRIZIO DELLA SETA, «...NON SENZA PAZZIA». PROSPETTIVE SUL TEATRO MUSICALE, ROMA, CAROCCI, 2008 (EXCLUDING THE CHAPTERS 4, 6, 9). |
6 | L-ART/07 | 36 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20710709 -
HISTORY OF MUSICAL PERFORMANCE
(objectives)
The course aims to offer historical and critical knowledge on the performance of Western art music, from the seventeenth century to the present day. The course will also address the performance methods (instruments, techniques, practices, organic), the respective contexts (spaces, public, institutions), the relationship of the performance with the musical texts and with the genres of the repertoire, the protagonists of the history of the performance. musical (virtuosos, singers, conductors).
-
ARFINI MARIA TERESA
(syllabus)
Historical route:
(reference books)
Between Renaissance and Baroque: sacred and secular vocal music; debut of instrumental music The seventeenth century: the new vocal music; locations and instrumentals; development of musical instruments Between the seventeenth and eighteenth centuries: the development of the orchestra, organic and executive practices; church music and chamber music The Full Eighteenth Century: evolution of instrumentals and techniques; main European musical centers (Paris, London, Vienna) and concert institutions; the musical professions 19th century: concert activities; virtuosos and the new concept of performance; from composer-performer to performer; Salonmusik and amateur performance The twentieth century: the repertoire of "classics" and concert life; new music and new modes of performance; sound technologies and performance Focus: From harpsichord to piano: technological and technical evolution; composers and performers Musica e società, 2: Dal 1640 al 1830, a cura di Paolo Fabbri, Alessandro Roccatagliati e Paolo Russo, Lucca, LIM, 2019 (selected parts)
Musica e società, 3: dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri, Lucca, LIM, 2016 (selected parts) Musiche nella storia. Dall’età di Dante alla Grande Guerra, a cura di Andrea Chegai, Franco Piperno, Antonio Rostagno, Emanuele Senici, Roma, Carocci, 2017 (selected parts) ANTHONY BAINES, Storia degli strumenti musicali, Milano, Rizzoli, Milano, Rizzoli, 1995 (selected parts) Texts and further handouts will be made available, together with their list, on the Moodle platform |
12 | L-ART/07 | 60 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20709722 -
iconography of theater and dance
(objectives)
The course aims to study the lines of convergence between visual arts and documentary images as a representational ground for the performing arts, by focusing on factual episodes of the dialogue between photography and dance.
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MARENZI SAMANTHA
(syllabus)
The program examines several cases of collaboration and interaction between the performing arts and the visual arts. The study of the peculiarities of the individual experiences will be compared from time to time with the general problems presented by the representation of the scenic action in the various theatrical cultures. In cases of artistic collaboration, which go beyond mere documentation, mutual influences will be analyzed. The theme of the course will also be the identification of a method of study of dance images through the use of different association criteria.
(reference books)
- Samantha Marenzi, Immagini di danza. Fotografia e arte del movimento nel primo Novecento, Editoria & Spettacolo, Spoleto 2018.
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra). - Grafie del corpo. Atti del convegno sui rapporti tra fotografia e scena, a cura di Samantha Marenzi, Simona Silvestri, Francesca Pietrisanti, Giordana Citti (volume in course of publication). - Dossier. «The Mask». Strategie, battaglie e tecniche della «migliore rivista di teatro al mondo», a cura di Matteo Casari, Monica Cristini, Samantha Marenzi, Gabriele Sofia, «Teatro e Storia», n. 40, 2019 (free download - https://www.teatroestoria.it/indici.php?id_volume=105). FOR NON-ATTENDING STUDENTS: La camera meravigliosa. Per un atlante della fotografia di danza, a cura di Samantha Marenzi, Simona Silvestri, Francesca Pietrisanti, “La Scena dei saperi”, vol. 2, Editoriale Idea, Roma 2020 |
6 | L-ART/05 | 36 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Course | Credits | Scientific Disciplinary Sector Code | Contact Hours | Exercise Hours | Laboratory Hours | Personal Study Hours | Type of Activity | Language | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20705079 -
HISTORY AND ART OF THE ACTOR
(objectives)
The course introduces the study of the actor in European theatrical cultures from the modern age to the twentieth century. In the first part, students will be provided with the necessary tools to identify and analyse the documentary sources of the art and the history of the actors. In the second part, the course will propose, through examples taken from the major experiences of theatres of the twentieth century, the processes of formation and creation of the principles of scenic life, with particular attention to the construction of the character and the composition of physical and vocal actions.
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GERACI STEFANO
(syllabus)
The course introduces the study of the actor in European theatrical cultures from the modern age to the twentieth century. In the first part, students will be provided with the necessary tools to identify and analyse the documentary sources of the art and the history of the actors. In the second part, the course will propose, through examples taken from the major experiences of theatres of the twentieth century, the processes of formation and creation of the principles of scenic life, with particular attention to the construction of the character and the composition of physical and vocal actions.
(reference books)
Lecture notes edited by the teacher, (available at the beginning of the course on the site https://sites.google.com/com/site/stefanogeraci1); Vasilij Osipovič Toporkov Stanislavskij alle prove.Gli ultimi anni: il metodo delle azioni fisiche; CUE PRESS
Text books for the non-attending students : V. Mejercol’d, L’attore biomeccanico, a.c. di F. Malcovati, Cuepress, 2020 |
6 | L-ART/05 | 36 | - | - | - | Core compulsory activities | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20710191 -
STORIE E CULTURE DEGLI SPAZI TEATRALI
(objectives)
Teaching Stories and Cultures of Theatrical Spaces belongs to the set of educational activities that characterise the “Theatre” curriculum of the Degree course in Disciplines of the Arts, Music and Performance. The obligatory starting point of the course is the definition of its object of study and the recognition of different types of sources and documents on which it is based.
The course purpose is to introduce the study of theatre in the history, prioritising the analysis of cultural processes leading each civilisation to build specific places, designed in certain ages for the institution/monument theatre and in others for the representative forms. The morphology of these places was strictly conjoined with the society, historical period and geography in which it was born. The lessons aim to achieve the following educational objectives: 1) to enhance the knowledge of some of the historiographic knots linked to the concept of space in theatre: architecture, scenography, the relationship between actors and spectators, the different levels of the dramaturgy; 2) to stimulate students’ critical and interpretative skills by providing them with tools and sources of analysis of different nature and origin; 3) contextualise the study of theatre, in the frame of the specific and historical changes undergone by civilisations throughout time.
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SOFIA GABRIELE
(syllabus)
The course will be made up of three sections:
(reference books)
- In the first part the course will analyse the theatrical space as a problem, from a practical and theoretical point of view, trying to contextualize it in different historical periods. - Then, the works and the theories of Edward Gordon Craig will be analysed. - In the last part the course will analyse the case study of the actor Giovanni Grasso (1873-1930). The course will focus on how his artistical practices allowed him to go through different theatrical spaces: “pupi” marionette theatre, popular theatre, music-hall, theatres of the European and world’s capitals, etc. - Fabrizio Cruciani, “Lo spazio del teatro”, Roma-Bari, Laterza, 1992
- Edward Gordon Craig, “L’arte del teatro. Il mio teatro” a cura di Ferruccio Marotti, Cue Press, 2016 - Gabriele Sofia, “L’arte di Giovanni Grasso e le rivoluzioni teatrali di Craig e Mejerchol’d”, Roma, Bulzoni, 2019 FOR NON-ATTENDING STUDENTS: - Peter Brook, “Lo spazio vuoto”, Roma, Bulzoni, 1998. |
6 | L-ART/05 | 36 | - | - | - | Core compulsory activities | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20706080 -
Communication sociology
(objectives)
The course aims:
• To introduce the main concepts of the sociology of communication, with particular reference to interpersonal communication. • Strengthen the students’ communicative competences through the participation in class laboratories and group tasks, thus enabling them to also improve their teamwork competencies. • Strengthen students’ capacities of critical analysis through interactive and laboratorial teaching strategies. • Promote the acquisition of the necessary competences to avoid the pathological forms of communication in the daily life and encourage “ecological” discursive practices.
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TOTA ANNA LISA
(syllabus)
The first part of the course introduces the most relevant theories of communication, with a specific focus on interpersonal communication. The following topics are considered: interaction rituals, framing practices, rules of conversation, the relation between communication and social identities, pathological forms of communicative interaction. A special focus will consider the role of the "stranger" and the inclusion and exclusion practices related to migration processes.
(reference books)
The second part of the course will shed light on the social representations and the types of knowledge produced by the media. In particular, the medial representation of gender identities, ethnicity, generation and social class will be considered. a) Anna Lisa Tota, Ecologia della Parola. Il piacere della conversazione, Einaudi, Torino.
b) The following articles and essays available on the personal web page of the professor hosted on the Moodle platform: 1) Paul Watzlavick, 1988, “Le profezie che si autodeterminano”, in La realtà inventata, a cura di Paul Watzlawick, Feltrinelli, Milano, pp. 87-104. 2) David Rosenhan, "Essere sani in posti insani", in La realtà inventata, a cura di Paul Watzlawick, Feltrinelli, Milano, 1988, pp. 105-127. 3) David Sudnow, 1965, “L’organizzazione sociale della morte”, in A. Dal Lago, P. P. Giglioli (a cura di) (1983), Etnometodologia, Il Mulino, Bologna, pp. 121-143 4) Harvey Sacks, 1972, “Come la polizia valuta la moralità delle persone basandosi sul loro aspetto”, in A. Dal Lago, P. P. Giglioli (a cura di) (1983), Etnometodologia, Il Mulino, Bologna, pp. 177-196. 5) Erving Goffman, 1969, La vita quotidiana come rappresentazione, Il Mulino, Bologna (prefazione – cap. 1 “Rappresentazioni” – cap. 2 “Equipes”), pp. 9-126. 6) Alfred Schütz, 1944, Lo straniero. Un saggio di psicologia sociale, in Simonetta Tabboni (a cura di) (1993), Vicinanza e lontananza. Modelli e figure dello straniero come categoria sociologica, Milano, Angeli, pp. 127-143. 7) Stuart Hall, 1980, "Codifica e decodifica", in Tele-visioni, A. Marinelli e G. Fatell ( cura di) (2000), Meltemi, Roma, pp. 67-84. Moreover, the following texts are suggested, but not mandatory for the exam: 1) Paul Watzlavick et all., 1971, Pragmatica della comunicazione umana, Astrolabio, Roma, cap. 1 “Presupposti teorici”, cap. 2 “Tentativo di fissare alcuni assiomi della comunicazione” e cap. 3 “La comunicazione patologica”, pp. 13-111. 2) Georg Simmel, 1903, Le metropoli e la vita dello spirito, Armando, Roma, pp. 35-57. 3) Anna Lisa Tota (a cura di), 2008, Gender e media. Verso un immaginario sostenibile, Roma, Meltemi. |
6 | SPS/08 | 30 | - | - | - | Basic compulsory activities | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20710328 -
TEATRO, SPETTACOLO, PERFORMANCE
(objectives)
This course aims to provide students with tools of theoretical and historical knowledge concerning artistic, social, material and relational aspects of theatre arts, in the broader sense of the performative dimensions of human behaviour. The central objective is a wide and inclusive knowledge of the past and present of the scenic arts, oriented to enable the student to recognize, to experience and to activate creative processes, research actions and skills of practical organization within the horizon of performing arts. The first part of the course provides direct approaches to texts, profiles, documents and phenomena that during the last century changed the notion of theatre and transformed traditions, skills, values, concepts and terms of the theatre practices. In the final part the course will share materials, documents, meetings and fieldworks, in order to orientate the students to take part in ongoing projects of their cultural context.
Group:
A - L
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GUARINO RAIMONDO
(syllabus)
The course aims to offer a global vision of the historical development of European Theatre, through a series of close ups on themes and changes of its values and conditions, from Mediaeval culture to contemporary performance. The notion of cultural performance will be assumed as a key concept, in order to enlarge the horizon of the artistic and cultural values of theatre to other fields and practices of representation (Dance, ritual, celebration).
(reference books)
In its first part, the course deals with texts and contexts of books considered as groundbreaking sources for the theory and practice of the Western performer in 20th century (Artaud, Brecht, Grotowski). In the second period, through the reading of Shakespeare's Hamlet, a focus will concern the dramatic tradition in European modern theatre. In the final period, taking part in meeting and panels with operators, curators and performers, the students will share ongoing projects and current trends in Italian contemporary theatre A. Artaud, Il teatro e il suo doppio, Einaudi, Torino; B. Brecht, Scritti teatrali, Einaudi, Torino; J. Grotowski, Testi. Volume II, Il teatro povero (1965-69),La casa Usher, Firenze;
W. Shakespeare, Amleto, edizione e traduzione a c. di A. Serpieri, Marsilio 2 testi a scelta tra i seguenti tre: M. Schino, L’età dei maestri, Viella, Roma; E. Barba, La conquista della differenza, Bulzoni, Roma; F. Cruciani, Lo spazio del teatro, Laterza, Bari. For non attending students: R. Guarino, Shakespeare. La scrittura nel teatro, Carocci, Roma; oppure il terzo dei testi a scelta.
Group:
M - Z
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SCHINO MIRELLA
(syllabus)
The course focuses on the transition between the nineteenth and twentieth centuries, particularly following the thread of Eleonora Duse. The theatre of this period is a theatre undergoing great changes. The passage from the period of the Great Actor to that of the New Theatre has always been seen as a drastic caesura. The course investigates the threads of continuity and the peculiarities of Eleonora Duse's art and life.
(reference books)
Mirella Schino, Il teatro di Eleonora Duse, Roma, Bulzoni, 2008
Francesca Simoncini, Eleonora Duse capocomica, Firenze, Le Lettere, 2011 Mirella Schino, L’età dei maestri. Appia, Craig, Stanislavskij, Mejerchol’d, Copeau, Artaud e gli altri, Roma, Viella, 2017 Ferdinando Taviani, Le visioni del teatro, Roma, Bulzoni, 2021 Gli studenti leggeranno inoltre almeno uno di questi tre drammi a scelta (più una introduzione o un approfondito profilo biografico sull’autore): 1) Gabriele d’Annunzio, La città morta, oppure 2) Ibsen, Hedda Gabler, oppure 3) Ibsen, La donna del mare. |
12 | L-ART/05 | 72 | - | - | - | Core compulsory activities | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20702632 -
MODERN TO CONTEMPORARY DANCE HISTORY
(objectives)
THE COURSE AIMS: A) TO REFLECT ON THE DIFFERENT TRADITIONS AND INSTITUTIONS AS PART OF WESTERN THEATRICAL DANCE, B) TO ILLUSTRATE THE CHOREOGRAPHY OF THE TWENTIETH CENTURY AND TO UNDERSTAND THE CONTEMPORARY DANCE IN ALL ITS COMPLEXITY.
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LO IACONO CONCETTA
(syllabus)
ALWAYS CHECK INFO ON MOODLE - DIPARTIMENTO FILOSOFIACOMUNICAZIONESPETTACOLO - LINEAMENTI DI STORIA DELLA DANZA MODERNA E CONTEMPORANEA (or Microsoft Teams).
(reference books)
TITLE: Europe / Russia. The art of dance from classical repertoire to new choreographies The art of dance in Russia in comparison with the European dance theater, including: a) the artistic construction of the dancer body in the Western theatre (XIX-XXI cent.); b) the dance repertoire between philology and new versions (in particular: Alexei Ratmansky and Mats Ek); c) the Rite of Spring, pictures of pagan Russia. The sacred spring in Nijinsky's and Bausch's choreographies; d) the artistic and choreographic avant-garde of the early Twentieth Century; e) Apollo's Angels from Europe to the States: the Russian-American choreographer George Balanchine TEXTBOOKS Concetta Lo Iacono, Terpsichore’s Flight. A History of Russian Ballet in Pictures, Massimiliano Piretti Editore, Bologna (in preparation) REQUIRED VIDEOGRAPHY. Three videos, to be chosen among the following: 1. "Serenade" and "Apollon", choreography Balanchine, New York City Ballet 2. Giselle, choreography Leonid Lavrovskij (from Coralli-Perrot), with Galina Ulanova (London, 1956) 3. Sleeping Beauty, choreography Mats Ek (or La belle au bois dormant, choreography Marius Petipa, Mariinskij Theatre, Saint Petersburg) 4. Le Sacre du Printemps, choreography Vaslav Nijinsky. Pina Bausch’s integral version, with Malou Airaudo 5. Pétrouchka, choreography Michajl Fokin, with Nureyev (or Les Noces, choreography Bronislava Nijinska) 6. Romeo and Juliet, choreography Leonid Lavrovskij, with Galina Ulanova (or Romeo and Juliet, choreography MacMillan, with Alessandra Ferri) 7. West Side Story by Jerome Robbins The exam will be oral WITH A WRITTEN PAPER: For additional information, please E-MAIL: concetta.loiacono@uniroma3.it 2022 SPRING SEMESTER TEXTBOOKS
Jennifer Homans, Apollo’s Angels: A History of Ballet, Random House, New York, 2010 REQUIRED VIDEOGRAPHY. Three videos, to be chosen among the following: 1. West Side Story (the movie with original Jerome Robbins' choreography) 2. Giselle, choreography Leonid Lavrovskij (from Coralli-Perrot), with Galina Ulanova (London, 1956) 3. Sleeping Beauty, choreography Mats Ek (or La belle au bois dormant, choreography Marius Petipa, Mariinskij Theatre, Saint Petersburg) 4. Le Sacre du Printemps, choreography Vaslav Nijinsky. Pina Bausch’s version, with Malou Airaudo 5. Pétrouchka, choreography Michajl Fokin, with Nureyev (or Les Noces, choreography Bronislava Nijinska) 6. Romeo and Juliet, choreography Leonid Lavrovskij, with Galina Ulanova (or Romeo and Juliet, choreography MacMillan, with Alessandra Ferri) 7. Serenade, and Apollon, choreography Balanchine, New York City Ballet WRITTEN AND ORAL EXAM For additional information, please E-MAIL: concetta.loiacono@uniroma3.it 2022 SPRING SEMESTER |
6 | L-ART/05 | 36 | - | - | - | Core compulsory activities | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20705270 -
FINAL EXAM
(objectives)
The final exam aims to develop students' abilities to produce a critical essay by consulting primary and secondary textual and / or audiovisual sources.
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6 | 36 | - | - | - | Final examination and foreign language test | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20706081 -
MEDIA SOCIOLOGY
(objectives)
The course aims to introduce students to the theories of media communication and their sociological analysis, promoting a critical comprehension of the relationship between the mass media and the traits of contemporary society.
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NOVELLI EDOARDO
(syllabus)
he course of Sociology of Media 2021-22 aims to provide students with the critical and theoretical tools to orient themselves in the modern society of communication and to understand the interaction between historical and technological components on the one hand and cultural and social on the other.
(reference books)
The course is divided into two parts: a theoretical-general and a monographic part. The first part is devoted to the analysis of the main theories and the most important interpretative models developed within the research on mass communications with particular regard to the sociological field. Particular attention will be devoted to the modern "network society", to its theories and its impact on society and social relations. In the final part of the course, we analyze the impact of television on Italian society and culture from the 50s to the present day. This part of the course, on the one hand, deepens the knowledge of Italian television in the different phases and seasons of the country. On the other hand, it analyses the effects of television on the individual and collective Italian identity, trough the analysis of some of the most famous Italian political talk-shows. Exam program:
– L. Paccagnella, Sociologia della comunicazione, Bologna, Il Mulino, New Edizione 2020, solo i capitoli 3, 4,5. (New edition 2020, cover book light blue) – E. Novelli, La democrazia del talk-show. Storia di un genere cha ha cambiato, la televisione, la politica, l’Italia, Roma, Carocci 2016. – Recommended for integration of the program, but not part of the exam program: A. Miconi, Teoria e pratica del Web, Bologna, Il Mulino 2018, (Nuova Edizione) For Erasmus students the program replaces the volume "The Democracy of the Talk-Show" with the part related to the Italian history from 1945 to the present of a high school manual. We recommend: Valerio Castronovo, "A World in the plural, volume 3 from 1945 to today", La Nuova Italia, chapters 24, 29, 35. |
6 | SPS/08 | 36 | - | - | - | Basic compulsory activities | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20710411 -
Hystory of cinema
(objectives)
The course of Film History is part of the formative activities defined as characteristic of the Degree Course in DAMS (Arts, Music and Drama). This Degree Course aims at offering an adequate foundation training, an extensive knowledge and appropriate methodological and critical instruments in performing arts and film, television and digital media, offering as well an adequate know how for the organization of cultural, performing arts, film and audiovisual events. In the context of the two training courses offered by the Degree Course, the course of Film History is intended to provide 1) a foundation training of the film language, of the reference experiences and authors/authoresses in the world film history; 2) the ability to contextualize, compare and critically analyze films according to a plurality of references (a handbook, some theoretical articles, critical contributions of the time) and in the light of the direct vision of works; 3) the historic, critical and theoretical concepts necessary to the study of film history and useful to get a good mastery of expression in oral and written form.
Group:
A - L
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DE FRANCESCHI LEONARDO
(syllabus)
By relying on a set of reference contributions in film and media studies, we will review the main steps that marked the process of film history as an art, a language and an industry, from the so-called pre-cinema to classical Hollywood, dealing with the avant-gardes of 1920s, the transition to sound film, the emergence of different models of Studio System. Renoir and the modernity of The Rules of the Game. Welles’ experimentalism in Citizen Kane. Neorealism as seen by Rossellini. Hieratic classicism in Ozu. Modern author cinemas (Bergman, Antonioni, Tarkovskij). Bazin’s lesson and Nouvelle Vague (Godard). Cinema Novo (Rocha). New Hollywood (Coppola). New Iranian Cinema (Kiarostami). The emergence of Women’s Cinema and the cinema-television synergy (Campion). The transition to digital and the relaunch of 3D (Avatar).
(reference books)
Filmography (feature films):
Cabiria (G. Pastrone, 1913), The Birth of a Nation (David W. Griffith, 1915), The Outlaw and His Wife (Victor Sjöstrom, 1917), Eldorado (M. L’Herbier, 1921), Nosferatu, a Symphony of Horror (Friedrich W. Murnau, 1922), Battleship Potemkin (Sergej M. Ejzenštejn, 1926), The Man with a Movie Camera (Dziga Vertov, 1929), Sisters of Gion (Mizoguchi Kenji, 1936), Stagecoach (John Ford, 1939), The Rules of the Game (Jean Renoir, 1939), Citizen Kane (Orson Welles, 1941), Paisà (Roberto Rossellini, 1946), Tokyo Story (Yasujirô Ozu, 1953), Wild Strawberries (Ingmar Bergman, 1957), L’avventura (Michelangelo Antonioni, 1960), Breathless (Jean-Luc Godard, 1960), Antonio das Mortes (Glauber Rocha, 1969), Solaris (Andrej A. Tarkovskij, 1972), Xala (Sembene Ousmane, 1975), Apocalypse Now – Final Cut (Francis Ford Coppola, 1979-2019), Close-up (Abbas Kiarostami, 1990), An Angel at My Table (Jane Campion, 1990), Avatar (James Cameron, 2009). A selection of shorts, edited by the teacher (1897-1918).
Group:
M - Z
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PERNIOLA IVELISE
(syllabus)
The invention of cinema, between science and ontology. Lumière, Méliès and the "primitive way of representation". The affirmation of the "institutional mode of representation" from the School of Brighton to Griffith. The rise of Hollywood and the birth of genres: the slapstick comedy, Chaplin and Keaton. The avant-gardes of the 1920s in France (abstraction, dadaism and surrealism). German expressionism. Soviet Union (theories and practices of editing). Sound and American classic cinema. The Hollywood genres and the Studio System. Poetic realism and Renoir. Welles, Bazin and modern cinema. The Nouvelle Vague. The big film directors of modern cinema: Ingmar Bergman, Michelangelo Antonioni, Pier Paolo Pasolini, Federico Fellini. New Hollywood. The elaboration of contemporary genres: post-modern cinema.
(reference books)
Bibliography:
C. Uva, V. Zagarrio (a cura di), Le storie del cinema. Dalle origini al digitale, Carocci, Roma 2020. Students can find extra essays on the main topics of the course on Moodle. FILMOGRAPHY: SHORT FILMS Arrivée d'un train à la Ciotat (Arrivo di un treno alla stazione Ciotat, L. Lumière, 1895), Arrivée des congressistes à Neville-sur-Saône (Arrivo dei congressisti a Neville-sur-Saône, L.Lumière, 1895), Sortie d'usine (Uscita dalla fabbrica, L. Lumière), Répas de bébé (Pasto del bambino, L. Lumière, 1895), Arroseur et arrosé (Innaffiatore e innaffiato, L.Lumière, 1896), Départ de Jerusalem en chemin de fer (Partenza da Gerusalemme in treno, prod.Lumière, 1896), L'Homme orchestre (L'uomo orchestra, G.Méliès, 1900), L'Homme à la tête en caoutchouc (L'uomo dalla testa di caucciù, G.Méliès, 1901), Voyage dans la lune (Viaggio sulla Luna, G.Méliès, 1902), Le Mélomane (Il melomane, G.Méliès, 1903), The Countryman and the Cinematograph (Il contadino e il cinema, R.W.Paul, 1901), As seen through a Telescope (Visto da un cannocchiale, G.A.Smith, 1900), Mary Jane's Mishap (La disavventura di Mary Jane, G.A.Smith, 1903), Ladies Skirts Nailed to a Fence (Gonne di signore inchiodate ad un recinto, prod. Bamforth, 1900), A Big Swallow (Un bel boccone, J.Williamson, 1901), Fire! (Fuoco!, J.Williamson, 1901), Stop Thief! (Ferma ladro!, J.Williamson, 1901), Rescued by Rover (Salvata da Rover, L.Fitzhamon, 1905). The Great Train Robbery (La grande rapina al treno, E.S.Porter, 1903), A Corner in Wheat (Un accaparramento di grano, D.W.Griffith, 1909), The Musketeers of Pig Alley (La banda di Pig Alley, D.W.Griffith,1912), The Immigrant (L'emigrante, C.S.Chaplin, 1917), Entr'acte (Id. R.Clair, 1924), Un chien andalou (Un cane andaluso, L. Buñuel, 1929). FEATURE FILMS: Lungometraggi: Sherlock Junior (B.Keaton, 1924) Körkarlen (Il carretto fantasma, V.Sjostrom, 1921) Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919) Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926) Chelovek s kino-apparatom (L'uomo con la macchina da presa, D.Vertov, 1929) Citizen Kane (Quarto Potere, Orson Welles, 1941) Paisà (R. Rossellini, 1946) Ladri di biciclette (V. De Sica, 1948) Bellissima (L.Visconti, 1951) Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952) L'eclisse (M. Antonioni, 1962) Les 400 Coups (I 400 Colpi, F.Truffaut, 1959) Á bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960) La battaglia di Algeri (Gillo Pontecorvo, 1966) Taxi Driver (M. Scorsese, 1976) |
12 | L-ART/06 | 72 | - | - | - | Core compulsory activities | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20702626 -
Contemporary Hystory
(objectives)
The course of Contemporary History is part of the basic educational activities of the historical disciplines of the Degree Course in DAMS. The Degree Course aims to offer a wide humanistic education, accompanied by methodological, critical and professional tools related to the fields of theater, cinema, television, digital media, music, dance and figurative arts. The Degree Course also develops useful skills in the field of organizing cultural events and live entertainment, cinema and audiovisual. As part of this educational path, teaching aims: to introduce students to the scientific and methodological foundations of contemporary history; to deepen the main historical formation processes of the contemporary age; to develop a critical attitude in the analysis and interpretation of historical sources; to give students an adequate lexical and conceptual heritage. The course aims to provide historical knowledge and skills aimed at developing contextualization skills, communication skills and independent judgment consistent with the educational objectives of the Course.
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MONINA GIANCARLO
(syllabus)
The course analyses the major processes and principles of contemporary history. It introduces the method of historical research and the use of new sources. Afterwards, the attention will be focused on the history of the Italian Republic.
(reference books)
The first part of the course (6 hours) is devoted to the introduction of the meaning of historical knowledge, the public use of history, the value of social memory and periodizations. The second part of the course (6 hours) outlines the historical changes that lead to the contemporary age: the creation of the nation-state, industrial revolutions, social structure, "globalization". The third part of the course (18 hours) focuses on the history of: the laboratory of contemporary age (1870-1914), the age of catastrophe (1914-1945), the golden age of capitalism (1945- 1968) and the age of transition (1968-1991). The final part of the course (6 hours) will be focused on the history of Italian Republic. - An handbook of Contemporary History. A book to be chosen from:
G. Monina, F. Motta, S. Pavone, E. Taviani, "Processo Storico", vol. 3, "Dal Novecento a oggi", Torino, Loescher Editore, 2017, p. 740, € 32,90 L. Caracciolo, A. Roccucci, "Storia contemporanea. Dal mondo europeo al mondo senza centro (1848-2016)", Milano, Mondadori education, 2017, pp. 800, € 38,00 Monographic book. A book to be chosen from: A. Giovagnoli, "La Repubblica degli italiani (1946-2016)", Roma-Bari, Laterza, 2016, € 24,00 G. Crainz, "Storia della Repubblica", Roma, Donzelli, 2016, € 27,00 FILMOGRAPHY. A choice between the following movies: Der Triumph des Willens (Germany 1935) Leni Riefenstahl - Senso (Italy 1954) Luchino Visconti - Paths of Glory (USA 1957) Stanley Kubrick - Una vita difficile (Italy 1961) Dino Risi - Uomini contro (Italy 1971) Francesco Rosi |
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20710384 -
AESTHETICS OF CINEMA AND MEDIA
(objectives)
The aim of the class is to give an overview of the more relevant issues of film and media aesthetics. In particular, the class will be focused on both historically relevant perspective and more recent topics and methodologies. Moreover, a major frame will be offered by visual culture studies, in order to understand old and new phenomena in the light of a wider history of images. A particular attention will be devoted to theories of sensory and affective cinematic and medial experience.
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CAROCCI ENRICO
(syllabus)
The aim of the class is to give an overview of the more relevant issues of film and media aesthetics. In particular, the class will be focused on both historically relevant perspective and more recent topics and methodologies.
(reference books)
The program will be articulated around two main stages. In the first one, the main approaches to film and media aesthetics will be considered, including the debate on postmodernism and cinema; in the second one, 20th-century film and media aesthetics will be compared to the current "postmedia" condition. A specific attention will be paid to the notions of “screen” and “dispositif”. 1) Andrea Pinotti, Antonio Somaini, *Cultura visuale. Immagini sguardi media dispositivi*, Einaudi, Torino 2016
2) Luca Malavasi, *Postmoderno e cinema. Nuove prospettive di analisi*, Carocci, Roma 2017 3) Ruggero Eugeni, *Capitale algoritmico. Cinque dispositivi postmediali (più uno)*, Morcelliana, Brescia 2021 |
6 | L-ART/06 | 36 | - | - | - | Core compulsory activities | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20702646 -
ELEMENTS OF FILM AND TV DIRECTION
(objectives)
The course aims to provide students with skills related to film grammar through an extended analysis from “classic cinema” to contemporary cinema, in order to investigate aesthetic and stylistic elements and their cultural and political outcomes.
Group:
A - L
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ZAGARRIO VITO
(syllabus)
The mise en scene is analysed through the recent Italian film. The heart of the course will be on one side the New Italian Cinema of the 2000, on the other hand Vito Zagarrio’s own feature films, which will be a case study to reflect on how to analyse the film.
(reference books)
V. Zagarrio, Eppure cinema. Appunti di un regista irregolare, Roma, Edizioni Sabinae, 2021.
V. Zagarrio, La nouvelle vague italiana, Venezia, Marsilio, 2021. A. Mazzoleni, L'ABC del linguaggio cinematografico, Roma, Dino Audino, 2002
Group:
M - Z
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UGENTI ELIO
(syllabus)
The course aims to provide students with skills related to film grammar for the analisys of film style. The notion of "film direction" will be investigated from both a technical and historical perspective, to analyze its evolution starting from the analysis of case studies ranging from classical cinema to contemporary cinema.
(reference books)
. - Arcangelo Mazzoleni, "L'ABC del linguaggio cinematografico", Dino Audino Editore, Roma 2010.
- V. Zagarrio, Eppure cinema. Appunti di un regista irregolare, Roma, Edizioni Sabinae, 2021. - V. Zagarrio, La nouvelle vague italiana, Venezia, Marsilio, 2021. - Lecture notes edited by the teacher (available at the photocopy shop - Via Giulio Rocco, 11) FILMOGRAFIA - Luci della città (Charlie Chaplin, 1931) - Ombre rosse (John Ford, 1939) - Rapporto confidenziale (Orson Welles, 1955) - La donna della luna (Vito Zagarrio, 1988) - Bonus Malus (Vito Zagarrio, 1993) - Caro diario (Nanni Moretti, 1993) - Lamerica (Gianni Amelio, 1994) - Un'ora sola ti vorrei (Alina Marazzi, 2002) - Tre giorni d'anarchia (Vito Zagarrio, 2004) - Le conseguenze dell'amore (Paolo Sorrentino, 2004) - Il divo (Paolo Sorrentino, 2008) - Gomorra (Matteo Garrone, 2008) - Terramatta (Costanza Quatriglio, 2012) - Reality (Matteo Garrone, 2012) - 87 ore (Costanza Quatriglio, 2016) - See You in Texas (Vito Palmieri, 2016) - disponibile su RayPlay - Fuori era primavera (Gabriele Salvatores, 2020) - disponibile su RaiPlay |
6 | L-ART/06 | 36 | - | - | - | Core compulsory activities | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20702970 -
CONTEMPORARY ART - L.M.
(objectives)
The course provides the critical methodologies and basic historical skills essential to the study of the artistic languages of modernity. The class and lectures selected for the exam program will retrace the main events of contemporary visual arts, in order to propose a methodology for the analysis of poetics, movements and different languages characterising contemporary art, and so to provide the necessary tools for reading and interpret the different types of contemporary works of art.
Group:
A - L
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CHIODI STEFANO
(syllabus)
THE GAZE OF MODERNITY
(reference books)
The course analyzes the historical developments and the key personalities of the visual arts from the historical avant-gardes to the 1960s, focusing on themes such as the relationship with technology and new media (photography, cinema, television), with the unconscious and the body, the dialectic between visible and invisible, the relationship with natural and urban spaces, etc. The analysis of these themes will also provide the basic methodology for the study of the history of the different languages that characterize twentieth-century art, providing the critical tools necessary for the reading of different types of works of art. • Federica Rovati, L’arte del primo Novecento, Einaudi 2015
• Alessandro Del Puppo, L’arte contemporanea. Il secondo Novecento, Einaudi 2013 Other essays will be indicated during the classes.
Group:
M - Z
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CONTE LARA
(syllabus)
Poetics and politics of the gaze
(reference books)
The course analyzes poetics and crucial junctions of the visual arts in the modern era – from Impressionism to the historical avant-gardes, until the 1960s – focusing on themes like the act of seeing, the device of the gaze, the dialectic between the visible and the invisible. The analysis also provides the necessary methodological approach to the study of the history of the various languages of contemporary art, furnishing indispensable tools for the interpretation of different types of artworks. Texts of a general character:
1) F. Rovati, L’arte del primo Novecento, Einaudi, Torino 2015 2) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002 3) In-depth readings: • J. Crary, Le tecniche dell’osservatore, Einaudi 2013, IV capitolo, pp. 102-140 / - J. Crary, Techniques of the Observer. On Vision and Modernity in the Nineteenth, The MIT Press, Massachusetts 1990, IV, pp. 97-137 [PDF fornito dalla docente] • V.I. Stoichita, Dello sguardo ostacolato. Per una storia dell’Impressionismo, in “Annali della Fondazione Europea del Disegno”, Il Melangolo, Genova 2009, pp. 65-87 [PDF fornito dalla docente] • V.I. Stoichita, La pittura impressionista vista da e con Schapiro: Caillebotte e l’intreccio visivo, in Meyer Schapiro e i metodi della storia dell’arte, a cura di L. Bortolotti, C. Cieri Via, M.G. Di Monte, M. Di Monte, Mimesis Edizioni, Milano – Udine 2010, pp. 105-113 [PDF fornito dalla docente] 4) Online gathering of images projected during lectures (available at the end of the course). |
6 | L-ART/03 | 36 | - | - | - | Core compulsory activities | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Course | Credits | Scientific Disciplinary Sector Code | Contact Hours | Exercise Hours | Laboratory Hours | Personal Study Hours | Type of Activity | Language | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20709110 -
text analysis film and audiovisual
(objectives)
The course is part of the mandatory classes for the Film and Media Studies program of the DAMS BA. If the program generally gives the historical and theoretical background to understand all audiovisual forms, the aim of this class (dedicated to first-year students) is to teach the main frameworks for the analysis and interpretation of film and audiovisual texts. The class opts for a historical perspective, which accounts for the different theories, aesthetics, and cultural models involved in the analysis of the various linguistic solutions, film styles and forms from different moments in film history (i.e., classical Hollywood cinema, modern art cinema, postmodernism, post-classic cinema). The course aims to give to its students the framework needed to understand by themselves which modes of analysis are more effective in considering a specific audiovisual text. In conclusion, the class aims to explain how films and images produce their meaning.
Group:
A - L
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DE PASCALIS ILARIA ANTONELLA
(syllabus)
The course addresses film narrative and stylistic forms, from classic Hollywood to contemporary cinema. Through the analysis of specific sequences and films, the course addresses classic cinema from the 1930s, the melodramatic style from the 1950s, film modernity (in particular Italian art film from the 1960s), postmodern cinema, postclassic films, mind-game films, "global films". The last part of the course is dedicated to complex and vast narratives, especially the narrative universe by David Lynch. The film analysis will be conducted through various methods and approaches; among then, structuralism and semiotics, formal analysis and style, psychoanalysis, feminist film theory. Cultural studies and approaches will be considered in order to address modernity, postmodernism, and contemporary mediascapes.
(reference books)
The final syllabus will be published online at https://ilariaadepascalis.wordpress.com/informazioni-generali/ Veronica Pravadelli, Dal classico al postmoderno al global. Teoria e analisi delle forme filmiche, Marsilio, Venezia 2019.
Collection of essays edited by the teacher. Provisional filmography (it could be subjected to changes): ● Bringing Up Baby, Howard Hawks, 1938 ● Written on the Wind, Douglas Sirk, 1958 ● La dolce vita, Federico Fellini, 1960 ● L’avventura, Michelangelo Antonioni, 1960 ● Prima della rivoluzione, Bernardo Bertolucci, 1964 ● Die Hard, John McTiernan, 1988 ● Twin Peaks, David Lynch e Mark Frost, ABC, 1990-1991 | Showtime, 2017 ● Mulholland Drive, David Lynch, 2001 ● Babel, Alejandro González Iñárritu, 2006 The final program is online at https://ilariaadepascalis.wordpress.com/
Group:
M - Z
-
PRAVADELLI VERONICA
(syllabus)
The course focuses on narrative modes and film style from classical cinema to contemporary cinema. We will consider: 1930s classical American cinema, 1950s American melodrama, modern cinema - in particular Italian 1960s auteur cinema - postmodern and post-classic cinema, as well as mind-game films and the "global film." To study these filmic forms we will employ a whole set of methodologies: structuralism and semiotics, formal and stylistic analysis, psychoanalysis and feminist theories. More generally, we will use cultural approaches to interpret modernity, postmodernity and contemporary scenarios.
(reference books)
Required texts:
Veronica Pravadelli, Dal classico al postmoderno al global. Teoria e analisi delle forme filmiche, Marsilio, Venezia 2019. Course reader: students can buy it at Copisteria CLP Via G. Rocco 11 (tel. 06 5759751): ● Raymond Bellour, “L’evidenza e il codice”, in L'analisi del film, Kaplan, Torino 2005, pp. 100-106. ● Sigmund Freud, “Alcune conseguenze psichiche della differenza anatomica tra i sessi” (1925) e “La femminilità” (1932), in Scritti sulla sessualità femminile, Bollati Boringhieri, Torino 1969, pp. 23-35 e 61-88. ● Veronica Pravadelli, “Introduzione”, in La grande Hollywood. Stili di vita e di regia nel cinema classico americano, Marsilio, Venezia 2007, pp. 9-16. ● Christian Metz, “Il cinema moderno e la narratività” in Semiologia del cinema, Garzanti, Milano 1972, pp. 245-272 (estratto). ● Gilles Deleuze, Cinema 2. L’immagine-tempo, Ubulibri, Milano 1989, pp. 11-24. ● Elena Pulcini, “La passione del moderno: l’amore di sé”, in Storia delle passioni, a cura di Silvia Vegetti Finzi, Laterza, Roma-Bari 1995, pp. 133-180. ● Frederic Jameson, Il postmoderno o la logica culturale del tardo capitalismo, Garzanti, Milano 1989, pp. 7-51. ● Ilaria A. De Pascalis, Il cinema europeo contemporaneo: scenari transnazionali, immaginari globali, Bulzoni, Roma 2015, pp. 221-242. ● Paolo Bertetto, “L’analisi interpretativa. Mulholland Drive”, in Metodologie di analisi del film, a cura di Id., Laterza, Roma-Bari 2006, pp. 223-255. ● Lorenzo Marmo, “Tornando a casa. Desiderio spettatoriale e dispersione narrativa in Twin Peaks: The Return di David Lynch”, in SigMa – Rivista di Letterature comparate, Teatro e Arti dello spettacolo, vol. 1, 2017, pp. 537-561. Films: ● Bringing Up Baby, Susanna, Howard Hawks, 1938 ● Written on the Wind, Come le foglie al vento, Douglas Sirk, 1956 ● La dolce vita, Federico Fellini, 1960 ● L’avventura, Michelangelo Antonioni, 1960 ● Prima della rivoluzione, Bernardo Bertolucci, 1964 ● Die Hard, Trappola di cristallo, John McTiernan, 1988 ● Twin Peaks, David Lynch e Mark Frost, ABC, 1990-1991 | Showtime, 2017: visione integrale dell’episodio 2 stagione 1 Zen, or the Skill to Catch a Killer ● Mulholland Drive, David Lynch, 2001 ● Babel, Alejandro González Iñárritu, 2006 |
6 | L-ART/06 | 36 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20702642 -
TV and Radio Broadcasting: cultures and formats
(objectives)
This course provides students with an overview on formats, storytelling and production forms of contemporary radio and television broadcasting, now almost entirely digitized, in a mediascape characterized by a vast offer of audiovisual contents on various platforms, with several delivery patterns. Contemporary broadcasting is characterized by a large amount of audiovisual contents proposed (pay o for free) to the audiences, available on a wide range of devices (TV screens, tablets, outdoor), both domestic and mobile. The audiovisual contents proposed by broadcasting media are also challenged by grassroots contents production and delivery through social networks, YouTube, web radio and TV stations.
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PERROTTA MARTA
(syllabus)
The course is splitted into two parts. The first is dedicated to the basic notions that allow to frame the radio and television languages from a theoretical point of view: schedule, format, genre(s), serial narratives, audience. The second part focuses on the recent history of the two media, from the late Seventies up to the contemporary situation, looking at the main evolutions of the genres and at the present national offer.
(reference books)
Books
- E. Menduni, Televisione e radio nel XXI secolo, Roma-Bari, Laterza, 2016 - M. Perrotta, Fare radio. Formati, programmi e strategie per la radiofonia digitale, Roma, Audino, 2017 |
6 | L-ART/06 | 36 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20702648 -
HISTORY OF MUSIC
(objectives)
The course pursues three fundamental learning objectives:
1. to introduce students to listening and to the knowledge of the great classical-romantic orchestral repertoire; 2. to deepen the language, forms and genres of symphonic music through the analysis of some masterpieces of the repertoire; 3. to provide the critical tools to understand the socio-cultural framework and the historical and aesthetic meaning of the symphonic compositions of the classical-romantic era, with particular reference to the Ninth Symphony of L.van Beethoven
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AVERSANO LUCA
(syllabus)
THE COURSE WILL ILLUSTRATE THE EVOLUTION OF THE MAIN GENRES AND FORMS OF ORCHESTRAL MUSIC FROM THE CLASSICAL TRADITION, WITH ATTENTION TO FORMAL AND AESTHETIC PRINCIPLES THAT ARE THE BASIS OF THE CATEGORIES OF ABSOLUTE MUSIC AND PROGRAM MUSIC. IN PARTICULAR, THE SYMPHONIE N. 9 BY L. VAN BEETHOVEN WILL BE ANALYZED, ALSO WITH SPECIFIC REFERENCE TO ITS RECEPTION IN KUBRICK’S CINEMA.
(reference books)
SELECTED ESSAYS WHICH WILL BE COMMUNICATED AT THE BEGINNING OF THE LESSONS (AVAILABLE IN COPY SHOP IN VIA GIULIO ROCCO)
HARVEY SACHS, LA NONA SINFONIA, MILANO, GARZANTI, 2011; ADDITIONAL BOOK FOR STUDENTS WHO DO NOT ATTEND THE LESSONS: Maynard Solomon, L’ultimo Beethoven, Roma, Carocci, 2010, pp. 43- 88, 111-121, 157-203, 241-271 LIST OF SOME MUSICAL WORKS WHICH STUDENTS HAVE TO LISTEN Arcangelo Corelli Concerto grosso fatto per la Notte di Natale Antonio Vivaldi Le quattro stagioni Johann Sebastian Bach Concerti brandeburghesi nn. 3 e 4 Joseph Haydn Sinfonia n. 103 Wolfgang A. Mozart Sinfonia n. 40, Concerto per violino e orchestra K 216, concerto per pianoforte e orchestra K 488 Ludwig van Beethoven Sinfonie nn. 3, 5, 6, 7 e 9, Ouverture Coriolano, Concerto per pianoforte orchestra n. 5 "Imperatore" Franz Schubert Sinfonia n. 8 Felix Mendelssohn Concerto per violino e orchestra. in mi minore Nicolò Paganini Concerto per violino e orchestra n. 1 in re maggiore Hector Berlioz Sinfonia Fantastica Johannes Brahms Sinfonia n. 4 Franz Liszt Ce qu'on entend sur la montagne - poema sinfonico Bedrich Smetana Poema sinfonico “La Moldava” Piotr Ilic Cajkovsky Ouverture Romeo e Giulietta, Sinfonia n. 6 Piotr Ilic Cajkovsky Concerto per pianoforte e orchestra n. 1 in sib minore Piotr Ilic Cajkovsky Concerto per violino e orchestra op. 35 in re maggiore Jean Sibelius Concerto per violino e orchestra in re minore op. 47 Gustav Mahler Sinfonie nn. 1 e 5 Richard Strauss Also Sprach Zarathustra - poema sinfonico |
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20709130 -
ITALIAN CINEMA
(objectives)
The teaching of "Italian Cinema" is part of the training activities that characterize the degree course in Dams (path "Cinema, television and new media"). It proposes to deal with the history of Italian cinema according to a multiplicity of perspectives concerning the cultural context, economic and legislative institutions, stylistic forms, critical and theoretical reflections, the interpretation of films, the relationships of cinema with other arts and other media. The goal is to provide knowledge and methodological tools that allow the student to measure himself critically with the history of Italian cinema and with the analysis of filmic texts.
Group:
A - L
-
PARIGI STEFANIA
(syllabus)
The course focuses on two of the most important periods in the history of Italian cinema: postwar cinema and the 60s. The first part is devoted to the most representatives theories, films, authors, figures, and styles of neorealism. The second part analyzes the auteur cinema of old and new generations (Antonioni, Fellini, Pietrangeli, Ferreri, Olmi, Pasolini, Bertolucci, Bellocchio).
(reference books)
TEXTS: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particular chapters III and IV); Stefania Parigi, Immagini del neorealismo, Marsilio, Venezia 2014; Emiliano Morreale, I film della dolce vita. Cinema d'autore degli anni Sessanta, Dino Audino, Roma 2021; a compilation of texts on neorealism by the teacher (you can find it in the Moodle Platform). Non-attending students must also read Federico Vitella, Michelangelo Antonioni. L’avventura, Lindau, Torino 2010.
FILMOGRAPHY: Ossessione (1943) by L. Visconti; Roma città aperta (1945) di R. Rossellini; Paisà (1946) by R. Rossellini; Germania anno zero (1948) by R. Rossellini; Ladri di biciclette (1948) by V. De Sica; La terra trema (1948) by L. Visconti; Riso amaro (1949) by G. De Santis; Miracolo a Milano (1950) by V. De Sica; Il cammino della speranza (1950) by P. Germi; Due soldi di speranza (1951) by R. Castellani; Pane amore e fantasia (1953) by L. Comencini; La strada (1954) by F. Fellini; Il grido (1957) by M. Antonioni; L’avventura (1960) by M. Antonioni; La dolce vita (1960) by F. Fellini; Accattone (1961) by P. P. Pasolini; I fidanzati (1963) by E. Olmi; Prima della rivoluzione (1964) by B. Bertolucci; La donna scimmia (1964) by M. Ferreri, I pugni in tasca (1965) by M. Bellocchio; Io la conoscevo bene by A. Pietrangeli; Blow-up (1967) by M. Antonioni; Dillinger è morto (1969) by M. Ferreri.
Group:
M - Z
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UVA CHRISTIAN
(syllabus)
The course examines the period from the post-war to the present, focusing in the first part on the main stages that have marked the history of Italian cinema in terms of films, authors and genres. In the second part, we will focus instead on a particular topos, that of the beach, which has always been central to the national imagination and of course also in our cinematographic tradition. We will therefore examine the aesthetic, narrative, productive and cultural peculiarities of some cinematographic works in which the "bathing condition" has become a privileged occasion to investigate the main historical, social and anthropological changes experienced by our country in more than half a century.
(reference books)
TEXTS:
G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi); C. Uva, L'ultima spiaggia. Rive e derive del cinema italiano, Marsilio, Venezia 2021; E. Giacovelli, C’era una volta la commedia all’italiana, Gremese, Roma 2015; C. Uva (a cura di), Matteo Garrone, Marsilio, Venezia 2020. FOR ERASMUS STUDENTS: G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi); C. Uva, L'ultima spiaggia. Rive e derive del cinema italiano, Marsilio, Venezia 2021. FILMOGRAPHY Ladri di biciclette (1948) di V. De Sica; Domenica d’agosto (1950) di L. Emmer; La spiaggia (1954) di A. Lattuada; Vacanze a Ischia (1957) di M. Camerini; La dolce vita (1960) di F. Fellini; L’avventura (1960) di M. Antonioni; Accattone (1961) di P. P. Pasolini; Il sorpasso (1962) di D. Risi; La voglia matta (1962) di L. Salce; Prima della rivoluzione (1964) di B. Bertolucci; Per un pugno di dollari (1964) di S. Leone; L’ombrellone (1965) di D. Risi; Indagine su un cittadino al di sopra di ogni sospetto (1970) di E. Petri; Ferie d’agosto (1996) di P. Virzì; Ospiti (1998) di M. Garrone, Estate romana (2000) di M. Garrone, L'imbalsamatore (2002) di M. Garrone, Reality (2012) di M. Garrone, Il racconto dei racconti - Tale of Tales (2015) di M. Garrone. |
12 | L-ART/06 | 72 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20706080 -
Communication sociology
(objectives)
The course aims:
• To introduce the main concepts of the sociology of communication, with particular reference to interpersonal communication. • Strengthen the students’ communicative competences through the participation in class laboratories and group tasks, thus enabling them to also improve their teamwork competencies. • Strengthen students’ capacities of critical analysis through interactive and laboratorial teaching strategies. • Promote the acquisition of the necessary competences to avoid the pathological forms of communication in the daily life and encourage “ecological” discursive practices.
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TOTA ANNA LISA
(syllabus)
The first part of the course introduces the most relevant theories of communication, with a specific focus on interpersonal communication. The following topics are considered: interaction rituals, framing practices, rules of conversation, the relation between communication and social identities, pathological forms of communicative interaction. A special focus will consider the role of the "stranger" and the inclusion and exclusion practices related to migration processes.
(reference books)
The second part of the course will shed light on the social representations and the types of knowledge produced by the media. In particular, the medial representation of gender identities, ethnicity, generation and social class will be considered. a) Anna Lisa Tota, Ecologia della Parola. Il piacere della conversazione, Einaudi, Torino.
b) The following articles and essays available on the personal web page of the professor hosted on the Moodle platform: 1) Paul Watzlavick, 1988, “Le profezie che si autodeterminano”, in La realtà inventata, a cura di Paul Watzlawick, Feltrinelli, Milano, pp. 87-104. 2) David Rosenhan, "Essere sani in posti insani", in La realtà inventata, a cura di Paul Watzlawick, Feltrinelli, Milano, 1988, pp. 105-127. 3) David Sudnow, 1965, “L’organizzazione sociale della morte”, in A. Dal Lago, P. P. Giglioli (a cura di) (1983), Etnometodologia, Il Mulino, Bologna, pp. 121-143 4) Harvey Sacks, 1972, “Come la polizia valuta la moralità delle persone basandosi sul loro aspetto”, in A. Dal Lago, P. P. Giglioli (a cura di) (1983), Etnometodologia, Il Mulino, Bologna, pp. 177-196. 5) Erving Goffman, 1969, La vita quotidiana come rappresentazione, Il Mulino, Bologna (prefazione – cap. 1 “Rappresentazioni” – cap. 2 “Equipes”), pp. 9-126. 6) Alfred Schütz, 1944, Lo straniero. Un saggio di psicologia sociale, in Simonetta Tabboni (a cura di) (1993), Vicinanza e lontananza. Modelli e figure dello straniero come categoria sociologica, Milano, Angeli, pp. 127-143. 7) Stuart Hall, 1980, "Codifica e decodifica", in Tele-visioni, A. Marinelli e G. Fatell ( cura di) (2000), Meltemi, Roma, pp. 67-84. Moreover, the following texts are suggested, but not mandatory for the exam: 1) Paul Watzlavick et all., 1971, Pragmatica della comunicazione umana, Astrolabio, Roma, cap. 1 “Presupposti teorici”, cap. 2 “Tentativo di fissare alcuni assiomi della comunicazione” e cap. 3 “La comunicazione patologica”, pp. 13-111. 2) Georg Simmel, 1903, Le metropoli e la vita dello spirito, Armando, Roma, pp. 35-57. 3) Anna Lisa Tota (a cura di), 2008, Gender e media. Verso un immaginario sostenibile, Roma, Meltemi. |
6 | SPS/08 | 36 | - | - | - | Basic compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20705270 -
FINAL EXAM
(objectives)
The final exam aims to develop students' abilities to produce a critical essay by consulting primary and secondary textual and / or audiovisual sources.
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6 | 36 | - | - | - | Final examination and foreign language test | ITA | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20710503 -
Aesthetics
(objectives)
At the end of this course the student will acquire:
- A basic knowledge of several issues concerning aesthetics and the relationships between philosophy and the arts (literature, visual arts, performing arts, architecture, film) - The knowledge of one or more important texts of the history of aesthetics, and of the critical debate on these texts - A basic knowledge on the most recent literature on aesthetics, perception theory, ontology of art and related subjects - The ability to form an independent judgement on such topics and to expose it in oral and written form - Good mastery of aesthetic terminology and of the argumentative methods in the field of aesthetics and art criticism - The ability of focusing theoretical issues, analyzing information, formulating arguments in the fields of aesthetics, theory of perception, art theories, with the help of bibliographical sources The ability to contextualize in historical-philosophical perspective aesthetic debates, as well as debates on art criticism.
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D'ANGELO PAOLO
(reference books)
P. D'Angelo Il paesaggio: teorie, storie, luoghi, Laterza.
P. D'Angelo Filosofia del paesaggio, Quodlibet. Un testo a scelta tra i seguenti: S. Parigi e G. Ravesi, Il paesaggio nel cinema contemporaneo, Bulzoni; S. Arecco, Cinema e Paesaggio, Le Mani; S. Bernardi, IL paesaggio nel cinema italiano, Marsilio |
6 | M-FIL/04 | 36 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20710328 -
TEATRO, SPETTACOLO, PERFORMANCE
(objectives)
This course aims to provide students with tools of theoretical and historical knowledge concerning artistic, social, material and relational aspects of theatre arts, in the broader sense of the performative dimensions of human behaviour. The central objective is a wide and inclusive knowledge of the past and present of the scenic arts, oriented to enable the student to recognize, to experience and to activate creative processes, research actions and skills of practical organization within the horizon of performing arts. The first part of the course provides direct approaches to texts, profiles, documents and phenomena that during the last century changed the notion of theatre and transformed traditions, skills, values, concepts and terms of the theatre practices. In the final part the course will share materials, documents, meetings and fieldworks, in order to orientate the students to take part in ongoing projects of their cultural context.
Group:
A - L
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Derived from
20710328 TEATRO, SPETTACOLO, PERFORMANCE in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 A - L GUARINO RAIMONDO
(syllabus)
The course aims to offer a global vision of the historical development of European Theatre, through a series of close ups on themes and changes of its values and conditions, from Mediaeval culture to contemporary performance. The notion of cultural performance will be assumed as a key concept, in order to enlarge the horizon of the artistic and cultural values of theatre to other fields and practices of representation (Dance, ritual, celebration).
(reference books)
In its first part, the course deals with texts and contexts of books considered as groundbreaking sources for the theory and practice of the Western performer in 20th century (Artaud, Brecht, Grotowski). In the second period, through the reading of Shakespeare's Hamlet, a focus will concern the dramatic tradition in European modern theatre. In the final period, taking part in meeting and panels with operators, curators and performers, the students will share ongoing projects and current trends in Italian contemporary theatre A. Artaud, Il teatro e il suo doppio, Einaudi, Torino; B. Brecht, Scritti teatrali, Einaudi, Torino; J. Grotowski, Testi. Volume II, Il teatro povero (1965-69),La casa Usher, Firenze;
W. Shakespeare, Amleto, edizione e traduzione a c. di A. Serpieri, Marsilio 2 testi a scelta tra i seguenti tre: M. Schino, L’età dei maestri, Viella, Roma; E. Barba, La conquista della differenza, Bulzoni, Roma; F. Cruciani, Lo spazio del teatro, Laterza, Bari. For non attending students: R. Guarino, Shakespeare. La scrittura nel teatro, Carocci, Roma; oppure il terzo dei testi a scelta.
Group:
M - Z
-
Derived from
20710328 TEATRO, SPETTACOLO, PERFORMANCE in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 M - Z SCHINO MIRELLA
(syllabus)
The course focuses on the transition between the nineteenth and twentieth centuries, particularly following the thread of Eleonora Duse. The theatre of this period is a theatre undergoing great changes. The passage from the period of the Great Actor to that of the New Theatre has always been seen as a drastic caesura. The course investigates the threads of continuity and the peculiarities of Eleonora Duse's art and life.
(reference books)
Mirella Schino, Il teatro di Eleonora Duse, Roma, Bulzoni, 2008
Francesca Simoncini, Eleonora Duse capocomica, Firenze, Le Lettere, 2011 Mirella Schino, L’età dei maestri. Appia, Craig, Stanislavskij, Mejerchol’d, Copeau, Artaud e gli altri, Roma, Viella, 2017 Ferdinando Taviani, Le visioni del teatro, Roma, Bulzoni, 2021 Gli studenti leggeranno inoltre almeno uno di questi tre drammi a scelta (più una introduzione o un approfondito profilo biografico sull’autore): 1) Gabriele d’Annunzio, La città morta, oppure 2) Ibsen, Hedda Gabler, oppure 3) Ibsen, La donna del mare. |
12 | L-ART/05 | 72 | - | - | - | Core compulsory activities | ITA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
