SCENOGRAFIA E TECNOLOGIE PER LA PRODUZIONE TEATRALE

The course aims: to provide the knowledge and understanding skills for reading (also from a technological point of view) a scenography; that allows the student to place it as a product in the artistic panorama; to develop critical skills by understanding the role and the dramaturgical value in theatrical performance.

According to the Dublin descriptors, students, at the end of the course, will demonstrate:

1. Knowledge of the fundamental themes of the History of Scenography (with particular reference to the period from the twentieth century to our days) and the principles of the major theorists, to strengthen the capacity to develop original ideas while monitoring their productive sustainability (recognition of the adopted technologies, of the degree of practicability provided, of adaptability to the types of stage and theater: reading of the requirements: demountability, transportability, dimensional compatibility, storage).
2. Ability to read a scenic project in its semantic and semiological characters, with analysis of artistic references and identification of dramatic values. often subject to the construction of a complex research programme;
3. Ability to apply knowledge to innovative themes or not yet addressed, or inserted in interdisciplinary contexts to be reconnected to your field of study;
4. Ability to reflect on social and ethical responsibilities related to productive decisions;
5. To be able to communicate in a clear, concise and unambiguous way projects or their critical readings to specialist and non-specialist interlocutors; to have developed skills that allow them to continue studying and working in the Theatre independently.

The assessment of the learning will take into account the mastery of the acquired contents and skills, the linguistic accuracy and lexical properties, as well as the argumentative ability demonstrated by the candidate.

The verification can also be carried out electronically, if the conditions require it.

• lectures;

• expert seminars, visits to scenic construction sites;

• theatre performances and subsequent critical discussions,

• practical tests in itinere

The discipline investigates the contemporary addresses of the stage, articulated according to two aspects:

• the first one is about the radical changes of the theatrical performance and the scenic space in the twentieth century; thematic story is addressed through a historical excursus of the deep modifications that involve theatrical writing, the scenic space, the places designated to the show through emblematic case studies;
• the second aspect is about of theatrical production technologies, which is an interpretation of the term technology: secondly, the processes of modifying material and immaterial elements in scenic spaces will be discussed, with technological transfer from artistic and other productive fields.

For the first aspect the changes in the text, body and space uses will be showed, starting from some pioneers -authors, scenographers and architects- faced through the historical period which culminates in the elaboration of the Ivrea Manifesto on the New Theater. A particular look will be dedicated to productions born from ‘scenic scripts’ without a reference text upstream of the project, in which the scenography has an active dramaturgical role in the structure of the show, as an element of representation of places to "space-story".

For the peculiar aspects of theatrical productions: artistic, technical, regulatory and organizational aspects, trying to respect the sustainability strategies for theatrical bodies, with attention to the aspects related to the regeneration of social and territorial contexts.

Sketches and executive projects of scenography will also be analysed (material provided by the teacher).

The student will be able to deepen some aspects treated in collaboration with theatrical bodies, during interesting laboratories.

A. Evolution of the relationship between theatre space and stage space (3 ECTS)

Text :

-         C. Titomanlio, Sul palco. Storia della scenografia e dell’architettura teatrale, Firenze-Lucca, La casa Usher, VoLo Publischer, 2019, pp.321.

 

B. Scene Design: techno-dramaturgical evolutions

C. Production Process (B+C= 2 ECTS)

Texts :

- A. Balzola, La scena tecnologica. Dal video in scena al teatro interattivo, Roma, Dino Audino, 2011, pp. 41-49, 51-59, 65-69, 81-89; 99-107.

- A.M. Monteverdi, Leggere uno spettacolo multimediale, Roma, Dino Audino, 2020, pp.19-40.

- V. Fiore, Scenografie portatili, Siracusa, LetteraVentidue, 2015, pp. 57-77.

- V. Fiore, Tecnologie pneumatiche: per una leggerezza nel linguaggio teatrale, in V. Latina, M. Navarra, Air Fundamental. Collision between Inflatable and Architecture, Siracusa, LetteraVentidue, 2018, pp. 69-79.

- F. D’Ippolito, Produrre teatro in Italia oggi. Pratiche, poetiche, politiche, Roma, Dino Audino, 2022, pp.27-64.

- F. Bono, Dossier Ivrea 1967: il programma e la cronaca, in «ATeatro. Webzine di cultura teatrale», 27/04/2007, on line: http://www.ateatro.it/webzine/2007/04/27/dossier-ivrea-1967-il-programma-e-la-cronaca

 

D. Case studies (one of the student's choice among the following) (1 ECTS):

D1. Director/set designer relationships: Aulenti/ Palli/Ronconi; Damiani/ Strehler:

- A. M. Monteverdi, Scenografe. Storia della scenografia femminile dal Novecento a oggi, Roma, Dino Audino, 2021, pp.74-80, 167-174.

Damiani/ Strehler:

- M. Bucciantini, Un Galileo a Milano, Torino, Einaudi, 2017, pp. 98-105 (Vita di Galileo, Damiani/ Strehler).

D2. Innovations and technological experiments:

- V. Fiore, Luce artificiale e paesaggio urbano. Raccontare il territorio con nuove tecnologie, Siracusa, LetteraVentidue, 2013, pp. 13-20, 93-107.

- A.M. Monteverdi, La Walhalla machine: Lepage e Wagner, annamonteverdi.it, 9/1/2014. On line:

https://www.annamonteverdi.it/digital/la-walhalla-machine-robert-lepage-wagner/

D3. Generations in comparison:

- V. Fiore, F. Serrazanetti, Scenografia 3.0, dossier in «Hystrio» n. 4/2017, pp. 26-43 (in particolare interviste a Maurizio Balò, Margherita Palli, Paolo Fantin, Katrin Brack).

- V Fiore, Carmine Maringola, scenografo/attore. La scena recitante per Emma Dante, LetteraVentidue, Siracusa 2020, pp.19-75.

D4. Scenography and Ancient Theatre:

- V. Fiore, V. Martelliano, Le città del teatro greco, Siracusa, LetteraVentidue, 2018, pp. 79-143.

- V. Fiore, Alla maniera Greca. Progettare la scena della tragedia fra innovazione e consenso, in «Stratagemmi. Prospettive Teatrali», nn. 38-39, 2019, pp. 159-172.

 

The teacher will provide handouts or upload articles and a selection of extracts that cannot be consulted or taken from texts no longer on the market on the Studium platform.

 

Please remember that in compliance with art 171 L22.04.1941, n. 633 and its amendments, it is illegal to copy entire books or journals, only 15% of their content can be copied.

For further information on sanctions and regulations concerning photocopying please refer to the regulations on copyright (Linee Guida sulla Gestione dei Diritti d’Autore) provided by AIDRO - Associazione Italiana per i Diritti di Riproduzione delle opere dell’ingegno (the Italian Association on Copyright).

All the books listed in the programs can be consulted in the Library.