Attendance is not compulsory.
The course deals with the history of those buildings,
or building complexes, intended for performances: architectures that host
social events in which actors and audience collaborate on a dramaturgical text.
We investigate the main issues of architecture starting from the archaic forms
of theater -the Greeks, the Romans and the eastern theatres- to then cross the
centuries with an excursus that culminates in the "sala
all'italiana", ie the longest space, that has been consolidated in
specific buildings since the sixteenth century, becoming urban poles
recognizable and characterizing the cities between the eighteenth and
nineteenth centuries (Opera Theatres). These places gave life to the
professions of theatre architect and set designer. At the end of the program
will be treated the architecture of twentieth-century theatres and cultural
reforms that lead to the crisis of "teatro all'italiana" and the
rethinking of the relationship between spectator and actor with a profound
modification of the layout and distribution. The space of the theatre will pass
from mimesis of reality to declared fiction, shifting the focus on other forms
of performance and on other types of spaces. This overview is followed by a
series of case studies: places and architectures, themes, theories and
protagonists are intertwined in an excursus on the architecture of the theatre
and its role in society through some of the major theatrical architectures of
history (Italian and Sicilian, foreign).
Among these, to name a few: the Greek Theatre of Syracuse, the Municipal
Theatre of Syracuse, the Teatro Massimo and the Politeama of Palermo, the
Teatro Farnese of Parma, the Olympic Theatre of Vicenza, the Municipal Theatre
of Bologna, the Teatro alla Scala of Milan, the Teatro La Fenice in Venice, the
Schauspielhaus in Berlin; the never-before-built buildings of Gropius and
Majerchold'; the dynamic and flexible projects by Sacripanti (Cagliari), by
Tompkins (UK), by Gonzalo Byrne (Portugal), or the innovative New Opera House
in Florence designed by ABDR.
The integration with the arts and artistic
avant-gardes will follow the treatment completing the knowledge of the student
returning to him abilities to exhibit and deal with specialists.
A. Evolution of the theatrical space (4 CFU)
(pp.506)
1. C.
Titomanlio, Sul palco. Storia della
scenografia e dell’architettura teatrale, La casa Usher, Firenze,
2019 (manuale) (p.110-118; 140-190; 206-215; 228-234; 246-253; 277-301;
313-324; 328-330).
2. V.
Fiore, F. Castagneto, Ripensare-Innovare
lo spazio del teatro: progetto, recupero, riuso, LetteraVentidue,
Siracusa 2023 (pp.17-71)
3. O.
Lanzarini, A Muffato, Il sogno
dell’architettura come macchina di piacere. Il teatro in epoca contemporanea,
in O. Lanzarini, A. Muffato, ‘Teatri e luoghi per lo spettacolo‘, Electa,
Milano, 2008, (pp.5-35).
B. Monographic insights: case studies (2 CFU) (two
to be chosen by the student)
4. V.
Fiore, F. Castagneto, Ripensare-Innovare
lo spazio del teatro: progetto, recupero, riuso, LetteraVentidue,
Siracusa 2023
5. P.
Barbera, Giuseppe Damiani Almeyda,
artista, architetto, ingegnere, Pielle Edizioni, Palermo 2008,
pp.51-88 (Teatro Politeama e Teatro Massimo, Palermo); 109-114 (Teatro
Comunale, Siracusa).
6. V.Fiore,
V. Martelliano, Le città del Teatro
Greco. Letture tra scenografia e realtà urbana, LetteraVentidue,
Siracusa 2018 (pp.73-150).
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.
N.B. Short texts and articles
will be provided collected in Studium platform.
