The first objective is the offer a vision of what it is and how you are able to operate, innovate and communicate the cultural dimension of the business, mobilizing the techniques (and, in part, the theory) of artistic expression. Thus a course of “artistic” management is configured, that is aware of the resources offered by the languages of art and that is also placed as a creator of change, acting through the internal organized culture of businesses and through the innovation of the management of human resources. A vision of this type originates from formative paths in which the narration (writing), the visualization (cinema) and the words (theatre) are also conceived as becoming operative instruments in the crossing of sectorial language, able to translate themselves into meta-disciplinary catalysts.
The course is made up largely of practical and introductory objectives to the concrete use of languages and techniques in writing, theatre and cinema. The course aims to help participants to achieve the following practical results: a text, a video and a staging. Consequently, the cultural fundamentals will be taught by scholars that are primarily enlisted as professionals in the sectors of communication, cinema and theatre who, as well as traditional education, will conduct cross-disciplinary classes, operating as a coach for practically carrying out these practical results.
The project thus responds to the growth in interest that Venetian businesses manifest through the managerial figure with cross-disciplinary skills that return to the basic understanding of the creative, rather than technical, areas. The project is made up of three modules dedicated to Writing, Video and Theatre respectively.
Module 1 - Creative Writing
Writing for the reader is one thing, writing for those who read and listen is another: this “writing” is modulated not only according to those that have to be transmitted, but also to the canal of communication in use and the type of community. The language of communication addresses many different destinations, adopting different channels of distribution time and time again. Therefore narrative, promotional or informative, must be constructed in a way that is constantly different, functional and coherent with respect to both the different types of communication and to the linguistic codes of different communities.
The structure of a narrative and the ingredients to make it interesting: archetypes and rhetorical figures, exercises for recognizing structure and archetypes in every-day communication (newspapers, web TV).
Lexicon and synthesis
Narrative presence: analysis of different speakers to whom it addresses (individual, small group, widespread community)
What changes in the way different speakers are addressed? What approach is best to use each time?
Module 2 - Theatre of the Company
The course develops under the form of experiential workshops that use the theatre as context to manage the anxiety of “performing” through strategies to develop security and inner calm, and developing a greater awareness of the body of language as a tool of useful action to transmit security and fluency. Through the use of theatre techniques they will experiment with and improve their own ability to “go on stage” at competitive contests. A real training with a preparatory phrase and a training exercise in which participants will be led by an actor/coach able to highlight the blocs that prevent them from being effective, and through the indicated activities, discover strong points and stimulate the effective personal expression.
Module 3 - Video Storytelling
Producing audiovisual materials of differing duration, functions and destinations in relation to the business needs activating the cinematographic look from the perspective of corporate video storytelling, orientated to narrate processes of change and technological, commercial and social innovation. Participants will acquire all the principal notions to master their own camera or video and will practice using them through the topics concerned. The objective is to enable all participants to use their own digital tools fully. Inventing their own story, making it universal and successful: writing, directing, lighting, retaking, assembling, publishing and broadcasting the best possible video onto the web. Great importance will be given to tools used to publicize the product, to the language used and to the successful case studies. Making videos, manual and semi-automatic preparation, using a light meter, focusing, diaphragms and timings, composition, framing, post-production; these are some of the topics that will be covered during the course.
Observation and analysis of the place of destination, of the production process and of the organic structure of the team. Collection of images and oral testimonies for narrative definition. Carrying out the subject and the narrative focus. Writing the script and staging of the storyboard.
Collecting the significant visual elements for the narration of productive organizations. Choosing the correct form according to the type of narrative in respect to each specific business. Give a complete form to the collected material under the narrative form for images. Define the subject and structure an effective script. Translate the script onto a storyboard. Carry out the types of filming in relation to the communicative demand of the business
This Minor is aimed to all students on all degree programmes at the University
Maximum number of participants: 30.
|SCRITTURA CREATIVA [NM001A]||2nd Semester||6||CINQUEGRANI Alessandro|
|SCRITTURA CREATIVA [NM001A]||2nd Semester||6||MILANESI Maria|
|SCRITTURA CREATIVA [NM001A]||2nd Semester||6||PANOZZO Fabrizio|
|TEATRO D'IMPRESA [NM001C]||2nd Semester||6||CINQUEGRANI Alessandro|
|TEATRO D'IMPRESA [NM001C]||2nd Semester||6||PANOZZO Fabrizio|
|TEATRO D'IMPRESA [NM001C]||2nd Semester||6||TOGNAZZO Filippo|
|VIDEO STORYTELLING [NM001B]||2nd Semester||6||CINQUEGRANI Alessandro|
|VIDEO STORYTELLING [NM001B]||2nd Semester||6||PANOZZO Fabrizio|
|VIDEO STORYTELLING [NM001B]||2nd Semester||6||RIVI Raffaella|