HISTORY OF STAGE DIRECTION

The aim of the course is to allow the student to acquire knowledge of the history of theories and poetics characterizing the staging of theatrical and musical productions, with a particular focus on the definition of the notion of direction and its protagonists.
Furthermore the course aims to provide the student with instruments of historical and theoretical knowledge to analyze a theatrical and musical performance as a whole with particular attention to the visual component.

It is expected that the student acquires instruments of historical and theoretical knowledge to analyze a theatrical and musical performance as a whole with particular attention to the visual component as well as to the performer interpretation, the stage movements, the figurative component and the lighting design and stagecraft.

There are no prerequisite requirements

The notion of directing is considered as applied to all the forms of live performance, from prose to musical theatre. The main methodological aspects of the direction thought will be examined in their relation to the artistic context of the sector and to the wider system of human sciences. Also the primary processes of the direction creation and the structural limitations which the director work has to face will be examined. The direction language will be examined to elaborate a mature and original critical thought on the art of theatre staging, setting a research which could use different sources, documentary and not, to face and solve the main problems created by the real practice of theatre staging, developing communication and relational skills. The course will investigate the birth of the art of directing from an historical point of view from the end of the IX century to the contemporary examples of the great masters of directing in Italy, Germany, France, Russia and America. The lessons will be held with the support of multimedia.

G. GUCCINI, 'Direzione scenica e Regia' in 'Storia dell'Opera Italiana' a cura L. Bianconi, G. Pestelli, vol. V, la spettacolarità, Torino, EDT, 1988, pp. 123-174.
M. SCHINO, 'La nascita della regia teatrale', Roma-Bari, Laterza, 2003.
M. SCHINO, 'L'età dei maestri : Appia, Craig, Stanislavskij, Mejerchol'd, Copeau, Artaud e gli altri, Roma, 2017.
R. ALONGE, 'Il teatro dei registi', Roma-Bari, 2006, pp. 48-65.
M. FAZIO, 'Regie teatrali. Dalle origini a Brecht', Roma, 2006.
C. LONGHI, 'La regia in Italia, oggi : per Luca Ronconi' in "Culture teatrali" : studi, interventi e scritture sullo spettacolo : fra Cinema e Teatro , 25, (2016), n. 25G.
W. OSTHOFF, 'L’opera d’arte e la sua riproduzione: un problema d’attualità per il teatro d’opera', in 'La drammaturgia musicale', a cura di L. Bianconi, Bologna,1986, pp. 383-409.
J. MAEHDER, 'La regia operistica come forma d’arte autonoma.'Sull’intellettualizzazione del teatro musicale nell’Europa del dopoguerra', Musica/Realtà», XI/1990, pp. 65-84.
'Luchino Visconti e il melodramma verdiano', a cura di C. d’Amico de Carvalho, Milano, 2001.
A. BENTOGLIOGLIO, 'Giorgio Strehler e il suo teatro', a cura di F. Mazzocchi e A. Bentoglio, Roma, 1997.
E. CASTIGLIONI, 'Le regie liriche di Luca Ronconi', Napoli, 2001.
'La realizzazione scenica dello spettacolo verdiano', a cura di P. Petrobelli e F. della Seta, Parma, 1996.
'Verdi in Performance', a cura di A. Latham e R. Parker, Oxford, Oxford University Press, 2001.

There will be oral examinations.
It is possible also to submit in-depth studies in agreement with the Professor.
Essays which have not previously been defined, agreed and approved by the Professor will not be accepted.

The course is structured in thaught lessons supported, wherever possible, by the analysis of iconographic material and by audio-video projections.
In addition it is foreseen the participation of the students to prose or musical theatre performances taking place in Venice during the running of the course.

Italian

Letture consigliate:
Marco Beghelli, 'Per un nuovo approccio al teatro musicale: l’atto performativo come luogo dell’imitazione gestuale nella drammaturgia verdiana', «Italica», lxiv, 1987, pp. 632-53.
Lorenzo Mango, 'La nascita della regia: una questione di storiografia teatrale', «Culture teatrali», XIII, 2005, pp. 129-186.
Sharon Marie Carnicke e David Rosen: 'A singer prepares: Stanislavsky and opera', in 'The Routledge Companion to Slanislavsky', a cura di R. Andrew White, London and New York, Routledge, 2014, pp. 120-138.
Carl Dahlhaus, 'Regietheater', «Musica» 38, 1984, pp. 227-236.
Paolo Fabbri, '«Di vedere e non vedere»: lo spettatore all’opera' , «Il Saggiatore musicale», xiv/2, 2007, pp. 359-367: rist. «Musica Docta», I, 2011.
Paolo Gallarati, 'Mimesi e astrazione nella regia del teatro musicale', in 'La regia teatrale: specchio delle brame della modernità', a cura di Roberto Alonge, Bari, Edizioni di Pagina, 2007, pp. 175-188.

oral

This subject deals with topics related to the macro-area "Cities, infrastructure and social capital" and contributes to the achievement of one or more goals of U. N. Agenda for Sustainable Development