29019 - History of Directing (1) (2nd cycle)

Learning outcomes

For the purposes of the Fundamentals of Theatre Directing (1) classes, the concept of theatre directing will be considered as potentially referring to all forms of live performance, including musical theatre. At the end of the course unit, the students will know: - the main theoretical and methodological aspects of directing, in connection with the artistic context of the theatre and with the framework of human sciences in general; - the main study tools with which to set up a research on a director's work; Moreover, they will be able to: - employ the language of directing effectively; - work out a mature and original critical thought on the art of staging and correctly carry out a research of their own, in the field of theatre directing, that makes use of various sources of information (documentary and not), intended to be presented either in writing or in spoken form.

Course contents

The first part of the course will deal with Victor Hugo's stage directions and theorisations of a directorial nature, contextualising them in the French theatre of the time.

In the second half of the course, students will be offered the analysis of directorial events.

Module I (first 30 hours)

Victor Hugo: directing and theorising.

Module II (next 30 hours)

A number of major directorial events will be analysed in order to lead students to the ability to critically decode a staging.

In the event that students cannot always be present in class in Module II, it is essential to fall back on the examination for non-attending students.

The first module corresponds to the 6 cfu course; the 2 modules together correspond to the 12 cfu course.

Students with SLD or temporary or permanent disabilities. It is suggested that they get in touch as soon as possible with the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en ) and with the lecturer in order to seek together the most effective strategies for following the lessons and/or preparing for the examination.

Readings/Bibliography

6 cfu course (I module)

Attendants:

• Lecture notes.
• Elena Randi, I primordi della regia. Nei cantieri teatrali di Hugo, Vigny, Dumas, Bari, edizioni di Pagina, 2009.
• Elena Randi, Per un'analisi della Lucrezia Borgia di Victor Hugo attraverso la prima messinscena, in "Schifanoia", 1/2, 2021, pp. 167-175.
• Elena Randi, Di ruoli, di intenzioni, di sdoppiamenti e di regia, ovvero purtroppo non si parla del Talismano ma di Marion de Lorme, in "Vi metto fra le mani il testo affinché ne possiate diventare voi gli autori". Scritti per Franco Perrelli, Bari, Pagina, 2022, pp. 181-193.
• Elena Randi, Percorsi della drammaturgia romantica, Torino, UTET, 2012 (only the chapter on Hugo's Il re si diverte).
• Elena Randi, Il teatro romantico, Bari, Laterza, 2016.
• Victor Hugo, Ernani, any edition.
• Victor Hugo, Angelo, tyrant of Padua, any edition.

We also highly recommend reading:

• Victor Hugo, Lucrezia Borgia, any edition.
• Victor Hugo, Marion de Lorme, any edition.

Non-attending students:

In addition to the texts for frequent attendees, they must study:

• Victor Hugo, Il re si diverte, any edition.
• Victor Hugo, Lucrezia Borgia, any edition.
• Victor Hugo, Marion de Lorme, any edition.
• Victor Hugo, Ruy Blas, any edition.

12 cfu course (I + II module)

Attendants:

In addition to the materials provided for Module I, students will be required to study:

• Victor Hugo, Prefazione a Cromwell, any edition.
• Victor Hugo, Sul grottesco, Milano, Guerini & Associati, 1990.

 

For those lacking an adequate knowledge of the history of directing, we recommend reading at least one of the following volumes:

• Umberto Artioli (a cura di), Il teatro di regia: genesi ed evoluzione (1870-1950), Roma, Carocci, 2004.
• Giovanna Zanlonghi, La regia teatrale nel secondo Novecento. Utopie, forme e pratiche, Roma, Carocci, 2023.
• Roberto Alonge, Il teatro dei registi. Scopritori di enigmi e poeti della scena, Roma-Bari, Laterza, 2006.
• Lorenzo Mango, Il Novecento del teatro. Una storia, Roma, Carocci, 2019.

Teaching methods

Teaching includes lectures and discussions with students.

Assessment methods

I module (6 cfu)

The level of knowledge will be tested by means of an oral interview, which will focus on the topics covered during the course and the texts indicated in the examination programme. The interview is intended to ascertain knowledge of the history of kingship, some relevant events leading up to its emergence and the related historiography.

I + II module (12 cfu)

 
In addition to what has already been stated for module I, students in the oral interview will have to prove their mastery of a method of analysing the directorial event.

Both for students taking the 6 cfu examination and for students taking the 12 cfu examination:

The achievement of an organic vision of the topics addressed, the possession of a mastery of expression and specific language, the originality of reflection as well as familiarity with the tools of analysis of the history of directing will be assessed with marks of excellence. A mostly mechanical or mnemonic knowledge of the subject, an unarticulated ability to summarise and analyse or language that is correct but not always appropriate will lead to fair marks. Occasional gaps in mastery of the subject, poor synthesis and analysis skills, and language that is not very appropriate will lead to marks that are on the sufficiency threshold. Significant gaps in training, inappropriate language, inability to analyse fundamental junctures in the history of filmmaking will only result in negative marks.

Students with DSA or temporary or permanent disabilities: it is advisable to contact the University office responsible (https://site.unibo.it/studenti-con-disabilita-e-dsa/it) in good time: it will be its task to propose any adjustments to the students concerned, which must in any case be submitted 15 days in advance for approval by the lecturer, who will assess the appropriateness of such adjustments in relation to the teaching objectives.

Teaching tools

Watching videos and iconographic material, reading textual sources; if possible, watching rehearsals of performances and listening to oral histories of directors/dramatists/actors.

Office hours

See the website of Elena Randi