96367 - History of Dramaturgy. Fundamentals (1) (Modulo 1)

Learning outcomes

By the end of the course the student: acquires knowledge of the compositional processes of historical and contemporary dramaturgies; knows how to analyze literary text and scenic text; knows how to apply basic skills to identify the textual structures of historical and contemporary theatres; knows how to relate the different dramaturgies, recognizing their belonging to styles, currents and periods of fundamental importance.

Course contents

The course will outline a history of dramaturgy by exempla from the 18th century to the contemporary. The texts examined will be the starting point for defining the main historical-critical junctures in European dramaturgy.

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

Students with DSA or temporary or permanent disabilities: it is suggested that they immediately contact the University office responsible (https://site.unibo.it/studenti-con-disabilita-e-dsa/it) and the lecturer, in order to seek together the most effective strategies for following the lessons and/or preparing for the exam.

Any administrative, technical-practical and organizational requests must be forwarded exclusively to the teaching tutor of the course, Dr. Marco Argentina, at the following email address: marco.argentina2@unibo.it.

Readings/Bibliography

Attendees:

1. Notes from lectures.
2. Luigi Allegri, La drammaturgia da Diderot a Beckett, Roma-Bari, Laterza, 1993;
3. Three texts to choose from:

- Diderot, Il padre di famiglia;
- Goldoni, Le Bourru bienfaisant;
- Sade, La filosofia nel boudoir;
- Schiller, Maria Stuarda;
- Hugo, Ernani;
- Vigny, Chatterton;
- Strindberg, Verso Damasco II;
- D'Annunzio, La città morta;
- Maeterlinck, I ciechi;
- Čechov, Tre sorelle;
- Pirandello, Sei personaggi in cerca d'autore;
- Una sintensi futurista;
- Brecht, Vita di Galileo;
- Bene, S.A.D.E.;
- Fosse, Caldo.



Non-attenders:




1. Luigi Allegri, La drammaturgia da Diderot a Beckett, Roma-Bari, Laterza, 1993;
2. Umberto Artioli, L'officina segreta di Pirandello, Roma-Bari, Laterza, 1989;
3. Pirandello, Sei personaggi in cerca d'autore;
4. Two texts to choose from:

- Diderot, Il padre di famiglia;
- Hugo, Ernani;
- Čechov, Il gabbiano;
- Una sintesi futurista;
- Brecht, Vita di Galileo.

Teaching methods

Teaching includes lectures and, if the Bolognese theatre season allows, the viewing of rehearsals and presentations by directors/dramatists/actors.

Assessment methods

The level of knowledge will be tested by means of an oral interview that will focus on the topics covered during the course and the texts indicated in the examination programme. The interview aims to ascertain knowledge of the history of dramaturgy between the 18th century and contemporary times and of the main historical-critical junctures in European dramaturgy.
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 for analysing the history of dramaturgy will be assessed with marks of excellence. A largely 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 knowledge, inappropriate language, and an inability to analyse fundamental junctures in the history of dramaturgy 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 teacher, who will assess the appropriateness in relation to the teaching objectives.

Teaching tools

Video and textual sources; if the theatre season allows, observation of rehearsals of performances and listening to oral testimonies of directors/dramatists/actors.

Office hours

See the website of Elena Randi