The course aims at investigating the relationship between stage and writing during the Futurism, as it is described by the founding Manifestos of the new aesthetics, its most famous authors and interpreters, its best theatrical works. Special attention will also be paid to the European diffusion of the futurist theatre and to its connection of reciprocity and interference with other forms of avant-gardes.
Umberto Artioli, La scena e la dynamis: immaginario e struttura nelle sintesi futuriste, Bologna, Patron, 1975
Anna Barsotti, Futurismo e avanguardie nel teatro italiano fra le due guerre, Roma, Bulzoni, 1990.
And the essays:
Roberto Tessari, Teatro e avanguardie storiche. Traiettorie dell’eresia, Roma-Bari, Laterza, 2005 (solo il cap. II: Dalla rivolta degli oggetti ai voli degli angeli meccanici. Teatro astratto e “performances” futuriste)
Lia Lapini, Futurteatro: saggi sul teatro futurista, Corazzano, [San Miniato], Titivillus, 2009.
2. Sources (recommended for reading and consultation)
Giovanni Antonucci, Cronache del teatro futurista, Roma, ABeTE, 1975.
Manifesti, proclami, interventi e documenti teorici del futurismo, 1909-1944, a cura di Luciano Caruso, Firenze, Coedizioni Spes-Salimbeni, 1980.
Il dizionario del futurismo, a cura di Ezio Godoli, Firenze, Vallecchi, 2001, 2 voll.
Futurismo 1909-1944. Arte, architettura, spettacolo, grafica, letteratura, a cura di Enrico Crispolti, catalogo della mostra (Roma, Palazzo delle Esposizioni, 7 luglio-22 ottobre 2001), Milano, Mazzotta, 2001.
3. Instruments
T. MEGALE (a cura di), Occasioni malapartiane. Progetti e produzioni della compagnia teatrale universitaria, Firenze, Firenze University Press, 2009, pp. 27-48.
T. MEGALE (a cura di), Contesti teatrali universitari. Il progetto Ri-Nascite ad Officina Giovani, coordinamento editoriale di A. Liberto, Firenze, Firenze University Press, 2014.
The regular class meetings will be composed of lectures and contextual projections of multimedia materials.
Learning Objectives
The aim of the course is to provide students with a general overview of the following basic themes:
- the concept of artistic avant-gard; the concept of futurism;
- the productive mechanisms of the Italian futurist theatre;
Skills:
- the comprehension and the distinction of different productive methodologies;
- the comparison between different theatrical phenomena.
Prerequisites
A good knowledge of the history of theatre.
Teaching Methods
The regular class meetings will be composed of lectures and contextual projections of multimedia materials.
Further information
The works of some female futurist writers will also be at the core of the course, especially actress Enif Robert’s ‘surgical’ novel Un ventre di donna (Milano, Facchi, 1919). The course, intimately connected with the Laboratory of the history and technique of acting and the Laboratory of stage directions, will end with the theatrical adaptation of the above mentioned novel.
The course aims at investigating the relationship between stage and writing during the Futurism, as it is described by the founding Manifestos of the new aesthetics, its most famous authors and interpreters, its best theatrical works. Special attention will also be paid to the European diffusion of the futurist theatre and to its connection of reciprocity and interference with other forms of avant-gardes.
BIBLIOGRAPHY
1. Essays
An essay from the following list:
Umberto Artioli, La scena e la dynamis: immaginario e struttura nelle sintesi futuriste, Bologna, Patron, 1975
Anna Barsotti, Futurismo e avanguardie nel teatro italiano fra le due guerre, Roma, Bulzoni, 1990.
And the essays:
Roberto Tessari, Teatro e avanguardie storiche. Traiettorie dell’eresia, Roma-Bari, Laterza, 2005 (solo il cap. II: Dalla rivolta degli oggetti ai voli degli angeli meccanici. Teatro astratto e “performances” futuriste)
Lia Lapini, Futurteatro: saggi sul teatro futurista, Corazzano, [San Miniato], Titivillus, 2009.
2. Sources (recommended for reading and consultation)
Giovanni Antonucci, Cronache del teatro futurista, Roma, ABeTE, 1975.
Manifesti, proclami, interventi e documenti teorici del futurismo, 1909-1944, a cura di Luciano Caruso, Firenze, Coedizioni Spes-Salimbeni, 1980.
Il dizionario del futurismo, a cura di Ezio Godoli, Firenze, Vallecchi, 2001, 2 voll.
Futurismo 1909-1944. Arte, architettura, spettacolo, grafica, letteratura, a cura di Enrico Crispolti, catalogo della mostra (Roma, Palazzo delle Esposizioni, 7 luglio-22 ottobre 2001), Milano, Mazzotta, 2001.
3. Instruments
T. MEGALE (a cura di), Occasioni malapartiane. Progetti e produzioni della compagnia teatrale universitaria, Firenze, Firenze University Press, 2009, pp. 27-48.
T. MEGALE (a cura di), Contesti teatrali universitari. Il progetto Ri-Nascite ad Officina Giovani, coordinamento editoriale di A. Liberto, Firenze, Firenze University Press, 2014.
The regular class meetings will be composed of lectures and contextual projections of multimedia materials.
Course Aims
The aim of the course is to provide students with a general overview of the following basic themes:
- the concept of artistic avant-gard; the concept of futurism;
- the productive mechanisms of the Italian futurist theatre;
Skills:
- the comprehension and the distinction of different productive methodologies;
- the comparison between different theatrical phenomena.
Prerequisites
A good knowledge of the history of theatre.
Course organization:
The regular class meetings will be composed of lectures and contextual projections of multimedia materials.
Other information:
The works of some female futurist writers will also be at the core of the course, especially actress Enif Robert’s ‘surgical’ novel Un ventre di donna (Milano, Facchi, 1919). The course, intimately connected with the Laboratory of the history and technique of acting and the Laboratory of stage directions, will end with the theatrical adaptation of the above mentioned novel.