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B005593 - HISTORY OF RENAISSANCE AND BAROQUE THEATER
Main information
Teaching Language
Course Content
Suggested readings
Learning Objectives
Prerequisites
Teaching Methods
Further information
Type of Assessment
Academic Year 2019-20
Coorte 2018 - Second Cycle Degree in MODERN PHILOLOGY
Course year
Second year - Second Semester
Belonging Department
Humanities (DILEF)
Course Type
Single education field course
Scientific Area
L-ART/05 - PERFORMING ARTS
Credits
6
Teaching Hours
36
Teaching Term
24/02/2020 ⇒ 05/06/2020
Attendance required
Yes
Type of Evaluation
Final Grade
Course Content
show
Lectureship
Mutuality
Course teached as:
B029189 - STORIA DEL TEATRO ANTICO DEL RINASCIMENTO E DEL BAROCCO
Second Cycle Degree in PERFORMING ARTS
Curriculum STORIA E CRITICA DELLO SPETTACOLO
B029189 - STORIA DEL TEATRO ANTICO DEL RINASCIMENTO E DEL BAROCCO
Second Cycle Degree in PERFORMING ARTS
Curriculum STORIA E CRITICA DELLO SPETTACOLO
Teaching Language
Italian
Course Content
The course discusses the birth of modern theatre in Italy in the sixteenth century, thus problematizing the theatricality of the Renaissance between court, academy and market. the course is held in co-ordination with teacher prof. Stefan Hulfeld dell' Universität Wien, visiting professor in the framework of SAGAS Department's project of excellence activities).
Suggested readings (Search our library's catalogue)
1) LECTURE NOTES (essential)
2) ESSAYS
- Siro FERRONE, Il teatro, in Storia della letteratura italiana, ed. by E. Malato, 3. Il Quattrocento, Roma, Salerno editrice, 1996, pp. 955-992.
- Siro FERRONE, Il teatro, in Storia della letteratura italiana, ed. by E. Malato, 4. Il primo Cinquecento, Roma, Salerno editrice, 1996, pp. 909-1009.
- Fabrizio CRUCIANI, Teatro nel Rinascimento. Roma, 1450-1550, Roma, Bulzoni, 1983.
- Sara MAMONE, Il teatro nella Firenze medicea, Bologna, Cuepress, 2018.
- Stefano MAZZONI, Lo spettacolo delle accademie, in Storia del teatro moderno e contemporaneo, vol. I. La nascita del teatro moderno: Cinquecento e Seicento, ed. by R. Alonge e G. D. Bonino, Torino, Einaudi, 2000, pp. 869-903.
3) SOURCES
- Bernardo DOVIZI da Bibbiena, La calandria, ed. by P. Fossati, torino, Einaudi, 1988.
- Angelo INGEGNERI, Della poesia rappresentativa e del modo di rappresentare le favole sceniche (1598), ed. by M. L. Doglio, Modena, Panini, 1989.
- Leone de' SOMMI, Quattro dialoghi in materia di rappresentazioni sceniche, ed. by F. Marotti. Milano, Il Polifilo, 1968.
2) ESSAYS
- Siro FERRONE, Il teatro, in Storia della letteratura italiana, ed. by E. Malato, 3. Il Quattrocento, Roma, Salerno editrice, 1996, pp. 955-992.
- Siro FERRONE, Il teatro, in Storia della letteratura italiana, ed. by E. Malato, 4. Il primo Cinquecento, Roma, Salerno editrice, 1996, pp. 909-1009.
- Fabrizio CRUCIANI, Teatro nel Rinascimento. Roma, 1450-1550, Roma, Bulzoni, 1983.
- Sara MAMONE, Il teatro nella Firenze medicea, Bologna, Cuepress, 2018.
- Stefano MAZZONI, Lo spettacolo delle accademie, in Storia del teatro moderno e contemporaneo, vol. I. La nascita del teatro moderno: Cinquecento e Seicento, ed. by R. Alonge e G. D. Bonino, Torino, Einaudi, 2000, pp. 869-903.
3) SOURCES
- Bernardo DOVIZI da Bibbiena, La calandria, ed. by P. Fossati, torino, Einaudi, 1988.
- Angelo INGEGNERI, Della poesia rappresentativa e del modo di rappresentare le favole sceniche (1598), ed. by M. L. Doglio, Modena, Panini, 1989.
- Leone de' SOMMI, Quattro dialoghi in materia di rappresentazioni sceniche, ed. by F. Marotti. Milano, Il Polifilo, 1968.
Learning Objectives
Acquisition of in-depth historical and philological skills on the birth of modern theater in Italy and on Renaissance performances through the thoughts of philosophers (eg Francesco Petrarca), architects (eg Leone Battista Alberti), academics (eg Pomponio Leto), men of court (eg Baldassare Castiglione) and theatre professionals (eg Leone de 'Sommi).
The lessons will stimulate autonomous ability of recognition and interpretation of multiple sources (literary, archival, iconographic, web sites). The basic educational objective is therefore the individual acquisition of critical abilities on the topics investigated. For this purpose exercises are planned.
KNOWLEDGE:
Knowledge of the historical framework of reference.
SKILLS:
To execute the criticism of the sources.
CAPACITY:
Knowing how to reconstruct and interpret, in a contextual perspective, the birth of modern theatre.
Develop the learning abilities that are indispensable to pursue studies with critical autonomy.
The lessons will stimulate autonomous ability of recognition and interpretation of multiple sources (literary, archival, iconographic, web sites). The basic educational objective is therefore the individual acquisition of critical abilities on the topics investigated. For this purpose exercises are planned.
KNOWLEDGE:
Knowledge of the historical framework of reference.
SKILLS:
To execute the criticism of the sources.
CAPACITY:
Knowing how to reconstruct and interpret, in a contextual perspective, the birth of modern theatre.
Develop the learning abilities that are indispensable to pursue studies with critical autonomy.
Prerequisites
Bachelor. Good knowledge of the Italian language.
Teaching Methods
Lectures: 36 hours. Cultural historiography and history of Renaissance performances through the comparative study of multiple sources and different historiographical approaches. Contextual and multilinear approach to the topics of study. The course will be supplemented by image projections. Exercises are planned. Use of the Moodle platform.
Further information
Attendance is strongly recommended. There will be oral and / or written tests and a final oral exam.
Type of Assessment
Oral exam. The discussion will focus on the contents of the course and on the bibliography.
During the exam the student must demonstrate:
1) Know the topics presented in the course.
2) Understand the main conceptual categories of theatre history.
3) Express their opinions in appropriate language.
4) Discuss, with critical autonomy, the topics and the bibliography of the course.
During the exam the student must demonstrate:
1) Know the topics presented in the course.
2) Understand the main conceptual categories of theatre history.
3) Express their opinions in appropriate language.
4) Discuss, with critical autonomy, the topics and the bibliography of the course.