The course aims to provide the tools and methods of observation of cultural and artistic performances, especially the theatrical ones. Starting from the analysis of the forms and language of the collective contemporary imagery – media, artistic, performance products – and the communication theory is possible to treat the artistic performance as a particular place of social observation. The focus on the forms and languages of contemporary theatre and research, based on the dynamics of expressive experimentation involving the media and their logic (mediatization), allows us to understand the evolutionary dynamics of the live communication, then the fundamental relationship with the public, and its drifts that go beyond the traditional here and now. It is therefore in co-evolutionary relationship with the media that the languages of the scene - bodies, drama, writing, matter, time and space - always experience new possibilities and produce new forms, both at the level of aesthetic and imaginary common both in terms of reflective function that always covers the cultural performance. Through the lens of observation of the different types of performance - thanks to the use of video material, visual aids, success stories and testimonials - students can better understand the relationship between the configuration of the company, communication and media industry cultural as well as the scenery and complex hybrid of the collective contemporary imagery.

1. The Performance Theory: anthropological basis, basic mechanisms, frames.

2. Development of social and communicative cultural performance: the ritual forms, the theater (from the greek theater and the bourgeois theater) to the liminoid forms form the avant-garde to nowday performances.

3. Effectiveness, entertainment, hybrid performance.

4. The artistic performance: the social system of art and its functions.

5. The relationship between the social system of art and media system: Research and contamination in hybrid performance.

6. The interactive paradigm of theatrical communication.

7. The contemporary performance and its languages (bodies, drama, writing, matter, time and space) in the processing strategies of media languages: a) enhancement of drama specificity b) assimilation of the media languages c) transfer to the technological supports.

a) The relationship between art and life in the Avant-garde theatre:

b) The "image-theatre", technological and audio-visual experimentation;

c) Radio play, theater, television and video theater, online performance and widespread creativity.

1. Knowledge and understanding: Knowledge and understanding of the forms and languages of the performance in contemporary culture through the acquisition of theoretical models with particular attention to the dynamics of the transformation of the society and its communication forms.

1.1. Students are awarded this basic knowledge by attending the lectures and seminars, the study of the texts discussed in class and workshops.

2. Applying knowledge and understanding through the ability to analyze the cultural and performative products by applying the main methods of analysis.

2.1. Skills acquired through moments of training workshop in class.

3. Capacity of judgment: critical reflection on the evolutionary dynamics of the relationship between forms of contemporary performance as well as the changes taking place that affect communication as a whole and forms of performance art, especially theater.

3.1. That judgment will be applied in the confrontation in the classroom with the teacher and colleagues, during exercises and in the preparation of the final exam.

4. Communication skills: Students are required to interact in the classroom through questions, trade with fellow students, writing of short presentations during the exercise.

4.1. Skill practicing in the classroom with the organization of moments of discussion and exercise.

5. Learning skills: students are required to adopt a method of critical learning skills that can connect theoretical and empirical analysis, oriented to the specification of independent thought.

5.1. Ability to strengthen thanks to the argument with the teacher and classmates.

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

Seminars with experts (artists and scholars). The course is supported by a Facebook page dedicated to the dissemination and sharing of materials, news, etc..

The teaching materials provided by the teacher is available, together with other support activities within the platform Moodle> blended.uniurb.it.

Teaching

Lectures and seminars with the help of audiovisual material. The course also makes use of a Facebook page dedicated to the dissemination and sharing of materials used in the classroom and further study.

The course organizes the optional participation to the seasons and festivals of contemporary theater planned in the theaters of Urbino and Pesaro.

Attendance

Oral examination and presentation of a paper in the form of a review of at least two performances agreed with the teacher.

The exam will be held through an individual interview based on textbooks suggested. The aim is to evaluate both student's comprehension of the content and his ability in reworking concepts and in argumenting. Students must present a written document in the form of a review of at least two performances agreed with the teacher.

Excellent grades will be given in presence of: a good critical perspective and in depth study; knowing how to link among them the main subjects addressed during the course; the use of an appropriate language.

Good grades will be given in presence of:  good mnemonic knowledge of the contents; a relatively good critical perspective and connection skills related to the treated topics; the use of appropriate language.

Sufficient grades will be given in presence of: the achievement of a minimal knowledge on the treated themes, even in presence of some gaps; the use of a not appropriate language.

Negative grades will be given in presence of: a difficult orientation related to the the treated topics; knowledge gaps; the use of a not appropriate language.

Course books

- Gemini L. (2003), L’incertezza creativa. I percorsi sociali e comunicativi delle performance artistiche, Franco Angeli, Milano.

- De Marinis M. (2000), Il nuovo teatro 1947-1970, Bompiani, Milano (from p. 11 to p. 69; from p. 205 to p. 228)..

- Gemini L. (2012), Il dispositivo teatrale e lo sguardo utopico, in Mazzoli L., Zanchini G. (a cura di), Utopie. Percordi per immaginare il futuro, Codice Edizioni, Torino, pp. 15-38.

- Gemini L. (2016), Liveness: logiche mediali nella comunicazione dal vivo, in «Sociologia della Comunicazione», n. 51, pp. 43-63.

- Gemini L. (2018), Post-Novecento e mediatizzazione.Appunti mediologici sulle arti performative, in Tafuri C., Beronio D. (a cura di), Ivrea Cinquanta. Mezzo secolo di nuovo teatro in Italia 1967-2017, Akropolis, Genova, pp. 216-223.

AA.VV. (2017), Other material indicated in class.

Assessment

Oral examination and presentation of a paper in the form of a review of at least two performances agreed with the teacher.

The exam will be held through an individual interview based on textbooks suggested. The aim is to evaluate both student's comprehension of the content and his ability in reworking concepts and in argumenting. Students must present a written document in the form of a review of at least two performances agreed with the teacher.

Excellent grades will be given in presence of: a good critical perspective and in depth study; knowing how to link among them the main subjects addressed during the course; the use of an appropriate language.

Good grades will be given in presence of:  good mnemonic knowledge of the contents; a relatively good critical perspective and connection skills related to the treated topics; the use of appropriate language.

Sufficient grades will be given in presence of: the achievement of a minimal knowledge on the treated themes, even in presence of some gaps; the use of a not appropriate language.

Negative grades will be given in presence of: a difficult orientation related to the the treated topics; knowledge gaps; the use of a not appropriate language.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.

Teaching

Using the Facebook page dedicated to the distribution of materials and for the sharing of information regarding the course, the theatrical events take place in the theater seasons of Urbino and Pesaro.

Attendance

Study of the indicated texts and presentation of a written review in the form of at least two contemprary theater / dance performances agreed with the teacher.

Course books

 Gemini L. (2003), L’incertezza creativa. I percorsi sociali e comunicativi delle performance artistiche, Franco Angeli, Milano.

- De Marinis M. (2000), Il nuovo teatro 1947-1970, Bompiani, Milano.

- Gemini L. (2012), Il dispositivo teatrale e lo sguardo utopico, in Mazzoli L., Zanchini G. (a cura di), Utopie. Percordi per immaginare il futuro, Codice Edizioni, Torino, pp. 15-38.

- Gemini L. (2013), Performing Art e industria culturale alla prova del pubblico. Il caso della danza contemporanea: un'analisi, in «Comunicazioni Sociali», n. 2, pp. 269-281.

AA.VV. (2016), Other material indicated on Facebook and on the moodle platform for the blended learning.

A text chosen from:

- Sacchettini R. (2011), La radiofonica arte invisibile. Il radiodramma italiano prima della televisione, Titivillus, Corazzano (PI).

- Monteverdi A.M. (2011), Nuovi media, nuovo teatro. Teorie e pratiche tra teatro e digitalità, FrancoAngeli, Milano.

Assessment

Oral examination and presentation of a paper in the form of a review of at least two performances agreed with the teacher.

The exam will be held through an individual interview based on textbooks suggested. The aim is to evaluate both student's comprehension of the content and his ability in reworking concepts and in argumenting. Students must present a written document in the form of a review of at least two performances agreed with the teacher.

Excellent grades will be given in presence of: a good critical perspective and in depth study; knowing how to link among them the main subjects addressed during the course; the use of an appropriate language.

Good grades will be given in presence of:  good mnemonic knowledge of the contents; a relatively good critical perspective and connection skills related to the treated topics; the use of appropriate language.

Sufficient grades will be given in presence of: the achievement of a minimal knowledge on the treated themes, even in presence of some gaps; the use of a not appropriate language.

Negative grades will be given in presence of: a difficult orientation related to the the treated topics; knowledge gaps; the use of a not appropriate language.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.