The student will acquire the basic information on the material and structural aspects of the ancient theatre (actor, chorus, material organization of the representation, agonistic opportunity, scenic space, public) and the story of the transmission of the dramatic texts from the "first" performance to us.

Through the reading from the original language of Euripide's Helen, the student will learn to understand a classical dramatic text in its linguistic, metrical-musical, thematic, historical-literary aspects, and its theatrical dynamics.

The course will begin (I-III week) from a general introduction to the Attic Theatre, to its historical, evolutionary (from the initial stages to the maturity), and cultural aspects (society, historical events), as well as to its material and dramaturgical aspects (form of the theatrical building, mask, actors, scenic space, theatrical machines, roles and movements on the scene).

It will continue (IV week) illustrating the figure and work of Euripides, whose tragedy will be the specific object of reading and analysis.

The remaining part of the course (V-IX week) will be entirely devoted to the original language reading of the Helen, whose text will be translated and commented in a critical-textual, historical-literary perspective, as well as in terms of plot and dramaturgy. The iambic trimeterwill be introduced and illustrated, with reading exercises, and some notes will be given about the structure of the lyrical sections.

A preliminary knowledge of ancient Greek is not required.

The student will be guided to an essential knowledge of Classical Greek theatre, and to the ability to independently read a classical theatrical text with the complexity it presents.

From the point of view of the information obtained, the student will acquire an in-depth knowledge of issues relating to the transmission of the text, its performance and representation on the stage, the treatment of the plot in relation to the mythographical tradition.

More generally, the process of analytical reading of the chosen text will have important consequences on the student's ability to deal proficiently with independent, rigorous reading of every kind of source (literary, historiographical, etc.), and to develop analytical skills of close reading, synthesis and critical thinking on the data and sources.

From the educational point of view, the student will deepen their awareness of specific methodological aspects characterizing literary research and, in particular, his/her dramatic and aesthetic sensitivity to the formal aspects of the poetic and rhetorical and, namely, theatrical discourse.

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

The course might be complemented by seminars and conferences methodologically relevant to the training and to matters relating to methods and themes concerning ancient Greek Theatre.

As part of the course, prof. O. Mei (L-Ant / 07 Classical Archeology) will hold 6 hours lectures on the material history of the theater building from the archaic age to the Roman age.

Teaching

Front Lessons.

Attendance

The attendance of the course and any supplementary seminars is required.

Course books

I. Edition:

Euripide, Elena, a cura di M. Fusillo, BUR, Milano 1997 e successive ristampe

II. Handbook: 

 G. Mastromarco, P. Totaro, Storia del Teatro greco, Firenze 2008,

III. Additional readings (mandatory)

a. The student is required to read one of the followiing books:

- Il mito di Elena, a cura di M. Bettini, C. Brillante, Einaudi, Torino 2014 (2002)

- Elena. Variazioni sul mito. Euripide, Hofmannsthal, Ritsos, a cura di F. Donadi, marsilio, Venezia 2008 (2005)

b. The student is required to read in italian translation the following theatrical works:

Euripide, Ione

Euripide, Alcesti

Aristofane, Tesmoforiazuse

Assessment

The verification of the learning will take place through an individual oral interview based on the reference texts for the exam, aimed at evaluating both the learning of the contents by the student and his / her ability to re-elaborate and to argue.

Evaluations will be sized as follows:

assessments of excellence: the student has good critical skills and in-depth; He knows how to link the main issues addressed during; makes use of appropriate language with respect to the specificity of the discipline.

discrete assessments: the student has a mnemonic knowledge of the contents; decent critical and knows establish relationships between the topics covered: makes use of appropriate language.

sufficient assessment: the student has minimal knowledge on the subject of the course themes, with some information deficiencies; It makes use of a slightly appropriate language.

negative evaluations: the student turns with difficulty on the issues addressed in class; has obvious information deficiencies; makes use of of an inappropriate language.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Teaching

There are no teaching methods in e-learning.

Attendance

The student is required to observe carefully the program indicated in the vademecum.

In case of specific needs, requiring a variation of the indicated program, the student should contact the teacher to arrange an alternative program.

Course books

I. Edition:

Euripide, Elena, a cura di M. Fusillo, BUR, Milano 1997 e successive ristampe

II. Handbook: 

 G. Mastromarco, P. Totaro, Storia del Teatro greco, Firenze 2008,

III. Additional readings (mandatory)

a. The student is required to read the followiing books:

- Il mito di Elena, a cura di M. Bettini, C. Brillante, Einaudi, Torino 2014 (2002)

- Elena. Variazioni sul mito. Euripide, Hofmannsthal, Ritsos, a cura di F. Donadi, marsilio, Venezia 2008 (2005)

b. The student is required to read in italian translation the following theatrical works:

Euripide, Ione

Euripide, Alcesti

Aristofane, Tesmoforiazuse

Assessment

The verification of the learning will take place through an individual oral interview based on the reference texts for the exam, aimed at evaluating both the learning of the contents by the student and his / her ability to re-elaborate and to argue.

Evaluations will be sized as follows:

assessments of excellence: the student has good critical skills and in-depth; He knows how to link the main issues addressed during; makes use of appropriate language with respect to the specificity of the discipline.

discrete assessments: the student has a mnemonic knowledge of the contents; decent critical and knows establish relationships between the topics covered: makes use of appropriate language.

sufficient assessment: the student has minimal knowledge on the subject of the course themes, with some information deficiencies; It makes use of a slightly appropriate language.

negative evaluations: the student turns with difficulty on the issues addressed in class; has obvious information deficiencies; makes use of of an inappropriate language.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

The course is intended in close continuity with the course of Fortuna of Classical Culture (Prof. R. M. Danese), in collaboration with the Crescendo project for Rossini promoted by the Rossini Opera Festival (ROF) and the Rossini Foundation.