The course aims to provide the tools for observation and critical analysis of the forms of contemporary entertainment connected to social mediation processes, with particular attention to the dimensions of the live show, liveness, digital liveness and fruition processes.
Specifically, the course aims to promote the following objectives:
- knowing how to frame contemporary spectacularity in the bed of performance theory;
- acquire complex theoretical knowledge aimed at observing the relationship of structural homology between forms of performance and socio-communicative structures;
- acquire the terminology of media languages ??for the analysis of contemporary entertainment: mediatization, mediation and remediation, multimedia, cross-media, trans-media, media dramaturgy, liveness;
- knowing how to set up a research design oriented to the analysis of a spectacular event, spectator behaviors and fruition processes;
- knowing how to write an analytical text (review) of a spectacular event.

1. The Performance theory
1.1. Victor Turner and the anthropological foundations of performance
1.2. Cultural performance as a reflective mirror
1.3. The performative frame2. Structural homology between forms of performance, communication and company structure
2. The structural homology between forms of performance, communication and society
2.1. From ritual to theater: effectiveness and entertainment
2.3. Hybrid media performances: from media ceremonies to forms of widespread spectacle
3. The contemporary theatrical performance and its languages
3.1. The strategies for the development of media languages by the theater
3.2. The enhancement of theatrical specificity: Theater as life and without a show from the Avant-garde to today
3.3. The assimilation of media languages in theatrical performance: image theater, video on stage and technological experimentation in the theater
3.4. The transfer of theatrical performance to technological media: radio play, television and video theater, online and transmedia performances
4. Hybrid performances and media events
4.1. Mass communication and media events
4.2. The typology of media events
4.3. Performing audience and participatory dynamics
5. Remediation
5.1. The double logic of remediation
5.2. Immediacy, hypermediation and remediation
5.3. The size of the remedy
5.4. Liveness and digital liveness
6. The design of the research project
6.1. Live audience research: object delimitation, research questions, methodologies
6.2. Case studies
7. The review
7.1. Construction of a text aimed at reviewing a performative event

1. Knowledge and understanding
- knowledge and understanding of the performance theory;
- knowledge and understanding of the theoretical frameworks used for the analysis of media languages;
- knowledge and understanding of the empirical research processes that can be used in the field of contemporary live and media entertainment.
1.1. Students achieve this basic knowledge through the attendance of lessons and seminars, the study of the texts discussed in the classroom and the exercise in the classroom.
2. Applying knowledge and understanding
- ability to analyze spectacular media and live products;
- ability to apply mediological concepts to spectacular events;
- ability to understand the methodological differences in relation to the research object;
- capacity for empirical generalization and use of theoretical concepts in the interpretation of results, in the analysis of spectacular products, etc.
2.1. Skills acquired through laboratory exercises in the classroom.
3. Making judgements
- critical and analytical ability aimed at grasping the differences in the various spectacular and performing contexts;
- ability to identify viable objects of analysis in the field of contemporary performance;
- ability to identify research methodologies suitable for different contexts;
- ability to formulate adequate research questions and operational hypotheses;
- ability to read and interpret the dramaturgical dimensions of spectacular events;
3.1. This judgment should be applied in the classroom discussion with the teacher and colleagues, during the exercises and in the preparation of the final exam.
4. Communication skills
- ability to present analyzes produced during class exercises;
- willingness to actively participate in lessons with questions and comments;
- ability to write the review of a performative event;
- ability to work in a team;
- ability to produce and share in-depth materials on the course topics;
4.1. Skills that are exercised in the classroom with the organization of moments of discussion, exercises, with active participation in the social channels of the course.
5. Learning skills
- ability to correctly apply and use theoretical terms and concepts relating to performative events;
- ability to analyze and critically evaluate, both in methodological aspects and in results, empirical research conducted in a spectacular setting;
- ability to find the sources necessary for the analysis of spectacular events;
- ability to connect the concepts learned;
5.1. Skills to be enhanced thanks to the argumentation 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.
 

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, FrancoAngeli, Milano (capitoli 1 e 3).
- Bolter J.D., Grusin R. (2002), Remediation. Competizione e integrazione tra media vecchi e nuovi, Guerini, Roma (da p. 11 a p. 117).
- Dayan D., Katz E. (1993), Le grandi cerimonie dei media. La Storia in diretta, Baskerville, Bologna (da p. 3 a p. 60).
- Gemini L. (2016), Liveness: logiche mediali nella comunicazione dal vivo, in «Sociologia della Comunicazione», n. 51, pp. 43-63.
- AA.VV. (2020-2021), 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.

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, FrancoAngeli, Milano (capitoli 1 e 3).
- Bolter J.D., Grusin R. (2002), Remediation. Competizione e integrazione tra media vecchi e nuovi, Guerini, Roma (da p. 11 a p. 117).
- Dayan D., Katz E. (1993), Le grandi cerimonie dei media. La Storia in diretta, Baskerville, Bologna (da p. 3 a p. 60).
- Gemini L. (2016), Liveness: logiche mediali nella comunicazione dal vivo, in «Sociologia della Comunicazione», n. 51, pp. 43-63.
- Amendola A., Del Gaudio V. (a cura di), Teatro e immaginari digitali. Saggi di mediologia dello spettacolo multimediale, Gechi, Milano-Salerno.

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.