Ateneo - UPO

The history of theatre and performance from the Middle Ages to the present day, with a specific focus on the theme ‘From medieval theatre to the Middle Ages on the contemporary stage and in contemporary public space’. A series of scenic and scenographic devices and medieval theatrical texts will be analysed, as well as the traces of medieval theatre on the contemporary stage and in contemporary performances, from revivals of medieval texts to costumed reconstructions, medieval festivals and other performative forms that show the fortune of a medieval and medievalist imaginary on the contemporary stage and in contemporary public space and culture.

Alle fonti del teatro, a cura di Luigi Allegri, Francesco Corticelli, Carocci, 2024 Leggere il teatro, a cura di Luigi Allegri, Carocci, 2023 Medieval Drama, a cura di Greg Walker, Wiley, 2000.  A Cultural history of theatre in the Early Modern Age, a cura di Robert Henke, Bloomsbury, 2022.  Michael A. Cramer, Medieval Fantasy as Performance, Scarecrow, 2009 Additional materials will be handed out during lessons.

- Analysing textual, dramaturgical, actorial and scenic aspects of medieval and contemporary medievalist plays.
- Understanding how the transition from text to stage takes place and how the revival of medieval conventions and staging devices (circular or levelled scene, etc.) take place on the contemporary stage
- Critically analysing contemporary medievalist performances (parades, tournaments, falconry shows, etc.) by understanding their technical, emotional and commercial aspects
- Critically questioning the fortune of medieval imagery in contemporary times on the basis of economic, political-ideological, identitarian, artistic and heritage aspects

None

Lectures; textual and performance analysis activities

Students with physical disabilities, Learning Disabilities or Special Education Needs can request specific services and tools via reference office consulting the University webpage:
https://www.uniupo.it/en/services/services-students-physical-or-learning-disabilities. Students with disabilities, learning disabilities or special education needs, once they have contacted the University Staff, can refer to the tutor in charge of the course to define the examination modalities, concerning academic aspects.

A paper of approximately 10 p., using at least 2 scientific sources, on a subject chosen by the student but to be agreed with the lecturer; within the same paper, the answers to 3 questions provided by the lecturer (maximum 3 p. for the 3 questions); 1 performance or show review to be produced during the semester (maximum 3 p.); the show or performance is chosen by the student but has to be approved by the lecturer.

The first part of the course will focus on a comparative history of medieval theatre, especially on genres (comedy-farce, religious theatre, etc.) and on technical and scenographic aspects, with particular attention to forms of performance that are not strictly textual. In the second part of the course we will focus, again from a comparative perspective, on the presence of medieval and medievalist performative forms, texts and reconstructions on the contemporary stage, with a specific interest in the forms that medievalism takes in contemporary culture, performance and society.
INTEGRATION OF THE GENDER DIMENSION
The gender dimension will be addressed, along with others, as an important element for European performance practices.

- Reading medieval and medievalist theatre texts in their technical, performative, staging and acting aspects, as well as textual aspects.
- Critically questioning the forms of the ‘taste for the Middle Ages’ and the ‘dream of the Middle Ages’ so present in contemporary society.
- Understanding how the Middle Ages become the bearer of values, political and ideological demands, ecological stances, etc. in today's society and how the medieval filter acts as a catalyst for contemporary issues, with particular attention to the forms in which the Middle Ages are present in today’s performative forms.

At a first level, in terms of “knowledge and understanding,” the achievement of learning objectives will be based on indicators pertaining to participation in activities carried out in class and outside of class, the ability to understand the specifics of the language of performance with particular reference to the medieval and contemporary eras, as well as the relations of dialogue between the two eras. In terms of “ability to apply knowledge and understanding,” the student's ability to understand the reasons for and implications of the presence of medievalist performance in the contemporary world, as well as to identify its components of medieval derivation and those of contemporary adaptation, will be observed. At a more advanced level, in terms of “knowledge and understanding,” the achievement of the formative objectives will be based on indicators inherent in the quality of writing, research and critical reading of sources. In terms of “ability to apply knowledge and understanding,” critical ability resulting from participant observation of the event being analyzed will be observed.