SCENOGRAFIA

The course aims to provide basic knowledge of the historical evolution, between continuity and change, of the forms of theatre and scenic space. Through teaching activities, the goal is to acquire the ability to understand the multiple correspondences and relationships between stage action and the spectator, between space and the meaning of a scenography, between ritual and spatial configuration, and between scenic space as interior and landscape as stage.

Understanding these specific aspects related to the course topic is necessary to achieve awareness of the scenic space as a product of artistic and architectural value—even when ephemeral—and to develop critical skills, grasping its dramaturgical role and value in theatrical performance.

According to the Dublin Descriptors, by the end of the course students must acquire:

1.             Knowledge of the fundamental topics in the History of Scenography (particularly from the 20th century to the present day) and the principles of major theorists, enabling the strengthening of abilities to develop original ideas while assessing their production feasibility (recognition of adopted technologies, the degree of practicality, adaptability to different types of stages and theatres; understanding of requirements such as disassembly, transportability, dimensional compatibility, storage).

2.             The ability to interpret a scenic project in its semantic and semiological features, with analysis of artistic references and identification of dramaturgical values, often as part of a complex research program.

3.             The ability to apply knowledge to innovative topics or those not yet explored, or to interdisciplinary contexts that need to be reconnected to one’s field of study.

4.             The ability to reflect on the social and ethical responsibilities linked to production decisions.

5.             The ability to communicate projects or critical interpretations clearly, concisely, and unambiguously to both specialist and non-specialist audiences; and to have developed skills that allow for continued independent study and work in the performing arts sector.

Knowledge assessment will consider mastery of content and skills, linguistic accuracy, lexical precision, and the candidate’s argumentative ability.

•               Monographic lectures by the course instructor and other professors or industry experts;

•               Visits to scenography workshops;

•               Attendance of theatrical performances followed by critical discussions;

•               Design exercise of a scenic setup for a theatrical performance in a public interior in Syracuse.

Attendance is not mandatory but recommended. Active participation facilitates the acquisition of specific disciplinary skills and the ability to integrate knowledge related to new or unfamiliar topics, also thanks to the opportunity for critical discussion of the subjects, preparatory to the design exercise.

In line with its objectives, the course investigates contemporary approaches to scenic space, divided into two aspects:

• The first concerns the radical transformations of theatre and, above all, of scenic space in the 20th century; this topic is addressed through a historical overview of the significant changes affecting playwriting, scenic space, and theatre venues, illustrated with emblematic case studies.

• The second focuses on technologies for theatre production, considering the interpretation of the term technology as primarily the study and management of the process that leads to the creation of a product—in this case, of an artistic and performative type; secondarily, it involves the processes of modifying material and immaterial elements intended for scenographies, which imply technology transfer from both artistic and other production fields.

For the first aspect, we will examine changes in the use of text, the body, and space, starting from some pioneering authors, scenographers, and architects, through the historical period culminating in the drafting of the “Ivrea Manifesto on New Theatre” (1967), up to today.

Special attention will be devoted to productions arising from ‘scenic writings’ without a pre-existing text, in which scenography plays an active dramaturgical role, evolving from representing locations to becoming a “story-space.”

Additionally, the course will briefly address the impact of technological and multimedia innovations on scenic design.

For the second aspect, the course will explore the specific characteristics of theatre productions: artistic, technical, regulatory, and organizational, observing sustainability strategies for theatrical institutions, with attention to the regeneration of social and territorial contexts.

A. Evolution of the Relationship Between Theatre Space and Scenic Space

Texts:

- F. Cruciani, Lo Spazio del Teatro, Laterza, Roma-Bari, 1999.

- C. Titomanlio, Sul palco. Storia della scenografia e dell’architettura teatrale, La casa Usher, VoLo Publisher, 2019 (selected pages).

- F. Perrelli, Storia della Scenografia. Dall’antichità al XXI secolo, Carocci editore Studi Superiori, nuova edizione aggiornata, Roma 2024.

B. Designing the Stage: Techno-Dramaturgical Evolutions

Texts:

•               V. Fiore, Scritture dello spazio scenico, in «Stratagemmi. Prospettive Teatrali», n. 46, 2022(2024), pp. 13-25.

•               V. Fiore, Scenografie portatili, Siracusa, LetteraVentidue, 2015, pp. 57-77.

•               F. Bono, Dossier Ivrea 1967: il programma e la cronaca, in «ATeatro. Webzine di cultura teatrale», 27/04/2007, online: http://www.ateatro.it/webzine/2007/04/27/dossier-ivrea-1967-il-programma-e-la-cronaca.

C. Monographic Insights and Case Studies (one to be chosen by the student):

•               A.M. Monteverdi, La Walhalla machine: Lepage e Wagner, annamonteverdi.it, 9/1/2014. Online: https://www.annamonteverdi.it/digital/la-walhalla-machine-robert-lepage-wagner/

•               V. Fiore, Carmine Maringola, scenografo/attore. La scena recitante per Emma Dante, Siracusa, LetteraVentidue, 2020, pp. 19-75.

•               V. Fiore, Alla maniera Greca. Progettare la scena della tragedia fra innovazione e consenso, in «Stratagemmi. Prospettive Teatrali», nn. 38-39, 2019, pp. 159-172.

D. A latere (?)…

- A. Rossi, The architecture of the city, MIT Press, Cambridge Mass. 1984.

- E. Turri, Il paesaggio come teatro. Dal territorio vissuto al territorio rappresentato, Marsilio editore, Venezia 2001.

The lecturer will provide handouts or upload on the Teams platform, in a course-dedicated channel, articles and selected excerpts that are unavailable or from out-of-print texts.

A practical test will be held during the course on a proposed scenic project; a second (oral) test will take place at the end of the course (exam) and will involve a short text and discussion of the project (annual theme).
Knowledge evaluation will consider mastery of content and skills, lexical precision, and the candidate’s argumentative ability.
Active class participation promotes the acquisition of specific disciplinary skills and related knowledge through the critical discussion of topics.
Learning assessment may also be carried out on-line, should the conditions require it.
To ensure equal opportunities and in compliance with current laws, interested students may request a personal interview in order to plan any compensatory and/or dispensatory measures based on educational objectives and specific needs. Students can also contact the CInAP (Centro per l’integrazione Attiva e Partecipata — Servizi per le Disabilità e/o i DSA) referring teacher within their department (https://www.cinap.unict.it/content/referenti).

1.             Historical evolution of scenic space between dramaturgy, acting, and technological innovations.

2.             Pioneers of scenic art.

3.             Semantic, semiological, and functional characteristics of scenography through selected examples.

Analysis of the technologies and materials used in relation to perceptual outcomes.