This volume (937 pages) brings together most of the contributions by artists and scholars of the Third EASTAP Conference (European Association for the Study of Theatre and Performance), which should have been held in Bologna from February 27th to March 1st, 2020, as part of the VIE Theatre Festival 2020, canceled due to the first restrictions related to the pandemic. It was thus decided to propose a publication which, while significantly differentiating itself from the original structure proposed for the conference, explicitly and directly refers to it, remaining an exceptional and significant testimony of that dramatic situation, as a reflection on theatre and performance in the pre-Covid era. Over the course of the twentieth century, the practices of “creating for the stage” were considered to be useful knowledge for understanding artistic works; later, they turned into a set of cultural objects in their own right, requiring specific approaches. In the third millennium, as the focus has moved from the culture of the product to the culture of the process, creative practices have been included in the resulting stage works as organic and inseparable parts of the same process. The concepts of "text" and "stage-writing" can both have different meanings, thus requiring further specifications. By "textual composition" we understand not only play texts, but also multiple literary as well as other verbal types of languages. By "stage-writing" we understand that stage processes can become a writing system of their own, involving all theatrical elements. The presentations proposed by artists and scholars identified the features of the dual macro-sectors and investigated their plots and contaminations, focusing on different approaches in the creative process.
Il presente volume (937 pagine) riunisce la maggior parte degli interventi di artisti e studiosi del III Convegno EASTAP (European Association for the Study of Theatre and Performance), che avrebbe dovuto tenersi a Bologna dal 27 febbraio al 1 marzo 2020, calendarizzato tra gli eventi del Festival del teatro VIE 2020, eventi improvvisamente annullati a causa delle prime restrizioni legate alla pandemia. Si è deciso così di proporre una pubblicazione che, pur differenziandosi dalla struttura originaria pensata per il convegno, a esso si richiama esplicitamente e direttamente, restando eccezionale e significativa testimonianza di quella drammatica situazione, in quanto riflessione sul teatro e sulla performance nell'era pre-Covid. Nel corso del Novecento, le pratiche della “composizione scenica” sono state dapprima considerate conoscenze utili alla comprensione delle opere e, successivamente, oggetti culturali autonomi che richiedono originali modalità d'approccio e appropriate iniziative editoriali. Nel terzo millennio, infine, il prevalere della cultura del processo rispetto alla cultura del prodotto ha fatto sì che le pratiche e le tematiche della composizione finissero per aggregare le stesse realizzazioni spettacolari, considerate parti indissociabili e organiche dello stesso processo. I contributi proposti da artisti e studiosi hanno rilevato le specificità di questi due macrosettori e indagato contaminazioni e intrecci, ponendo l'accento su differenziate gamme dei processi compositivi.
Creating for the stage and other spaces: questioning practices and theories
D. Vianello
2021-01-01
Abstract
This volume (937 pages) brings together most of the contributions by artists and scholars of the Third EASTAP Conference (European Association for the Study of Theatre and Performance), which should have been held in Bologna from February 27th to March 1st, 2020, as part of the VIE Theatre Festival 2020, canceled due to the first restrictions related to the pandemic. It was thus decided to propose a publication which, while significantly differentiating itself from the original structure proposed for the conference, explicitly and directly refers to it, remaining an exceptional and significant testimony of that dramatic situation, as a reflection on theatre and performance in the pre-Covid era. Over the course of the twentieth century, the practices of “creating for the stage” were considered to be useful knowledge for understanding artistic works; later, they turned into a set of cultural objects in their own right, requiring specific approaches. In the third millennium, as the focus has moved from the culture of the product to the culture of the process, creative practices have been included in the resulting stage works as organic and inseparable parts of the same process. The concepts of "text" and "stage-writing" can both have different meanings, thus requiring further specifications. By "textual composition" we understand not only play texts, but also multiple literary as well as other verbal types of languages. By "stage-writing" we understand that stage processes can become a writing system of their own, involving all theatrical elements. The presentations proposed by artists and scholars identified the features of the dual macro-sectors and investigated their plots and contaminations, focusing on different approaches in the creative process.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
