British Theatre Studies and Performance
A.Y. 2024/2025
Learning objectives
By exploring a specific topic or topics, students will build on their already acquired knowledge and appreciation of theatre, dramatic literature, and performance in different cultural, historical, and interdisciplinary contexts.
They will be able to apply an eclectic range of critical tools, which they have selected from the overview of critical tools presented at B.A. Level, to explore specific texts as well as carrying out creative work in complex situations. In teacher-led seminars, they will study a small number of plays, exploring their potential in performance, by writing critiques and carrying out work in small groups (student-led), during which scenes from the plays are acted out and tested in performance. Under the guidance of teachers, students will also research, write and perform their own work in different settings, such as a theatre, a prison or a botanical garden. In many cases, students will be supervised by specialists in the Humanities but also specialists in biology and plant sciences, or other sciences according to the project at hand.
Students will learn about theatre translation theory and acquire practical translation tools. They will put this newly acquired theory into practice by translating fragments of plays, whether individually or in small groups, sometimes with the support of specialists and theatre practitioners. Their translations will be tested by professional actors whenever possible.
Students will be encouraged to produce portfolios, on their chosen subject, so developing an ability to carry out independent research. These portfolios, made up of written texts, audio and video materials, will reflect the students' growing competence not just as drama and theatre specialists but also in the area of digital humanities.
Through their participation in seminars and workshops, students will become steadily more aware of their social and ethical responsibilities as they understand better the possible roles of theatre studies specialists, writers, theatre critics and theatre makers in creating a society with strong ethical values marked by inclusion and sustainability.
They will be able to apply an eclectic range of critical tools, which they have selected from the overview of critical tools presented at B.A. Level, to explore specific texts as well as carrying out creative work in complex situations. In teacher-led seminars, they will study a small number of plays, exploring their potential in performance, by writing critiques and carrying out work in small groups (student-led), during which scenes from the plays are acted out and tested in performance. Under the guidance of teachers, students will also research, write and perform their own work in different settings, such as a theatre, a prison or a botanical garden. In many cases, students will be supervised by specialists in the Humanities but also specialists in biology and plant sciences, or other sciences according to the project at hand.
Students will learn about theatre translation theory and acquire practical translation tools. They will put this newly acquired theory into practice by translating fragments of plays, whether individually or in small groups, sometimes with the support of specialists and theatre practitioners. Their translations will be tested by professional actors whenever possible.
Students will be encouraged to produce portfolios, on their chosen subject, so developing an ability to carry out independent research. These portfolios, made up of written texts, audio and video materials, will reflect the students' growing competence not just as drama and theatre specialists but also in the area of digital humanities.
Through their participation in seminars and workshops, students will become steadily more aware of their social and ethical responsibilities as they understand better the possible roles of theatre studies specialists, writers, theatre critics and theatre makers in creating a society with strong ethical values marked by inclusion and sustainability.
Expected learning outcomes
Equipped with a knowledge of the trends in drama and theatre through the centuries and the acquistion of a large number of critical tools, students will be capable of selecting specific periods and areas of drama and theatre in order to carry out in depth research on their chosen topics. In fact they will know how to apply their selected kit of critical tools to delve deep into complexity and produce insightful criticism and creative, innovative portfolios.
Due to their exposure to teachers from different disciplines, they will be able to communicate their research findings to specialist audiences in both the Humanities and Sciences. Their work in different settings will make them adaptable and able to take on new challenges with self confidence, whether they go on to write a doctorate dissertation or embark on a career in their chosen sector.
Due to their exposure to teachers from different disciplines, they will be able to communicate their research findings to specialist audiences in both the Humanities and Sciences. Their work in different settings will make them adaptable and able to take on new challenges with self confidence, whether they go on to write a doctorate dissertation or embark on a career in their chosen sector.
Lesson period: First semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course can be attended as a single course.
Course syllabus and organization
Single session
Responsible
Lesson period
First semester
Course syllabus
A. The art gallery on Stage
B. Questions of identity in contemporary British Theatre
C. Applied Theatre: Applied Shakespeare
A. The art gallery on stage
Unit A focuses on some contemporary British plays that consider galleries and art museums as sources of inspiration, spaces of encounter (and clash), and mirrors of the stage. The unit shows how, behind the not always peaceful intersections between art and theatre, there are latent conflicts that affect not only individuals (artists, art dealers or subjects of the work) but also society and the nation as a whole.
_ Samuel Beckett, "That Time" (1976)*
_Mark Ravenhill, "pool (no water)" (2006)
_Tim Crouch, "ENGLAND. A Play for Galleries" (2007)
_Timberlake Wertenbaker, "The Line" (2009)
B. Questions of identity in contemporary British theatre
Unit B looks at texts that deal with questions of truth and identity. From the attempts to define Anne/Anny/Annuska in Martin Crimp's 'Attempts on Her Life' to the clones of Caryl Churchill's 'A Number', from the hypnotist's games in Tim Crouch's 'An Oak Tree' to the truth of Artemisia Gentileschi on trial, all these texts question the nature of identity, but also the complicated relationship between theatre and truth. What is true and what is false on stage?
_Martin Crimp, "Attempts on Her Life" (1997)
_Tim Crouch, "An Oak Tree" (2005)
_Breach Theatre, "It's True, It's True, It's True" (2019)
C. Applied Shakespeare
Unit C explores theatrical experiences that use Shakespearean theatre as a means of support, education, care and rehabilitation, supporting or sometimes opposing the work of schools, refugee camps, prisons and many other realities outside the official theatre.
_ William Shakespeare, "Hamlet"
_ William Shakespeare "A Midsummer Night's Dream"
_ William Shakespeare, "Romeo and Juliet"
Students are invited to attend at least one of the following performances:
_ "L'ultimo nastro di Krapp. Quella volta" di Samuel Beckett, regia di Francesco Frongia (Elfo Puccini, 18 ottobre-10 Novembre 2024).
_"Sogno di una notte di mezza estate (commento continuo), da William Shakespeare, regia di Carmelo Rifici (Piccolo Teatro Studio Melato, 29 novembre-22 dicembre 2024).
_"Chi come me", di Roy Chen, regia di Andrée Ruth Shammah (Teatro Franco Parenti, 1 ottobre-1 dicembre 2024)
_"La collezionista" di Magdalena Barile, regia di Marco Lorenzi, (9 gennaio- 2 febbraio 2025)
B. Questions of identity in contemporary British Theatre
C. Applied Theatre: Applied Shakespeare
A. The art gallery on stage
Unit A focuses on some contemporary British plays that consider galleries and art museums as sources of inspiration, spaces of encounter (and clash), and mirrors of the stage. The unit shows how, behind the not always peaceful intersections between art and theatre, there are latent conflicts that affect not only individuals (artists, art dealers or subjects of the work) but also society and the nation as a whole.
_ Samuel Beckett, "That Time" (1976)*
_Mark Ravenhill, "pool (no water)" (2006)
_Tim Crouch, "ENGLAND. A Play for Galleries" (2007)
_Timberlake Wertenbaker, "The Line" (2009)
B. Questions of identity in contemporary British theatre
Unit B looks at texts that deal with questions of truth and identity. From the attempts to define Anne/Anny/Annuska in Martin Crimp's 'Attempts on Her Life' to the clones of Caryl Churchill's 'A Number', from the hypnotist's games in Tim Crouch's 'An Oak Tree' to the truth of Artemisia Gentileschi on trial, all these texts question the nature of identity, but also the complicated relationship between theatre and truth. What is true and what is false on stage?
_Martin Crimp, "Attempts on Her Life" (1997)
_Tim Crouch, "An Oak Tree" (2005)
_Breach Theatre, "It's True, It's True, It's True" (2019)
C. Applied Shakespeare
Unit C explores theatrical experiences that use Shakespearean theatre as a means of support, education, care and rehabilitation, supporting or sometimes opposing the work of schools, refugee camps, prisons and many other realities outside the official theatre.
_ William Shakespeare, "Hamlet"
_ William Shakespeare "A Midsummer Night's Dream"
_ William Shakespeare, "Romeo and Juliet"
Students are invited to attend at least one of the following performances:
_ "L'ultimo nastro di Krapp. Quella volta" di Samuel Beckett, regia di Francesco Frongia (Elfo Puccini, 18 ottobre-10 Novembre 2024).
_"Sogno di una notte di mezza estate (commento continuo), da William Shakespeare, regia di Carmelo Rifici (Piccolo Teatro Studio Melato, 29 novembre-22 dicembre 2024).
_"Chi come me", di Roy Chen, regia di Andrée Ruth Shammah (Teatro Franco Parenti, 1 ottobre-1 dicembre 2024)
_"La collezionista" di Magdalena Barile, regia di Marco Lorenzi, (9 gennaio- 2 febbraio 2025)
Prerequisites for admission
The course is taught in English, and the bibliography and teaching materials are almost entirely in English, so students need a good knowledge of the language. In order to attend the course, students should have attended one of the following courses: Storia del Teatro Inglese LT, another History of Theatre Course, a course in English Literature, or be Erasmus or International students. If you are interested in the course, but do not have the above mentioned qualification, you should discuss your specific case with the teacher, to evaluate the possibility of you attending the programme.
Teaching methods
Lectures and seminars will alternate during the semester. Students read aloud and perform scenes from the plays in the programme. Students also watch video materials and attend theatre performances. They are invited to comment critically on the videos and write a review of a show they have seen. Students also work in small groups to create their own project of "applied theatre".
Teaching Resources
A. The art gallery on stage
Unit A focuses on some contemporary British plays that consider galleries and art museums as sources of inspiration, spaces of encounter (and clash), and mirrors of the stage. The unit shows how, behind the not always peaceful intersections between art and theatre, there are latent conflicts that affect not only individuals (artists, art dealers or subjects of the work) but also society and the nation as a whole.
Playtexts:
_ Samuel Beckett, "That Time" in Samuel Beckett. The Complete Dramatic Works, London, Faber and Faber, 1990, pp.385-97 (in Ariel)
_the film version of Beckett's That Time directed by Charles Garrad is available at the link: https://www.youtube.com/watch?v=uZ_t8E0oue0
_Mark Ravenhill, "pool (no water)", in Mark Ravenhill. Plays 2, London, Bloomsbury, 2016, pp. 293-323 (in Ariel)
_Tim Crouch, ENGLAND. A Play for Galleries, London, Oberon Modern Plays, 2007 (in Ariel)
_Timberlake Wertenbaker, The Line, London, Faber and Faber, 2009
Critical works:
_M. Cavecchi, The Art Gallery on Stage, London, Bloomsbury, 2024, pp. 1-24 (in Ariel)
_S. Bottoms, "Materialising the Audience: Tim Crouch's Sight Specifics in ENGLAND and The Author", Contemporary Theatre Review (in Ariel)
_S. Graham, pool. A Comprehensive Guide, pp. 1-31 (in Ariel)
Non-attending students add:
_S. Bennett, theatre & museums, Basingstoke, Palgrave Macmillan, 2008
_ Enoch Brater, "That Time on That Space", in Beyond Minimalism: Beckett's late style in theater,
1987, pp. 37-51 (in Biblioteca di Anglistica)
__ Janine Hauthal, "Towards a Narrative Aesthetic? The Scarcity of Stage Directions as (Text-)Theatrical Challenge in Plays by Crimp, Ravenhill and Stephens", Z Literaturwiss Linguistik (2018) 48:541-559 (in Ariel)
B. Questions of identity in contemporary British theatre
Unit B looks at texts that deal with questions of truth and identity. From the attempts to define Anne/Anny/Annuska in Martin Crimp's 'Attempts on Her Life' to the clones of Caryl Churchill's 'A Number', from the hypnotist's games in Tim Crouch's 'An Oak Tree' to the truth of Artemisia Gentileschi on trial, all these texts question the nature of identity, but also the complicated relationship between theatre and truth. What is true and what is false on stage?
Playtexts:
_Martin Crimp, Attempts on Her Life, London, Faber and Faber, 1997 (in Ariel)
_Tim Crouch, An Oak Tree, Oberon Modern Plays, London, 2005 (in Ariel)
_Breach, It's True, It's True, It's True, London, Oberon Books, 2018 (in Ariel)
_the video recording of Breach's It's True, It's True, It's True available at the link: https://unimi2013.sharepoint.com/:v:/s/StoriadelteatroingleseLT2020-212/EWHYqCoSv_dImXsvMFulBVgBlknvZKNU7NXY8Mryyp49ag?nav=eyJyZWZlcnJhbEluZm8iOnsicmVmZXJyYWxBcHAiOiJTdHJlYW1XZWJBcHAiLCJyZWZlcnJhbFZpZXciOiJTaGFyZURpYWxvZy1MaW5rIiwicmVmZXJyYWxBcHBQbGF0Zm9…
Critical works:
_H. Zimmerman, "Images of Woman in Martin Crimp's Attempts On Her Life", European Journal of English Studies, 7:1, 69-85 (in Ariel)
_D. Lane, "A Dramaturg's Perspective", Studies in Theatre and Performance, 30:1, 2010 (in Ariel)
_E. Mackay, "It's True, It's True, It's True: Artemisia on Trial by Breach Theatre", Theatre Journal, vol. 27, 4, December 2020, pp. 509-12 (in Ariel)
Non-attending students add:
_A. Haydon, "Theatre in the 2000s", in D. Rebellato (ed.), modern british playwriting 2000-2009, London, Bloomsbury, 2013, pp. 40-98 (in Biblioteca di Anglistica)
_J. Hauthal, "Towards a Narrative Aesthetic? The Scarcity of Stage Directions as (Text-)Theatrical Challenge in Plays by Crimp, Ravenhill and Stephens", Z Literaturwiss Linguistik (2018) 48:541-559 (in Ariel)
_National Theatre Education - Katie Mitchell's Attempts on Her Life Research Pack 2007 (in Ariel)
_S. Bottoms,"Authorizing the Audience: The conceptual drama of Tim Crouch", Performance Research, 2009, 14:1, 65-76 (in Ariel)
C. Applied Shakespeare
Unit C explores theatrical experiences that use Shakespearean theatre as a means of support, education, care and rehabilitation, supporting or sometimes opposing the work of schools, refugee camps, prisons and many other realities outside the official theatre.
_ William Shakespeare, Hamlet, The New Cambridge Shakespeare or Arden Shakespeare edition
_ William Shakespeare A Midsummer Night's Dream, The New Cambridge Shakespeare or Arden Shakespeare edition
_ William Shakespeare, Romeo and Juliet, The New Cambridge Shakespeare or Arden Shakespeare edition (in Ariel)
Critical works:
_the introductions to the plays - The New Cambridge Shakespeare or Arden Shakespeare editions
_A. Hulsmeier, Applied Shakespeare. A Transformative Encounter?, London, Palgrave, 2008, pp. 1-24 (in Ariel)
Non-attending students add:
__A. Hulsmeier, Applied Shakespeare. A Transformative Encounter?, London, Palgrave, 2008 (in Ariel), pp. 25-102 (in Ariel)
Students are invited to attend at least one of the following performances:
_ "L'ultimo nastro di Krapp. Quella volta" by Samuel Beckett, directed by Francesco Frongia (Elfo Puccini, 18 Oct.-10 Nov. 2024).
_"Sogno di una notte di mezza estate (commento continuo)", directed by Carmelo Rifici (Piccolo Teatro Studio Melato, 29 Nov.-22 Dec. 2024).
_"Chi come me", by Roy Chen, directed by Andrée Ruth Shammah (Teatro Franco Parenti, 1 Oct.-1 Dec. 2024)
_"La collezionista" by Magdalena Barile, directed by Marco Lorenzi, (9 Jan. - 2 Feb. 2025)
Unit A focuses on some contemporary British plays that consider galleries and art museums as sources of inspiration, spaces of encounter (and clash), and mirrors of the stage. The unit shows how, behind the not always peaceful intersections between art and theatre, there are latent conflicts that affect not only individuals (artists, art dealers or subjects of the work) but also society and the nation as a whole.
Playtexts:
_ Samuel Beckett, "That Time" in Samuel Beckett. The Complete Dramatic Works, London, Faber and Faber, 1990, pp.385-97 (in Ariel)
_the film version of Beckett's That Time directed by Charles Garrad is available at the link: https://www.youtube.com/watch?v=uZ_t8E0oue0
_Mark Ravenhill, "pool (no water)", in Mark Ravenhill. Plays 2, London, Bloomsbury, 2016, pp. 293-323 (in Ariel)
_Tim Crouch, ENGLAND. A Play for Galleries, London, Oberon Modern Plays, 2007 (in Ariel)
_Timberlake Wertenbaker, The Line, London, Faber and Faber, 2009
Critical works:
_M. Cavecchi, The Art Gallery on Stage, London, Bloomsbury, 2024, pp. 1-24 (in Ariel)
_S. Bottoms, "Materialising the Audience: Tim Crouch's Sight Specifics in ENGLAND and The Author", Contemporary Theatre Review (in Ariel)
_S. Graham, pool. A Comprehensive Guide, pp. 1-31 (in Ariel)
Non-attending students add:
_S. Bennett, theatre & museums, Basingstoke, Palgrave Macmillan, 2008
_ Enoch Brater, "That Time on That Space", in Beyond Minimalism: Beckett's late style in theater,
1987, pp. 37-51 (in Biblioteca di Anglistica)
__ Janine Hauthal, "Towards a Narrative Aesthetic? The Scarcity of Stage Directions as (Text-)Theatrical Challenge in Plays by Crimp, Ravenhill and Stephens", Z Literaturwiss Linguistik (2018) 48:541-559 (in Ariel)
B. Questions of identity in contemporary British theatre
Unit B looks at texts that deal with questions of truth and identity. From the attempts to define Anne/Anny/Annuska in Martin Crimp's 'Attempts on Her Life' to the clones of Caryl Churchill's 'A Number', from the hypnotist's games in Tim Crouch's 'An Oak Tree' to the truth of Artemisia Gentileschi on trial, all these texts question the nature of identity, but also the complicated relationship between theatre and truth. What is true and what is false on stage?
Playtexts:
_Martin Crimp, Attempts on Her Life, London, Faber and Faber, 1997 (in Ariel)
_Tim Crouch, An Oak Tree, Oberon Modern Plays, London, 2005 (in Ariel)
_Breach, It's True, It's True, It's True, London, Oberon Books, 2018 (in Ariel)
_the video recording of Breach's It's True, It's True, It's True available at the link: https://unimi2013.sharepoint.com/:v:/s/StoriadelteatroingleseLT2020-212/EWHYqCoSv_dImXsvMFulBVgBlknvZKNU7NXY8Mryyp49ag?nav=eyJyZWZlcnJhbEluZm8iOnsicmVmZXJyYWxBcHAiOiJTdHJlYW1XZWJBcHAiLCJyZWZlcnJhbFZpZXciOiJTaGFyZURpYWxvZy1MaW5rIiwicmVmZXJyYWxBcHBQbGF0Zm9…
Critical works:
_H. Zimmerman, "Images of Woman in Martin Crimp's Attempts On Her Life", European Journal of English Studies, 7:1, 69-85 (in Ariel)
_D. Lane, "A Dramaturg's Perspective", Studies in Theatre and Performance, 30:1, 2010 (in Ariel)
_E. Mackay, "It's True, It's True, It's True: Artemisia on Trial by Breach Theatre", Theatre Journal, vol. 27, 4, December 2020, pp. 509-12 (in Ariel)
Non-attending students add:
_A. Haydon, "Theatre in the 2000s", in D. Rebellato (ed.), modern british playwriting 2000-2009, London, Bloomsbury, 2013, pp. 40-98 (in Biblioteca di Anglistica)
_J. Hauthal, "Towards a Narrative Aesthetic? The Scarcity of Stage Directions as (Text-)Theatrical Challenge in Plays by Crimp, Ravenhill and Stephens", Z Literaturwiss Linguistik (2018) 48:541-559 (in Ariel)
_National Theatre Education - Katie Mitchell's Attempts on Her Life Research Pack 2007 (in Ariel)
_S. Bottoms,"Authorizing the Audience: The conceptual drama of Tim Crouch", Performance Research, 2009, 14:1, 65-76 (in Ariel)
C. Applied Shakespeare
Unit C explores theatrical experiences that use Shakespearean theatre as a means of support, education, care and rehabilitation, supporting or sometimes opposing the work of schools, refugee camps, prisons and many other realities outside the official theatre.
_ William Shakespeare, Hamlet, The New Cambridge Shakespeare or Arden Shakespeare edition
_ William Shakespeare A Midsummer Night's Dream, The New Cambridge Shakespeare or Arden Shakespeare edition
_ William Shakespeare, Romeo and Juliet, The New Cambridge Shakespeare or Arden Shakespeare edition (in Ariel)
Critical works:
_the introductions to the plays - The New Cambridge Shakespeare or Arden Shakespeare editions
_A. Hulsmeier, Applied Shakespeare. A Transformative Encounter?, London, Palgrave, 2008, pp. 1-24 (in Ariel)
Non-attending students add:
__A. Hulsmeier, Applied Shakespeare. A Transformative Encounter?, London, Palgrave, 2008 (in Ariel), pp. 25-102 (in Ariel)
Students are invited to attend at least one of the following performances:
_ "L'ultimo nastro di Krapp. Quella volta" by Samuel Beckett, directed by Francesco Frongia (Elfo Puccini, 18 Oct.-10 Nov. 2024).
_"Sogno di una notte di mezza estate (commento continuo)", directed by Carmelo Rifici (Piccolo Teatro Studio Melato, 29 Nov.-22 Dec. 2024).
_"Chi come me", by Roy Chen, directed by Andrée Ruth Shammah (Teatro Franco Parenti, 1 Oct.-1 Dec. 2024)
_"La collezionista" by Magdalena Barile, directed by Marco Lorenzi, (9 Jan. - 2 Feb. 2025)
Assessment methods and Criteria
The exam is an oral one, during which the teacher asks questions. As well as general questions on the historical, social, cultural background of the authors and plays in the programme, there are questions on the specific playtexts. Each exam varies in length according to the number of credits the student requires. The exam is in English or Italian as the student prefers. The questions aim to assess whether the candidate is able to contextualise the plays in the specific historical, social and cultural background to which they belong, as well as assessing the student's ability to critically evaluate the plays in the programme. She or he should also be able to offer a personal opinion on authors and works in the programme. The various discussions in class are also part of the evaluation. The final mark (30 e lode maximum and 18 minimum, a pass) may be accepted or rejected by the student. If a student rejects the mark, her or his exam will be registered as ' ritirato'.
A written examination will be held in October to test your knowledge of the plays in the programme and the results will be taken into account in your final grade.
Incoming international and Erasmus students are asked to contact the teacher as soon as possible. Disabled students and those with learning difficulties should discuss the exam with the teachers, together with the appropriate University Office, DSA.
A written examination will be held in October to test your knowledge of the plays in the programme and the results will be taken into account in your final grade.
Incoming international and Erasmus students are asked to contact the teacher as soon as possible. Disabled students and those with learning difficulties should discuss the exam with the teachers, together with the appropriate University Office, DSA.
Unita' didattica A
L-LIN/10 - ENGLISH LITERATURE - University credits: 3
Lessons: 20 hours
Unita' didattica B
L-LIN/10 - ENGLISH LITERATURE - University credits: 3
Lessons: 20 hours
Unita' didattica C
L-LIN/10 - ENGLISH LITERATURE - University credits: 3
Lessons: 20 hours
Educational website(s)
Professor(s)
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20/12, 3pm. Teams: i2vrlh3.
Teams