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Il pubblico del teatro contemporaneo: fra auto-osservazione e processi di fruizione digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2018 - 3. The international circulation of european cinema in the digital age
Anno: 2018
There has been a growing interest in the study of performing arts audiences over the last three decades. This interest is expressed both at an organizational level, by the increasing presence of audience development and audience engagement initiatives, and within the expanding multidisciplinary field of academic research on theatre audiences, which interweaves economics, cultural marketing, the sociology of culture and audience studies applied to theatrical reception...
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Integration in a Theatre Company: The Exemple of Teatro delle Albe novitàdigital
formato: Articolo | COMUNICAZIONI SOCIALI - 2019 - 1. Playing Inclusion
Anno: 2019
The aim of the essay is to consider how the Ravenna theatre company ‘Teatro delle Albe’ represents the theme of migrations from Africa to Europe...
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Il teatro agli estremi del viaggio migratorio: la metodologia di Teatro Sociale e di Comunità e la sfida di una cultura intersettoriale e multidisciplinare dell’intervento novitàdigital
formato: Articolo | COMUNICAZIONI SOCIALI - 2019 - 1. Playing Inclusion
Anno: 2019
The article focuses on the role of the theatre in promoting processes of inclusion in non-artistic contexts of intervention such as Development Cooperation and Mental Health and Psychosocial Support...
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Rimini Protokoll: Adolf Hitler: Mein Kampf Vol. 1 & 2. Il Teatro di fronte alla Storia digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2017 - 2. MEDIA, CREATIVE INDUSTRIES AND CRISIS IN ITALY Cycles and Anticycles between Society and Communication
Anno: 2017
Within the sphere of contemporary performative theatre – where the text cedes its leading role as bearer of the author’s message, in favour of the equivalence of various expressive codes – lies the work of Rimini Protokoll: a German team of author-directors that has been active in Europe for more than fifteen years with traditional and interactive theatre, installations, sound and radio plays...
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I corpi negati. Il teatro nella cura dei disturbi del comportamento alimentare digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2016 - 2. BODIES EXPOSED Dramas, Practices and Mimetic Desire
Anno: 2016
Eating disorders are a complex and constantly growing phenomenon; there are several therapies designed to treat this disease. But what do we mean when we talk about disease and treatment? What is an eating disorder? Is it a clinical disease? A psychological ailment? A reaction to difficulties encountered in particular socio-relational environments? Behind the symptom is always a person who, consciously or unconsciously, is the cause of their own discomfort. The symptom is a symbolic representation of an inner conflict, betraying difficulties in relating to oneself, to others and to reality...
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Il corpo ritrovato. I linguaggi del teatro nei laboratori di “f. pl. femminile plurale” digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2016 - 2. BODIES EXPOSED Dramas, Practices and Mimetic Desire
Anno: 2016
The “f. pl. femminile plurale” association was set up in Naples in 2008. Its principal interest is in training and developing a “theatre pedagogy” using its members’ broad and deep theatre experience. Its various aims include promoting different cultures through the performing arts. In the firm belief that theatrical language can develop expertise, bridge distances, integrate diversity, and improve relationships between individuals and the community, the working group has been running the project called The Scene of Women in the Forcella public-housing district for many years...
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Il cerchio invisibile. Due esperienze di teatro-comunità in Campania: da Leo de Berardinis a Punta Corsara digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2016 - 2. BODIES EXPOSED Dramas, Practices and Mimetic Desire
Anno: 2016
The theatre offers profound potential for contact among bodies. Without contact, there is no theatre, understood as the art form whose defining principle is being tied to one space and one time, leading to the need to build a community. We analyse the analogies and differences between two important experiences in Campania. These experiences are based on a theatre project that is also a social project to build a temporary community...
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Nella contemporaneità del teatro. Note su Robert Carsen regista di “Don Giovanni” digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2015 - 1. Sixty years of Italian TV
Anno: 2015
In the Presentness of Theatre: Notes on Robert Carsen directing the “Don Juan” The figure of famous Canadian director Robert Carsen is set in the framework of the international opera renewal that, starting the 1980s, was produced by the increased relevance taken on by staging and, in particular, by the systematic contribution of theatre directors...
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Mario il performer. Il teatro e la performance in “Paper Mario 2” - Mario, the performer. Theatre and performance in “Paper Mario 2” digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2014 - 1. Il teatro verso la performance
Anno: 2014
In recent decades, new medias and the theatre have revealed numerous elements of contact and divergence analysed at a general level on several occasions, including some studies on the theatrical elements in videogames...
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Performance e teatro. Dall’attore al performer, e ritorno? Performance and theatre. From the actor to performer, and back? digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2014 - 1. Il teatro verso la performance
Anno: 2014
The paper, rich and highly articulated, surveys the international bibliography of recent decades, touches on experiences and perspectives central to contemporary theatre...
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Dal teatro drammatico al teatro performativo: una nota su Hans-Thies Lehmann - From dramatic to performative theatre: Hans-Thies Lehmann digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2014 - 1. Il teatro verso la performance
Anno: 2014
The question of the relationship between the dramatic text and spectacle has bulked steadily larger in the theatrical debate in recent years...
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Non solo teatro. L’esperienza identitaria nel percorso di teatro sociale del gruppo ‘Nonsolomamme...’ (Vimodrone, 2004-2008) digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2012 - 3. L'impulso autoetnografico. Radicamento e riflessività nell'era intermediale
Anno: 2012
RIASSUNTO Il laboratorio di teatro sociale rappresenta il cuore dei processi di costruzione comunitaria attraverso le arti performative. Al suo interno gli individui hanno la possibilità di esplorare e definire la propria identità, personale e di gruppo. Le identità gruppali che nascono da questi percorsi sono espressione non solo delle singole personalità che le compongono ma anche del contesto territoriale e sociale a cui appartengono. Identità che si definiscono, precisano ed evolvono in stretta connessione con gli stimoli che l’operatore di teatro sociale introduce nell’esperienza. Indagando la nascita e i primi quattro anni di vita del gruppo teatrale Nonsolomamme.… di Vimodrone attraverso la narrazione dell’operatrice che ne ha condotto l’esperienza, il saggio mette in evidenza alcuni snodi significativi propri dei processi di teatro sociale e individua alcune connessioni tra il lavoro di drammaturgia che caratterizza le esperienze di teatro sociale e la pratica autoetnografica. SUMMARY The laboratory of ‘teatro sociale’ is at the heart of the processes of community building through the performing arts. Within individuals have the opportunity to explore and define their personal and group identity. Group identities which arise from these locations are an expression not only of the individuals who compose them but also of the territorial and social contexts to which they belong. Identities that are defined, specified and developed in close connection with the stimuli which the ‘teatro sociale’ operator introduces into the experience. Investigating the birth and the first four years of the theater group Nonsolomamme... from Vimodrone through the narration of the operator who carried out the experience, the paper highlights some significant hubs of the processes typical of ‘teatro sociale’ and identifies connections between the work of drama which characterizes its experiences of ‘teatro sociale’ and self-ethnographic practices.
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