Thèses sur le sujet « Storia dello spettacolo »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 36 meilleures thèses pour votre recherche sur le sujet « Storia dello spettacolo ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les thèses sur diverses disciplines et organisez correctement votre bibliographie.
Mascardi, Chiara <1982>. « Il teatro anatomico nella cultura moderna. Storia e storie di teatro, scienza, arte e società ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3955/1/mascardi_chiara_i_teatri_anatomici_nella_cultura_moderna.pdf.
Texte intégralMascardi, Chiara <1982>. « Il teatro anatomico nella cultura moderna. Storia e storie di teatro, scienza, arte e società ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3955/.
Texte intégralGueli, Rosamaria <1992>. « La Sagra del Mandorlo in Fiore : Tradizione, Storia, Innovazione ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14370.
Texte intégralStancanelli, Silvia <1994>. « Viaggio tra le Arti. I Concerti del Tempietto fra musica, storia e archeologia ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21526.
Texte intégralFerronato, Silvia <1989>. « Storia di un allestimento teatrale : "La coscienza di Zeno" di Maurizio Scaparro, presso il Teatro Salieri di Legnago ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3365.
Texte intégralGaudenti, Lorenzo <1994>. « “Yo Soy Maria” Storia e produzione dell’opera "Maria de Buenos Aires" presso il Teatro dell’Opera Giocosa di Savona ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20792.
Texte intégralHuang, Xiao <1987>. « Forme (形 XING) e Visioni (象 XIANG) : Nuove prospettive di ricerca per una storia comparata della Screendance in Europa e in Cina ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amsdottorato.unibo.it/10087/1/Tesi%20def_Xiao%20Huang.pdf.
Texte intégralThis thesis aims to deal with the subject of screendance from an alternative perspective, consistent with the latest social transformations. The research, divided into four parts, begins with a critical review of the terminology used to indicate screendance in its historical development in Europe and China during the twentieth century. Using a methodology based on the tools of comparative historiography, the author uses the two Taoist concepts of xiang or vision and xing or form as keys, one referring to the cultural, historical and artistic context of a given human society in a given historical period , and the other alluding to the specific artistic forms defined by those principles. The second part is focused on the comparison between the different developments of the screendance during the twentieth century in Europe and China, and deals with a diachronic comparison of the xiang transformations of the two geographical areas, together with a synchronic comparison of the xing, making more evident analogies and divergences of numerous Western and Chinese case studies. A look at the European panorama, attentive to the differences in the dissemination of the screendance through the festivals in Great Britain, France, Belgium and Italy, constitutes the focus to the third part. With the fourth and last part, the thesis reserves ample space for the examination of the contemporary situation of screendance, following its diffusion in the last four decades through festivals and, more recently, the new social channels for creating and sharing video content, and envisaging a future in which the reality of the European and Chinese screendance will be able to compare their own cultural identities. The rich documentary apparatus includes a list of European and Chinese screendance festivals, and a series of unpublished interviews with the major operators and professionals in the sector, both Italian and European.
FAUSTINI, Piero. « La cucina dello spettacolo Forme drammatico–musicali di transizione nei libretti dell’opera italiana postunitaria ». Doctoral thesis, Università degli studi di Ferrara, 2010. http://hdl.handle.net/11392/2389183.
Texte intégralUrban, Sara. « "Fino a che farò l'artista, sarò anche attrice". Uno studio sulla prassi teatrale di Adelaide Ristori ». Doctoral thesis, Università degli studi di Padova, 2013. http://hdl.handle.net/11577/3423447.
Texte intégral«Fino a che farò l’artista, sarò anche attrice». Uno studio sulla prassi teatrale di Adelaide Ristori La ricerca è incentrata sullo studio della prassi scenica della Grande Attrice ottocentesca Adelaide Ristori e si propone di definire concretamente il metodo di lavoro e lo stile attorale dell’interprete e di enucleare, quale ipotesi conclusiva e “aperta”, gli aspetti della sua pratica capocomicale come presagi di un approccio preregistico allo spettacolo teatrale. Le fonti utilizzate sono state molteplici e le ricerche d’archivio si sono svolte principalmente al Museo Biblioteca dell’Attore di Genova dove è conservato il ricchissimo Fondo Adelaide Ristori. Nella prima parte del lavoro, partendo da alcune riflessioni sulle origini assai poco documentate della carriera di Adelaide Ristori figlia d’arte, si è giunti alla delineazione del metodo di lavoro praticato, con precisione e minuzia, negli anni della maturità artistica. Attrice innovativa rispetto al passato, Adelaide Ristori basa ogni sua interpretazione sullo studio del testo e di svariate fonti (teatrali, letterarie, figurative) e su un doppio percorso di avvicinamento al personaggio, razionale-conoscitivo ed empatico. L’artista giunge poi ad un’elaborazione scenica dell’interpretazione fondata sulla definizione di una duplice partitura vocale e fisica, sulla quale si innesta una ricostruzione precisa del percorso emotivo del personaggio basato sull’organicità fra corpo e motivazioni psicologiche e sorretto – al momento dell’esecuzione – dalla costanza della concentrazione e dalla forza della presenza scenica. Tutto è scelto e costruito entro un lavoro attorico che deve rispondere ai criteri di verosimiglianza, misura formale, raffinata esplicazione della dialettica interno-esterno, adesione alla voce del drammaturgo, individuazione dei motivi d’interesse del testo per la comunicazione di valori etici e poetici personali. La valenza etica ed educativa del teatro è parte integrante della storia di Adelaide Ristori, tesa ad incarnare con il proprio operato artistico un esempio di rivalutazione culturale e sociale del teatro stesso. A ciò si accompagna il desiderio di proporre una nuova immagine dell’attore, e soprattutto dell’attrice, quale figura portatrice di valori morali, emblema di un mestiere degno di riconoscimento umano e artistico. Per affermare tali istanze ideali, Adelaide Ristori inserisce nel suo repertorio testi metateatrali con al centro parti di attrici che possono essere considerate “manifesti” della sua visione del teatro e dell’arte. Tra i casi più emblematici, vi sono due opere francesi, analizzate nella seconda parte di questo lavoro: Adriana Lecouvreur di Eugène Scribe ed Ernest Legouvé e Béatrix ou La Madone de l’Art di Ernest Legouvé. Per entrambi, si è delineata la storia dello spettacolo e si è tentato di ricostruire l’interpretazione del personaggio, in particolare mediante l’analisi dei copioni e dei ritagli stampa del Fondo Ristori. In conclusione, si sono proposte alcune riflessioni sul lavoro della Grande Attrice all’interno dell’ensemble della sua Compagnia Drammatica Italiana. Attrice che formalizza la propria performance individuale e analogamente l’intero spettacolo di cui è responsabile e “direttrice artistica”, Adelaide Ristori sembra infatti essere l’emblema di una innovativa concezione dello spettacolo come evento artistico coerente e composito, per la creazione del quale emerge la necessità di una guida capace di garantire uniformità estetica e poetica alla rappresentazione teatrale e tale da essere l’espressione di una interessante tensione preregistica.
VERGA, DAVIDE. « MUSICHE DI SCENA E TEATRO DI REGIA. FIORENZO CARPI E GLI SPETTACOLI GOLDONIANI DI GIORGIO STREHLER ». Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/202740.
Texte intégralFRATTALI, ARIANNA. « La drammaturgia fra letteratura e musica nel Settecento : figure femminili nei salotti lombardo veneti ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/750.
Texte intégralThe thesis reconstructs the role of the female figure in the XVIII century salon in the lombardo-veneto area regarding the relationship between music, theatre and literature. The study focuses on four female figures: Francesca Manzoni, Luisa Bergalli, Maria Teresa Agnesi e Paolina Secco Suardo
FRATTALI, ARIANNA. « La drammaturgia fra letteratura e musica nel Settecento : figure femminili nei salotti lombardo veneti ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/750.
Texte intégralThe thesis reconstructs the role of the female figure in the XVIII century salon in the lombardo-veneto area regarding the relationship between music, theatre and literature. The study focuses on four female figures: Francesca Manzoni, Luisa Bergalli, Maria Teresa Agnesi e Paolina Secco Suardo
AVANZINI, SUSANNA. « LA FUNZIONE DELLA MUSICA NEL TEATRODANZA DI SASHA WALTZ E PINA BAUSCH ». Doctoral thesis, Università degli Studi di Milano, 2013. http://hdl.handle.net/2434/222405.
Texte intégralSkalovska, Elisaveta. « La coppia nel tango argentino fra tradizione e palcoscenico ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/10612/.
Texte intégralBrotto, Giacomo <1990>. « Lo spettacolo della morte ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13489.
Texte intégralBARBATO, CRISTINA. « ROSSINI SERIO ET LA REGIA CRITICA EN ITALIE : RONCONI, PIZZI, PIER'ALLI ». Doctoral thesis, Università degli Studi di Milano, 2013. http://hdl.handle.net/2434/219981.
Texte intégralThe purpose of the present study is to investigate the contemporary direction of Rossini's opere serie. Long forgotten and even underestimated in favour of the composer’s comic production, this repertoire was rediscovered and revalued in the 1980s, thanks to many musicological and philological surveys, which represent an essential condition to its return to the stages. Due to the commitment of the Fondazione Rossini and to the creation of the Rossini Opera Festival - whose primary objective is the production of operas in their original musical version - Rossini’s opere serie have been positively appraised by critics and the public, thus giving birth to the so-called Rossini Renaissance. In the dissertation we accurately discuss the affirmation of Rossini’s opera seria non-dramatic power and we analyse its faculty to be represented. In order to do so, we assess the relation between this particular repertoire and a specific way of interpreting operas and plays, the so-called regia critica, which made its debut in Italy in 1950. Regia critica is a problematic term because it doesn’t designate a real directing “current”, but an interpretation of the “spirit” that leads to the genesis and to the stagey creation, through the point of view of contemporary artists. Among the outstanding personalities of this way of interpreting operas and plays, we focused our research on three Italian directors who worked on the three fronts of the composer’s production, serio, buffo and semi-serio: Luca Ronconi, Pier Luigi Pizzi and Pier’Alli. Through the analysis of their theatrical aesthetic applied to Rossini's opere serie, we tried to answer the many questions raised by the production of this particular musical dramaturgy, and specifically to the problem of the actualization of ancient operas.
Cette thèse est une étude de la mise en scène contemporaine des opere serie de Rossini, longtemps oubliés et sous-estimés au profit du répertoire buffo du compositeur, qui, à partir des années quatre-vingt du vingtième siècle, ont été redécouverts et réévalués grâce un profond travail musicologique de nature philologique, fondement essentiel de leur retour sur les scènes. C’est notamment grâce à la volonté des dirigeants de la Fondazione Rossini et à la création du Rossini Opera Festival, dont l’objectif premier est la transposition scénique des œuvres redécouvertes dans leur version musicale originale, que les opere serie rossiniens ont été réévalués de façon positive par les critiques et par le public, et que le phénomène communément appelé la Rossini-Renaissance a vu le jour. La thèse discute l’affirmation de non-drammaticità de cette partie du répertoire rossinien, et veut analyser sa faculté à être représenté. Pour cela on a privilégié l’étude du rapport que ce répertoire ‘oublié’ entretient avec une lecture scénique spécifique, celle proposée en Italie par la regìa critica à partir de 1950. Regìa critica est un terme problématique qui ne désigne pas à proprement parler un « courant » de mise en scène, mais une interprétation de ‘l’esprit’ qui a présidé à la genèse et à la création scénique de l’œuvre, à travers le regard d’artistes contemporains. Parmi les personnalités les plus marquantes de la regìa critica, nous avons focalisé notre recherche sur trois metteurs en scène italiens, Luca Ronconi, Pier Luigi Pizzi et Pier’Alli qui ont interrogé les différents fronts du répertoire du compositeur, et ont même proposé diverses mises en scène d’un même opera seria. À travers l’analyse de leurs esthétiques scéniques appliquées aux opere serie de Rossini, la thèse essaie de répondre aux nombreuses questions soulevées par la mise en scène de cette dramaturgie musicale particulière, et plus spécifiquement à la question de l’actualisation des œuvres lyriques du passé.
CIOFFRESE, DAVIDE. « Il Dramaturg in Italia. Un'anomalia storica tra Europa e Stati Uniti ». Doctoral thesis, Università degli studi di Pavia, 2022. http://hdl.handle.net/11571/1455370.
Texte intégralThe subject of the essay is the figure of the dramaturg, whose investigation begins from its origins in eighteenth-century Germany – with Gotthold Lessing – and keeps following its German development up to the revolutions of the role brought forth by the work of Bertolt Brecht and the Berliner Ensemble. The profession is then investigated in Great Britain, where the dramaturg is the subject of a substantial identification with the newly born figure of the "literary manager": especially through the theoretical work of William Archer and Harley Granville Barker and, later, through the practical activity of Kenneth Tynan. The professional’s double declination – dramaturg and literary manager – is then explored in the context of the twentieth-century United States. The essay, at this point, finally shifts to Italy, and it does so by allowing itself a chronological digression backwards: it identifies a proto-dramaturg for our Country in the figure of the romantic actor Gustavo Modena. Later, and continuing into our twentieth century, it proceeds to dwell on Gerardo Guerrieri, on a series of other more or less explicit dramaturgs active during the second half of the century – such as well-known poet Edoardo Sanguineti – and finally on Italy’s most famous dramaturg, Renata M. Molinari. Having thus reached its final chapter, the essay approaches its conclusion by focusing on the contemporary dramaturgical situation of our Country and on its various trends: investigated with the precious support of interviews with various professionals, then fully transcribed in the appendix.
MIGNATTI, ALESSANDRA. « Ritualità e cerimoniali nella Milano della prima metà del Settecento ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1853.
Texte intégralThe object of this research is the whole of the celebrations and preparations connected with the passage of Maria Theresa of Austria and the solemn entry of Archbishop Stampa into Milan in 1739, both exemplifications of the 18th century first half civic rituality and public ceremonials, and representations which engaged the city. A confrontation has also been made with the possesso of Maria Theresa, enacted in absentia in 1741. By means of a comparative analysis of the primary sources – printed, hamdwritten and ichnographic as well – it has been possible to reconstruct the role of etiquette norms, ceremonials and of the entire dramaturgy of festival events. The research has also brought to light the apparati set up by the Collegio dei Giureconsulti, so far ignored by studies. It has highlighted rhetorical mechanisms, actions, representational aspects which remain, some of them pertaining to the archetype sphere. Even if simplified, the ceremonials still show a strong cult of regality. The triumphal entry proves to be a meaningful moment to bring the city back to the imaginary of the origins which constitutes its identity and to renovate a new era. The necessity of the feast, of ritualistic moments of representation and auto representation is pointed out; and also the dramaturgic and not ornamental role of decorative elements like the baldachin, the arch, the carriage, the portrait, in a culture which conferred great value to images.
MIGNATTI, ALESSANDRA. « Ritualità e cerimoniali nella Milano della prima metà del Settecento ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1853.
Texte intégralThe object of this research is the whole of the celebrations and preparations connected with the passage of Maria Theresa of Austria and the solemn entry of Archbishop Stampa into Milan in 1739, both exemplifications of the 18th century first half civic rituality and public ceremonials, and representations which engaged the city. A confrontation has also been made with the possesso of Maria Theresa, enacted in absentia in 1741. By means of a comparative analysis of the primary sources – printed, hamdwritten and ichnographic as well – it has been possible to reconstruct the role of etiquette norms, ceremonials and of the entire dramaturgy of festival events. The research has also brought to light the apparati set up by the Collegio dei Giureconsulti, so far ignored by studies. It has highlighted rhetorical mechanisms, actions, representational aspects which remain, some of them pertaining to the archetype sphere. Even if simplified, the ceremonials still show a strong cult of regality. The triumphal entry proves to be a meaningful moment to bring the city back to the imaginary of the origins which constitutes its identity and to renovate a new era. The necessity of the feast, of ritualistic moments of representation and auto representation is pointed out; and also the dramaturgic and not ornamental role of decorative elements like the baldachin, the arch, the carriage, the portrait, in a culture which conferred great value to images.
BARBIERI, FRANCESCA. « Spettacolarità e scenografia a Milano tra età teresiana e giuseppina ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1350.
Texte intégralIn the second half of the 18th century Milan became a very influent centre for the art of stage designing. This PhD thesis seeks to investigate the developments of the visual aspects of theatricality in a crucial period (1765-1792) for Milan. This study is based on iconographic sources, namely engravings and drawings. The analysis focuses on public and political events (wedding festivals, state funerals and royal entries) and, at the same time, on theatre. The research considers the development of stage design at the Regio Ducal Teatro and the Teatro alla Scala. It concentrates on the works of the most important scene-painters of the period: the brothers Fabrizio and Bernardino Galliari and Pietro Gonzaga. As a result, the study provides an analysis of the several components of visual representation and their features.
BARBIERI, FRANCESCA. « Spettacolarità e scenografia a Milano tra età teresiana e giuseppina ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1350.
Texte intégralIn the second half of the 18th century Milan became a very influent centre for the art of stage designing. This PhD thesis seeks to investigate the developments of the visual aspects of theatricality in a crucial period (1765-1792) for Milan. This study is based on iconographic sources, namely engravings and drawings. The analysis focuses on public and political events (wedding festivals, state funerals and royal entries) and, at the same time, on theatre. The research considers the development of stage design at the Regio Ducal Teatro and the Teatro alla Scala. It concentrates on the works of the most important scene-painters of the period: the brothers Fabrizio and Bernardino Galliari and Pietro Gonzaga. As a result, the study provides an analysis of the several components of visual representation and their features.
SALVI, GRETA. « CULTURA TEATRALE E SCENARI URBANI NELLA MILANO DEL TRIENNIO CISALPINO (1796 - 1799) : TRA IMPIANTI TRADIZIONALI E INFLUENZE FRANCESI ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/2030.
Texte intégralIn the Triennium 1796-1799 took place the short life of the Cisalpine Republic, one of the political units founded by Napoleon Bonaparte during the Italian Campaign. This work studies the theatrical culture and the performing aspects which characterized the Cisalpine Republic and particularly its capital, Milan, in that historical juncture. The thesis asserted here is about the use of performing practices as an instrument of popular education and spreading of the principles of the 1789 Revolution. This aim was pursued by both French authorities and Italian pro-Revolution patriots. This work tackles three main points: the architectural and urban changes which affected Milan during the Triennium, the theory and practice of theatre, the public celebrations. The cultural relations between Italy and France have been investigated with special attention. This study is based on some documents kept in archives and libraries of Milan and Paris, such as printed editions of theatrical plays, records of celebrations, correspondence and periodicals from the age of the Cisalpine Republic.
SALVI, GRETA. « CULTURA TEATRALE E SCENARI URBANI NELLA MILANO DEL TRIENNIO CISALPINO (1796 - 1799) : TRA IMPIANTI TRADIZIONALI E INFLUENZE FRANCESI ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/2030.
Texte intégralIn the Triennium 1796-1799 took place the short life of the Cisalpine Republic, one of the political units founded by Napoleon Bonaparte during the Italian Campaign. This work studies the theatrical culture and the performing aspects which characterized the Cisalpine Republic and particularly its capital, Milan, in that historical juncture. The thesis asserted here is about the use of performing practices as an instrument of popular education and spreading of the principles of the 1789 Revolution. This aim was pursued by both French authorities and Italian pro-Revolution patriots. This work tackles three main points: the architectural and urban changes which affected Milan during the Triennium, the theory and practice of theatre, the public celebrations. The cultural relations between Italy and France have been investigated with special attention. This study is based on some documents kept in archives and libraries of Milan and Paris, such as printed editions of theatrical plays, records of celebrations, correspondence and periodicals from the age of the Cisalpine Republic.
DEL, MONTE DIANA. « MOMENTI DI TEATRO PERFORMATIVO TRA ITALIA E STATI UNITI : ROBERT WILSON, MOTUS, PUNCHDRUNK ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/18933.
Texte intégralA performance is a dynamic system that involves many variables. The importance of theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects has also been stressed by IFTR, through the working group "Theatrical events" and its publication Theatrical Events. Borders, Dynamics, Frames. In accordance with the IFTR approach, the dissertation presents three case-study: Motus, Punchdrunk and Robert Wilson. The three international artists and companies are studied here as a crossroad of interactions among art, marketing, and social context, tracing similarities and differences in their theatrical productions. Specifically, the research analyzed four theatrical events: Sleep No More by Punchdrunk, Syrma Antigones project by Motus, The Discovery Watermill Day and The Old Woman by Robert Wilson. The essay is the result of a combined archive and fieldwork research based in New York. The archival materials is from New York Public Library for the Performing Arts, Byrd Hoffman Foundation, The Watermill Center, Motus theater company's archive, while the fieldwork collected visual materials such as pictures, sketches, videos as well as interviews and artists notes during the events. Part of the Sleep No More's fieldwork is in collaboration with ISPOCC (Initiative for the Study and Practice of Organized Creativity and Culture) at Columbia University Business School.
DEL, MONTE DIANA. « MOMENTI DI TEATRO PERFORMATIVO TRA ITALIA E STATI UNITI : ROBERT WILSON, MOTUS, PUNCHDRUNK ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/18933.
Texte intégralA performance is a dynamic system that involves many variables. The importance of theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects has also been stressed by IFTR, through the working group "Theatrical events" and its publication Theatrical Events. Borders, Dynamics, Frames. In accordance with the IFTR approach, the dissertation presents three case-study: Motus, Punchdrunk and Robert Wilson. The three international artists and companies are studied here as a crossroad of interactions among art, marketing, and social context, tracing similarities and differences in their theatrical productions. Specifically, the research analyzed four theatrical events: Sleep No More by Punchdrunk, Syrma Antigones project by Motus, The Discovery Watermill Day and The Old Woman by Robert Wilson. The essay is the result of a combined archive and fieldwork research based in New York. The archival materials is from New York Public Library for the Performing Arts, Byrd Hoffman Foundation, The Watermill Center, Motus theater company's archive, while the fieldwork collected visual materials such as pictures, sketches, videos as well as interviews and artists notes during the events. Part of the Sleep No More's fieldwork is in collaboration with ISPOCC (Initiative for the Study and Practice of Organized Creativity and Culture) at Columbia University Business School.
Nepoti, Elena <1985>. « La storia del cinema muto a Bologna attraverso la documentazione d'epoca. Protagonisti, imprese, spettacoli e luoghi per la gestione dell'immaginario della società urbana (1896-1925) ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/7051/1/Nepoti_Elena_Tesi_Dottorato.pdf.
Texte intégralThe focus of this work is to reconstruct in detail the urban environment, its characteristics and evolution, in the beginning of the Twentieth Century, when the first movies were shown, using primary and filmic sources, and local and specialised press. Early cinema history is closely related to a process of modernization of the city of Bologna, as well as lifestyles and ideas, and the movies are tightly related to these instances, with a precise influence over the image of the city and on the experience of the citizens belonging to different social classes.
Nepoti, Elena <1985>. « La storia del cinema muto a Bologna attraverso la documentazione d'epoca. Protagonisti, imprese, spettacoli e luoghi per la gestione dell'immaginario della società urbana (1896-1925) ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/7051/.
Texte intégralThe focus of this work is to reconstruct in detail the urban environment, its characteristics and evolution, in the beginning of the Twentieth Century, when the first movies were shown, using primary and filmic sources, and local and specialised press. Early cinema history is closely related to a process of modernization of the city of Bologna, as well as lifestyles and ideas, and the movies are tightly related to these instances, with a precise influence over the image of the city and on the experience of the citizens belonging to different social classes.
Marucci, Francesca <1980>. « I luoghi della politica - la politica dei luoghi : la topografia della comunicazione negli anni della 'Rivoluzione Romana' ». Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1119.
Texte intégralThis dissertation focuses on the topography of communication during the “Roman revolution” (133-31 B.C.) and investigates the semiotic value of some public sites where highly significant political actions took place. The different strategies of communication at the time of the late Roman Republic are analysed by matching the memory of ancient sources to the investigation of the cultural value of four Roman sites. Chapter 1 reconstructs the political debate concerning the worship, the symbol and the site of the Dioscuri (from its association with an aristocratic gens to a symbol for the factio popularis). Chapter 2 revolves around the Temple of Concord, which constitutes as an actual place, as well as a political virtue and a slogan, a permanent endowment of the factio of the optimates. Chapter 3 examines cases of relationships developed in or on the theatre. The domus rostrata (Chapter 4) is taken as a legitimising element in the ideology of Pompeius, and one which was also appropriated by the subsequent proprietors of the house of Pompeius
Fusari, Silvia. « L'autoritratto nel video d'arte : il dibattito teorico interdisciplinare dagli anni Settanta ad oggi. Proposta di un modello d'analisi con esempi dal panorama italiano tra il 1968 e gli anni Ottanta ». Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3426768.
Texte intégralQuesto lavoro è teso a circoscrivere per quanto possibile la tipologia dell’autoritratto video attraverso l’analisi di una serie di presupposti teorici interdisciplinari dagli anni Settanta ad oggi (fondati sulle teorie di Philippe Lejeune, Michel Beaujour, Raymond Bellour, Marie-Françoise Grange, Laura Rascaroli), allo scopo di confermarne le condizioni di esistenza. In assenza di lavori specifici sul soggetto, l’autoritratto video emerge in questo quadro quale sfida intellettuale, dal momento che sembra possedere in massimo grado le qualità di elusività e resistenza a lasciarsi delimitare in una definizione conclusiva che da tempo sono riconosciute alle più tradizionali scritture del sé. La seconda parte espone, a partire dalle premesse teoriche vagliate, la proposta di costruzione di un modello d’analisi di riferimento, quale griglia generale da modulare di volta in volta secondo le variabili storiche, storico-artistiche, tecniche, formali, sociali e personali che hanno portato all’elaborazione delle opere audiovisive oggetto d’indagine. Allo stesso tempo, la realizzazione di questo modello è servita al rilevamento e alla selezione di un primo repertorio di esempi dal panorama italiano tra il 1968 e gli anni Ottanta, che ha evidenziato la necessità di considerarne gli aspetti tecnici e storici. L’autoritratto video si costituisce infatti come un atto performativo che compone una visualizzazione metaforica del soggetto attraverso una necessaria mediazione linguistica e tecnica che ne evidenzia la dimensione sociale. Nella terza parte si è tentato di proporre una lettura di alcuni nodi tematici quali la rappresentazione del corpo dell’artista e le relazioni di tale corpo con lo spazio, che concorrono a comporre l’emblema autoriale, simbolo di un mondo non solo corporeo ma anche interiore, psichico, estetico e spirituale. In allegato, alcune interviste a Maria Gloria Bicocchi, Lola Bonora e Michele Sambin, condotte sperimentando diversi modelli di interviste.
MEGALE, TERESA. « La città in festa. Tipologie dello spettacolo nella Napoli del primo Seicento ». Doctoral thesis, 1994. http://hdl.handle.net/2158/627388.
Texte intégralPASSERA, DIEGO. « Gli italiani in Inghilterra. Migrazione di saperi artigianali dello spettacolo al tempo dei Tudor (1485-1603) ». Doctoral thesis, 2013. http://hdl.handle.net/2158/799467.
Texte intégralLiberto, Antonia. « «Io canto, ballo e dico la ventura». La Zingara nel teatro italiano fra Cinque e Seicento ». Doctoral thesis, 2022. http://hdl.handle.net/2158/1270670.
Texte intégralLOCATELLI, STEFANO. « Edizioni teatrali nella Milano del Settecento. Per un dizionario bio-bibliografico dei librai e degli stampatori milanesi e annali tipografici dei testi drammatici pubblicati a Milano nel XVIII secolo, TESI DI DOTTORATO, Università Cattolica del Sacro Cuore, Dottorato in "Teoria e Storia della rappresentazione drammatica", XVIII ciclo, coordinatore : Paolo Bosisio, tutor : Annamaria Cascetta, a.a. 2005/06, Milano [http://hdl.handle.net/10280/191] ». Doctoral thesis, 2006. http://hdl.handle.net/11573/499791.
Texte intégralThe PhD thesis by Stefano Locatelli is about theatre's book in 18th century. It offers a catalogue of dramatic editions print in Milan from 1701 to 1800 and a bio-bibliographical dictionary of printers and librarians in Milan during 18th century. The thesis offers also a study about the documentary value of theatre book and outlines a survey of theatre book production in Milan during the 18th century. It also analyse lecture and circulation of theatre book in Milan by going through some catalogues and inventories of booksellers and private libraries.
GUCCIARDO, ALFONSO GIANLUCA. « La médecine des arts du spectacle vivant. Histoire, diffusion internationale, pensée, éthique et pratiques. La medicina delle arti e dello spettacolo vivente. Storia, diffusione internazionale, pensiero, etica e prassi ». Doctoral thesis, 2022. https://hdl.handle.net/11570/3244413.
Texte intégralPerforming Arts (PA) Medicine, meant as a "medicine for the art of living entertainment", is still not known and not well understood and framed and recognized, in Europe as well as in the other Continents. Starting from a discussion on the philosophical and epistemological meaning of this branch of medicine, we have arrived at a personal ethical and bioethical reading in order to understand its limits and strengths for doctors, rehab professionals, teachers of the arts of voice, music, dance and circus, philosophers and, obviously, artists. PA Medicine (whose name we also dealt about) is far from that medicine today called "complementary"/"not-Evidence Based", and is a branch of medical and philosophical and pedagogical knowledge useful to the artist's and art's physical, psychic and emotional health. PA Medicine is a Medicine not only for the artist but for the PA themselves which, at times, also need to be cured. We have deepened this last topic also starting from an historical and ethic study of the phenomenon of the “care and curing” of arts and of performers, from the origins to today.
Notre travail a pour objectif de traiter de la médecine des arts de la scène, et plus largement de la médecine des arts du spectacle vivant. En Europe et dans le monde, ce domaine médical n'est en effet pas toujours connu, compris, organisé ou reconnu. À partir d'une discussion sur la signification philosophique et épistémologique de ce sujet, et en nous appuyant sur notre pratique de médecin phoniâtre depuis vingt deux ans, notamment dans le domaine de la bioéthique et de la médecine de la voix, nous avons entrepris une lecture éthique et bioéthique visant à comprendre ses limites et ses possibilités, ainsi que ce qui est partageable et compréhensible par les professionnels susceptibles de l’exercer: médecins, rééducateurs, enseignants en art (de la voix, de la musique, de la danse ou du cirque), philosophes et, évidemment, artistes. Il nous est apparu que, loin d’appartenir aux thérapeutiques "complémentaires" ou "non fondées sur des preuves", la médecine des arts et du spectacle ne doit pas être comprise uniquement comme une médecine multidisciplinaire, mais comme une branche interdisciplinaire reposant sur des connaissances philosophiques et pédagogiques utiles à la santé physique, psychique et émotionnelle des artistes. En analysant plusieurs modèles internationaux, dont plusieurs auxquels nous contribuons, nous avons pu faire le constat que cette interdisciplinarité n'est pas toujours évidente. Nous avons enfin émis l’hypothèse que la médecine des arts et du spectacle vivant est une médecine non seulement pour l'artiste mais aussi et avant tout pour les arts du spectacle eux-mêmes qui, parfois, doivent également être soignés. Nous avons approfondi ce dernier sujet en conduisant une étude historique et éthique du phénomène du soin et de la cure de l'art et de l'interprète, des origines à nos jours.
BRIATORE, SAMUELE. « Rifrazioni sonore. Percorsi sonori nel Seicento ». Doctoral thesis, 2017. http://hdl.handle.net/11573/936333.
Texte intégralROMA, ALDO. « Giulio Rospigliosi, San Bonifatio. Studi ed edizione critica ». Doctoral thesis, 2016. http://hdl.handle.net/11573/926395.
Texte intégralThis research aimed at preparing a critical edition of the libretto of “San Bonifatio” (1638), one of the hagiographical operas written by Giulio Rospigliosi (1600-69) and staged at the papal court of Urban VIII Barberini. Preliminary based on a selection among the surviving manuscript witnesses—and in anticipation of a monograph which will include the integral collation of all the sources—the philological study of the text has been followed by a critical analysis. The libretto has been explored for how it was a ‘sounding board’ for other works, topoi and literary models that layered and settled on the theatrical culture of Baroque Rome. Subsequently, the text has been contextualised and analysed with historiographical categories, tracing in it the ideological elements which can be read as acme and vehicle for a specific political design of the Barberini patronage.