Tag: Performing Arts Criticism

Contemporary Theatre(s) in Italy – Introduction

CONTEMPORARY THEATRE(S) IN ITALY

INTRODUCTION

Motus Caliban Cannibal. Photo by courtesy of Motus
Motus. From ‘Caliban Cannibal’. Photo by courtesy of Motus

The present section of the website aims at drawing an overview of the contemporary performing arts system in Italy. A short note is necessary to introduce the reader to the functioning of the section – which tries to exploit the web potentiality at its best – but, most of all, to explain how and why a hyper-textual structure is more than ever cut out for the Italian present environment. Even though the nature of this issue (to which an agile and highly readable language is requested) cannot confide in creating a thorough and executive summary of the whole spectrum, the author’s point of view is that a dynamic and compound collection of small focuses has the chance to mirror the Italian system more faithfully than a single long essay. Such belief stems from an eight-year journalistic/critical experience that revealed the Italian stage arts landscape as a very fragmented organism in which the territorial diversity, mostly characterized by sensible economical differences, creates a plurality of production/circulation opportunities that goes hand in hand with the local environment.

As can be seen in the map of the section, one focus is sometimes generated by another and the focus itself originates a further one in a complex net of relations and interdependence, a lively system that is currently facing an evident shift and, yes, shows a fundamental ability to preserve its creative attitude. Cultural Policy and Theatre Practice, for example, are tightly connected; one necessarily determines the other, and the latter gives birth to peculiar Aesthetics, with related trends and a specific appeal on the audience, which in fact can influence (or at least interacts with) the Cultural Policy.

A final point must be brought up. The situation described in the present section was written in February and March 2015. In those months the whole state support system was undergoing a deep change (a short account is offered in the Theatres Structure paragraph) which still needs to be tested and processed by the system actors. In other words, at the present time the global organization of public money for the Italian performing arts scene is reshaping in a new order which is going to affect the balance between the public and private structure in the most unpredictable way.

This is why we chose to add an “S” at the end of the word “Theatre”.

Continue with article #1 Cultural Policies 
To overview of the hypertexts go to Map of the Section

Thumbnail image of this article by courtesy of CollecitvO CineticO. © Valentina Bianchi

 

Published on 10 June 2015 (Article originally written in Italian)

#2.3.2 The Role of the Critic

#2.3.2 THE ROLE OF THE CRITIC

By courtesy of Balletto Civile. © Marco Caselli Nirmal
By courtesy of Balletto Civile. © Marco Caselli Nirmal

If in Italy we waved goodbye to the old-fashioned image of the professional theatre critic appointed to go the theatre, see the show, go back home (or to a late night office) and write a review, a new position of this figure would arise that closely involves a relational dimension, linked to other figures and institutions and artists.

Continue with article #2.3.2.1 Relationship with other Figures
Back to article #2.3 University and Journalism

Thumbnail image of this article by courtesy of CollectivO CineticO. © Marco Davolio

 

Published on 11 May 2015

#2.3.1 University and Journalism

#2.3.1 UNIVERSITY AND JOURNALISM

EWE - ph Marco Caselli Nirmal - H177_304
From ‘Eye was Ear’. Photo by courtesy of CollectivO CineticO. © Marco Caselli Nirmal

Let’s take the International Association of Theatre Critics (AICT-IATC) as an example. At a first glance, some members are in fact employed by the universities as lecturers: it then appears fairly evident how in many countries the field of academic studies and the field of journalism share some wide areas. At least in the terms of the possibilities for a theatre critic to lecture at the university or for a lecturer to write articles on a newspaper or a magazine. This is quiet unusual in Italy: at the present time, professors and researchers generally don’t contribute to newspapers and magazines, except for the ones that explicitly have an academic angle. Conversely, very seldom a journalist is invited as a teacher at the university. However, many theatre and dance academies invite professionals (rather than university lecturers) to lead theatre/dance criticism workshops and this model might be imported also in the more conventional academic learning programs. Occasional playgrounds belonging to a professor and a theatre critic still can be symposia or special events such as commemorations or national meetings.

 

Continue with article #2.3.2 The Role of the Critic
Back to article #2 Performing Arts Criticism 
Thumbnail image of this article by courtesy of  CollectivO CineticO. © Marco Caselli Nirmal

 

Published on 11 May 2015

#2 PERFORMING ARTS CRITICISM

CONTEMPORARY THEATRE(S) IN ITALY

#2 PERFORMING ARTS CRITICISM

Muta Imago. Displace #1 La Rabbia Rossa. Photo by Luigi Angelucci
Muta Imago. From ‘Displace #1 La Rabbia Rossa’. Photo by Luigi Angelucci

To draw a short portrait of the contemporary performing arts criticism in Italy it is necessary to underline its marginality within the frame of the mainstream press and communication. As can be seen in the specific paragraphs, the traditional location for the criticism—the newspapers and the academic debate– has been deeply changing. Nowadays, it’s really difficult to make a living out of art criticism.

Continue with article #2.1 Between the web and the printed page
Thumbnail image of this article by courtesy of Valentina Bianchi & CollecitvO CineticO

 

Published on 30 April 2015