The course aims to provide the tools for observation and critical analysis of contemporary live performance forms in the light of the observation perspective of liveness, understood as a mediatized form of live communication.

Specifically, the course aims to promote the following objectives:
- acquire theoretical knowledge aimed at framing the transformations of live communication in the light of performance theory;
- acquire complex theoretical knowledge aimed at observing the relationship of structural homology between performance forms and socio-communicative structures;
- acquire the terminology of media languages for the analysis of contemporary performance: mediatization, mediation and remediation, multimedia, crossmediality, transmediality, media dramaturgy;

- know how to frame contemporary spectacle from the perspective of liveness as a form of live communication in mediatized contexts; 

- acquire elements of theoretical and practical analysis of liveness in digital communication contexts;

- acquire theoretical and practical tools to analyze the phenomena of digital liveness;

- acquire elements of theoretical analysis on audiences and audiences in entertainment;
- know how to analyze a live spectacular event in written and/or oral form;

- acquire theoretical and practical tools for analyzing live performance audiences.

1. Performance theory

1.1. Structural homologies between performance forms, societal structure and communication

1.2. Mediology of performance from ritual to theater, from orality to writing

1.3. The functions of performance: effectiveness and entertainment

1.4. Performance as a form of communicative interaction

1.5. Performance and the media

2. Performance and mediatization

2.1. The concepts of mediatization: mediation, logical mediation, remediation

2.2. The mediatization of the social

3. Live media

3.1. Live and mass media - radio

3.2. Live television and media events

3.3. Live digital media

4. Liveness: mediatization of performance

4.1. Dimensions of liveness: simultaneity, interaction, unpredictability

4.2. Liveness and genres of performance: differences between theater, music, sports

4.3. The role of the audience

4.4. The medial specific and the evaluation of liveness

5. Mediatization and contemporary theater

5.1. Strategies for theater's processing of medial languages: valorization, assimilation, transfer

5.2. Post-dramatic and transmedia theater

5.3. Theater and social media

5.4. Online audiences

6. Liveness in digital media

6.1. Timeliness and livestreaming in digital platforms

6.2. Connected media events

6.3. Live streaming entertainment: aesthetics of mainstream digital performance  

7. Observing audiences

7.1. Contemporary performance audiences

7.2. Diffuse audiences and performing audiences

7.3. Fandom

7.4. Audience development

1. Knowledge and understanding
- knowledge and understanding of the performance theory;
- knowledge and understanding of the theoretical frameworks used for the analysis of media languages;
- knowledge and understanding of the empirical research processes that can be used in the field of contemporary live and media entertainment.
1.1. Students achieve this basic knowledge through the attendance of lessons and seminars, the study of the texts discussed in the classroom and the exercise in the classroom.
2. Applying knowledge and understanding
- ability to analyze spectacular media and live products;
- ability to apply mediological concepts to spectacular events;
- ability to understand the methodological differences in relation to the research object;
- capacity for empirical generalization and use of theoretical concepts in the interpretation of results, in the analysis of spectacular products, etc.
2.1. Skills acquired through laboratory exercises in the classroom.
3. Making judgements
- critical and analytical ability aimed at grasping the differences in the various spectacular and performing contexts;
- ability to identify viable objects of analysis in the field of contemporary performance;
- ability to identify research methodologies suitable for different contexts;
- ability to formulate adequate research questions and operational hypotheses;
- ability to read and interpret the dramaturgical dimensions of spectacular events;
3.1. This judgment should be applied in the classroom discussion with the teacher and colleagues, during the exercises and in the preparation of the final exam.
4. Communication skills
- ability to present analyzes produced during class exercises;
- willingness to actively participate in lessons with questions and comments;
- ability to write the review of a performative event;
- ability to work in a team;
- ability to produce and share in-depth materials on the course topics;
4.1. Skills that are exercised in the classroom with the organization of moments of discussion, exercises, with active participation in the social channels of the course.
5. Learning skills
- ability to correctly apply and use theoretical terms and concepts relating to performative events;
- ability to analyze and critically evaluate, both in methodological aspects and in results, empirical research conducted in a spectacular setting;
- ability to find the sources necessary for the analysis of spectacular events;
- ability to connect the concepts learned;
5.1. Skills to be enhanced thanks to the argumentation with the teacher and classmates.

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

Seminars with experts (artists and scholars). 
The teaching materials provided by the teacher is available, together with other support activities within the platform Moodle> blended.uniurb.it.

Teaching

Lectures and seminars with the help of audiovisual material. 
 

Innovative teaching methods

• flipped lesson on some topics of the course;
• exercises and in-depth studies, individual and group, which students will carry out using the University's Moodle platform.

Attendance

Study of the texts indicated, participation in seminars and meetings with experts, participation in class exercises.
 

Course books

1. Gemini L. (2003), L’incertezza creativa. I percorsi sociali e comunicativi delle performance artistiche, FrancoAngeli, Milano (capitoli 1 e 3).

2. Bolter J.D., Grusin R. (2002), Remediation. Competizione e integrazione tra media vecchi e nuovi, Guerini, Roma (da p. 11 a p. 117).

3. Dayan D., Katz E. (1993), Le grandi cerimonie dei media. La Storia in diretta, Baskerville, Bologna (da p. 3 a p. 60).

4. Gemini L. (2016), Liveness: logiche mediali nella comunicazione dal vivo, in «Sociologia della Comunicazione», n. 51, pp. 43-63.

5. Other study material indicated in class.

Assessment

Oral examination and active participation during the classes, seminars and class assignments.

The exam will be held through an individual interview based on textbooks suggested. The aim is to evaluate both student's comprehension of the content and his ability in reworking concepts and in argumenting. Students must present a written document in the form of a review of at least one performance agreed with the teacher.

Excellent grades will be given in presence of: a good critical perspective and in depth study; knowing how to link among them the main subjects addressed during the course; the use of an appropriate language.

Good grades will be given in presence of:  good mnemonic knowledge of the contents; a relatively good critical perspective and connection skills related to the treated topics; the use of appropriate language.

Sufficient grades will be given in presence of: the achievement of a minimal knowledge on the treated themes, even in presence of some gaps; the use of a not appropriate language.

Negative grades will be given in presence of: a difficult orientation related to the the treated topics; knowledge gaps; the use of a not appropriate language.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.

Teaching

The teaching materials provided by the teacher is available, together with other support activities within the platform Moodle> blended.uniurb.it.

Attendance

Study of the texts indicated.
 

Course books

1. Gemini L. (2003), L’incertezza creativa. I percorsi sociali e comunicativi delle performance artistiche, FrancoAngeli, Milano (capitoli 1 e 3).

2. Bolter J.D., Grusin R. (2002), Remediation. Competizione e integrazione tra media vecchi e nuovi, Guerini, Roma (da p. 11 a p. 117).

3. Dayan D., Katz E. (1993), Le grandi cerimonie dei media. La Storia in diretta, Baskerville, Bologna (da p. 3 a p. 60).

4. Abercrombie N., Longhurst B. (2007), Audience diffusa tra spettacolo, narcisismo, immaginazione e comunità, in Andò R. (a cura di), Audience reader. Saggi e riflessioni sull'esperienza di essere audience, Guerini, Milano, pp. 105-131.

5. Gemini L. (2016), Liveness: logiche mediali nella comunicazione dal vivo, in «Sociologia della Comunicazione», n. 51, pp. 43-63.

Assessment

Oral examination.

The exam will be held through an individual interview based on textbooks suggested. The aim is to evaluate both student's comprehension of the content and his ability in reworking concepts and in argumenting. Students must present a written document in the form of a review of at least two performances agreed with the teacher.

Excellent grades will be given in presence of: a good critical perspective and in depth study; knowing how to link among them the main subjects addressed during the course; the use of an appropriate language.

Good grades will be given in presence of:  good mnemonic knowledge of the contents; a relatively good critical perspective and connection skills related to the treated topics; the use of appropriate language.

Sufficient grades will be given in presence of: the achievement of a minimal knowledge on the treated themes, even in presence of some gaps; the use of a not appropriate language.

Negative grades will be given in presence of: a difficult orientation related to the the treated topics; knowledge gaps; the use of a not appropriate language.

Disabilità e DSA

Le studentesse e gli studenti che hanno registrato la certificazione di disabilità o la certificazione di DSA presso l'Ufficio Inclusione e diritto allo studio, possono chiedere di utilizzare le mappe concettuali (per parole chiave) durante la prova di esame.

A tal fine, è necessario inviare le mappe, due settimane prima dell’appello di esame, alla o al docente del corso, che ne verificherà la coerenza con le indicazioni delle linee guida di ateneo e potrà chiederne la modifica.