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The Activation of the Observatory TEMPO: For a new Policy of Spectatorship (Report on 13th June 2016)
Get PDFThe observatory TEMPO (Theatrical Enjoyment Measurement and Production Observation-Centre) was founded in January 2016 at the University of Milan, in the context of the European project “Senses: the Sensory Theatre – New Transnational Strategies for Theatre Audience Building”. It aims at developing new strategies to bring young people closer to theatre, through both the education of young spectators and the production of plays that can attract their interest. The Observatory aims therefore at giving back to theatre a political and social function that is essential for it.The observatory TEMPO (Theatrical Enjoyment Measurement and Production Observation-Centre) was founded in January 2016 at the University of Milan, in the context of the European project “Senses: the Sensory Theatre – New Transnational Strategies for Theatre Audience Building”. It aims at developing new strategies to bring young people closer to theatre, through both the education of young spectators and the production of plays that can attract their interest. The Observatory aims therefore at giving back to theatre a political and social function that is essential for it
«Le pape frissonne»: The Writing of Touch in the Dramas of the «naturalist-symbolist Crossroads»
Get PDFSoaked wet under the rain of a thunderstorm or shivering in the cold: when confronted to weather phenomenons by playwrights, characters are no longer defined by their sole ability to speak. Intervention of meteorological parameters engages the passive side of the sense of touch, hence resulting in what we would qualify as a dramatic writing of the skin. Through the examples of The Blind by Maurice Maeterlinck (1890) and Uncle Vanya by Anton Chekhov (1897), we postulate that this engagement of senses cannot be limited to a simple concession to realism. This writing of the skin contributes to the recreation of unity in drama at the turn of the century, when the action is no longer its structural principle, and discretely remedies the drama of incommunicability
« Trouble persistant ». De l\u27expérience sensorielle à la quête de sens : « Au monde » de Joël Pommerat (2004)
Get PDFIn all his performances Joël Pommerat is writing a theatre of trouble, by its nature addressed to the spectators’ senses. Thanks to the example of Au Monde (2004), it will be shown how trouble is produced by the hiatus between sight and hearing, visual half-light and auditive acuteness, but also by the almost obsessional questioning of senses all over the text. How do senses and sensations build the meaning of play Au monde ? This paper offers a study their visual and lexical occurrences
Il coinvolgimento drammaturgico e sensoriale dello spettatore negli spettacoli del Teatro del Lemming
Get PDFTeatro del Lemming Company works since almost thirty years around the dramaturgical and sensorial involvement of the spectator. The first sensorial dramaturgy of Teatro del Lemming is Oedipus. Tragedy of senses for one spectator. The spectacle had its première in 1997. This piece breaks the mirror of the representation: the spectator sinks inside the dramaturgy with all his five senses. The spectator is blindfolded and has the protagonist’s role. He is led to re-experience on his body all landmarks of Oedipus’ myth. Certainly the condition of being blind creates a greater openness of the other senses. After Oedipus, the sensorial and dramaturgical involvement of the audience has become the particular sign of Teatro del Lemming’s theatrical productions
The Taste of Time: On the Construction of the Spectator’s Political Conscience
Get PDFTraditionnally, live shows construct their spectators’ political consciousness through intellectual means. Taking George Tabori’s play Mein Kampf (Farce) (1987), Roberto Cossa’s La Nonna (1990), and Les Sept doigts de la main circus company’ show Cuisine et confessions (2014) as examples, this paper explores how the use of taste can also serve the same purpose. It demonstrates how the sense of taste is not necessarily antagonistic to « sense » as good understanding and judgement, and that it is notably through the transformation taste brings about in the relationship between stage and spectator time that both are reconciled.
 
The Relation between Director and Actor: The Role of Senses in the Creation of the Show
Get PDFThis paper is the testimony of an artist, a director, on the importance of the senses in the direction of actors. The author is a director and she browses her artistic experience
Synesthesia and Totality in the Theatre of Paul-Napoléon Roinard (1856-1930)
Get PDF11th December 1891, at Théâtre d’art, the Cantique des cantiques (“Song of songs”), based on a idea of Paul-Napoléon Roinard went on stage. Roinard used biblical text to create a form of a total theatre, through the stimulation of three of five senses: music and scents try to concrete the poetry of the Chir ha-chirim. Unfortunately Roinard’s career was marked by the folkloric character of this soirée, and most of his dramatic work, as the trilogy Les Miroirs (1908), Le Donneur d’illusions (1920), Les Chercheurs d’impossible (1929), is scarcely known. Yet we find In this trilogy the same synesthetic principles used in the Cantique now included in more impressive epical plays. In this way, Roinard creates a “synthetic theatre”, a bridge between the theatrical aesthetics of Symbolism and that of Simultaneism and Futurism. 
The Senses in the Music Tragedy by Quinault and Lully
Get PDFIf the show has authority to educate, the instruction is softened by the pleasure of the senses. In this vein, Quinault is perfectly representative of his time. Playwright was appreciated in Paris, he invents with Lully the tragedy in music which multiplies tenfold the reception and the pleasure of the senses at the spectator. We propose from then on a reflection on the senses in the tragedy in music of Quinault and Lully, of Cadmus (1673) to Armide (1686)
Introduzione
Get PDFThis issue gathers the interventions presented on occasion of a joint conference organised by the Department of Cultural Heritage of University of Milan and the Department of Social Sciences of the University of Parma from 14-16 October 2016 concomitantly to Expo Milan Fair. The focus of the conference, which reflects in the present publication, was ‘taste and disgust’ in Aesthetics and in the arts — seen from an interdisciplinary perspective that goes beyond a strictly academic discourse and on to the investigation of its socio-cultural repercussions
Declinations of Taste in Pina Bausch’s Theatre-Dance: the Melancholy of the Fleeting
Get PDFIn this essay, I try a first attempt to match the reflection upon âdanceâ and âtasteâ. For this purpose, I take some examples from the repertory of the Tanztheater Wuppertal Pina Bausch. In my text, I consider the possibility to recognize an analogy between âdanceâ and âtasteâ from an epistemological perspective