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Vita e Pensiero

La tecnica dell’improvvisazione teatrale in contesti di lavoro digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 2. Il teatro al lavoro. Teorie e tecniche del teatro nel mondo del lavoro
Year: 2005
The Italian League for Theatrical Improvisation, draws on many years’ experience in the field of communication in the business sector. Based on the relationship between actors and audiences, it is transferred to the relevant contexts through the flexibility of the methodology of improvisation. The character specific to this type of theatrical training – which has also become a basic choice in the practice of work in our company – is a playful approach in the broadest sense of the term. Agood improvvisatore is capable of finding solutions to unexpected situations, making decisions, using the information and abilities one possesses (creativity, intuition in actions and relationships, the ability to listen, the experiences that underlie everyone’s training and experience). The essential features of the work on improvisation can be summed up as follows: Communication, Creativity, Listening, Integration, Action on the Styles of Relationships and Contact, Action on the Dynamics and the Cohesion of Work Groups. Fields of application to business range widely: from convention to training and intervention in the social field. This approach does not form part of the traditional methodologies of intervention in business, but it supplies tools that are well-suited to the new needs. It responds innovatively and effectively to changes in the quality of business relationships and enables staff to cope with and manage creatively the difficulties imposed by the rapid and continuous transformations of society.
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E l’attore entrò in azienda digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 2. Il teatro al lavoro. Teorie e tecniche del teatro nel mondo del lavoro
Year: 2005
This paper runs through some personal memories of almost twenty years and the evolution of the relationship between the theatre and business with its needs in training, communication and problem-solving. It ranges from the period when ‘Business Theatre’ did not constitute either a clear and experimentable concept, and even less a conflict of copyright until the subsequent emergence and progressive development of a new practice that saw theatres and businesses open their doors to each other, often through the mediation of the immense archipelago of training. And with the memories there emerge questions and also doubts that have accompanied my exploration of a territory at first unknown and alien and then gradually more familiar, interesting and stimulating. There follow, finally, some concluding observations that are intended as a small contribution to a discussion with a great variety of accents and points of view, about the present expansion of the phenomenon, which is as dynamic as it was slow in germinating in Italy.
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Il giullare in azienda digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 2. Il teatro al lavoro. Teorie e tecniche del teatro nel mondo del lavoro
Year: 2005
All too often our working and personal life is constrained by seriousness. Duties, obligations, precepts, whether of a social nature or self-imposed, absorb our attention, our effort to live our lives on the planet. Laughter, however, embodies the need to communicate and is a creative force: the relationship between laughter and well-being has always been understood. We discover our creativity by clowning. We need to bring out, to liberate, the creativity that is inside each of us, with its whole charge of freshness and enthusiasm, leaving space for playfulness and joy. Laughter needs to be completely rehabilitated because it has noble origins, being even related to the genesic act of Wisdom (Proverbs 8,30-31). By reconstructing an inner space in which to allow silence to speak, we can again listen to the echo of the divine joy and delight at a creation that is achieved day by day. And if, on recreating an inner space, we rediscover the joy we have lost (the ‘perfect joy’ of St. Francis), of which laughter is the outward expression, it is likewise true that by spreading smiles around, we facilitate the reconstruction of this spiritual place. This is why today, more than ever, we urgently need laughter. It is a primary need whose urgency and scope are perceived whenever we go to work in a theatre, in a classroom, in a business, in a gymnasium or in the wing of a prison.
€ 6.00
Teatro e impresa: per una nuova prospettiva antropologica ‘dal basso’ digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 2. Il teatro al lavoro. Teorie e tecniche del teatro nel mondo del lavoro
Year: 2005
Activating theatrical communication in a business, both as a premise for the creation of a real community of workers and as the result of a possible community in action, satisfies the profound urge for relationships inherent in today’s society and world. A ‘bottom up’ business theatre can help to eradicate the roots of disquiet and malaise and restore the circulation of an ethical paradigm, starting from the aesthetic experience of an enacted and participatory theatre, not merely contemplated, so restoring the individual to his/her reality, infusing new strength and bringing about change.
€ 6.00
Dal culto dell’emozione alla centralità della relazione
La proposta teatrale all’interno del sistema organizzativo
digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 2. Il teatro al lavoro. Teorie e tecniche del teatro nel mondo del lavoro
Year: 2005
The new hero of our time is the homo sentiens, bulimically in quest of a hyper-emotive dimension. After the aegis of rationality, emotion is therefore the key word for our century and its unceasing motion is a manifestation of individualism. But the emotional sphere lacks the complexity of the affective sphere, which pertains to collective dynamics, debate and dialectic. Individual expression and collective requirements are the nodal points of the business theatre experience, a form of training that acts on the business universe to reveal the web of connections between the Self, the Other and Reality. The case history examined is based on many years’ work with the Gruppo Norman, an Italian group for the dynamic management of real-estate assets, a firm with a strongly humanistic culture. The paper ranges from creative workshops to the foundation of the first Permanent Business-Theatre Company, which staged the theatrical production Rumors, freely adapted from William Shakespeare’s Much Ado About Nothing, at the Teatro dell’Arte-CRT in March 2006.
€ 6.00
La grande impresa del teatro digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 2. Il teatro al lavoro. Teorie e tecniche del teatro nel mondo del lavoro
Year: 2005
The paper is divided into two sections. The first describes the fundamental aspects of social theater: a theatrical experience very common today, which develops outside the normal contexts of the professional drama and embodies the evolutionary interaction between artistic-theatrical procedures and practices and the socio- affective needs and possibilities of the person, the group and the community to which the group belongs, so restoring open forms of drama and festivities. The second section of the text inscribes the experience of the theater in business as part of the broader field of social theater and so identifies some of its distinctive features through a description of certain exper- iments that have been conducted. The text brings out the specific nature of the contribution that the theatre can make to the development of productive organizations. The theatre is particularly interesting for both a training in areas inherent in relationships and communications – soft skills – and in the development, in phas- es of change, of processes of observation and evaluation in participation with the organizational culture, fol- lowed by paths of integrated and supportive training. Finally the text presents the need for a strong contrac- tual partnership with the business, given the intensity of the work that the theater presents. Also desirable is an adequate training in social theater for those who intend to work with this method in business training.
€ 6.00
Sette colleghi in cerca di relazione digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 2. Il teatro al lavoro. Teorie e tecniche del teatro nel mondo del lavoro
Year: 2005
A small web agency is taken over by a big firm. The staff is expanded with the arrival of new professional figures and the consequent necessity of forming a team in which roles and responsibilities are clearly defined. To overcome the problems of relationships, a series of encounters are proposed to the people involved in the process of transforming the business. The encounters are structured making use of the techniques of a theatre workshop, with a close concern for interpersonal and group dynamics. The introduction of the sphe- re of role play and performance made it possible to deal indirectly with critical situations and accelerated an otherwise long and laborious process.
€ 6.00
COMUNICAZIONI SOCIALI - 2005 - 3. Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia digital
format: Digital issue
Year: 2005
Numero tre del 2005 della rivista "Comunicazioni Sociali"
Prospettive e problemi nella ricerca sul cinema amatoriale
Free
digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 3. Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia
Year: 2005
Various studies of amateur cinema conducted in recent years have sought to fill a sizable gap in the international panorama and at the same time open up various problems and perspectives. In the first place we have to recognize that amateur cinema traverses different communicative spaces and needs to be investigated in relation to them: if the home movie is ultimately a continuation of the photo album – in styles, models of discourse and functions – the ‘amateur’ film draws more properly on the cinema. In the second place we have to question social ambits and parameters hitherto neglected, such as the role of home movies in non-Western spaces and cultures or in relation to determinations of class, religion etc. Further, it is necessary to take stock of the ways the new amateur technologies (from video to digital film to the Web) have profoundly modified the boundaries between amateur and professional or between public and private spaces, raising new issues. In particular, the encroachment of amateur productions on the public space, in both Tv programs (Video Gag) and remontage films or audio-video blogs leads to the necessity of questioning whether and how far these types of products, with their testimonial scope, constitute agents of social ‘deregulation’, a weakening of the civil (and global) institutions as a result of an awakening, sometimes emotional, of questions of identity and definitions of the self.
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Per una storia della tecnologia amatoriale digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 3. Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia
Year: 2005
This paper is a first step towards a systematic study of amateur movies from the technological point of view. While they follow a marginal path – though, on the temporal level, one that parallels mainstream cinema – amateur movies have existed and developed ever since movies were first invented. There were many attempts by the industry to ‘shrink’ film into a smaller format that would be cheaper and more accessible and extend the market for sales of film together with projectors and movie cameras, but most of them were failures. The historic breakthrough for amateur films came in 1922: the almost simultaneous introduction of safety film in 16mm format by Kodak and 9.5mm by Pathé spread amateur movie-making across the United States and Europe. Then in 1932 came 8mm film, which partly ousted them and remained the standard amateur format until 1965, when Super8 appeared and ushered in home movie-making as a mass phenomenon in some countries until it was pushed aside by video technology.
€ 6.00
Pathé-Baby e i dilettanti del cinema in Italia tra il 1927 e il 1935 digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 3. Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia
Year: 2005
From the end of the Twenties, the motion picture company Pathé-Baby begins to distribute its own products in Italy. Despite the difficulty to supply an exact description of the diffusion of Pathé-Baby’s appliances in Italy, this essay aims at going through the kind of offer, the forms of promotion and the conversational level reached by the amateur practice and, eventually, the figures and institutions that, until the mid-Thirties, constantly used, though not in a widespread way, motion-picture cameras, projectors and their attachments manufactured by Pathé-Baby.
€ 6.00
«Felice Logatto», «Bernardo l’Eremita» e «I Boys»: il sistema Pathé-Baby e il caso della Famiglia U. digital
format: Article | COMUNICAZIONI SOCIALI - 2005 - 3. Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia
Year: 2005
This paper seeks to study home movies as a practice of media consumption socially widespread since the second decade of the century. Starting from the case of the Swiss family U. – resident in Genoa until 1940 and the owners of a collection of Pathé-Baby films numbering almost sixty titles – the paper analyzes the forms of private consumption of the cinema. These forms envisage not only the viewing of amateur movies made by families but also commercial films specifically intended for the amateur market. The screening of movies at home entails improvising a ‘cinema’ in one of the rooms of the home; it therefore includes a material and playful dimension involving all members of the family which constitutes an important part of this private form of entertainment. As firms like Pathé gradually built up a catalogue richer in titles for the amateur market – from the classics of the history of the cinema to animated or comedy films – collecting also became part of the practice of private consumption, anticipating modes that television and the home video were to make mass developments. The analysis of forms of private consumption is preceded by a description of the development of the Pathé-Baby technology, a fundamental step in spreading ‘home cinema’.
€ 6.00

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