To bring the theater to schoolwith inspiration from a literary classic: Hamlet. That is the didactic proposal that comes from Pierpaolo Rosati (teacher, principal, inspector, schoolman), working with language, relational, expressive, creative skills and more.
Available to schools, the piece by Shakespeare reinterpreted by the same Pierpaolo Rosati, introduced for the pedagogical-didactic reasons underlying the project. A work that can be used immediately in the classroom, even in connection with Summer school planwhich for the months of July and August also includes theater workshops, among other activities.
Author Pierpaolo Rosatis reflections
The theatrical experience, already at first glance, carries one in itself educational value not at all irrelevant. There memorization of the role that the actor is encouraged to play, represents in itself taken one precision study: a learning style that is prematurely neglected; today more than ever, given the current ease with which technology provides access to information on the network, which is sometimes unreliable and superficial. Runs in parallel withinterpretation of the grade: lo internal excavation and the search for a personality to be rebuilt. What it entails introspection, self-reflection, self-analysis skills. At the same time, theater practice is a ‘project activity, conscious and participatory, which requires direct individual involvement.
On curriculumThe Scholastic Theater, for its part, represents an exemplary model of laboratory: operational, experimental, the result of direct, pragmatic experience, intended to determine a product and not just a process. It is also something of transverse, interdisciplinary, with methodological and metacognitive implications; above all something verifiable, not in the abstract, but on stage and in front of the audience.
regarding skillsthey are diverse: linguistic, expressive, relational, socializing and even technically-practical (for a stage set-up that includes, for example, scenery, tools, furniture and costumes).
Around subject to represent, it is allowed to aim high; therefore atHamlet Shakespeare, with due regard to. Well, thatHamlet is an invaluable asset to be included among those that Unesco could consider a “World Heritage Site”, it is not just a boutade. Helsingør Castle, Location of the tragedy, has been part of “Unesco Heritage” since November 30, 2000. And yet, according to the preferences expressed by our higher institutions,Hamlet – then it turns out – it is not very popular. Instead, it would be appropriate to deal with piece Starting right from the school desks: a task for students and professors motivated by new interpretive tools, new enthusiasm and energy. It is to them that the message is addressed, to propose an alliance: not a respite or a recreational break, but a challenge, a project, precisely a theater workshop.
The undersigned is the first to believe it. To this end, he presents a text in prose-rhythmic (sometimes perhaps harmonious), predestined to be Brochure of one’Opera opera (music by Elda Schiesari, nearing its end).
But in the meantime, why not play just that in class Brochure?
The intention to be declared in advance can be found in a detailed analysis of the text and on a scattered page of Gramsci. A global rethink of the case follows: The Prince of Denmark’s articulated evolutionary pathrebuilt in its own five stages: aimed more than to overcome doubtas it is in Vulgateto remove bookish culture, aristocratic-renaissance (I 5, 98-104). And here, gradually, Hamlet’s adherence to a secular pragmatism, to a completely earthly practice. His source of inspiration: a belief ultimately determined by examples not taken from Ancient historyrhetoric and literary, but from Contemporary historywhose exhorting value is personified by Fortinbras, a passing leader who is the most popular.
Hence the profile of a prince intellectual become involvedMachiavellian and … Gramscian, increasingly aware of his own political role, sensitive tomagtetik and al the good of the state. Hamlet, on the other hand, is “loved by the people” (lv 3, 4) and “by the common people” (lv 7, 18). Even Claudio, the usurper uncle, his sworn enemy, admits it.
The only thing left is to define as illumination the contribution of Hamlet (and of Ofelia) to Stories about literature, art and music.