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ARTS I20: Painting

Students work as a team during critiques to begin to articulate what they see in each other’s own work and the work around them. This class gives students the chance to question how painting functions, how it interacts with its audience and how it embodies content. While delving into all of this – individual skills in handling materials grow. Students experiment with scale, format, and color as well as paint application. This class includes a thorough exploration of other artists’ work, both contemporary and historical through weekly slide lectures, the local art and artifacts housed in Arezzo, and weekend field trips. Students create a detailed sketchbook documenting certain aspects of setting and discussions and develop a body of paintings.

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DANC I25: Dance Technique

Classes address fundamental elements of dance training, such as endurance, flexibility and accuracy in execution of combinations. Students sustain and further their technical and expressive skills and consolidate their knowledge of their own body’s potential whilst extending this to their ability to learn and perform short solo and group sequences. Students learn to approach acrobatics through a heightened awareness of balance and weight. Regular classes in ballet and modern technique prepare students for the demands of improvisation and composition, as well as the rigors of Tarantismo.

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DANC I30: Cultural Dance Studies

This interdisciplinary course focuses on expressive performance that thematically emerges from the traditional Pizzica and Tarantismo and from Butoh and Tanztheatre developing its theatricality through an exploration of its vocal, narrative, and ritual elements. This course of dance and theatre takes its inspiration from the phenomenon of Tarantismo in Italy to introduce the popular culture of Italy and the Mediterranean and its relation to myth and history. Butoh was born in Japan in the sixties and derived from traditional Japanese dance and performance forms. Tanztheater is a form of dance that developed in Germany. Difficult issues, such as personal identity, narrative, character and authenticity, come under serious scrutiny in Tanztheater, which freely crosses the boundary between pure dance, theatre and mime.

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DANC I35: Extended Performance Topics: Dance

Extended Performance Topics is a class that is specially designed to expose students to specific practices and aesthetic traditions that can serve to deepen the dance student’s understanding of the aesthetic range of their art as well as specific structure of their corporal techniques. The course is comprised of 45 hours Dance Performance, 30 hours Laban - Bartenieff Studies and 10 hours Contact Improvisation/ Feldenkrais Method.

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FILM I20 & FILM I30: Digi-Realism I & II: Filmmaking in Arezzo

This course explores hybrid forms as students explore Italy and the city of Arezzo. Students look at Italian Neo-Realist Films as well as contemporary films that borrow formally and stylistically from both documentary and fiction. As the discussion, screenings and workshops begin to erode preconceptions and arbitrary boundaries between “fiction” and “nonfiction,” students use the city of Arezzo as our set and laboratory as they make videos that respond to and articulate these very issues. Throughout the summer students also be developing our filmmaking techniques—from cinematography and lighting and sound acquisition, to documentary filmmaker-subject relationships, to scriptwriting, to blocking and directing actors, to learning post-production techniques in Final Cut Pro.

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FILM I22: Cinema and the “Messogiorno”

The course analyzes how the South of Italy has been represented in contemporary Italian cinema. Covering famous filmmakers, such as Roberto Rossellini and Vittorio DeSica, to lesser known authors, such as Antonio Capuano and Leonardo DiCostanzo, and different genres, ranging from the romantic comedy to crime film and documentary, the students observe how the South of Italy has been seen as a land of extremes, and as a territory characterized by specific recurring traits.

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ITAL I10 & ITAL I11: Italian Language I & II

This elementary level course is directed towards students who have no prior knowledge of the Italian language. Our language component course is loaded towards the first portion of the semester in order to give students basic skills for comprehension and communication in their work with Italian faculty and guest artists throughout the semester. The emphasis in the first semester is on developing listening and communication skills in addition to cultivating a solid grammatical foundation. Direct interaction with Italian Faculty, students and guest artists ensures the skills acquired in the classroom are implemented into the daily life and activities of the student. If a core group of students already has completed a cycle of elementary Italian studies at their home institutions, an elementary level 2 or intermediate level may be conducted simultaneously. A placement test on site at ADA is required for entry into the appropriate

course. The Italian language component at ADA is required of all students.

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LBST I20: Renaissance Mosaic

This multidisciplinary course emphasizes research using primary documents drawn from music, art and theatre of the Italian Renaissance. Research and writing are fundamental aspects of this course. Aesthetic philosophy is a common thread that runs throughout.

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MUSA I30: Applied Skills – Voice

This course consists of weekly individual voice lessons. Lessons and Studio Classes are devoted to the development of the vocal, musical and dramatic talents of each individual.

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MUSA I40: Applied Skills – Voice (Master Class)

This course consists of weekly individual voice lessons and Master class (specializing in Baroque Music). Lessons and Studio Classes are devoted to the development of the vocal, musical and dramatic talents of each individual.

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MUSA I42: Applied Skills – Horn

This course consists of weekly individual horn lessons that are devoted to the performance of horn concertos (Beethoven, Mozart, Strauss, Arnold, Brahms) and orchestral excerpts. The student will work to improve his technique, his musicality, and the knowledge of appropriate performing style.

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MUSA I44: Applied Skills – Guitar

This course intends to deepen the study of classical guitar from the technical point of view and propose outlines of analysis and musical composition for solo guitar and chamber music ensembles. It takes into consideration classical and contemporary composers, paying particular attention to Scarlatti, Tarrega, and Domeniconi, analyzing the repertoire both from the compositional point of view and the demands made on the instrumentalist. This in-depth analysis allows the instrumentalist to master the technical challenges of these compositions, thereby enabling him to fully enter into creative interpretation.

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MUSI I31: Basic Conducting

This course is designed to develop the basic skills necessary to become successful in leading a musical ensemble. Topics include, among others: posture and presentation, baton grip, basic time patterns, preparatory gestures, expressive gestures, and score study. Observations of professional educators (if available) and conductors, outside reading assignments, reports, and periodic testing of conducting technique form the core of the evaluation process.

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MUSI I35 & I36: The Sonic Landscape I & II

This course uses the unique setting of Accademia dell'Arte to allow for exploration of composition/ improvisation as a collaborative process, creating music for dance, theatrical productions or films, as well as concert pieces. It is a study of relevant problems and compositional techniques of contemporary music. Composers and improvisers create works for various ensembles in both large-scale and short forms as appropriate to their individual goals, as well as explore alternative notation and/or cueing systems. Classes consist of periodic roundtable discussions of orchestral as well as formal issues. Score study is included to encourage a broadening of each musician's technique. In addition to work for acoustical instruments, introductory to advanced work with electronic resources including introductions to Ableton Live, Max4Live and the use of electronic controllers in live performance is an important element to this course.

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MUSI I41: Music History Before 1750

This course offers a survey of Western Art Music up to approximately 1750. It is the companion course to MUSI I42, offered in the Spring Term. A large number of specific pieces of music are the basis for discussion of changes of musical style and genres, within the context of social and biographical history. Students complete regular reading and listening assignments, as well as projects for each professor.

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PHIL I20: Philosophy of Art and Performance

The proposal of the class is to provide students with tools taken from the modern philosophical currents to analyze contemporary cultural shifts and shifts in social perception as influenced by the development of a “modern world system.” The course explores topics such as mass production, fragmentation and specialization of life and work, the development of the information age, the commodification of culture, the compression of time and space, and the aesthetic shifts which have accompanied these developments with an emphasis on the development of what one might call a “performance culture.” Readings are taken from both classical and contemporary authors: Aristotle, Schiller, Hegel, Mark, Nietzsche, Croce, Breton, Artaud, Deboard, Baudrillard, Foucault and others.

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TART I15 & I16: Commedia Dell’Arte: Acting I & II

In addition to providing a comprehensive introduction to the history and influence of Commedia, this class explores the practical use of the mask as derived from the classical characters of the Commedia Dell’Arte. Through work on gesture, voice, and movement within a specific socio/historical context, students study the characteristics of Arlecchino, Zanni, Brighella, Pantalone, Colombina and others, with the intention of developing the student’s own character. The student actor is led to discover the vital force locked in the masks, by being at the service of the mask: this apparently banal notion actually has far-reaching effects on the performers own practice and their relationship to the public. This is a core acting class and includes: introductory mask design and construction. A course feature is regular evening performances devised by the student body in the multiple locations of the Villa Godiola. Topics may vary each semester.

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TART I20: Voice and Performance Topics

Students work on: voice and body integration, extended vocal techniques and textual expression using the internationally recognized work developed by Alfred Wolfsohn and Roy Hart. The intention is to open the boundaries of what is possible with the voice to provide essential material for the development of vocal character within the mask.

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TART I24: Mask Making

This course focuses on the creation of leather masks. Students study facial types and traditional character masks from commedia dell’arte. Using this research, the students sculpt the mask in clay. These sculptures are used as a model for the mould each student will carve in wood. On this mould the student shapes, refines, and paints their own original mask. The purpose of the course is to give each student the ability to create a functional leather mask. Students understand how to fully realize an artistic idea in a concrete form through sculpture. Students take the first steps in wood sculpting, creating a matrix for the leather form.

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TART I25 & TART I26: Masked Theatre Topics I & II

Courses for theatre students interested in the use of the mask in performance, with a specific focus on Contemporary full head masks, clown work, and mask making. We begin with improvisation and incorporate masks to the improvisational structure. We begin each day with training games during which we create the foundation for our nonverbal and action oriented work. We conceptualize and execute the creation of paper Mache masks that are tested and further developed by the actors themselves. In addition to discussions and reflections we also present and discuss various arguments and aspects of mask making and construction techniques. Taking from the material created and the experiences had early in the course the participants collaborate to develop a sequence of scenes that will be presented to the public at the end of the course. Topics vary each semester.

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TART I30: Applied Skills: Theatre

This course is a selection of movement, voice and acting options that reflect the interdisciplinary thrust of the program. Depending on Visiting Faculty and on-going developments in the program, students are able to choose from a variety of options that are integrally connected to the core substance of the training. The course includes a concentrated period of daily class designed to prepare students for the intensive needs of commedia and mask work.

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TART I35: Extended Performance Topics: Theatre

This course, designed to prepare students for the intensive needs of commedia and mask work, is chosen from a selection of movement, voice and acting modules that reflect the inter-disciplinary thrust of the program and that are integrally connected to the core focus of the training. These courses are a combination of regular classes scheduled over a sustained period and intensive workshop segments. It includes a three-day field trip to Venice.