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Papers by Fabiola Camuti
Affect vs Effect? : riflessioni sulla valutazione dell'impatto del teatro sociale, 2019
Breathing, Concentration, Consciousness : Recent Perspectives on Stanislavsky and Yoga, 2017
Performing Psychologies, 2019
Situated Knowing. Epistemic Perspectives on Performance, edited by Ewa Bal and Mateusz Chaberski, New York: Routledge, 2020
Arti performative e sfide sociali/Performing Arts and Societal Challenges, special issue of Biblioteca Teatrale, 133, 2020
Performing Psychologies: Imagination, Creativity and Dramas of the Mind, edited by NICOLA SHAUGHNESSY and PHILIP BARNARD, 145-49. London-New York: Methuen Drama-Bloomsbury Publishing PLC., 2019
anglistica AION. An interdisciplinary journal , 2016
Biblioteca Teatrale, 2017
Stratification makes the theatre a complex system. And what is more complex than the human being?... more Stratification makes the theatre a complex system. And what is more complex than the human being? The proposal of many important theatre reformers, like Stanislavskij, Mejerchol'd, Grotowski, until Eugenio Barba, was to bring a new life into the theatre, starting from the actor. They referred to an actor with a precise technique learned and strengthened over the years by his training. If we consider the actor's training as a layered system of techniques, we can find several disciplines of the body, well-known methods as Feldenkrais, Alexander, Pilates including meditative practices that at first sight seem to be far away from the theatre. So, is it possible to find a relationship between the meditation practices and the performative practices? One of the most significant starting points is the work of : during his research about the Theory of Montage, he analyses the relationship between the Ignacio de Loyola's spiritual exercises, the performer's practice and the concept of "ex-tasis". He discovers a strong connection between a meditative and ritual practice and the meticulous work of the actor on his action's montage. I had the possibility to work on this relationship by chanting the mantra of the Buddhist practice during the process of a performance's creation. I can mention three preliminary points of connection between the two practices: the capacity of staying focused and concentrated; the way to create a connection with my surrounding according to the principal of non-duality between me and the environment, and consequently with the other performers of my group; and the importance to take concrete action with the aim of reaching an objective. The presentation will show some concrete examples of this relationship in order to discover the possibilities of future studies and research on this subject.
Books by Fabiola Camuti
I. Ouwens, F. Camuti, B. Stevens (eds.). No School Manifesto. A Movement of Creative Education, Valiz, Amsterdam, 2020
Biblioteca Teatrale, 2020
Essays: Roberto Ciancarelli, “Nota di presentazione”; Raimondo Guarino, “Opera delle convulsioni,... more Essays: Roberto Ciancarelli, “Nota di presentazione”; Raimondo Guarino, “Opera delle convulsioni, patologia, ‘enrichment’: dal surrealismo alla cura delle pratiche”; Nicola Shaughnessy, “Acting in a World of Difference: Drama, Autism and Gender”; Aleksandra Jovićević, “Per sempre disobbedienti al patriarcato, alla guerra, al nazionalismo e al militarismo: le performance delle Donne in nero della Serbia”; Helen Nicholson, “For the Love of It: Theatre, Participation and Partnership”; Sruti Bala; “Theatre and the Risk of Fire”; Sergio Lo Gatto, “Il teatro contemporaneo come strumento culturale. Il caso di Spettatori Migranti”; Valentina Esposito, “Il teatro dentro e fuori gli spazi della reclusione”; Martina Storani, “Il Teatro Carcere come teatro: compagnie, repertori, drammaturgie”; Fabiola Camuti, “‘Affect’ vs ‘Effect’? Riflessioni sulla valutazione dell’impatto del teatro sociale”; Andrea Porcheddu, “L’ambiente che arricchisce: il teatro sociale come orizzonte di rinnovamento del tessuto sociale e umano”; Antonio Audino, “Oltre il teatro sociale: una nuova visione del corpo nelle arti e nella società”; Cecilia Bartoli, “Un teatro femminile e straniero a Torpignattara”; Emanuele Burrafato, “Contaminazioni, segni di innovazione, occasioni perdute nelle storie artistiche di Elisabetta Terabust, Amedeo Amodio, Luciana Savignano”; Nicola Usula, “«Tanto che gl’ascoltanti possino vedere»: azione e gestualità nei libretti profani di Antonio Draghi”; Isabella Molinari, “La raccolta manoscritta Intermezzi diversi della Biblioteca nazionale centrale di Roma. Tracce inedite per la ricostruzione del Carnevale al Collegio Romano”; Marco Solari, Alessandra Vanzi, “Da Venezia a Venezia”, intervista a cura di Roberto Ciancarelli e Andrea Scappa
![Research paper thumbnail of Teatro come Ambiente Arricchito, ed. by Roberto Ciancarelli, Fabiola Camuti, Aldo Roma, special issue of “Biblioteca Teatrale”, n. 111-112, luglio-dicembre 2014 [2016]](https://attachments.academia-assets.com/52219269/thumbnails/1.jpg)
](The special issue of the journal «Biblioteca Teatrale», devoted to the subject of “Theatre as Enr... more The special issue of the journal «Biblioteca Teatrale», devoted to the subject of “Theatre as Enriched Environment”, is the result of an international conference held at Sapienza University of Rome in June 2015. In a multidisciplinary perspective (human and social sciences, cognitive and medical sciences), the contributions are experience proofs, and theoretical and methodological reflections about the value and the role that theatre can get in certain situations of uneasiness and deprivation.
Essays: Saggi: Roberto Ciancarelli, “Presentazione” (“Introduction”); Silvia Carandini, “Le ricchezze del teatro: nella storia e nel mondo di oggi” (“The Richness of Theatre: in History and Nowadays World”); Michele Cavallo, “Teatro nel sociale. Note a margine” (“Theatre in the Social Field. Marginal Notes”); Alessandro Pontremoli, “Lo spettacolo fra verità e rappresentazione: il teatro sociale e di comunità” (“Performance between Truth and Representation: The Social and Community Theatre”); Franca Zagatti, “Persone che danzano. L’esperienza artistica del movimento nel contesto educativo e di comunità” (“Dancing People: The Artistic Experience of Movement within the Educational and Community Context”); Nicola Purgato, “Gli atelier o l’invenzione del quotidiano” (“The Ateliers or the Invention of the Daily Life”); Valentina Esposito, “Il Teatro in Carcere: dinamiche trasformative e ricaduta trattamentale” (“Theatre in Prison: Transformative Dynamics and Changes in Treatment”); Aldo Roma, “Il teatro silenzioso: appunti e riflessioni intorno al teatro dei sordi” (“The Silent Theatre: Notes and Reflections around the Deaf Theatre”); Irene Scaturro, “Il progetto ‘Punti di vista’: storia di un esperimento sensoriale” (“‘Punti di vista’. A Sensorial Theatre Experiment”); Guido Di Palma, “Il teatro impoverito come ambiente arricchito ovvero del teatro sociale” (“Impoverished Theatre as Enriched Environment, or rather, the Social Theatre”); Laura Maggi, Sergio Fucile, “Le tecniche teatrali sono in grado di influenzare positivamente il cervello umano?” (“Are Theatrical Techniques Able to Positively Influence Human Brain?”); Fabiola Camuti, “«Ma c’arivamo a dama?». Teatro e qualità della vita dentro e fuori dal carcere: osservazioni sul campo e prospettive di ricerca” (“«Ma c’arivamo a dama?». Theatre and Quality of Life inside and outside the Prison. Field Observations and Research Perspectives”); Nicola Modugno, Silvia Rampelli, Paolo De Vita, “L’approccio multidisciplinare nell’assistenza alla malattia di Parkinson” (“The Multidisciplinary Approach in Assistance to the Parkinson Disease”); Paola Quarenghi, “La cosa che sono mi farà vivere. Diario di un’esperienza di teatro con persone affette dal Parkinson” (“What I Am Will Let Me Live. Diary of a theatre experience with people affected by Parkinson’s disease”); Andrea Borghini, Gerardo Pastore, Paola Tancorre, “Il Polo Universitario Penitenziario di Pisa: esperienza e opportunità formativa” (“The Penitentiary University Pole of Pisa: Experience and Educational Opportunity”); Ferruccio Marotti, “L’utopia del teatro necessario e la realtà delle politiche culturali: il caso Bali” (“The Utopia of Necessary Theatre and the Reality of Cultural Policies: the Case of Bali”)
Conference organisation by Fabiola Camuti
Affect vs Effect? : riflessioni sulla valutazione dell'impatto del teatro sociale, 2019
Breathing, Concentration, Consciousness : Recent Perspectives on Stanislavsky and Yoga, 2017
Performing Psychologies, 2019
Situated Knowing. Epistemic Perspectives on Performance, edited by Ewa Bal and Mateusz Chaberski, New York: Routledge, 2020
Arti performative e sfide sociali/Performing Arts and Societal Challenges, special issue of Biblioteca Teatrale, 133, 2020
Performing Psychologies: Imagination, Creativity and Dramas of the Mind, edited by NICOLA SHAUGHNESSY and PHILIP BARNARD, 145-49. London-New York: Methuen Drama-Bloomsbury Publishing PLC., 2019
anglistica AION. An interdisciplinary journal , 2016
Biblioteca Teatrale, 2017
Stratification makes the theatre a complex system. And what is more complex than the human being?... more Stratification makes the theatre a complex system. And what is more complex than the human being? The proposal of many important theatre reformers, like Stanislavskij, Mejerchol'd, Grotowski, until Eugenio Barba, was to bring a new life into the theatre, starting from the actor. They referred to an actor with a precise technique learned and strengthened over the years by his training. If we consider the actor's training as a layered system of techniques, we can find several disciplines of the body, well-known methods as Feldenkrais, Alexander, Pilates including meditative practices that at first sight seem to be far away from the theatre. So, is it possible to find a relationship between the meditation practices and the performative practices? One of the most significant starting points is the work of : during his research about the Theory of Montage, he analyses the relationship between the Ignacio de Loyola's spiritual exercises, the performer's practice and the concept of "ex-tasis". He discovers a strong connection between a meditative and ritual practice and the meticulous work of the actor on his action's montage. I had the possibility to work on this relationship by chanting the mantra of the Buddhist practice during the process of a performance's creation. I can mention three preliminary points of connection between the two practices: the capacity of staying focused and concentrated; the way to create a connection with my surrounding according to the principal of non-duality between me and the environment, and consequently with the other performers of my group; and the importance to take concrete action with the aim of reaching an objective. The presentation will show some concrete examples of this relationship in order to discover the possibilities of future studies and research on this subject.
I. Ouwens, F. Camuti, B. Stevens (eds.). No School Manifesto. A Movement of Creative Education, Valiz, Amsterdam, 2020
Biblioteca Teatrale, 2020
Essays: Roberto Ciancarelli, “Nota di presentazione”; Raimondo Guarino, “Opera delle convulsioni,... more Essays: Roberto Ciancarelli, “Nota di presentazione”; Raimondo Guarino, “Opera delle convulsioni, patologia, ‘enrichment’: dal surrealismo alla cura delle pratiche”; Nicola Shaughnessy, “Acting in a World of Difference: Drama, Autism and Gender”; Aleksandra Jovićević, “Per sempre disobbedienti al patriarcato, alla guerra, al nazionalismo e al militarismo: le performance delle Donne in nero della Serbia”; Helen Nicholson, “For the Love of It: Theatre, Participation and Partnership”; Sruti Bala; “Theatre and the Risk of Fire”; Sergio Lo Gatto, “Il teatro contemporaneo come strumento culturale. Il caso di Spettatori Migranti”; Valentina Esposito, “Il teatro dentro e fuori gli spazi della reclusione”; Martina Storani, “Il Teatro Carcere come teatro: compagnie, repertori, drammaturgie”; Fabiola Camuti, “‘Affect’ vs ‘Effect’? Riflessioni sulla valutazione dell’impatto del teatro sociale”; Andrea Porcheddu, “L’ambiente che arricchisce: il teatro sociale come orizzonte di rinnovamento del tessuto sociale e umano”; Antonio Audino, “Oltre il teatro sociale: una nuova visione del corpo nelle arti e nella società”; Cecilia Bartoli, “Un teatro femminile e straniero a Torpignattara”; Emanuele Burrafato, “Contaminazioni, segni di innovazione, occasioni perdute nelle storie artistiche di Elisabetta Terabust, Amedeo Amodio, Luciana Savignano”; Nicola Usula, “«Tanto che gl’ascoltanti possino vedere»: azione e gestualità nei libretti profani di Antonio Draghi”; Isabella Molinari, “La raccolta manoscritta Intermezzi diversi della Biblioteca nazionale centrale di Roma. Tracce inedite per la ricostruzione del Carnevale al Collegio Romano”; Marco Solari, Alessandra Vanzi, “Da Venezia a Venezia”, intervista a cura di Roberto Ciancarelli e Andrea Scappa
The special issue of the journal «Biblioteca Teatrale», devoted to the subject of “Theatre as Enr... more The special issue of the journal «Biblioteca Teatrale», devoted to the subject of “Theatre as Enriched Environment”, is the result of an international conference held at Sapienza University of Rome in June 2015. In a multidisciplinary perspective (human and social sciences, cognitive and medical sciences), the contributions are experience proofs, and theoretical and methodological reflections about the value and the role that theatre can get in certain situations of uneasiness and deprivation.
Essays: Saggi: Roberto Ciancarelli, “Presentazione” (“Introduction”); Silvia Carandini, “Le ricchezze del teatro: nella storia e nel mondo di oggi” (“The Richness of Theatre: in History and Nowadays World”); Michele Cavallo, “Teatro nel sociale. Note a margine” (“Theatre in the Social Field. Marginal Notes”); Alessandro Pontremoli, “Lo spettacolo fra verità e rappresentazione: il teatro sociale e di comunità” (“Performance between Truth and Representation: The Social and Community Theatre”); Franca Zagatti, “Persone che danzano. L’esperienza artistica del movimento nel contesto educativo e di comunità” (“Dancing People: The Artistic Experience of Movement within the Educational and Community Context”); Nicola Purgato, “Gli atelier o l’invenzione del quotidiano” (“The Ateliers or the Invention of the Daily Life”); Valentina Esposito, “Il Teatro in Carcere: dinamiche trasformative e ricaduta trattamentale” (“Theatre in Prison: Transformative Dynamics and Changes in Treatment”); Aldo Roma, “Il teatro silenzioso: appunti e riflessioni intorno al teatro dei sordi” (“The Silent Theatre: Notes and Reflections around the Deaf Theatre”); Irene Scaturro, “Il progetto ‘Punti di vista’: storia di un esperimento sensoriale” (“‘Punti di vista’. A Sensorial Theatre Experiment”); Guido Di Palma, “Il teatro impoverito come ambiente arricchito ovvero del teatro sociale” (“Impoverished Theatre as Enriched Environment, or rather, the Social Theatre”); Laura Maggi, Sergio Fucile, “Le tecniche teatrali sono in grado di influenzare positivamente il cervello umano?” (“Are Theatrical Techniques Able to Positively Influence Human Brain?”); Fabiola Camuti, “«Ma c’arivamo a dama?». Teatro e qualità della vita dentro e fuori dal carcere: osservazioni sul campo e prospettive di ricerca” (“«Ma c’arivamo a dama?». Theatre and Quality of Life inside and outside the Prison. Field Observations and Research Perspectives”); Nicola Modugno, Silvia Rampelli, Paolo De Vita, “L’approccio multidisciplinare nell’assistenza alla malattia di Parkinson” (“The Multidisciplinary Approach in Assistance to the Parkinson Disease”); Paola Quarenghi, “La cosa che sono mi farà vivere. Diario di un’esperienza di teatro con persone affette dal Parkinson” (“What I Am Will Let Me Live. Diary of a theatre experience with people affected by Parkinson’s disease”); Andrea Borghini, Gerardo Pastore, Paola Tancorre, “Il Polo Universitario Penitenziario di Pisa: esperienza e opportunità formativa” (“The Penitentiary University Pole of Pisa: Experience and Educational Opportunity”); Ferruccio Marotti, “L’utopia del teatro necessario e la realtà delle politiche culturali: il caso Bali” (“The Utopia of Necessary Theatre and the Reality of Cultural Policies: the Case of Bali”)
