In the attached document, you can find the Program Specification,
Page. 38-41
Here are some of my tutor’s directions for the SIP structure:
” As the series of 5 two-hour workshops you did with high school students in September and October as the basis of your dissertation. You would need to frame it as a case study, which is an account of the journey you experienced over the course of the workshops. The case study would need to be 6,000 words.
Your case study would need to be accompanied by an extended piece of research of 14,000 words that addresses a topic or challenge associated with actor training or coaching that lies at the heart of your case study. For example, your research may focus on student agency, Michael Chekhov, Barbara Houseman and Eugenio Barba as they pertain to your series of workshops. You would also need to argue why you chose the case study method to investigate your practice over any other method of research.
Suggested main theory to start with:
For acting approaches: Michael Chekhov, Barbara Houseman and Eugenio Barba;
For student agency: Paulo Freire.
Below there is my first 250 words introduction that needs to be extended to 500 words according to my tutor following feedback:
Title: Embodying Poetry in Dante’s Inferno.
Dante Alighieri ‘s Divine Comedy is considered the milestone of Italian heritage and therefore in Italy it is part of the mandatory curriculum between the age of 15 and 18 in high schools. However, this work by Dante is perceived, both by teachers and students, as a challenging and complex text, mostly due to its philosophical and theological epic structure, working on several levels of meaning such that it seems to demand much explanation (A. Iannucci, 1997: ix)
Therefore, the scholastic obligation to study all the heavy commentary note in order to critically paraphrase the text, is pedantically concealing the beauty and joy of the poetry, frightening and boring students, whilst frustrating and disappointing teachers.
Consequentially, my research intends to investigate ways to engage contemporary high school students in an intuitive and imaginative performative experience with Dante’s poetry. Specifically, my approaches would like to facilitate them “to read it – Dante’s Divine Comedy – in innocence” (J.L. Borges, 1999: 270), that is to be able to access to the delight and happiness of its fairy tale texture, in accordance with the ancient Italian oral storytelling tradition.
More specifically, I would like to report and analyze one application of a theatrical approach to Dante’s Divine Comedy I did in Fall 2019: five workshops I designed and gave at Redi grammar school in Arezzo, Italy, as an attempt in opening some Italian secondary school students to a direct physical and emotional connection with Dante’s poetry.
Here is my tutor feedback:
Step back to look at the larger texture in which your case study is contained. Your case study is a very specific example of a larger issue: it sits in a larger discussion of issues related to actor training. My case 29.40 study is a very specific issue worth 6.000 related to a larger issue worth 14.000 words. You might be able to start referencing to those larger issues in your introduction, that might be related to speaking poetic text and agency. For example, you might argue that speaking poetic text like Dante’s Inferno takes very specific skills. Those skills are related to comprehension, imagination, physicality, and there is a lot to talk about in terms of one might embody poetic or arguably classical text. Your case study is a very, very specific example of that larger issue. In your introduction it appears at the moment that you are focussing solo on the case study, which is all and fine, but what I am suggesting is that perhaps you can zoom out and start contextualizing the case study in your larger issue that you are identifying in actor training. I am also suggesting, in embodying the poetic text, specifically Dante, is very much related to embodying Shakespeare’s text. There might be some helpful research to be done related to: How does one approach poetic or classical text? You might start looking at practitioner such Cicely Frances Berry, Patsy Rodenberg, Kristin Linklater, female practitioners, who speak very much about how one goes embodying the poetic text. In their specific instance it is Shakespeare, but there is a parallel in my understanding, to your work with Dante. When you were talking about the overintellectualizing of the commentaries for Dante’s work, Shakespeare has the same problem. Every student that I ever talk faces this baggage of critical commentary and text notes, this is the way that you should do this, this is the way you should speak this, in so many ways that takes away from the student direct relationship with the text. And as yoy were describing your process in the introduction I was having flashbacks of my own experience with my research in relation to performing Shakespeare. There is some parallel that might be useful for your own work.
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