The Empathic Screen: Storytelling and Narrative Identity for Extending the Digital Relationship Through Performative Artistic Practices
Parole chiave:
Performative pedagogy; Theatre; Embodied learning; Storytelling; Technology; Theatrical practicesAbstract
This study is designed as a qualitative pilot study adopting a case study design (Yin, 2009) within the university course, held both online and in-person, titled "Techniques and Languages of Performance" at the Suor Orsola Benincasa University of Naples. The investigation, framed within the Art-Based Research (ABR) framework (Barone & Eisner, 2012; Leavy, 2015) and applied through the CReAP+T approach (Carlomagno & Minghelli, 2022), explores whether theatrical
practices and autobiographical storytelling, through the use of performative pedagogy, can transform the digital screen into an empathic screen. The research question guiding the analysis is: can art enrich relational dynamics and facilitate the
perception of students' identity, making the online dimension a space of extension rather than a weakening of human bonds? The process was structured into several phases, including: theatrical training (body and vocal exercises), autobiographical
storytelling exercises (through interviews and logbooks), and the creation of a final video self-portrait. Data were collected through a plurality of instruments: logbooks, transcriptions of self-narratives, and open feedback. Data analysis was performed
using Thematic Analysis (Braun & Clarke, 2006) and a Qualitative comparative analysis between the in-person and online experiences. The results highlight that the activation of the pillars of Embodiment and Performativity facilitates autopoietic feedback capable of contributing to the students' perception of their narrative identity, promoting transformative learning even in distance education contexts.
Riferimenti bibliografici
Ausubel, D. P. (2004). Educazione e processi cognitivi: Guida psicologica per gli insegnanti (Vol. 25). FrancoAngeli. (Opera originale pubblicata 1968).
Barba, E., & Savarese, N. (2011). L’arte segreta dell’attore. Dizionario di antropologia teatrale. Bulzoni.
Barone, T., & Eisner, E. (2012). Arts Based Research. SAGE.
Bauman, Z. (1999). La società dell’incertezza. Bologna: Il Mulino.
Braun, V., & Clarke, V. (2006). Using thematic analysis in psychology. Qualitative Research in Psychology, 3(2), 77-101.
Bruner, J. (1991). The Narrative Construction of Reality. Critical Inquiry, 18(1), 1-21.
Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. Routledge.
Carlomagno, N. (2020). Le potenzialità didattiche delle arti sceniche. Education Sciences & Society.
Carlomagno, N. (2023). I linguaggi non lineari della narrazione e della comunicazione nella scena e nella didattica. Scholé-Morcelliana.
Carlomagno, N., Cordella, F. M., Minghelli, V., & Rivoltella, P. C. (2021). La didattica performativa in ambiente tecnologico. REM, 13(1).
Carlomagno, N., & Minghelli, V. (2022). Interpersonal Distance in CReAP+T Method in Distance Learning. In
G. Casalino et al. (Eds.), Higher Education Learning Methodologies and Technologies Online. HELMeTO 2021. Communications in Computer and Information Science (pp. 199–214). Springer, Cham.
Damasio, A. R. (1999). The feeling of what happens: Body and emotion in the making of consciousness. Houghton Mifflin Harcourt.
De Kerckhove, D. (2016). La rete ci renderà stupidi?. Castelvecchi.
De Marinis, M. (2000). L’azione efficace nel teatro del Novecento: fra sinestesia e cinestesi. Aletria: Revista de Estudos de Literatura, 7.
Denzin, N. K., & Lincoln, Y. S. (2011). The Sage Handbook of Qualitative Research. Sage.
Dewey, J. (1998). Experience and education. Kappa Delta Pi.
Di Paolo, E. A., & Thompson, E. (2014). The enactive approach. In L. Shapiro (Ed.), The Routledge handbook of embodied cognition. Routledge. https://doi.org/10.4324/9781315775845
Chevallard, Y. (1989). On didactic transposition theory: Some introductory notes. Institut de recherche sur l’enseignement des mathématiques, Université d’Aix-Marseille II.
Fischer-Lichte, E. (2014). Estetica del performativo. Una teoria del teatro e dell’arte. Carocci Editore.
Fishman, B., Marx, R. W., Blumenfeld, P., Krajcik, J., & Soloway, E. (2004). Creating a framework for research on systemic technology innovations. The Journal of the Learning Sciences, 13(1).
Floridi, L. (2017). La quarta rivoluzione. Come l'infosfera sta trasformando il mondo. Raffaello Cortina Editore.
Frauenfelder, E. (2018). Perché una relazione tra pedagogia e biologia? Sezione RTH Brain Education Cognition.
Gallagher, S. (2005). How the Body Shapes the Mind. Oxford University Press.
Gallagher, S., & Lindgren, R. (2015). Enactive metaphors: Learning through full-body engagement. Educational Psychology Review, 27(3).
Gallese, V. (2008). Il corpo teatrale: mimetismo, neuroni specchio, simulazione incarnata. Culture Teatrali, 16.
Gallese, V., & Guerra, M. (2015). Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina Editore.
Gallese, V., & Morelli, U. (2011). Il teatro come metafora del mondo e il teatro nella mente. Laboratorio filosofico sulla complessità, Castiglioncello (Pi).
Grotowski, J. (1965). Per un teatro povero. Bulzoni.
Jouvet, L. (1954). Les comédien désincarné. Flammarion Editeur.
Latour, B. (2022). Riassemblare il sociale. Actor-Network theory. Meltemi.
Leavy, P. (2015). Method Meets Art: Arts-Based Research Practice. Guilford Publications.
Merleau-Ponty, M. (2003). Fenomenologia della percezione (A. Bonomi, Trad.). Bompiani. (Opera originale pubblicata nel 1945).
Neelands, J. (2009). Acting together: Ensemble as a democratic process in art and life. Research in Drama Education: The
Journal of Applied Theatre and Performance, 14(2), 173–189. https://doi.org/10.1080/13569780902868738
Olimpo, G. (2010). Società della conoscenza, educazione, tecnologia. TD-Tecnologie Didattiche, 50.
Remotti, F. (1996), Contro l’identità, Laterza, Bari.
Santoianni, F. (2003), "La scienza della mente", in F. Santoianni, M. Striano, Modelli teorici e metodologici dell’apprendimento, Laterza, Roma-Bari (trad. sp. Modelos teóricos y metodológicos de la enseñanza, Siglo XXI Editores, Messico, 2006).
Sibilio, M. (2014). La didattica semplessa. Liguori.
Sibilio, M. (2020). L’interazione didattica. Scholé-Morcelliana.
Sofia, G., Mager, C., Brunel, L., & Noel, A.-S. (2024). Theater practice and interpersonal synchronization behaviors: A pilot study comparing actors and non-actors. Frontiers in Human Neuroscience, 18, Article 1335393. https://doi.org/10.3389/fnhum.2024.1335393
Stanislavskij, K. (2008). Il lavoro dell’attore su se stesso (Vol. 1). Garzanti. (Opera originale pubblicata nel 1938).
Varela, F. J., Thompson, E., & Rosch, E. (2024). La mente nel corpo (M. Mazzalira, Trad.). Astrolabio Ubaldini. (Opera originale pubblicata nel 1991).
Yin, R. K. (2009). Case Study Research and Applications: Design and Methods. Sage.
##submission.downloads##
Pubblicato
Come citare
Fascicolo
Sezione
Licenza
Copyright (c) 2026 Valeria Vadalà, Nadia Carlomagno, Arianna Ricciardi
Questo lavoro è fornito con la licenza Creative Commons Attribuzione - Non commerciale - Non opere derivate 4.0 Internazionale.
