Dipartimento di Studi Umanistici

Andrea Malosio, born in Milan in 1996, is a PhD student at the University of Turin in “Performance arts and new technologies” of the XXXVIII PhD cycle in “Cultural heritage and historical-artistic, audiovisual and multimedia production”. He obtained a bachelor’s degree in Literature with a thesis on Edoardo Sanguineti’s translations of ancient theatre at the University of Milan (supervisor: Prof.ssa M. Giovannelli). He has a master’s degree in Modern Literature from the University of Milan, with a thesis in theatrical studies on the works of the Italian company Carrozzeria Orfeo (thesis supervisor: Prof. A. Bentoglio), with a special focus on dramaturgy. This work resulted in the volume L’officina di Carrozzeria Orfeo, published by CuePress in 2023.
He collaborates with the Department of Cultural Heritage of the University of Milan and with the magazine “Stratagemmi – Prospettive Teatrali”. He writes in the Piccolo Teatro’s magazine
“Stormi” and also participated in the theater criticism workshop of the Biennale Teatro College
2022 in Venice. He took part as tutor-coordinator in the Observatoire Critique of the EASTAP
Conference 2022 in Milan, curated by Prof.ssa Erica Magris. He has taught literary subjects in
secondary school.

Critical mapping of intermedial performance in stage practices in Northern Italy.
The Italian panorama of the intangible heritage of the performing arts is homogeneously
defined: a plurality of consistencies to which a scarcity of attention and resources aimed at archival preservation, study and valorisation has been given. There is a clear lack of mapping and systematisation of the material relating to theatre, dramaturgy, dance, opera, music, cinema, at an analogue level even before considering the digital one.
It is important to underline, then, the structural importance of these resources, not only for
historical or documentary reasons, but also - and above all - for the wealth of knowledge and skills to which they bear witness. Looking at the future means coordinating actions which promote a consolidation of the performing and audiovisual Italian system in an innovative way: laying the foundations for a collaborative network among institutions; guaranteeing access to materials and content; reducing physical and relational barriers; promoting a continuous and constructive exchange between theatre institutions, public administrations, scholars, professionals and society.

Enhancing the intangible heritage means making accessible a system of knowledge, skills and crafts which has been defined over time and sometimes remains within the oral tradition. It is thus implemented its preservation and transmission from generation to generation, supporting the survival or otherwise of ancient skills and contributing to the birth of new ones.

The research therefore aims to collect and study data and information, to document current
performing, musical and audiovisual ecosystems, including multimedia and performing arts
landscapes, through fieldwork. An initial reconnaissance of the documentation of live events,
knowledge and practices in a synchronic and diachronic perspective is essential, with a focus on mapping the new languages of contemporaneity, in a protean universe which oscillates between techniques, multimedia tools, transmediality, institutions, places, processes and professions which revolve around the performing and audiovisual arts. In order to make the work as inclusive and effective as possible, it is essential to consider realities which differ in terms of areas of work, statute, organization, legal form, types of productions, funds and budgets: from opera and symphony foundations to national theatres, from private archives to organisations financed by the Ministry, from social enterprises to festivals, passing through research and protection centres.

Over the three years of this research, a mapping of the main new phenomena in the field of
performance art within a defined territorial area in Northern Italy will therefore be drawn up, with particular attention to the use of new technologies and transmediality. This will be followed by a critical reflection arising from this in-depth snapshot, in order to identify possible directions, addresses and practices at a crucial time for the world of intangible assets.