Title: Perspectives on Contemporary Theatre in Canada I
Edited by: Donato Santeramo and Craig Walker
Year: 2019
Pages: 144
Editor: UniversItalia
ISSN: 2421-2679
Editorial
Il presente Special Issue della rivista, dedicato a Open Data – Open Access: new frontiers for archives and digital platforms dedicated to the performing arts, raccoglie i risultati di punta della ricerca e del lavoro interdisciplinare per l’applicazione delle nuove tecnologie nella creazione di archivi e piattaforme digitali, dedicati alle arti dello spettacolo. L’attenzione è focalizzata sulle best practices di Open Data e Open Access per la conservazione, la salvaguardia, la valorizzazione e la disseminazione del patrimonio culturale “immateriale” in ambito scientifico, imprenditoriale, museale e divulgativo, verificandone criticità, validità e impatto.
I contributi sono stati suddivisi secondo l’approccio scelto dagli autori, che il curatore di questo numero ha pensato di raggruppare in tre distinte sezioni. Nella prima sono raccolti case study e saggi scientifici, incentrati sull’uso e sull’applicazione degli Open Data per la modellazione di Linked Open Data da metadati eterogenei raccolti da biblioteche, archivi e musei del settore delle arti dello spettacolo e sullo sviluppo delle loro applicazioni.
Nella seconda sezione sono raccontate le esperienze dirette di quegli autori, che lavorano in musei, teatri e fondazioni, pubblici e privati, in Italia e all’estero, dei quali sono presentati gli archivi digitali, i siti o i portali, che permettono di diffondere la conoscenza dei beni da loro posseduti. La sezione Focus chiude questo Special Issue della rivista con un contributo sul SITAR (Sistema Informativo Territoriale Archeologico di Roma), per scoprire l’archeologia di Roma attraverso la condivisione dei dati.
Grazie alle nuove tecnologie informatiche applicate al patrimonio culturale si cerca così di attirare, soprattutto oggi, l’interesse di un pubblico sempre più vasto ed eterogeneo e di diffondere le conoscenze tutelando quell’eredità del passato, che è il nostro presente.
The second “Special Issue” of the journal, dedicated to Open Data – Open Access: new frontiers for archives and digital platforms dedicated to the performing arts, collects the main results of research and interdisciplinary work in the application of new technologies for the creation of the performing arts digital archives and platforms.
This issue focuses on the best practices of the Open Data and Open Access policy for the conservation, preservation and enhancement of the Intangible Cultural Heritage, testing its weak points, validity and impact. The contributions, divided according to the approach chosen by the authors, have been grouped by the editor of this issue into three sections. The first contains case studies and scientific essays focusing on the use and application of Open Data for modelling Linked Open Data from heterogeneous metadata gathered by libraries, archives and museums in the performing arts domain and on the development of Linked Open Data applications.
The second section reports reflections related to personal experiences lived by the authors who work in the museums, theatres and public and private foundations in Italy and abroad. They present their digital archives, sites or portals, thanks to which a wide audience can become aware of the assets owned by them. The Focus section closes this Special Issue of the journal, presenting a contribution on SITAR (Sistema Informativo Territoriale Archeologico di Roma) for discovering the archaeology of Rome through data sharing.
Nowadays, the new information technologies applied to Cultural Heritage aim to attract the interest of an ever larger and more heterogeneous public and to disseminate knowledge, thereby protecting our past which is also our present.
Index
The fifth issue of Arti dello Spettacolo / Performing Arts, entitled “Perspectives on Contemporary Theatre in Canada I”, presents an original approach compared to the previous issues of the journal. The two guest editors, Donato Santeramo and Craig Walker, accompany us, enthusiastically, to discover the different realities that make up that wonderful kaleidoscope of experiences, still so little known, of theatre practice in Canada. In this first volume, the strictly academic papers have been reduced to a minimum in an attempt to bring out, through the publication of interviews, proclamations, projects, manifestos and plays, a record of some contemporary “protagonists” of English, Francophone and Indigenous theatre practitioners and companies. This ensemble represents different forms of research and experimentation from the early 1970s to today, including those staged at the prestigious Stratford Festival.
The exploration of the theatre in Canada, generously conducted by the two editors, will not end with this number. We are already planning the next issue that will present an overview of more dramaturgical, performance and theatrical stagings, especially from Quebec and the West Coast.
As for the journal’s FOCUS section, where contents usually are not necessarily connected with the matters discussed in the issue, it is dedicated to Roberto Tessari, a recently deceased renowned scholar of theatre history and friend of many.