300508 THEATRE IN SCIENCE MUSEUMS

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30/05/08 - THEATRE IN SCIENCE MUSEUMS
Enrico de Capoa, Le Nuvole - Naples - Italy -
www.lenuvole.com
Museums, visitors, theatre an effective
ecosystem
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30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• In 1997 A lucky encounter between Città della
  Scienza of Naples and the theatre group Le
  Nuvole -  who were called in to manage the
  guided tours and didactic activities, as well as
  the production of animated events - evolved into
  a prolific project of contamination between
  scientific and theatrical languages.

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30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• The performed scripts are the product of the
  research of scientific experts and professional
  theatre directors.
• Special attention is drawn to the gestures,
  words, mime, narrative and animation style with
  the aim of catching the attention and stimulating
  the curiosity of the public.

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30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com
Among the major points of contact between
communicative language of theatre and of science,
there are two consecutive moments directly
connected between them
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30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com
Among the major points of contact between
communicative language of theatre and of science,
there are two consecutive moments directly
connected between them
The stimulation of curiosity This is for theatre
a drama path, which aims to instill in the public
a growing interest around the development of a
theatrical events plot. While for the spreading
of science, curiosity is the stimulus to
continuously question ourselves and to deepen our
own knowledge.
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30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com
Among the major points of contact between
communicative language of theatre and of science,
there are two consecutive moments directly
connected between them
The stimulation of curiosity This is for theatre
a drama path, which aims to instill in the public
a growing interest around the development of a
theatrical events plot. While for the spreading
of science, curiosity, is the stimulus to
continuously question ourselves and to deepen our
own knowledge.
And the surprise or the discovery In theatre this
is given by both artistic choices and coup de
scene aiming to interest and involve the public.
In the scientific communication, emotion is the
charm of a scientific discovery or forward steps
in research to be spread to a vast audience.
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Knowledge is not only concepts, but also
background, recollections, images and emotions.
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• Concepts belong to scientists, not to actors.
• Life experiences, recollections, images and
  emotions belong to everybody.
• One has to be aware that the audience doesnt
  learn science during a show or a conducted-tour,
  nor during a moment of animation or a technical
  demonstration, but in both cases it relies on the
  images and emotions to remember what it has seen
  and heard.
• So why not exploit life experiences, background,
  images and emotions?
• Communicating science in a theatrical and
  effective way involves acting on learners
  emotions in order to transfer concepts. Theatre,
  through its techniques and languages, acts on our
  emotional knowledge guaranteeing that the level
  of knowledge generated, that being emotions plus
  concepts, will be at its maximum level.

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Multiple points of viewthe implications in
science and society
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• The artistic-theatrical language is also
  particularly useful to stimulate in the museums
  visitors a debate and a confrontation on
  scientific themes with major social implications.

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Multiple points of viewthe implications in
science and society
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• Themes like nanotechnology, nuclear energy, the
  saving of energy, the reuse and re cycling have
  been subjects of specific interventions, produced
  in collaboration between the companys artistic
  staff and the museums scientists, which aims at
  
• - the exploration of the possible social
  consequences
• - raise a debate both between the public and the
  actors, and the explainers

- the development of the audiences consciousness
about the social implications of new technologies
and the importance of information coming from
multiple sources. - the stimulation of interest
around these themes in social classes not
particularly sensitive like adolescents, the
elderly, and children at risk - the start of an
active position and participation in the audience
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Multiple points of viewthe implications in
science and society
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• Theatre itself has been demonstrated as a valid
  communicative instrument in science and society
  themes for its capacity to show topics from
  different points of view
• Role play enables characters to communicate at
  the same time opposing opinions about the same
  theme.
• The identification of the public with the
  position expressed from a character rather than
  another.

• The continuation after the show of an open debate
  on the relevant themes with the publics
  involvement.

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Training of museum operators
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com
Training concentrates on the body as an
instrument, on gesture as a language and on the
space as the venue
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Training of museum operators
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com
communicating science through the employment of
exhibits as symbolic elements around which one
can move and tell stories. - dramatizing a
discovery event or of historical-scientific
research, from which the visitor individually
or in groups becomes more participative, above
all thanks to the emotions and associations that
the communicator is able to generate We also need
to value the recovery of a storytelling
naturalness, which over the years is falling into
disuse due to the habit of conventional training
to restrict, the natural storyteller that is in
everyone. The science of the actor, after all,
is the constant verification, that he himself
carries out on the words, sounds and gestures in
order to convey his message in the most incisive
way
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Integration of the theatre in exhibitions,
exhibits, and projects of communication
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com
In last years, the partnership has also brought
the development of joint initiatives to integrate
theatre and spectacle as key aspects in the
design of exhibitions, exhibits, or projects of
communication.   Working in teams composed of
both the artists and the museum staff from the
first stage of the project can bring a better
integration and a better use of the available
tools.  
In the creative process people using different
languages are drawn together. Their union can
result in more than the sum of the single
parts. Theatre should interpret the contents
proposed by the scientific team in a way less
literal and more suggestive. The museum team can
also use theatre techniques to design museum and
exhibition sets, which are at the same time
scenic design for the science plays.  
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Experiences at glanceSteps of production of a
science theatre event
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• The cloud of water and air

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Experiences at glanceSteps of production of a
science theatre event
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• 9 months, how does life begin?

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Experiences at glanceSteps of production of a
science theatre event
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• 1) in this case, the themes to put on stage are
  chosen by the museum staff following feedback
  coming from meetings and workshops with teachers
  and educators.
• 2) The individuated public is those of primary
  school and the teachers most requested
  communicative support follow these themes the
  water resource and its cycle and the first sexual
  education, pregnancy, and birth
• 3) the scientific staff specifies a series of
  fundamental concepts to communicate about the
  themes
• 4) the artistic staff proceeds with the drawing
  up process of the theatrical text in full
  creative liberty on the proposed theme,
  considering targeted age, the communicative
  demands, the spatial and structural availability,
  the available budget.
• 5) the theatrical form believed to be the most
  ideal for the chosen age is the narration. The
  mis-en-scene for both the performances will
  involve an actress-communicator and the use of
  various objects and materials.
• 6) Chosen are the scenography and place of the
  event is a structure capable of holding inside
  around 15 children at a time, particularly
  indicated both for the specific atmosphere it
  brings, and the magic created in its interior,
  and for the ease of transport and installation.
  The costumes are chosen and the soundtrack and
  light effects are created.
• 7)The shows graphic flyer and the communication
  program are planned.
• 8) The didactic material to be provided to the
  classes (games, didactic tools, and activities)
  is prepared.
• 9) a demo of the shows is proposed to the museum
  staff, the communicative model is improved and
  all the proposals are discussed in team
• 10) the shows are proposed to pilot groups chosen
  between the families and scholastic groups,
  coming from different social classes. Evaluators
  and psychologists also participate in the shows.
  After the shows, graphic and creative workshops
  along with the young public help the examiners
  and the artistic and scientific staff to make the
  necessary changes in time, contents, and
  transmitted concepts.

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Experiences at glanceSteps of production of a
science theatre event
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• 1) in this case, the themes to put on stage are
  chosen by the museum staff following feedback
  coming from meetings and workshops with teachers
  and educators.
• 2) The individuated public is those of primary
  school and the teachers most requested
  communicative support follow these themes the
  water re source and its cycle and the first
  sexual education, pregnancy, and birth
• 3) the scientific staff specifies a series of
  fundamental concepts to communicate about the
  themes
• 4) the artistic staff proceeds with the drawing
  up process of the theatrical text in full
  creative liberty on the proposed theme,
  considering targeted age, the communicative
  demands, the spatial and structural availability,
  the available budget.
• 5) the theatrical form believed to be the most
  ideal for the chosen age is the narration. The
  mis-en-scene for both the performances will
  involve an actress-communicator and the use of
  various objects and materials.
• 6) Chosen are the scenography and place of the
  event is a structure capable of holding inside
  around 15 children at a time, particularly
  indicated both for the specific atmosphere it
  brings, and the magic created in its interior,
  and for the ease of transport and installation.
  The costumes are chosen and the soundtrack and
  light effects are created.
• 7)The shows graphic flyer and the communication
  program are planned.
• 8) The didactic material to be provided to the
  classes (games, didactic tools, and activities)
  is prepared.
• 9) a demo of the shows is proposed to the museum
  staff, the communicative model is improved and
  all the proposals are discussed in team
• 10) the shows are proposed to pilot groups chosen
  between the families and scholastic groups,
  coming from different social classes. Evaluators
  and psychologists also participate in the shows.
  After the shows, graphic and creative workshops
  along with the young public help the examiners
  and the artistic and scientific staff to make the
  necessary changes in time, contents, and
  transmitted concepts.

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(No Transcript)
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Experiences at glanceSteps of production of a
science theatre event
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• 1) in this case, the themes to put on stage are
  chosen by the museum staff following feedback
  coming from meetings and workshops with teachers
  and educators.
• 2) The individuated public is those of primary
  school and the teachers most requested
  communicative support follow these themes the
  water re source and its cycle and the first
  sexual education, pregnancy, and birth
• 3) the scientific staff specifies a series of
  fundamental concepts to communicate about the
  themes
• 4) the artistic staff proceeds with the drawing
  up process of the theatrical text in full
  creative liberty on the proposed theme,
  considering targeted age, the communicative
  demands, the spatial and structural availability,
  the available budget.
• 5) the theatrical form believed to be the most
  ideal for the chosen age is the narration. The
  mis-en-scene for both the performances will
  involve an actress-communicator and the use of
  various objects and materials.
• 6) Chosen are the scenography and place of the
  event is a structure capable of holding inside
  around 15 children at a time, particularly
  indicated both for the specific atmosphere it
  brings, and the magic created in its interior,
  and for the ease of transport and installation.
  The costumes are chosen and the soundtrack and
  light effects are created.
• 7)The shows graphic flyer and the communication
  program are planned.
• 8) The didactic material to be provided to the
  classes (games, didactic tools, and activities)
  is prepared.
• 9) a demo of the shows is proposed to the museum
  staff, the communicative model is improved and
  all the proposals are discussed in team
• 10) the shows are proposed to pilot groups chosen
  between the families and scholastic groups,
  coming from different social classes. Evaluators
  and psychologists also participate in the shows.
  After the shows, graphic and creative workshops
  along with the young public help the evaluators
  and the artistic and scientific staff to make the
  necessary changes in time, contents, and concepts.

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(No Transcript)
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Experiences at glanceSteps of production of a
science theatre event
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• 1) in this case, the themes to put on stage are
  chosen by the museum staff following feedback
  coming from meetings and workshops with teachers
  and educators.
• 2) The individuated public is those of primary
  school and the teachers most requested
  communicative support follow these themes the
  water re source and its cycle and the first
  sexual education, pregnancy, and birth
• 3) the scientific staff specifies a series of
  fundamental concepts to communicate about the
  themes
• 4) the artistic staff proceeds with the drawing
  up process of the theatrical text in full
  creative liberty on the proposed theme,
  considering targeted age, the communicative
  demands, the spatial and structural availability,
  the available budget.
• 5) the theatrical form believed to be the most
  ideal for the chosen age is the narration. The
  mis-en-scene for both the performances will
  involve an actress-communicator and the use of
  various objects and materials.
• 6) Chosen are the scenography and place of the
  event is a structure capable of holding inside
  around 15 children at a time, particularly
  indicated both for the specific atmosphere it
  brings, and the magic created in its interior,
  and for the ease of transport and installation.
  The costumes are chosen and the soundtrack and
  light effects are created.
• 7)The shows graphic flyer and the communication
  program are planned.
• 8) The didactic material to be provided to the
  classes (games, didactic tools, and activities)
  is prepared.
• 9) a demo of the shows is proposed to the museum
  staff, the communicative model is improved and
  all the proposals are discussed in team
• 10) the shows are proposed to pilot groups chosen
  between the families and scholastic groups,
  coming from different social classes. Evaluators
  and psychologists also participate in the shows.
  After the shows, graphic and creative workshops
  along with the young public help the examiners
  and the artistic and scientific staff to make the
  necessary changes in time, contents, and
  transmitted concepts.

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Experiences at glanceSteps of production of a
science theatre event
30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• The cloud of water and air
• The children are invited to enter barefoot in a
  soft and silent cloud.
• Now the journey through a world of water and air
  begins. In an amazing trip from poles to deserts,
  we get to know the shapes of clouds, fly over
  hills and lakes and discover where we can find
  water on earth, in our body and in our life.
• The aim is to understand the water cycle, to
  appreciate the quality of air and above all to
  learn to be aware that these resources are
  precious - but unfortunately often ignored and
  underestimated.
• 9 months, how does life begin?
• A perceptive, gestural and playful trip, which
  involves the five senses
• One enters barefoot in the pink room. Inside
  theres a soft, closed and protected space.
• The children are hosted and involved in the
  scientific game of birth.
• How do our lives begin? How is the first cell
  formed?
• The nucleus already contains all the information
  on the future child the color of the skin, eyes,
  and hair, the shape of the nose and height, if it
  is born a male or a female
• A trip lasting nine months, from the dimension of
  a microscopic grain which becomes as big as a
  bean, then as a nut, a potato, a melon
• A story of emotion, sounds, perception, colours,
  and smells

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30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• The children from the African, European, and
  Middle-East continents welcomed us with a
  positive reaction, although with little
  differences they interact at the same time in the
  same way with the same curiosity and enthusiasm.
• The universality of the theatre can be also
  really helpful to communicate to a heterogeneous
  audience

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30/05/08 - THEATRE IN SCIENCE MUSEUMS
Museums, visitors, theatre an effective
ecosystemEnrico de Capoa, Le Nuvole - Naples -
Italy - www.lenuvole.com

• Museum theatre is a bridge between science and
  theatre.
• It stimulates curiosity and through a process of
  dialogue and reflection, can lead to understanding