Frame of the project
The medieval dramaturgy and, in a wide sense, the medieval theatre, can be conceived as ‘territories of material development’ of the culture of the Middle Ages. The reproducibility of this geography is delineated by scientific analysis, edition of texts, the staging of performances, the observation and the reconstruction of instruments and objects of the stage, and so on; it allows us to study the conditions of identity, of persistence, and of transformation of specific cultural testimonies.
In this articulated process, the material practises that regulate the concept of representation, have with no doubt a fundamental list in making up the expressive instruments of medieval theatre, whether in a homogeneous sense (the whole of the ‘theatres’ that constitute the medieval theatre tout court), or in a particular sense (the confrontation of a specific material practise to experiences others of the medieval theatre geography).

Themes of the colloquium
The essence of medieval theatre – the closed relation between author, actor and spectator – realizes itself in the public space of the community, a social place in which, for definition, they flow together and interact each and other the different domains of culture. Medieval theatre doesn’t identify itself in fixed and permanent seats that may represent it in an institutional way. His happening is rather the result of conventionalized relations between the objects, that make way to the signification of staging, and the cultural models that regulate the material representation of them. In this meaning, this ‘happening’ can be intended as the ‘work’ that culture accomplishes on representation of the material objects in the dramaturgic context.
Medieval theatre is then a social happening, a place and a moment made of  persons and actions, in which it is represented and involved the collectivity. It is a shared action that interpellates all the social components and publicly debates about material questions that are fundamental for the community. By the participation and by the sharing of these moments, it emerges the whole of praxis, of traditions, of domains of notions, of rules, of institutions and, generally speaking, of knowledge that result sedimented in the material signification of the
objects, whether in the staging space or in the text.
Here it is that the ‘seat’ of medieval theatre may be localized just in that moment of cultural mediation that confers reciprocity to the objects and to the practises of representation, elaborated in a continuous way and according to new forms, in the time and in the space.

Research lines
According to a general line, all proposals pertaining the subject proposed are admitted. However, some research lines can be suggested:

1) The material object in the texts.
2) Literary tradition and stage-technics tradition.
3) Material culture and dramaturgical production, reception and actualization.
4) Text and iconographical sources.
5) Interculturality and intertextuality.
Languages of the colloquium: The Italian is the preferable language. According to the international spirit of the colloquium, also French, English and Spanish are allowed as languages of the conference.