Intersections in artistic research. The model of the other and the culture of mobility. The International Conference of Doctoral Schools "George Enescu" National University of Arts Iaşi, Romania (November 3-5, 2022)
Intersections in artistic research. The model of the other and the culture of mobility. The International Conference of Doctoral Schools "George Enescu" National University of Arts Iaşi, Romania (November 3-5, 2022)
Contributor(s): Matei Bejenaru (Editor), Laura Otilia Vasiliu (Editor), Călin Ciobotari (Editor), Diana-Beatrice Andron (Editor)
Subject(s): Theatre, Dance, Performing Arts, Education, Fine Arts / Performing Arts, Music, Cultural Essay, History of Art
Published by: Editura ARTES
Keywords: cultural openness; artistic research; mobility of ideas; national identity; gaze of the Other;
Summary/Abstract: In recent years, more intensely than ever, the importance of cultural openness to the Other, to other spiritual and cultural geographies was revealed to us in terms of artistic research. More than in the past, the mobility of ideas required be doubled by a mobility of the encounter, of the gaze that meets the gaze of the Other. In everyday life, we often define ourselves through the Other. Similarly, the culture of a nation and, in particular, artistic research in a certain field need to be reflected in the model of the Other, in order to profoundly understand the similarities and differences, the closeness and the distances. Only in this way can we understand, in a reasonable way, who and how we are, what and how we are researching or should be researching.
- Print-ISBN-13: 978-606-547-520-5
- Page Count: 310
- Publication Year: 2023
- Language: English
The identity of musical works in the web era
The identity of musical works in the web era
(The identity of musical works in the web era)
- Author(s):Alessandro Arbo
- Language:English
- Subject(s):Philosophy, Fine Arts / Performing Arts, Music, Aesthetics
- Page Range:9-17
- No. of Pages:9
- Keywords:ontology; musical work; recording; normativity;
- Summary/Abstract:What is and, more precisely, what does a musical work consist of? In what sense can it coincide with a score or with a performance? How can its identity persist over historical time? Introduced by Polish philosopher Roman Ingarden in the 1920s, these questions have become recurrent in the analytically oriented philosophy of music. To this day, it does not seem easy to find an answer in a framework become more complex because of the generalization of phonographic and video-phonographic recording systems – and of that great recording system that is the Web. This article wonders how it could be appropriate to relaunch this question, focusing on its meaning and theoretical scope from a perspective considering the multiplicity of devices that populate the contemporary musical world.
Reflection of the Other in the Byzantinologist Gheorghe C. Ionescu’s Lexicographic Pursuits
Reflection of the Other in the Byzantinologist Gheorghe C. Ionescu’s Lexicographic Pursuits
(Reflection of the Other in the Byzantinologist Gheorghe C. Ionescu’s Lexicographic Pursuits)
- Author(s):Elena Chircev
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:18-33
- No. of Pages:16
- Keywords:dictionary; lexicon; Byzantine music;
- Summary/Abstract:Teacher, conductor, Byzantine musicologist, Gheorghe C. Ionescu (1920-1999) devoted the last years of his life to researching the history of Romanian Byzantine music and published in specialized journals several comprehensive papers that address various topics and bring back in focus personalities of the past. Due to his solid musical and theological training, guided by prestigious teachers from the interwar period, the distinguished musician had a rich artistic and cultural contribution to the second half of the previous century. The change of the political regime in Romania allowed him to return to the pursuits of his adolescence and youth and to continue his research of Orthodox church music in Romania. Along with his papers at various scientific events and the published studies, his tireless work materialized, soon after 1989, in the writing of a lexicon dedicated exclusively to those who had researched Romanian Byzantine music, in 1997. It was followed by a chronological dictionary, the foreword of which was written by the academician Virgil Cândea, who appreciated the importance of the book and the quality of Teacher Ionescu’s work. Entitled Muzica bizantină în România [Byzantine Music in Romania], the book appeared posthumously, through the care of his family, in 2003. Although the centenary of his birth passed almost unnoticed, both productions are valuable working tools for all those who will continue to value Orthodox church music in our country. One more reason to evoke this personality who put a lot of passion in illustrating the richness and beauty of music sung in Romanian churches, two decades after the book was printed.
Alla Turca, the Origin of the Main Percussion Instruments in Symphony Orchestras and the Romanian Principalities
Alla Turca, the Origin of the Main Percussion Instruments in Symphony Orchestras and the Romanian Principalities
(Alla Turca, the Origin of the Main Percussion Instruments in Symphony Orchestras and the Romanian Principalities)
- Author(s):Eduard Rusu
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:34-58
- No. of Pages:34
- Keywords:alla turca; mehterhane; percussion instruments; Romanian Principalities; Ottoman Empire;
- Summary/Abstract:Alla turca, percussion instruments of a symphony orchestra and the Romanian Principalities are, at first glance, a strange and inappropriate combination of words. Yet, if one goes deeper into the subject, one may easily find a silver thread running through them all, which facilitates the understanding of these combinations of words and especially the reason for their combination. In this case, the culture of mobility is extremely visible and interesting. Alla turca was a cultural phenomenon specific to Western Europe since the 17th century, which was due to the interest shown by Europeans in the oriental culture gradually brought to Europe by the Ottomans. The increasingly powerful Ottoman Empire, its incursions towards the West and frequent military, diplomatic and cultural contacts piqued the Europeans’ interest in the exoticism of the new world with which they came in contact, music being one of the main areas of influence. This is due to Ottoman military music (mehterhane), consisting mainly of percussion musical instruments, which produced extremely loud music accompanying the Ottoman armies on the battlefield and supporting the efforts of the soldiers through its marches. At the same time, the effect of this music on their opponents was the complete opposite, as they were not used to such sonorities and were easily intimidated by it. The effectiveness of Ottoman military music proven on the battlefield and its physical appearance impressed the European monarchs who tried to imitate it in various forms and by various methods and implement it both in their armies and in their ceremonial music, as a symbol of political power, since the mehterhane was also a powerful political symbol in the Ottoman Empire. Starting from here, various European composers, the most important being Mozart, were also influenced by the exotic features of this music and by its novelty and used it in their own creations, at first playing it using Western musical instruments and then gradually adopting in the orchestra instruments specific to mehterhane, the so-called “Turkish drums”, thus developing the symphony orchestra to the form in which it is present today. As far as the Romanian Principalities are concerned, their connection with the elements mentioned above consists precisely in the fact that their geo-political location allowed the contact between the West and the East and the occurrence of alla turca influences, since the mehterhane had been present in the Romanian Principalities since the 15th century and foreign Western travellers crossing these regions listened to it and described it in their memoirs, making it known to the West, its most important promoter being Franz Joseph Sulzer.
The Model of the Other in Shostakovich's Work
The Model of the Other in Shostakovich's Work
(The Model of the Other in Shostakovich's Work)
- Author(s):Sebastian Vîrtosu
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:59-70
- No. of Pages:12
- Keywords:Dmitri Shostakovich’s creation; 20th century modern music; musical movements and orientations;
- Summary/Abstract:The aim of this article is to conduct early research that is meant to provoke further (directions) studies based on the relationship between the art creator and his/her Self, as well as between the creator, performer and auditor or between the creator, the political power and other fellow creators. These relationships are subsumed and interpreted according to the theme of the International Conference of Doctoral Schools within “George Enescu” National University of Arts of Iasi, Intersections in Artistic Research: The Model of the Other and the Culture of Mobility, having Dmitri Shostakovici at the center of analysis and research. The article comprises three parts: Argument, Chapter I - The fugue of the inner perspective in Shostakovich’s works; Shostakovich’s interaction with his work; Shostakovich’s interaction with the public by means of his work. The interpreter’s interaction with the audience by means of Shostakovich’s work; Chapter II – Shostakovich’s intersections with the Soviet Power; The Model of the Other in Shostakovich’s work compared to other models of other modern composers of his time and Conclusions - where a practical example of the model of the Other in Shostakovich’s creation is presented in the form of a script created to the music of String Quartet No. 5, op. 92.
Šárka, a legendary female character, in two lesser known Czech operas. Overtures and compositional techniques
Šárka, a legendary female character, in two lesser known Czech operas. Overtures and compositional techniques
(Šárka, a legendary female character, in two lesser known Czech operas. Overtures and compositional techniques)
- Author(s):Leonard Dumitriu
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:71-96
- No. of Pages:26
- Keywords:Šárka; myth; opera; Janáček; Fibich;
- Summary/Abstract:The lyrical works of Czech composers from the end of the 19th century and the beginning of the 20th century are very little known, and not just to Romanian musicians. Even when it comes to composers who have gained notoriety, such as Bedřich Smetana, Antonín Dvořák or Leoš Janáček, without consulting a dictionary, we cannot name more than one of their titles: Smetana’s Prodaná nevěsta, Dvořák’s Rusalka and Janáček’s Jenůfa, even though each of them wrote countless other works dedicated to the opera. When we think of composers like Zdeněk Fibich and Otakar Ostrčil, obscurity is almost total. Beyond the fact that this study attempts to make a contribution to the knowledge in this field, other objectives include analyzing the compositional language that two composers embraced in homonymous operas and observing the manner in which they related to the mythology of their people. One of the major characters of the Czech national mythology is called Šárka, a title that both Leoš Janáček and Zdeněk Fibich have attributed to one of their operas. In studying the action of the two stage works, this research also turns to the Czech writers of that period and the manner in which they reflected the fundamental Czech myths in their literary works. Details related to the time of appearance of the operas and, in the case of Zdeněk Fibich, brief but welcome information on his biography and creation are also presented. The original contribution of this study consists in analyzing the overtures of the two homonymous operas in terms of compositional techniques, elements of construction and musical expression and, last but not least, observing the similarities and differences of vision between the two creators.
The Impact of French Pedagogy on Romanian Piano Art. Disciples of Alfred Cortot
The Impact of French Pedagogy on Romanian Piano Art. Disciples of Alfred Cortot
(The Impact of French Pedagogy on Romanian Piano Art. Disciples of Alfred Cortot)
- Author(s):Cristina Eleonora Pascu
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:97-108
- No. of Pages:12
- Keywords:French Pedagogy; Romanian Piano Art; peregrinatio academica phenomenon;
- Summary/Abstract:A very special effervescence in terms of artistic life animated the C City of Cluj at the beginning of the 20 20th century. The city’s newly established institutions, after the historical moment of 1918, were increasingly asserting themselves, polarizing culture in its numerous forms and manifestations. This is the context in which the Academy of Music and Dramatic Art of Cluj (cu rrently “Gheorghe DimaDima” National Academy of Music) was founded by a team of professors, who had been trained at various higher music schools i in Western Europe and who implemented the highest standards meant to raise the new school at the level of the other European schools of this kind, in an effort to narrow the historical gap that separated the former from the latter latter. Among them stand out, due to their special artistic and pedagogical qualities, young pianists returned from Paris, where, within the prestigious École Normale de Musique de Paris, they had been trained by the renowned pianist Alfred Cortot. They werewere: Ecaterina Fotino Fotino-Negru, George Ciolac,Eliza Ciolan, Alexandru Demetriad, Viorica Adelina Radu, Gabriela Ţereanu. Our paper aims at providing a documented image of this significant direction of development, which relied on the artistic and pedagogical knowledge acquired by the Romanian musicians trained in the privileged environment of Paris and who later returned to work at the National Academy of Music in Cluj. We will tackle the subject from several points of view, namely the peregrinatio academica phenomenon, the socio-political background and the founding personalities of the École Normale de Musique de Paris, the pedagogical principles, their reception in Romania, and the evolution and current status of this noble lineage. A very special effervescence in terms of artistic life animated the City of Cluj at the beginning of the 20 20th century. The city’s newly established institutions, after the historical moment of 1918, were increasingly asserting themselves, polarizing culture in its numerous forms and manifestations. This is the context in which the Academy of Music and Dramatic Art of Cluj (currently “Gheorghe Dima” National Academy of Music) was founded by a team of professors, who had been trained at various higher music schools i in Western Europe and who implemented the highest standards meant to raise the new school at the level of the other European schools of this kind, in an effort to narrow the historical gap that separated the former from the latter latter. Among them stand out, due to their special artistic and pedagogical qualities, young pianists returned from Paris, where, within the prestigious École Normale de Musique de Paris, they had been trained by the renowned pianist Alfred Cortot. They werewere: Ecaterina Fotino-Negru, George Ciolac, Eliza Ciolan, Alexandru Demetriad, Viorica Adelina Radu, Gabriela Ţereanu. Our paper aims at providing a documented image of this significant direction of development, which relied on the artistic and pedagogical knowledge acquired by the Romanian musicians trained in the privileged environment of Paris and who later returned to work at the National Academy of Music in Cluj. We will tackle the subject from several points of view, namely the peregrinatio academica phenomenon, the socio-political background and the founding personalities of the École Normale de Musique de Paris, the pedagogical principles, their reception in Romania, and the evolution and current status of this noble lineage.
A perspective on the musical criticism of Iasi from the interwar period
A perspective on the musical criticism of Iasi from the interwar period
(A perspective on the musical criticism of Iasi from the interwar period)
- Author(s):Ligia Fărcăşel
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:109-116
- No. of Pages:8
- Keywords:history; newspapers; interwar; musical life; artistic;
- Summary/Abstract:The advantage of learning history through the perspective of the criticism of a certain period lies in the fact that the journalist does not merely reproduce the information, but also describes the state emanating from the events commented upon, himself being contemporary with them. For us, readers of later decades, newspapers are, objectively speaking, a genuine history textbook. However, discovering interwar periodicals from Iasi has proven to be a fairly difficult task. In order to identify the titles from Iasi, I have consulted the catalogues of three major libraries in the city: “Mihai Eminescu” Central University Library, “Gheorghe Asachi” County Library and the library of “George Enescu” National University of Arts. In this endeavor, I discovered titles that appear either in the pre-war or in the post-war periods. Moreover, publications such as Curierul de Iași issued both before and after the wars but ceased their activity in the interwar period. Finally, the titles that circulated in the interwar period and could be accessed are Flacăra Iașului, Ziarul Opinia, Evenimentul, Însemnări ieșene and Ziarul Scânteia. Starting from their pages, I have attempted to reconstruct a side of the interwar artistic climate of Iași.
Aurel Stroe – Dominants of Musical Thought (90 years since birth)
Aurel Stroe – Dominants of Musical Thought (90 years since birth)
(Aurel Stroe – Dominants of Musical Thought (90 years since birth))
- Author(s):Petruţa-Maria Coroiu (Măniuţ)
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:117-125
- No. of Pages:9
- Keywords:modernity; dynamic; chaos; ontology; catastrophe;
- Summary/Abstract:Aurel Stroe, one of the greatest post-Enescian Romanian composers, is also a master of putting into words the metabolism of the great axiological ideas of humanity. At his 90th birth anniversary, given the originality of his discourse and his system of thought, Aurel Stroe needs an analytical synthesis of his entire vision of sound art (not just of his compositional system). Articulated under the sign of interdisciplinarity, his streams of ideas are so consistent that they draw their energy from different spheres of human culture, supporting a dramaturgy of creation that proposes incommensurable models juxtaposed within the same work. The morphogenetic music (born from the translation of the great mathematical theories of time into sound art), the composition with several tuning systems or within which immeasurable cultural dominants are confronted, give rise to a type of work of art that faces the same main difficulty as every valuable creation: sustaining its unity (which inevitably, breaks down, endangering its very quality). This paper offers some of the strategies the composer harnesses to handle his musical material, under the conditions of an extreme semantic difficulty: that of the expressive stabilization of the work in the imbalanced context caused by the coexistence of incommensurable elements. In this framework, other favorite topics are: the ontology of the work of art (and its sufferings in the modern context), the reflection of the theories of bifurcations, fractals and the chaos theory in sound art, the application of thermodynamic principles in the sound compositional space. The result of such strategies is dramatic, catastrophic, collapsing structures that propose unpredictable dynamics. A theoretician without equal, deeply knowledgeable of the great musical systems, he saw them as sound expressions with universal consequences, of great magnitude.
Technical and Semantic Aspects in Viorel Munteanu’s Symphony No. 2
Technical and Semantic Aspects in Viorel Munteanu’s Symphony No. 2
(Technical and Semantic Aspects in Viorel Munteanu’s Symphony No. 2)
- Author(s):Mihaela Rusu
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:126-136
- No. of Pages:11
- Keywords:Viorel Munteanu; Symphony No. 2; melogram; orchestration; themes;
- Summary/Abstract:Symphony No. 2, a recent creation of composer Viorel Munteanu (first performance in 2021), is a fascinating, modern and provocative work. It is part of the “Shadows and Genesis” cycle, accumulating the effort of over thirty years of experience: “My shadows and genesis are quasi-permanent sources of inspiration; they are themes always born and reborn from my own evolution”1. Symphony No. 2 stands out through the massiveness of its structure, the originality of the orchestration and its character deeply anchored in Romanian folklore motifs. The sources of inspiration, “shadows and genesis”, can be recognized, through references to previous creations and to Enescu’s music, as well through its use of the “George Enescu” melogram. The symphonic work is made up of five parts, entitled suggestively: - I. Imprints, II. Contrasts, III. Heterophonies, IV. Byzantine Sources, V. Dance of colors. This paper presents the compositional techniques, Viorel Munteanu’s fascination for the melograms - melodic “codes” transformed into the main thematic profile - and proposes an interpretation of the sound images generated by the expressive orchestration and thematic richness.
Sources of Inspiration in Composer Tudor Chiriac’s Creations. “Miorița” – the Poem
Sources of Inspiration in Composer Tudor Chiriac’s Creations. “Miorița” – the Poem
(Sources of Inspiration in Composer Tudor Chiriac’s Creations. “Miorița” – the Poem)
- Author(s):Aliona Paciurca
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:137-150
- No. of Pages:14
- Keywords:myths; Miorița; symbolism; folklore; legends;
- Summary/Abstract:Tudor Chiriac has had numerous sources of inspiration in his creations. While the composer has been consistent in terms of composition principles and key concepts, his sources of inspiration have varied greatly showing his inexhaustible originality and endless imagination. Tudor Chiriac has noticed the beauty, originality and virtues of folklore and popular music since his early childhood, and still is to this day fond of the specific national ethos and melos. Tudor Chiriac followed into Constantin Brăiloiu's footsteps when he supported the development of Romanian academic music in its own musical genres. Thus, due to his clear vision of the development of Romanian music and of the background against which the composition techniques specific to the 20th and 21st centuries have evolved, Tudor Chiriac has refined folklore suggestions in his own, unmistakable manner. Myths, fairy tales and legends are another highly attractive source of inspiration for many creators. Their value lies in the connection to the primordial archetypal meaning endowed with a rich, often esoteric symbolism. Tudor Chiriac has used several themes and symbols inspired by Romanian mythosophy. An edifying example is the poem Miorița, generally acknowledged as a masterpiece in terms of the symbiosis of a ballad theme with the most modern compositional techniques. Tudor Chiriac emphasized the semantics of musical works and the creation of an original ideational concept perceptible by the listener. Therefore, he made a rigorous selection of literary creations from poets/writers from both banks of the Prut River, thus enhancing and further emphasizing the message behind his works.
Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model
Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model
(Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model)
- Author(s):Liviu Dospinescu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:153-176
- No. of Pages:24
- Keywords:living arts; interdisciplinary; intercultural; University of Laval;
- Summary/Abstract:This paper tackles several aspects of the ‟opening towards the Other” that has marked an emancipation trend in the arts of the stage for more than a century; I will name them living arts because, of all the arts, they are distinctly characterized by this essential quality. It also finds its meaning in the institutional decompartmentalization and the opening of disciplinary practices towards the others. Under the sign of the inherent human living presence, the living arts refer to experiences in the whole spectre of the stage arts, coming under a polymorphous subject of research as early as the former half of the 20th century. It includes the most diverse disciplinary aspects, which are no longer just those of the drama, dance and choreography, performance or music, because the disciplinary practices of the other field and also practices from more remote fields like the visual arts, the cinema or those of the languages of new technologies connected, for instance, with the complex projections on the stage or its augmentation through Virtual Reality etc. can be added to it any time. Thus, we can notice how, in an intermedial process, in the meeting of drama and film, drama, as an art of the unmediated and of the living presence, tends to leave a mark (i.e. of the living) on the spectre of the delayed presence of the film in an inter- or even transdiciplinary relation. Therefore, the paper explores phenomena around the meeting of distinct entities under the interdisciplinary and intercultural aspects that mark the strong current interest in alterity and hybridity in the stage act but also in the new modes of perception in which the spectator is invited to engage or in the new interpretation grids demanded of the researcher. I will enrich this perspective by offering a few present-day reserach and creation trends in the living arts in the academia. They are extracted from my experience of both research-creation and doctoral project coordination. I share this experience in order to reveal a distinctiveness of research and creation at University of Laval, Québec and, at a larger scale, a trend or maybe even a model for the North American space. Apart from its descriptive aspects, my paper aims at raising new questions, inspire new possibilities and reinforcing new contributions in the research and creation of living arts.
General Considerations on Performing Poetry in the Current Performing Arts Context
General Considerations on Performing Poetry in the Current Performing Arts Context
(General Considerations on Performing Poetry in the Current Performing Arts Context)
- Author(s):Ion M. Tomuş
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:177-183
- No. of Pages:7
- Keywords:poetry; recital; Purcărete; Pitiș; Botta;
- Summary/Abstract:The contemporary theatre landscape seems to have strayed away from the feelings specific to poetry and to reciting it in front of an audience. The topics preferred by theatrical productions now, at the beginning of the XXIst Century, are strongly connected to the social realities one encounters on a daily basis. Certainly, it is reasonable for things to be this way, as theatre depends on firmly anchoring itself in reality, and the means of expression and of conveying emotion have, now, particularities that no one would have thought of fifty years ago. The present study intends to bring performance poetry back into discussion, as a type of artistic expression that has very well contoured specific elements, but that does not benefit from addressing broad audiences anymore, unfortunately.
Five Days at the International Art Biennale in Venice
Five Days at the International Art Biennale in Venice
(Five Days at the International Art Biennale in Venice)
- Author(s):Octavian Jighirgiu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:184-190
- No. of Pages:7
- Keywords:Biennale; Venice; the Other;
- Summary/Abstract:Seeing La Biennale di Venezia is a celebration in itself. This major contemporary art event has a long history that speaks on the importance of strategic thinking and the cultural dimension of a city's leaders. Because the “lagoon city” had such visionary people. At the end of the 19th century, in 1893, at the initiative of a group of Venetian intellectuals, led by the mayor of the time, Riccardo Selvatico, an administrative resolution was launched to “establish a national biennial art exhibition”. Two years later (1895), the first edition of this event dedicated to visual arts took place. Over time, the Venice Biennale branched out, accumulating new and new sections: music, theatre, cinematography, architecture and dance.
The Conflict with the Other. Premises of the Rebirth of Tragedy
The Conflict with the Other. Premises of the Rebirth of Tragedy
(The Conflict with the Other. Premises of the Rebirth of Tragedy)
- Author(s):Călin Ciobotari
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:191-203
- No. of Pages:13
- Keywords:conflict; tragedy; war; the Other;
- Summary/Abstract:Written under the impact of the war in Ukraine, the present text aims to verify a series of effects in a theatrical plan. The main effect: the conditions for the revival of tragedy as a theatrical genre. Such a hypothesis, of course, presupposes the reevaluation of some classical components of tragedy: the hero, the feeling of absolute injustice, the feeling of absolute loneliness, the new deities and the types of relationships that contemporary man develops in relation to them, the new dimensions of suffering, and so on. An important component of the study concerns the relationship with the Other. On the one hand, the Other as a stranger, and on the other, the other as a hidden self, with which we frequently come into conflict.
A Diverse Beauty: Amore, by Pippo Delbono
A Diverse Beauty: Amore, by Pippo Delbono
(A Diverse Beauty: Amore, by Pippo Delbono)
- Author(s):Dumitriana Condurache
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:204-209
- No. of Pages:6
- Keywords:Pippo Delbono; beauty; the Other;
- Summary/Abstract:To consider something or someone different is to discriminate. Objectively, this term has no moral connotation. You take a category and relate to it by choosing different references. Pippo Delbono manages to synthesize the beauty inside the difference; an intense, painful, even tough beauty. For him, contrast is not a method, but an acceptance of identity: marginalization as an existential condition. He places himself in both seats: in the audience – and inside the show. Spectator and actor, director, he changes the perspectives because he embraces them all, thus indicating that each of our roles is interchangeable. We can always be the other or different for someone, a group, a context, and the list could go on. One of the central images of Amore performance this year, at the International Theatre Festival in Sibiu, is a heartbreaking Pietà illustration.
The Otherness through Le rêve d’Urmila (Urmila’s Dream), an interdisciplinary and intercultural research creation doctoral project through Natyashastra
The Otherness through Le rêve d’Urmila (Urmila’s Dream), an interdisciplinary and intercultural research creation doctoral project through Natyashastra
(The Otherness through Le rêve d’Urmila (Urmila’s Dream), an interdisciplinary and intercultural research creation doctoral project through Natyashastra)
- Author(s):Sylvie Belleau
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:210-218
- No. of Pages:9
- Keywords:Natyashastra; kathakali; Le rêve d’Urmila;
- Summary/Abstract:This communication will present how research creation based doctoral project can be an opportunity to explore the Otherness and other disciplines, to open to new realms of research as well as to question the artist’s posture in his journey between the culture of origin and the culture of the discipline in which he trains. As an apprentice, I studied kathakali in South India in my early twenties and it influenced all my theatre practice. The dance-theatre of Kerala has been part of my creative tools since the beginning of my creative life as a professional stage artist. My doctoral research was a way to question the footprint of the kathakali training in a creation project, to deepen my knowledge of Indian theatre and to explore the connections between kathakali, Natyasastra, the classical Indian treaty of dramaturgy, and my doctoral creation, Le rêve d’Urmila, which has been presented in September 2018 at Université Laval, in Quebec City. As part of my doctoral research on cultural hybridity, I had to train a group of western artists to dance and play with the codes of Indian dance to reach the level of cultural and disciplinary competence needed to produce the doctoral creation. I will thus present the specificities of the training process and expose the ways in which we explored various elements of the kathakali performance: the four abhinaya, rhythmic and musical elements, etc.
Festival d’Avignon – The Challenges of a Doctoral Documentation
Festival d’Avignon – The Challenges of a Doctoral Documentation
(Festival d’Avignon – The Challenges of a Doctoral Documentation)
- Author(s):Andreea Jighirgiu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:219-225
- No. of Pages:7
- Keywords:clowning; Avignon; the Other;
- Summary/Abstract:In my doctoral research, even though I chose the scientific route and not the professional one, I sought to expand the theoretical discourse in various applicative areas. In order to understand the springs of clowning and the psycho-somatic structure of the clown actor, I conducted a non-verbal monologue study about the trickster, I participated in physical and online workshops with clowning teachers from the UK and Spain and, last but not least, I conducted together with an interdisciplinary team a niche theatrical laboratory with the theme: the clown condition of some dramatic characters. After all these practical extensions of the research, it was my turn, this summer, to undertake a documentary visit to the Avignon Festival. I had planned to watch shows that clearly contain a clownish expression, but also shows where I could identify it based on criteria defined in my research. Thus, I discovered that getting to Avignon during the festival is an adventure in itself. You risk yourself into a heterogeneous theatrical dynamics that is difficult to assimilate. The diversity of events that take place both in the courtyard of Palais des Papes and in several hundred other locations in the old town, but also in five other neighbouring towns – Châteauneuf-du-Pape, Monteux, Courthézon, Vedène and Noves – surpasses any other festival approach from Europe. This fact complicates the options for any viewer, competent or not. This year, in the official section (July 7-26), there were more than 40 events, some resumed in consecutive days, resulting in several hundred performances, all of them sold out. The “Off” section of the festival had a longer duration (July 7-30) and 1570 performances, each show having multiple performances, some even running the entire duration of the festival. No mathematical calculations are needed to get an idea of the artistic effervescence of those summer days in the south of France.
The Other’s Silence – between Complementarity and Distancing
The Other’s Silence – between Complementarity and Distancing
(The Other’s Silence – between Complementarity and Distancing)
- Author(s):Alexandra Diaconita
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:226-231
- No. of Pages:6
- Keywords:silence; body of silence; theatre; the Other;
- Summary/Abstract:Silence is an universal language. If there is anything that crosses multiple cultures, in ways that seem so familiar to anyone, this can be achieved by silence. The concept of silence does not need grammatical forms, declinations or accents, although it includes them on a subtle level, silence does not need, most of the time, translation, it goes without saying, because its peculiarities are predominantly emotional, and emotions are universal. Of course, there can be cultures of noise, just as, for example, there are cultures of silence, inclined towards an expression that includes to a very large extent the need for silence. In theatrical art, we cannot get rid of the “other” or the “others” – stage partner, audience, director, etc. The profile of a so-called “other” is a hypostasis that seems to offer a more intimate setting, a direct connection, without witnesses, that moment of wholeness to which a man, from time to time, aspires. The silent being attracts the being in need of an answer. Is “the other” a foreign, separate, culturally or metaphorically distanced formula? This study aims to x-ray moments where the other (either a character, a state, a world, etc.) meets another and decides to “complete” him, to adhere to each other's world, or, on the contrary, to cause him to distance himself and close himself in his own world. The gaze cast at the “other” is a glance thrown beyond the boundaries of one's own person – the gaze of one is silently linked to the gaze of the other.
Dear Caroline...
Dear Caroline...
(Dear Caroline...)
- Author(s):Teodora Medeleanu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:232-238
- No. of Pages:7
- Keywords:the Other; Caroline Plummer; fellowship;
- Summary/Abstract:On the quest of expanding one’s horizons, people frequently come across… the Other. Having hopes, dreams, plans, roots, and feelings of being de-rooting, everyone is capable of exerting an influence on who they interact with, and telling one’s story through art can, eventually, lead to a thorough, deeper mutual understanding. Although unsuccessful, the application process for the Caroline Plummer Fellowship in Community Dance set the cornerstone for a new field of interest, and also for a new type of approach towards the back-stage world of performing arts – the pedagogy. The following text aims to explain not only the quintipartite structure of the proposed program, the expected outcome, the intended work method and the possible anthropological analysis derived from it, but also the presumed reasons for the response received from the host institution and even details related to what can be the cause of the Fascination of the Distance, of what makes the freedoms of mobility and movement appealing from more than a socio-economical or a physical perspective.
Lack of Documentation on the Phenomenon of Body Shaming in Romania. In Search of a method...
Lack of Documentation on the Phenomenon of Body Shaming in Romania. In Search of a method...
(Lack of Documentation on the Phenomenon of Body Shaming in Romania. In Search of a method...)
- Author(s):Alexandru Radu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:239-245
- No. of Pages:7
- Keywords:body shaming; theatre; dance;
- Summary/Abstract:My research is based mainly on the vast phenomenon that we call body shaming. Although it has existed for a long time in social interactions, the phenomenon has inevitably spread much faster with the evolution of social media platforms, and is part of the wide range of contemporary psycho-somatic disorders. In a first analysis of the subject, we can formulate the false impression that body shaming is an isolated manifestation of negative remarks, about one individual’s weight by another, in order to denigrate it. But if we look at the depth of the psychic processes that arise from such an interaction, we see that, in fact, body shaming has far more complex implications in everyday life. For example, certain verbal expressions we use daily can become triggers of bodily trauma to those around us, without our intention having any derogatory purpose. Internationally, the phenomenon has already raised some question marks among psychologists and industries that include working with body shapes, thus forming an opportunity to study the triggering mechanisms of body shaming, its forms and the effects it can have on an individual. Society itself has become familiar with the harmful effects and has developed an ability to censor itself in such situations. In Romania, however, the phenomenon is just beginning to be introduced into society as a real problem of the 21st century, research on it being even less common.
The Actor, Between the Self from Theatre and the Other from Music
The Actor, Between the Self from Theatre and the Other from Music
(The Actor, Between the Self from Theatre and the Other from Music)
- Author(s):Diana Roman
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:246-256
- No. of Pages:11
- Keywords:music; theatre; identity; alterity;
- Summary/Abstract:The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The co-creation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.
Key Elements of Rhythmic Gymnastics in The Efficient Training of the Professional Dancer
Key Elements of Rhythmic Gymnastics in The Efficient Training of the Professional Dancer
(Key Elements of Rhythmic Gymnastics in The Efficient Training of the Professional Dancer)
- Author(s):Pamela Tănasă-Gache
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:257-262
- No. of Pages:6
- Keywords:sport; eurhythmics; ballet;
- Summary/Abstract:“The other one’s model and the mobility’s culture” represents the inter-disciplinary example that every devoted researcher should follow in their work and study, and emphasizes, in reality, the fact that only by opening up our heart and soul to another person and to other cultures and fields, we can discover and rediscover ourselves, before we can truly understand the purpose of our artistic research. Starting from this premise, I’m proposing myself to go thoroughly into a research in sports and art alike, always putting in antithesis those two directions of body movement from Eurhythmics and Ballet, in order to discover the key elements in the most efficient forming and improvement of a professional dancer. After a rigorous selections, I wish to assemble a methodological direction that can guide and support the dancer in his formation, confirmed and reinforced by my own experience, a kind of bibliographical exteriorization, as a gift, but also as a guarantee. But, in order for me to achieve my goal, I know that is not enough. Therefore, “the other one’s model” offers me not only the ambitions, but also the obligation to extend my research internationally, resorting, in the lack of a generous national bibliography, to external sources.
Dancing to talk about yourself. The character is me. Case study: Pina Bausch
Dancing to talk about yourself. The character is me. Case study: Pina Bausch
(Dancing to talk about yourself. The character is me. Case study: Pina Bausch)
- Author(s):Alice Veliche
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:263-273
- No. of Pages:11
- Keywords:Pina Bausch; theatre; dance;
- Summary/Abstract:From the corpus of our doctoral research, an essential place in the development and analysis of the theatrical elements of contemporary dance is the subject of Pina Bausch. The choreographic world has been and will remain strongly guided by the well-implemented corporeal principles of Pina Bausch, also called the choreographer of souls. The corporeal rigors imposed by the artistic system and classical working techniques are not the only methods by which we can access a complete final product, to the surprise of many practitioners or theorists. The proof that emotion and corporality can be accessed and directed through multiple variants lies in the work exercises created by Pina Bausch. I will not use the term method or technique because “there is no method, no technique to follow: What remains is a process, and to build from this process becomes the highest quality of Pina Bausch, moving in your own direction and taking advantage of the available resources.” The esthetics of the movement occupied a leading place in the ranking of choreographic priorities until the emergence of the precursors of modern dance, which exposed new meanings of corporeality. Pina Bausch supported the move by stating that “I am not so interested in how they move as in what moves them.” The purpose of the study is to analyze the work processes and to classify them in distinct stages, meant to help in forming a direction that will bring us as close as possible to the nature of the theatre.
Image and Post Post-Truth
Image and Post Post-Truth
(Image and Post Post-Truth)
- Author(s):Cosmin Prelipceanu
- Language:English
- Subject(s):Fine Arts / Performing Arts, Visual Arts
- Page Range:277-285
- No. of Pages:9
- Keywords:Post-truth; image; emotion; propaganda; manipulation; news; consensus engineer; chemical weapons;
- Summary/Abstract:Nowadays, under the non-stop assault of over-information and the multitude of sources and media, the consumers of information (related to non-fiction audio-visual content) suffer from an overflow. They are oversaturated, blasé, disinterested, they have the feeling they know everything and are entitled to jump straight to conclusion (their own or ready-made conclusions). The content they cannot process is rejected. With such an audience, content creators diversify their arsenal of stimuli: shocking images and sound, partisan speech that confirms the viewer's own perceptions and beliefs. But mostly, emotions. Emotion is the most powerful stimulus applied to the viewer and has an enviable effect among content creators. The emotionally connected viewer will develop trust, dependence on the source of information and, in conjunction with other stimuli, will become susceptible to mobilization. It is a key effect in the study of disinformation and propaganda, which makes it possible to manipulate the viewer into acting in a certain way. In other words, emotion becomes a tool. It is used intentionally to trigger a certain reaction fro m the audience. Our research analyses the extent to which the need for emotion in the news shapes reality, that is the events as they happened, and how we would expect them to be covered on screen. We follow the methods that journalists use to give viewers as much of this stimulus as possible, once considered a foreign body in the news bulletin. And in the analysis of the media content (image and sound) we notice how two fields that once seemed utterly opposed by reference to objective reality (physical truth), journalism and artistic creation (fiction), ended up sharing a common ground, that of emotion emotion. The corpus of our analysis consists of CNN, BBC and RT television reports on the war in Syria during two of its key moments, the WMD attacks of 2013 and 2018. The study method we will apply is rhetorical analysis, proposed by Professor Guillaume Soulez from the University of Sorbonne. This is how we reach a second junction, because the French professor proposes discursive analysis for any kind of media content, whether fictional or not.
(At) Home and (On) the Road: Contemporary Photography Techniques of Documenting the Migration Phenomenon
(At) Home and (On) the Road: Contemporary Photography Techniques of Documenting the Migration Phenomenon
((At) Home and (On) the Road: Contemporary Photography Techniques of Documenting the Migration Phenomenon)
- Author(s):Oana Nechifor
- Language:English
- Subject(s):Fine Arts / Performing Arts, Visual Arts
- Page Range:286-298
- No. of Pages:13
- Keywords:migration; identity; globalization; home; diaspora; documentary photography; autoetnography;
- Summary/Abstract:The current presentation includes several queries regarding the interaction of migration and globalization – one of the most significant phenomena of social transformation in recent decades, as well as the meanings that this interaction presents for artistic research and practice. The major social and culturaltransformations that have taken place in recent decades following more intense migratory movements have sparked an interest among artists for creating visualdiscourses, which, by using languages specific to different genres and environments, contribute to the dissemination of knowledge about migrants and migratoryexperiences different from the discourses generally offered and exploited by the media and public opinion. In cultural studies, the mobility turn also influences how contemporary art reflects on the direct and indirect implications of migration. The selection of works we analysed (which mainly use the medium of documentary photography) challenges the way we understand the notions of space and time, by exploring ideas regarding the concepts of (at)hom and road, which are, moreover, two of the notions that undergo most changes during migratory experiences. The artistic projects selected reconsider defining the concept of (at)home as the place where the individual builds his sense of belonging, referring only to the physical house and not just to a single house set in an immovable place, but considering multiple connotations of the idea of home. Migrants' personal narratives reveal the ways in which individuals move between multiple homes, developing attachments and reinventing their identities along the way. Considering both the international context of migration and the particular case of Romanian economic migration as a recent phenomenon with important socio socio-cultural implications, I sought to investiga te through my own artistic practice how documentary photography can become an environment for reflection on the topic, by combining autobiographical elements and a subjective discourse added to the objective dimension.
Reflexive Design and the Consumer’s Expectations
Reflexive Design and the Consumer’s Expectations
(Reflexive Design and the Consumer’s Expectations)
- Author(s):Tiberiu Pop
- Language:English
- Subject(s):Fine Arts / Performing Arts, Visual Arts
- Page Range:299-306
- No. of Pages:8
- Keywords:reflexive design; design process; transdisciplinarity;
- Summary/Abstract:Design is a term that is paradoxically (or not) harder to define these days. Its often-theoretical ramifications make a clear and univocal definition even more difficult to state In 2005, Donald Norman mentioned three levels of design: visceral, behavioural and reflexive in his book Why We Love (or Hate) Everyday Things. Design hybrids is yet another term that has been introduced into the specialized vocabulary lately as a result of designers’ attempt to go above and beyond product design, graphic design, environmental design, furniture design, interaction design, etc. In 1896, Louis Sullivan formulated the principle “form comes after function”. After WWI, theorists such as Theo van Doesburg, Walter Gropius and Le Corbusier, suggested a more radical tendency: “form comes after utility and meaning”. The new context suggests a more complex approach, i.e. “form observes expectations”, as a follow-up of Raymond Loewy’s MAYA (Most Advanced Yet Acceptable) principle. The present study is based on the transdisciplinarity of design design1, on reflexive design as a means of approach as well as on their relationship.
