WHAT and HOW do we research in the artistic field. Contents and methods. Proceedings of the International Conference of Doctoral Schools „George Enescu” National University of Arts Iași, Romania (November 2-3, 2023)
WHAT and HOW do we research in the artistic field. Contents and methods. Proceedings of the International Conference of Doctoral Schools „George Enescu” National University of Arts Iași, Romania (November 2-3, 2023)
Contributor(s): Matei Bejenaru (Editor), Laura Otilia Vasiliu (Editor), Călin Ciobotari (Editor), Diana-Beatrice Andron (Editor)
Subject(s): Social Sciences, Theatre, Dance, Performing Arts, Education, Fine Arts / Performing Arts, Music, Essay|Book Review |Scientific Life, Visual Arts, Vocational Education, Conference Report
Published by: Editura ARTES
Keywords: artistic research; doctoral studies; PhD supervision; academic conference; interdisciplinary exchange; Music; Theatre and Performing Arts; Visual Arts; plenary session; research methods;
Summary/Abstract: The annual conference hosted by the doctoral schools of the “George Enescu” National University of Arts in Iași aims to provide participants with a platform for debate on the themes and methods of artistic research, as well as the possibility of a beneficial exchange of ideas for all those involved: doctoral students, PhD supervisors or professionals from the field. The general concept of the conference finds its expression in themes specific to the three fields, Music, Theatre and Performing Arts, Visual Arts, with presentations and debates taking place both in the plenary session and in the three sections.
- Print-ISBN-13: 978-606-547-538-0
- Page Count: 282
- Publication Year: 2024
- Language: English
Nationalistic tendencies and 20th century music –the German case –
Nationalistic tendencies and 20th century music –the German case –
(Nationalistic tendencies and 20th century music –the German case –)
- Author(s):Valentina Sandu Dediu
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:15-24
- No. of Pages:10
- Keywords:Romanian musicologists; German musical traditions;German musicology;
- Summary/Abstract:I belong to a generation of Romanian musicologists educated during the last years of the Communist period, and the idea of balancing historiography and structuralist analysis has been on my mind a lot. I inherited from Romanian historiography clichés such as “the tension between national and universal”, the “transfiguration” of the folkloric source (in avant-garde composition), the “Moldavian Orpheus” etc. Over time, I felt the need to reformulate, nuance, fight such clichés and other previously accepted ideas, and each time I encountered manifestations of nationalism in music. But these are not only characteristic of the Romanian environment, so I looked at other European cultures to learn from what was happening there: to the French with the Dreyfuss and Vincent d'Indy cases, to the Soviets with the compromises made by Dmitri Shostakovich and Sergei Prokofiev, but also with Igor Stravinsky's “export nationalism”. Other themes to explore are Béla Bartók and folklorism, Enescu and Communism.In this article, I limit myself to the great German musical traditions and how they were handled by Nazi ideology. I will talk about the “trial of German musicology”, which started after 1990 and shed light on historical aspects during the Third Reich.
Emilia Petrescu – The Outstanding Performer of the Baroque Cantata
Emilia Petrescu – The Outstanding Performer of the Baroque Cantata
(Emilia Petrescu – The Outstanding Performer of the Baroque Cantata)
- Author(s):Loredana Iațeșen
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:25-34
- No. of Pages:10
- Keywords:soprano; lied; oratorio; cantata; singing technique; performing stylistics;
- Summary/Abstract:This year marks two decades since the passing away of the distinguished performer and singing teacher Emilia Petrescu, a symbol of the generation of singers from the second half of the 20th century, a refined artist who has always been remembered for her unique interpretive versions of various lied, oratorio and cantata opuses. Her fascinating and solid musical culture, her rigorous singing technique or her search for original vocal approaches to the scores that she performed are just some of the basic components of the purity of her interpretive style, which deserves to be commented on based on some famous performances. Being highly appreciated by critics and having built a remarkable career both in Romania and abroad, the soprano Emilia Petrescu is the role model of any vocation artist who dedicated herself to both performing and teaching. Starting from Grigore Constantinescu᾽s monograph (EmiliaPetrescu-The Queen of Classical Singing in Concert), as well as various articles on her artistic activity, we will focus on analysing certain excepts forms several cantatas with a view to highlighting the singer᾽s unique manner of performing baroque works.
My musical affective interferences with Eminescu’s poem Se bate miezul nopţii (Bell chimes midnight)
My musical affective interferences with Eminescu’s poem Se bate miezul nopţii (Bell chimes midnight)
(My musical affective interferences with Eminescu’s poem Se bate miezul nopţii (Bell chimes midnight))
- Author(s):Ioan Pop
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:35-44
- No. of Pages:10
- Keywords:modes of analysis; self-analysis; resonance; structure; agreement; symmetry; the text – melody relationship; creation;
- Summary/Abstract:My work for piano Bell chimes midnight... is a sincere tribute to Mihai Eminescu and his poetic universe, with insertions and subtle echoes reminiscent of George Enescu's solo piano piece Carillion nocturne. The work, built on three interchangeable sections, chains traditional chords with clusters and symmetrical, geometric chords and harmonic constructions and combines the harmonic world with lyrical moments and movement passages. Based on resonance, the piece pays pious tribute to some professors I studied with, who recently passed away. Eminescu's poem, through its poetic images, represents the starting point as a poetic and musical universe, but it will be transcendentalized and complemented by modern compositional techniques. My analysis of this piece will include the relationship of music with the text, as well as some considerations on important details that can be revealed thanks to self-analysis and which can constitute nodal points regarding new compositional approaches.
The World Music Phenomenon Through the Perspective of Philip V. Bohlman
The World Music Phenomenon Through the Perspective of Philip V. Bohlman
(The World Music Phenomenon Through the Perspective of Philip V. Bohlman)
- Author(s):Maria-Isabela Nica
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:45-52
- No. of Pages:8
- Keywords:World Music; Philip V. Bohlman; globalization; cultural identity;
- Summary/Abstract:Renowned ethnomusicologist Philip V. Bohlman has made a remarkable contribution to the study of the World Music phenomenon and its impact on culture and society. An alumnus of Yale and Harvard, Bohlman has built a distinguished academic career across various countries, conducting extensive research in ethnomusicology. His work delves into the intricate relationships between music, cultural identity, nationalism, and migration, addressing themes such as music in the Holocaust, musical folklore, Jewish and Roma music. Overall, the volume World Music: A Very ShortIntroduction is one of the essential resources for a deep understanding of the complexity of the World Music phenomenon and highlights the importance of this cultural expression within globalization. The author draws on historical and musical resources gathered over decades of archival and field work. We learn key elements for understanding this living, current phenomenon: the historical, cultural and political contexts in which World Music developed, the stylistic and structural characteristics of this phenomenon and the relationship between music and identity, the impact of globalization on music and the emergence of new forms of phrase. Bohlman emphasizes the need to clear up the frequent confusions between World Music, traditional music, and commercial music with traditional influences – one of the major challenges in studying the World Music phenomenon. We will take a look at both traditional and modern forms of World Music, providing a comprehensive perspective on the various genres and styles of music, as well as the cultures they stem from
Myriam Marbé – Avant-garde and Ideological Neutrality
Myriam Marbé – Avant-garde and Ideological Neutrality
(Myriam Marbé – Avant-garde and Ideological Neutrality)
- Author(s):Oana Diana Zamfir
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:53-64
- No. of Pages:12
- Keywords:The Golden Generation; avant-garde; Myriam Marbé; wind quintet; Romanian folklore;
- Summary/Abstract:Myriam Marbé (1931-1997) was part of the Golden Generation of Romanian composers, involved in developing the technique of composition following the model of the European avant-garde. This objective was at odds with the aesthetic of socialist realism officially promoted in the 1950s and 1960s. The composer managed to avoid political conformism due to her style, in which she combines innovative language with musical and spiritual sources of Romanian folklore. The artist’s creative prestige reached a first climax with the famous work Ritual for the thirst of the earth (1968). The interest in capitalizing on ancient forms of expression can also be seen in the work for children's choir and orchestra, Chiuituri (1978). The chiuituri express irrepressible joy, jubilation, but also a type of folkloric manifestation that is specifically Romanian. Myriam Marbé creates an imaginary place of the joy of living. In the article dedicated to this work, Thomas Beimel depicts the Romanian political context of the late '70s in detail. “There are hardly any reasons for such jubilation as expressed in Chiuituri, during the Romanian dictatorship, beyond propaganda formats. The piece is very suitable to illustrate the aesthetic freedoms possible during this regime” Another work by the composer, Des-Cântec (1985), presents a study of melody and its possible functions. The creation refers to two different designs: a Delphic hymn and a quote from a work by Johann Sebastian Bach. The Delphic hymn is articulated in a contemporary manner, while Bach's fragment changes character and appears in the manner of a doina. Myriam Marbé was not concerned with quotes, but with working with songs of different registers and origins that are in a process of permanent metamorphosis.
German Post-Wagnerian Opera. Richard Strauss
German Post-Wagnerian Opera. Richard Strauss
(German Post-Wagnerian Opera. Richard Strauss)
- Author(s):George Ștefan Coman
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:65-72
- No. of Pages:8
- Keywords:Wagner; drama; Strauss; opera; myth; syncretism;
- Summary/Abstract:Richard Wagner’s scenic creations are considered the pinnacle of the genre in the 19th century for their technical-vocal difficulty, coupled with the need for endurance acquired over time through proper study, as well as a turning point in the entire history of music, for their innovative visions and impact on subsequent composers. Convinced of Wagner’s influence on the European cultural music scene, the second stage of the research focused on the composers who appeared in the German-Austrian area, particularly in the first decades of the 20th century, and who produced countless masterpieces, expressions of visions based on the various forms of reference to tradition and the obsessive tendency towards innovation, such as the treatment and deepening of psychological dramas, of ancient myths seen as symbols in which the great mysteries of the soul, human complexes and human powerlessness in the face of the all-powerful forces of destiny, of divinity, are found: Eugen d’Albert’s opera Tiefland, Hans Pfitzner’s musical legend Palestrina, Alexander von Zemlinsky’s Der Zwerg, Erich Korngold’s Die tote Stadt and Alban Berg’s expressionist opera Wozzeck. The “core” of the research concerns two of the most important operatic works given to posterity by the composer Richard Strauss in partnership with the famous librettist Hugo von Hofmannsthal: Die Frau ohne Schatten The Woman without Shadow and Dieägyptische Helena The Egyptian Helen, which stand out for their original, syncretic vision, fuelled by a compositional talent of unfailing inspiration that the composer would consciously explore and exploit, completing the creation of post-Wagner German opera.
The activity of the “Doina” choral chapel during 1963-1975 based on archive materials from the special depository of the Republic of Moldova
The activity of the “Doina” choral chapel during 1963-1975 based on archive materials from the special depository of the Republic of Moldova
(The activity of the “Doina” choral chapel during 1963-1975 based on archive materials from the special depository of the Republic of Moldova)
- Author(s):Natalia Blîndu
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:73-86
- No. of Pages:14
- Keywords:“Doina” Choral Chapel; concert ensemble/ collective; choral music; political repertoire; culture; concert;
- Summary/Abstract:The “Doina” Academic Choral Chapel is considered the most renowned and long-lived choral ensemble in the Republic of Moldova. The history of this collective as part of the National Philharmonic has gone through different stages, each stage being characterized by the key aspects of its activity. The present article analyzes the period between 1963 and 1975 – the first twelve years of management of the chapel by Veronica Garștea until the team became part of the General Directorate of the State Philharmonic of Moldova and of the October Palace. For the purpose of research, the qualitative and quantitative composition of the team and the geography of concert tours are investigated, the selection, complexity and variety of repertoire are analyzed, as well as the interaction of the administration with the leaders of other cultural organizations. Special attention is paid to the personality of the artistic director and issues related to the mission of the Choral Chapel “Doina” in the cultural space of the Republic of Moldova. For this purpose we used all available materials from the archives of the Republic of Moldova: the National Archive of the Republic of Moldova, the archives of the Moldova-Concert Directorate and the National Library of the Republic of Moldova. The present article considers a vast number of heterogeneous documents that are used in order to recreate an objective panorama of the ensemble in the determined period. In conclusion, it is mentioned that the artistic activity of the most famous choral collective is an integral part of the cultural life of the country and, together with other artistic groups of the National Philharmonic, it contributes significantly to the promotion of national cultural policy.
Play elements in approaching music education
Play elements in approaching music education
(Play elements in approaching music education)
- Author(s):Georgiana CIOBAN (MARIA)
- Language:English
- Subject(s):Social Sciences, Education, Fine Arts / Performing Arts, Music, Vocational Education
- Page Range:87-94
- No. of Pages:8
- Keywords:game; education; music; good practice;
- Summary/Abstract:Play, through all its forms and manifestations, triggers and stimulates a series of determining factors for the mental and spiritual health of a human being. Through the complexity and diversity of its actions, the game stimulates creativity, spontaneity, originality, freedom of expression. Through play, man, from the earliest age, develops attention, will and determination. Without any exaggeration, we can say that playing is the most effective way through which the human being enters a relationship with the surrounding world and explores the physical and emotional environment.The choice of methods of play as a support in the teaching-learning-evaluation activity in music education classes favors communication between teacher and student, at the same time becoming a bridge to the perception of indirect beneficiaries: family and society.Music is one of the most abstract fields of knowledge. It can either irresistibly attract or, on the contrary, alienate the listener. The music teacher will guide the student by challenging them to think, feel, filter the information, combine it with his own vision and transform it - all in a pleasant, approachable and age- and understanding-appropriate setting. All it takes is a little imagination and lots and lots of patience.
Artificial intelligence in music education
Artificial intelligence in music education
(Artificial intelligence in music education)
- Author(s):Elena Marinova
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:95-100
- No. of Pages:6
- Keywords:artificial intelligence; education; music; creativity;
- Summary/Abstract:In recent years, the fast-paced progress of new technologies on a global scale demonstrates a strong impact with significant results in many fields, from education, medicine, entrepreneurship, psychology and arts to the daily organization of social interactions. Overall, artificial intelligence refers to systems that exhibit intelligent behaviors by analyzing their environment and take action - with a certain degree of autonomy - to achieve specific goals. Today, artificial intelligence presents opportunities to complement and supplement human intelligence. The field is interdisciplinary, involving substantial contributions from other related sciences: music education, cognitive psychology, theatre and performing arts, anthropology, philosophy, linguistics, mathematics, computer science. Creativity is essentially a complex process, a complex mental activity that ends in creating a certain good, it is that mental capacity to obtain the new in different forms: theoretical, scientific, technical, social; to develop original ways and solutions to solve problems and to express them in original personal forms. Modern teaching strategies increasingly encourage the formation and development of innovative intellectual skills and attitudes of students. Thus, the use of artificial intelligence applications in music education classes becomes a necessity for expressing artistic ideas, appreciating musical works and operating with elements of musical language. Under the influence of new perspectives in the teaching-learning-evaluation process, teaching staff are encouraged to use intelligent virtual platforms and multimedia systems. In this sense, the artificial intelligence applications used provide an attractive and flexible framework suitable for the transition into the digital age.
A Pentadimensional Analysis of the Theme “The Man I Love” by George Gershwin
A Pentadimensional Analysis of the Theme “The Man I Love” by George Gershwin
(A Pentadimensional Analysis of the Theme “The Man I Love” by George Gershwin)
- Author(s):Andrei Tase
- Language:English
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:101-109
- No. of Pages:9
- Keywords:reductions; triangles; tonal grid; tonal bus;
- Summary/Abstract:Objective. Considered by American musicologist David Schiff as “seminal” to Rhapsody in Blue, the song The Man I Love is emblematic of George Gershwin's creation. The Man I Love has benefited from exceptional performances, such as Ella Fitzgerald's, accompanied by the symphony orchestra, or the composer's rubato piano version. Although the work has been carefully analyzed so far, the aim of our research is to explore new dimensions through musicological analysis. This article is part of our doctoral approach. Method. The analysis of this work with the structure of AABA includes five working methods. The first two methods are instrumental reductions, the third correlates the trison with the triangle formed on the guitar fretboard by joining the finger contact points, the next correlates the trison with the triangle in the Paleoriemanian tonal network, and the last is based on the Neo-Riemannian method with third-party progressions, alternating a major triad with a minor one on the pattern of the London double-decker bus. The results of our research are shown in the attached figures 1-7. Conclusion. The Neo-Riemannian transformational theory is, to our best knowledge, still unused in our country, so it may be of particular interest as the first translation into Romanian. We hope that our work can provide a positive impact on contemporary analytical discourse on Gershwinian work.
The ethical vulnerabilities of doctoral studies
The ethical vulnerabilities of doctoral studies
(The ethical vulnerabilities of doctoral studies)
- Author(s):Marian Popescu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:113-126
- No. of Pages:14
- Keywords:vulnerabilities; ethics; research; evaluation; supervision;
- Summary/Abstract:The organization of doctoral studies is one of the significant hallmarks of knowledge production, the formation of scientific discourse and the advancement of the creative process. This lecture is about the ethical vulnerabilities of the configuration of these studies from the perspective of the institution, the supervisor and the PhD student. I will consider the ethics of research, the supervisor-student relation and the philosophy evaluating scientific work. The situation of doctoral studies in the field of Performing Arts-Theatre differs from one institution to another, but what should not differ is the conceptual clarity through which the student is encouraged, guided, evaluated so that the final result is meaningful, produces an advance of knowledge and, why not, proposes something applicable in the practical sphere. In this lecture I will examine the ethical vulnerabilities that arise from the effects of legislation or from the imperfect, incorrect way in which doctoral studies are conducted.
PhD Admission. Ethical ambiguities...
PhD Admission. Ethical ambiguities...
(PhD Admission. Ethical ambiguities...)
- Author(s):Călin Ciobotari
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:127-144
- No. of Pages:18
- Keywords:admission; PhD; ethics; theatre;
- Summary/Abstract:This study aims to formulate and, to a certain extent, to provide possible answers to questions such as: Who is looking for whom to initiate the PhD student-supervisor relation? Can prior knowledge of the candidate by the supervisor generate ethical problems? Is it ethical to decide, as professors, who our PhD students will be based on “human chemistry”? How much relevant information does the candidate receive about their future academic path and how much predictability is there about how the PhD will actually develop their career? On which criteria do we decide which PhD students will receive a scholarship? Who chooses the research topic? What are the criteria we select our future doctoral students by? Is it ethical that the oral entrance exam cannot be contested? Is it ethical to produce, at all costs, a competitive environment in the PhD admissions phase? Does the distinction of tuition doctoral student vs. budgeted doctoral student produce effects in the ethical field?
Without harming the other person
Without harming the other person
(Without harming the other person)
- Author(s):Octavian Jighirgiu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:145-152
- No. of Pages:8
- Keywords:ethics; doctoral; art; theatre;
- Summary/Abstract:The term “ethics” today has an unprecedented notoriety, being used in contexts and relating to the most varied, sometimes even contradictory, actions. Behavioral ethics refers both to the statements or actions of a public figure, and to alleged social justice, marginalization and “Cancel Culture” media lynching. The university environment is, par excellence, a generator and, at the same time, a defender of ethical principles, despite its versatility derived from the multitude and specificity of fields. The criminalization of plagiarism, combating discrimination or abuse are, one by one, topics of discussion in the ethics commissions of universities. At the level of doctoral education, especially in the field of applied research, moral norms become referential benchmarks. If art has its own moral code, why wouldn't we apply the same units of measurement to artistic research? How far can we safely “drill” without hurting the other person? When we research can we “shelter” behind the specific freedoms of creation? Who sets the limits and on what terms? We don't know if we can answer these queries, but we can try to theorize some of the ethical filters that govern the act of research, using concrete examples from here and there.
Thinking outside the box
Thinking outside the box
(Thinking outside the box)
- Author(s):Anca Doina Ciobotaru
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:153-158
- No. of Pages:6
- Keywords:PhD; leadership; coordinator;
- Summary/Abstract:Theoretically, the legislation provides clear directions, through which the relationship between the mentee and the mentor is defined, in the context of a doctoral research project. In practice, interpersonal relationships involve nuances, variables and peculiarities that are difficult to anticipate. In this context, the question arises: should the coordinator be a mentor or a coach? An (apparently) simple question that can help both to cover the route from admission to the defense of the thesis, and to clarify the place of each participant, because the team will include (at least) two plus three members; basically, the role of the “Guidance Committee” must be an active/proactive one. Even if the relationship is established on the basis of a contract, with legislative delimitations (in full change) that – both the PhD student and the coordinator – must respect, the assumption does not only involve a formal and mechanical application of some standards, but aims at two other components resulting from the definition, at an international level, of the concept of artistic research: creating a new product (for the benefit of humanity) and triggering one's own growth. Thus, it is necessary to look for alternative coordination techniques, which respect the spirit of the law, without getting stuck in the “letter”, but which require a creative approach not only to the content, but (especially) to the “journey”, the use of a system of support, necessary for the research process and building an ethical, dynamic and creative relationship.
Doctoral research in theatre and the requirement to have a PhD diploma for tenure in higher education: development or regression?
Doctoral research in theatre and the requirement to have a PhD diploma for tenure in higher education: development or regression?
(Doctoral research in theatre and the requirement to have a PhD diploma for tenure in higher education: development or regression?)
- Author(s):Maria Adriana Hausvater
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:159-164
- No. of Pages:6
- Keywords:research; PhD; tenure; theatre;
- Summary/Abstract:Tenure in higher education can only be done after acquiring the doctoral degree. I will analyze the suitability of this system to the theatrical vocational system, as well as academic ethics, a pivotal element at the intersection of the two areas – scientific and artistic – in this context, the benefits or damages brought to the specific professional system. I will analyze the risks, as well as the changes in professional ethics arising from this model.
Clowning ethics or about red-nosed morals
Clowning ethics or about red-nosed morals
(Clowning ethics or about red-nosed morals)
- Author(s):Andreea Jighirgiu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:165-170
- No. of Pages:6
- Keywords:clown; ethics; norms;
- Summary/Abstract:We know throughout history several human categories or distinct groups that place themselves outside of ethics. People suffering from mental illnesses, children, fools/pranksters or acrobats, etc. This category could, of course, also include sex workers, stigmatized but accepted as part of the world in which we live. Beyond all these categories of individuals that transcend ethics and morality, there is another character, a cultural archetype born at the dawn of human civilization, having a winding, unpredictable and determining evolution at the level of the collective unconscious: the clown. The clown, a hypersensitive being who does not have a security of identity and who is characterized by confusion of consciousness, violates all the rules of ethics. In this sense, he uses the abnormal and the unusual as tools of manifestation. But can its expression be considered a breach of ethics, as long as it is born outside the norms, outside the generally accepted morality, its role being to highlight what lies beyond the limit? If we assert that this archetype is useful to ethics, what then are the attributes of this utility?
Ethical perspectives on the representation of sexuality through puppets in theatre performances
Ethical perspectives on the representation of sexuality through puppets in theatre performances
(Ethical perspectives on the representation of sexuality through puppets in theatre performances)
- Author(s):Vladimir Bogdan Boca
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:171-178
- No. of Pages:8
- Keywords:puppet; ethical; sexuality; obscene;
- Summary/Abstract:In the next article we will try to answer the following questions: What boundaries exist outside the ethical norms of staging the obscene? To what extent can we consider the depiction of sexuality as artistic expression? Can a puppet diminish the vulgarity unwanted by the audience in a sexual scene? How much can be accepted in the representation of sexual intercourse on stage, even if it is to be performed with the help of puppets?
Automated dummies and supercomputers.The construction of an object, from an imitation of reality to the original work or acquired autonomy
Automated dummies and supercomputers.The construction of an object, from an imitation of reality to the original work or acquired autonomy
(Automated dummies and supercomputers.The construction of an object, from an imitation of reality to the original work or acquired autonomy)
- Author(s):Liviu Cristian Ioniță Dobre
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:179-184
- No. of Pages:6
- Keywords:supercomputers; technologies; imitation;
- Summary/Abstract:What happens to certain objects, concepts, customs, research areas, sciences, etc. which evolve civilizationally, progressively, ascensionally, generationally, vectorially, on each of the levels of human development, where do they find appreciation and financial encouragement to be cultivated and privileged? The music field, the code of good manners, the food industry and its gastronomic complement, among them, and information technology (IT), with its cybernetic extension... What if one day, one of these “explodes” exponentially, epistemologically and ontologically, irremediably transforming culture and civilization in a way never before seen and impossible to intuit until then? You will tell me that it would no misfortune if Mozart will be more than his current, immense legacy, even if in that negative utopia not only the sweets will bear his name, but also the rest of the benches in the park, and the subway will it have a shape vaguely reminiscent of the shape of his powdered wigs?! Is it possible to outline such an imminent transubstantiation? What might happen if information technology reached its unexpected peak, not yet calculated by any existing supercomputer? The history of culture tells us that, traditionally, it would spread across the globe, after which its influence would diminish and adjust conveniently (I don't give the most convenient example, religion). What does IT lack, however, to become independent, because it possesses all the avatars of a state of the art (including the rechargeable battery for eternity), apart from a consciousness, individualization, uniqueness... Or are all these already at their place?
Post-Pandemic Trauma and the Research as an Intrusion
Post-Pandemic Trauma and the Research as an Intrusion
(Post-Pandemic Trauma and the Research as an Intrusion)
- Author(s):Teodora Medeleanu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:185-192
- No. of Pages:8
- Keywords:ethics; interview; research; supervisor; lockdown;
- Summary/Abstract:The pandemic, especially the lockdown period, has strongly affected all the subdivisions of the performing arts’ sector, specifically the independent creators. In the context of a doctoral research focused on the impact the years 2020-2021 had on present day’s theatre praxes and aesthetics, ethical aspects are challenged by the need to gather information in order to outline the specificities of that time. Are endeavours such as searching-researching, documenting, and analysing useful or intrusive, professionally “traumatising” for the interviewed people, when performed only a couple of years after the actual event? How should these interviews be conducted? How can one know what the limits of ethics in this type of research are, if the only aspect required in order to determine this is the conversation, the possible ethics infringement itself? How ethical is it for the Act of Research if one avoids its completion for the sake of protecting the research object? Moreover, as the case study is a series of discussions whose analysis is included in a PhD thesis, one must raise the question of the supervisor’s role in this context - what should they do in this case, should they advise, help build the framework for this activity or should they keep their distance? The present paper aims to gather possible answers to these questions addressing the ethical issues of possibly intrusive research methods, as well as advance solutions for the issue represented by the purpose of doctoral advisory figures in relation to sensitive approaches in the development of an academic endeavour.
Emotional aspects in the doctoral supervision relationship. Limitations and permissibility
Emotional aspects in the doctoral supervision relationship. Limitations and permissibility
(Emotional aspects in the doctoral supervision relationship. Limitations and permissibility)
- Author(s):Ileana Ocneanu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:193-202
- No. of Pages:10
- Keywords:emotional; supervision; ethics;
- Summary/Abstract:The supervisor-doctoral student interaction is no exception, in my opinion, in the foundations on which it is built, ultimately involving criteria similar to any type of relationship. It is obvious, however, that, settling between two personalities (supposedly) in a relationship of subordination at least from a professional point of view, but (possibly) also character-wise, there will be factors that determine and establish it different from the usual communication. The purpose of the lecture with the above title is to distinguish and establish, as far as possible, the “boundaries” that are imposed in this relationship, the emotional impact on the two partners during the doctoral course, the various situations in which it can be manifested, but also its possible excessive presence leading, perhaps, to the interruption of the collaboration between them. Taking into account the fact that I have not yet gone through the whole process, I will especially use the materials based on the study of the psychology of relationships registered in this category and on the examples provided by others in the field in which I am active (and not only), but also on my short experience on this fragile ground. I do not propose to approach this topic as an exhaustive one, considering this impossible to achieve taking into account the dynamics of this type of communication, but intending that at the end of the lecture I have managed to offer as comprehensive a perspective as possible on the rules that must be respected (by both partners), as well as on the level of tolerance that can be reached in specific situations
Ethical perspectives of choreographic discourse
Ethical perspectives of choreographic discourse
(Ethical perspectives of choreographic discourse)
- Author(s):Alexandru Radu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:203-208
- No. of Pages:6
- Keywords:choreography; ethical; dance;
- Summary/Abstract:It is a well-known fact that choreography is part of the area of performing arts that requires a certain rigor of the body and precision in movement. However, over time, the art of choreography has evolved, transforming into a form of expression that is no longer necessarily conditioned by impressive technical skills. Although my training in the choreographic field is structured according to classical norms, the subject of my doctoral research is directed towards an area where movement is not the main point of interest, but rather is used as a therapeutic tool. Therefore, as expected, the way I normally look at movement, in the construction of a show for example, has undergone drastic changes. I believe that this is also the moment when the issue of ethics intervened during my research, with which I already made contact in the construction of the first practical laboratory, where I interacted from a choreographic point of view with approximately seventeen seniors between the ages of 65 and 93, creating a 30-minute performance-experiment. This lab put me in the position to restructure the discourse that I would normally have when constructing a choreographic performance, which I had to adapt according to the different ages and bodies I worked with. So, many times I found myself in the position where I was reflecting on the indications I give, so that they are as correct as possible from an ethical point of view, contributing to a healthy relationship between me and the seniors, but to also regulate certain clear, scenic situations that could not be left to chance.
Theatre and radio – ethical dilemmas in the doctoral research of common history
Theatre and radio – ethical dilemmas in the doctoral research of common history
(Theatre and radio – ethical dilemmas in the doctoral research of common history)
- Author(s):Ioana Soreanu
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:209-216
- No. of Pages:8
- Keywords:radio; theatre; ethical; dilemmas;
- Summary/Abstract:Theatre and the radio have systematically intersected since the beginning of the existence of this means of mass communication. It is known that the radio included in its modes of expression those of the theatre. Entertainment shows, radio theatre, children's stories, poetry recitals are just a few examples of elements that have become inseparable in radio programmes. Moreover, the role of the theatre professional on the radio has also evolved over time, and the main influences relate to the historical, political and cultural changes in Romania. The study anticipates a number of ethical dilemmas, such as copyright issues, the potential for misinterpretation of cultural nuances, and the fine line between academic research and personal privacy. From this point of view, the rules imposed by deontology in journalism guarantee the equidistance and impartiality of the research. On the other hand, the stylistics of writing such a doctorate, placed between the rigours of an academic research and the criteria of a journalistic investigation, represents a challenge. Another ethical problem concerns the use of radio theatre as a tool to propagate a political or social attitude through the messages conveyed by playwrights and directors who work on the radio “stage”.
Dance in the realm of ethics
Dance in the realm of ethics
(Dance in the realm of ethics)
- Author(s):Pamela Tănasă-Gache
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:217-230
- No. of Pages:14
- Keywords:ethics; dance; gymnastic; training;
- Summary/Abstract:They say wisdom “comes” with age... that's because life experience teaches us everything, we need to know to make the right decisions and achieve professional, emotional, mental and physical fulfillment alike. And I think that with age we develop a kind of respect for ourselves, for the work done up until then, but also for all those dear to us in our personal lives, and professionally, for those who were and are our teachers, mentors, guides, coaches, superiors or even disciples. I believe that this respect grows as we discover more details, hit more obstacles and store more “life lessons”, which delivers a moral conscience that will be a kind of constant guide in everything we do, undertake in all fields of activity. Applied in our doctoral research, I feel the ethical conscience both towards the supervisor, towards my mentor and towards the evaluation committee of the final doctoral thesis, as well as towards the topic of the paper that I have chosen and towards its consistency, but with security and towards the obligation and responsibility that I think I have in the field in which I work, towards all those involved in the field, actively or passively alike; this is due to the fact that our doctoral thesis entitled “Key Points Of Rhythmic Gymnastics And Ballet In The Effective Training And Improvement Of The Professional Dancer”, in addition to the ongoing rigorous research, aims to extract all the concrete, truthful and indisputable details that form the content of the thesis, from all sources of information, but especially from experience as a practitioner in several sections of this field of activity, dance.
Ethical dilemmas in the choreographic approach. Actors vs dancers
Ethical dilemmas in the choreographic approach. Actors vs dancers
(Ethical dilemmas in the choreographic approach. Actors vs dancers)
- Author(s):Alice Veliche
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
- Page Range:231-236
- No. of Pages:6
- Keywords:actors; dancers; ethical; dilemmas;
- Summary/Abstract:The beginning of my career as a young choreographer often finds me working with both dancers and actors. This duality implies approaching different ways of working, a different structuring of the creative stages, but also an adaptation at a conversational, explanatory, bodily level. All these factors give rise to a series of hypotheses that I intend to address from an ethical perspective. Between the two forms of work there are observable differences that arise from the bodily capacities of the actors, a fact, moreover, absolutely natural. But a flawed approach that I have observed both in my interaction with the two stage formulas and in external projects is closely related to the underestimation of performers, a kind of identical label applied to a variety of products. Is it morally right to make an early work plan and anticipate how we will work with a team of actors? Or should we prepare a module only after observing the capabilities of the team, the ones that might exceed our expectations? Is it ethically normal to construct a large amount of choreographic material just to replace the presence of unspoken words on stage? All of these represent ethical dilemmas, although they appear to be components of ordinary behavior. I will look at both personal mistakes in working with actors vs. dancers, as well as those observed from the outside, trying to find out why underestimation occurs so often in the choreographic world.
The ontological value of the digital format: the role of video cameras for amateur video production
The ontological value of the digital format: the role of video cameras for amateur video production
(The ontological value of the digital format: the role of video cameras for amateur video production)
- Author(s):Andrei Petrea
- Language:English
- Subject(s):Fine Arts / Performing Arts, Visual Arts, Film / Cinema / Cinematography
- Page Range:239-246
- No. of Pages:8
- Keywords:digital format; amateur video production; media products;
- Summary/Abstract:In his book, Understanding Media: The Extensions of Man, Marshall McLuhan quotes part of David Sarnoff's speech at the University of Notre Dame: “The products of modern science are not in themselves good or bad; it is the way they are used that determines their value”2. This quote can be extended to discuss the influence of the medium in visual arts, especially cinema and its related products. The rapid technological pace of cinema only confirms the ideal pursued by image creators since the early 20th century, that of faithfully reproducing reality. Digital (ultra) High-Definition cinema achieves this ideal, but brings along an almost aseptic type of the image. The ontological signs of the medium have completely disappeared along with the use of digital sensors. In the case of analogue film, these signs could be materialized in stylistic intentions (e.g., the granularity of the negative, the stop-camera motion effect, the asynchronous shutter). The financial aspect and the unavailability of laboratories for processing photosensitive material make the adoption of the analogue medium in modern productions increasingly difficult. The solution proposed brings to attention the standard-definition video format (e.g. DV/miniDV, digital camcorder). Both the limitations of the CCD sensor and the constructive features of these cameras intended for amateurs can be turned into visual effects. The poor resolution, chromatic aberrations or imprecision of the automatic focusing system (i.e. uto-focus hunting) have even given rise to specific cinematic movements such as the found-footage genre. In recent years, these cameras have become popular once again among the younger Y/Z generations. Thus, media products such as music videos, advertisements or video essays nowadays contain material recorded with such devices, considered by most to be obsolete. This seemingly amateurish effect appears more and more often in media products shared online and triggers melancholy among the aforementioned demographic.
The timeless journey of the Möbius strip: circulation and transposition into different artistic mediums
The timeless journey of the Möbius strip: circulation and transposition into different artistic mediums
(The timeless journey of the Möbius strip: circulation and transposition into different artistic mediums)
- Author(s):Ioana Roșu
- Language:English
- Subject(s):Fine Arts / Performing Arts, Visual Arts
- Page Range:247-258
- No. of Pages:12
- Keywords:Möbius strip; transposable concept; visual arts; architecture;
- Summary/Abstract:From the twentieth century up to the present, the Möbius strip has been translated from mathematics into other fields, such as visual arts, design and architecture. Due to the versatility of allegorical and spiritual meanings it can mediate, this surface describing an abstract topological space has been assimilated in various artistic fields and materialities, especially in contemporary art. Thus, the Möbius strip stands out as a binder-motif that becomes a transposable concept with the potential to create new constellations of association and meaning, making connections between various disciplines, such as visual arts, architecture, design, literature, mathematics or psychology.
Examining the materiality of the photographic medium
Examining the materiality of the photographic medium
(Examining the materiality of the photographic medium)
- Author(s):Matei Bejenaru
- Language:English
- Subject(s):Fine Arts / Performing Arts, Visual Arts
- Page Range:259-268
- No. of Pages:10
- Keywords:materiality of photography; projection; slide; print; medial archaeology;
- Summary/Abstract:This article analyzes a series of artistic projects whose focus is the study of the materiality of the photographic medium within contemporary visual arts. More than two decades after the digital “revolution”, the relevance of this type of artistic research lies in the analysis of analogue photographic language and medium as part of a post-conceptual approach. The artistic projects have examined the nature of photographic print, slide and visual projection. The photographic images used are pretexts for medial analysis, they should not be interpreted in isolation, but in the context in which they are presented. In this sense, artistic interest was guided towards the subject of representation, at the expense of the representation of the subject. For projects analyzing the nature of the photographic slide, multi-channel slide projections were used to amplify the visual perception. In the case of the photographic print, its objective dimension was emphasized by resorting to installation-type exhibition solutions. In the study of the projection process, a photographic object was designed and made with the function of obscuring a part of the light flow and creating the illusion of three-dimensionality by superimposing two projections.
First-Person Filmmaking as Autoethnographic Exploration
First-Person Filmmaking as Autoethnographic Exploration
(First-Person Filmmaking as Autoethnographic Exploration)
- Author(s):Olga Lucovnicova
- Language:English
- Subject(s):Fine Arts / Performing Arts, Visual Arts
- Page Range:269-281
- No. of Pages:13
- Keywords:first person; documentary; art-based; autoethnography; Soviet Union; Russia;
- Summary/Abstract:In the domain of artistic scholarship, the application of first-person filmmaking in autoethnographic studies provides a distinctive avenue for merging individual narratives with broader societal contexts. This approach offers a nuanced bridge between personal experiences and expansive historical milieus. Grounded in this methodology, my research examines the lasting impacts of the Soviet era on the post-Soviet landscape. Growing up in post-collapse Moldova, a former Soviet Republic, within a mixed-cultural family, I was immersed in a tapestry of conflicting narratives. While Soviet cinema often romanticized its era, personal letters from my Russian grandmother, who died by suicide in 1989, presented a divergent historical insight.In 2021, I decided to undertake a research expedition to my grandmother's homeland in the Urals to explore my unknown family history and unravel the secrecy surrounding her suicide. I carried a camera with me, intending to document my interactions with relatives and employ this tool to facilitate interviews and foster discussions. The camera played a dual role in my research. On one hand, it served as a communication conduit, functioning as an interviewing mechanism that allowed me to capture the stories and insights of my family members. On the other hand, holding the camera enabled me to distance myself from my familial role, assuming the position of a film director and researcher. This shift in perspective allowed me to transition from an active participant in family dynamics to an objective observer, offering a unique vantage point for my research. The resulting audiovisual material not only provided the basis for a compelling documentary film but also emerged as a crucial resource for my autoethnographic exploration of the Soviet legacy. This innovative approach challenges established cinematic norms and narratives, thereby expanding the horizons of documentary filmmaking within the realm of academic artistic exploration.
