Search results for: tamara constantinescu colocvii teatrale in All Content

THEATRICAL COMMUNICATION AND THE RECEPTION OF THEATER PERFORMANCES. THEORIES OF RECEPTION.

THEATRICAL COMMUNICATION AND THE RECEPTION OF THEATER PERFORMANCES. THEORIES OF RECEPTION.

Author(s): Raluca Sas-Marinescu / Language(s): English / Issue: 2/2009

Keywords: reception; communication; audiences.

This work proposes a foray into the theories of reception with direct application to the play Krum- Ectoplasm, by Hanoch Levin, directed by Christian Theodor Popescu. Today one can no longer bring up the theory that says theater is not communication. Starting from the point of view of Keir Elam reception theories, this paper tries to identify the ways in which spectatorship is involved in a performance, how much of it is understood, and how the feedback is working, all of this applied on the 2009 romanian performance.

The one-man show or the puppet recital

The one-man show-ul sau recitalul păpuşăresc

Author(s): Anca Ciofu / Language(s): Romanian / Issue: 10/2010

At least two general characteristics from the first editions of the International Theatre Festival for Children and Youth ’’Luceafarul’’ in Iasi determined us to focus our attention, when talking about creativity, success and true value in the world of contemporary animation theatre, towards the play featured as a recital: most guests from abroad performed soloist presentations or of maximum two interpreters, and these plays were much more appreciated by the public than the ones performed by most generous troupes (even 17 interpreters) from different state theatres. We tried to analyze two of the most valuable one-man shows in the festival: The Soloist (Solo) performed and directed by Carles Cañellas (ROCAMORA Company – Barcelona) from the first edition and One Robinson based on Robinson Crusoe by Daniel Defoe, author Alain Lecucq (PAPIERTHÉÂTRE Troyes – France) from the second edition.

Sibiu, The Castle of Shadows and Radu Stanca`s Destiny: the Arts

SIBIUL, CETATE A UMBRELOR SI DESTINUL ARTISTIC AL LUI RADU STANCA

Author(s): Anca Sârghie / Language(s): Romanian / Issue: 04/2003

Fleeting Morbidities

MORBIDITĂTI PASAGERE

Author(s): Mircea Danieluc / Language(s): Romanian / Issue: 03/2002

Animation Theatre On The Romanian Theatrical Scene At The Beginning Of The Millenium - Directions And Trends

TEATRUL DE ANIMATIE ÎN ROMÂNIA LA ÎNCEPUTUL MILENIULUI AL III- LEA, ORIENTĂRI SI TENDINTE

Author(s): Oana Leahu / Language(s): Romanian / Issue: 03/2002

The Actor and the Drama of His Own Being

Formarea Actorului si Drama Propriei Sale Existente

Author(s): Alina-Maria Pertea / Language(s): Romanian / Issue: 22/2012

Keywords: actor; training; individuality; skills; knowledge

The art of acting discipline

Disciplina arta actorului

Author(s): Nicoleta Brânzia / Language(s): Romanian / Issue: 1/2013

Keywords: theatre pedagogues; theatre games; drama exercises

The pedagogy of acting operates with the Homework notion, which will become the task that the student must solve by his own means, with his mind, body and being by experiencing. How the task will be solved differs from one student to another depending on their individual personality and game partner. This work develops the students’ ability to find his own solutions and implicitly generates the discovery of their objective and subjective truths about things and life. It is well known that determining one’s self value is done through constant reference to others, this is why teens are in a continuous search for models. In this case, the teacher should be the ideal model, a consummate, consistent, cultivated, impartial professional.

A LUDIC OPERA: POST-FICTION BY DAN DEDIU

A LUDIC OPERA: POST-FICTION BY DAN DEDIU

Author(s): Sanda Hîrlav Maistorovici / Language(s): / Issue: 1/2015

Keywords: opera-within-an-opera; Pirandelli’s theatre; characters; umorismo; ludic; parody.

The article A Ludic Opera: Post-Fiction by Dan Dediu comprises a short presentation of the composer’s older opus, which was performed for the first time at The International Week of New Music in 1996. Starting from musicologist Irinel Anghel’s remark that the opus has “a typically post-modern, opera-within-an-opera character”, the article advances an analytical framework that leads to the idea that the structure of the libretto and the musical scaffolding manifest filiations from and connections with Pirandelli’s outlook on theatre. The analytical inquiry highlights five arguments that support this hypothesis: the characters are entities that pertain to other operas; placed in another time and space, they behave as indignant characters; in their new stances, these characters undergo changes both at the level of their own personality and at the level of their image, reflected as if in a mirror, in the other characters’ consciousness; between the composer and his characters there is an interrelationship, the composer himself being part of the imaginative play of the performance.

Towards a Cultural-Anthropological Dimension of Theatre

Spre o dimensiune antropologic-culturală a teatrului

Author(s): Anda Cadariu / Language(s): Romanian / Issue: 1/2012

Keywords: cultural anthropology; ritual; myth; relation; actor; audience; via negative; poor theatre

This study aims to emphasize the cultural-anthropological dimension of Jerzy Grotowski’s theatre, relying upon the ideas of some of the best-known analysts who expressed their views on the Polish director’s work. Considering anthropology from an ontological perspective, different from Eugenio Barba’s approach to theatre anthropology, the hereby paper underlines the relationship between Grotowski’s performances and methods on one hand, and the broader field of cultural anthropology on the other hand. It addresses concepts such as “theatre as encounter”, via negativa and “poor theatre”. The paper also focuses on the connections between Grotowski’s work system and the ideas of other prominent directors (Stanislavski, Artaud, Craig). The cultural-anthropological dimension of Grotowski’s theatre becomes apparent in the director’s preoccupation towards rituals, in the recovery of myths in his performances, and, last but not least, in the way the process of his work with the actors has evolved.

Magazine „Scrieri amusante”. From the biography of publicist N. A. Bogdan

REVISTA „SCRIERI AMUSANTE”. DIN BIOGRAFIA PUBLICISTULUI N. A. BOGDAN

Author(s): Mircea-Cristian Ghenghea / Language(s): Romanian / Issue: 23/2017

Keywords: N. A. Bogdan; pseudonym N. A. Tudorin; Iasi; publishing; “Curierul d'amor”; satire; divertisment

N. A. Bogdan (1858-1939) is known as the author of a monumental illustrated history of the city of Iași (1913) and as one of the supporters of the establishment of the Municipal Museum in the old capital of Moldavia. He was an officer of the Population Registrar’s at the Iași City Hall, general secretary of the Mayor's Office, and first mayor’s aid. However, N. A. Bogdan's journalistic activity is much broader and has been deployed for more than five decades on various coordinates - prose, poetry, literary criticism, translations from world literature, historiography, dramaturgy. N. A. Bogdan was, among other things, the founder of socialcultural and entertainment periodicals, such as " Scrieri amusante" - 1875-1876, which is also the subject of this text. After a number of printed copies, the publication continued under the name of "Curierul d'amor". In the pages of the magazine there were published various short stories, satires, quibbles, riddles and fables. Their entertaining, funny function, is obvious. Still, some critical accents and references to the social and political realities of the times can also be identified.

SCENOGRAPHIC COMPOSITION AS AN ELEMENT of A CHOREOGRAPHIC WORK

COMPOZIŢIA SCENOGRAFICĂ — PARTE COMPONENTĂ A OPEREI COREGRAFICE

Author(s): Angela Beţişor / Language(s): Romanian / Issue: 1(32)/2018

Keywords: scenography; choreographic art; choreographic work; stage space; ballet performance; ballet master;

The article examines the aspects of the scenographic composition as an element of a choreographic work. The author provides an analysis of ballet performances based on choreography classics’ works, which allows concluding that the problem of using the scene as means of expression has attracted ballet masters’ interest for a long period. The author identifies and justifies the necessity of the simultaneous use of horizontal and vertical lines not only in choreography and scenography but also within the dance texts. The authors argue for the adequacy of using the scene as means of expression while staging choreographic works

Practical Aesthetics Masterclass

Practical Aesthetics Masterclass

Author(s): Mihaela Beţiu / Language(s): English / Issue: 1-2/2018

Spiru Haret and the institution of the national theater

Spiru Haret şi instituţia teatrului naţional

Author(s): George V. Grigore / Language(s): Romanian / Issue: 5/2012

Keywords: Spiru Haret; drama; National Theater; the artist; the new law;

Under the Haret’s Ministry, drama has been given a new legal meaning. The new „Law on the organization and management of theaters in Romania” stated the duty of the National Theaters to play Romanian plays or to put on stage plays in a neat Romanian language. Due to the same Law, the subsidized stages from Craiova and Iasi were for the first recognized as National Theaters. The artists’ salaries were increased and there were set more humane conditions for their retirement than those of all other public servants. Don’t ask Haret who did all of these.With his usual modesty he will deny any involvement at all. Everyone involved was driven only by the desire to perform a useful work, a modest chapter of the brilliant work of refreshing our people’s soul by its true culture, which has been done by the great Spiru Haret.

The Art of Teaching and the Technological Update of Education

Arta de a face şcoală şi tehnologizarea educaţiei

Author(s): Andreea Roxana Filip / Language(s): Romanian / Issue: 1/2020

Keywords: 2020 pandemic; online teaching; offline teaching; technological challenges; theatre pedagogy; contact-based teaching; pedagogy as a form of art; childrens’ theatre;

The issue of “online versus offline” has never been more pressing or more widespread than it is today. The following essay tries to make sense of the effect of a global pandemic on a very punctual, but important aspect of our society, education and teaching. Analyzing the different approaches and major break in between the analogue and the digital classroom, the following article sets out to identify the difficulties that this calling must face in order to adapt and perhaps offer some insight on the areas that require the most attention and sensibility. The phenomenon is studied through the challenge of online theatre classes, one of the most contact-based areas of teaching. With no clear winners, but a high risk of losing young minds and souls, this form of art is forced to improvise on the spot, to face the curtain before having a chance to rehearse.

Expressiveness of gestural communication through body actions

Expressiveness of gestural communication through body actions

Author(s): Marian Chirazi / Language(s): English / Issue: 1/2021

Keywords: motors gesture; dance; expressiveness; communication;

Throughout history, interest in the aesthetic and spiritual side of the body has been a constant concern. One of the features of corporal movement essential expression is the driving body defined by the movement and determined by aesthetic principles. A reminder in this regard are the sports with a pronounced artistic character that aim, above all the education of body aesthetics by using specific means of gestural communication like rhythmic and sports gymnastics, sportive dance, figure skating, figure swimming, etc. All these body movements are defined by the “motors gesture” common point. As an aesthetic attitude of the body dynamics, dance concretely defines its ability to manifest through harmonious, expressive, supple, light and precise movements, expressing certain states resulting from the body-psychic relationship. In conclusion, the motor gesture system can represent a form of gestural communication by loading the submitted message, causing different levels of body body`s expressiveness as a whole.

It's Been 40 Years Since I Fell in Love with Mime! Interview with Elena Serra

Sunt 40 de ani de când m-am îndrăgostit de mimă! Interviu cu Elena Serra

Author(s): Bianca Holobuț / Language(s): Romanian / Issue: 2/2021

Anton Cosma - Playwright

Anton Cosma - dramaturg

Author(s): Ela Cosma / Language(s): Romanian / Issue: 8/2009

Keywords: Anton Cosma; playwright; literary critic; Socialist society; wooden language;

The paper offers a presentation of the forthcoming volume Anton Cosma - Teatru (Anton Cosma - Theatre), Cluj-Napoca, Editura Argonaut, 2009, based on inedite manuscripts left behind by Anton Cosma and edited by Ela Cosma. Anton Cosma (1940-1991), officially known only by his books of literary critics, reveals himself as an unexpected and gifted dramatist. The volume comprises a series of original comedies and social satires, footing in the realities of Ceauşescu’s Golden Era and depicting characters and mentalities of the Romanian multilateral developed Socialist society: Detectivul particular (The Private Detective), Tovarăşul din Andromeda (The Comrade from Andromeda), Bagaje de mînă (Hand Luggage), Vizita bătrînilor domni (The Visit of the Old Lords), Minunea de la Loboda (The Wonders in Loboda), Satul fără bărbaţi (The Menless Village), Cum s-au înscris Dumnezeu şi sfîntul Petru în I.A.D. (How God and Saint Peter Joined the H.E.L.L.), followed by two comedies for children: O statuie neobişnuită (An Unusual Statue), De-aş fi Păcală (If I Were Păcală) and a translation into Romanian of Les demoiselles de Saint-Cyr by famous Alexandre Dumas. The editor completes the volume with an uncommon image of Anton Cosma, as a man of literature, and a supplement containing his personal documents and papers, reflecting the „wooden language” used during the ’80s in Romania.

Opera Agents in 20th Century (1). Opera business and singers’ careers

Opera Agents in 20th Century (1). Opera business and singers’ careers

Author(s): Cristina Radu-Giurgiu / Language(s): English / Issue: Suppl/2021

Keywords: Impresario; Opera Agent; Opera business in 20th century; Singers’ careers;

The key point in promoting singers’ careers in the 20th century was the Agent (known also as impresario, the art manager, the promoter). The business of opera is quite old, starting in the mid-17th century together with the newborn genre of lyric show, but in the 20th century, it has developed in more advanced forms, as a real institution. The “Opera Agents in 20th Century” is built in 2 parts. This first article presents the impresario throughout history, focusing on the development and the notable transformations of the opera business in the 20th century. The second part will consist of a related article, focusing on the role of the agent in developing and promoting the singers’ careers, different models of business contracts, agents’ fees (Compensation), and the modern agencies.

Ariton M. Popa, the Archpriest of Reghin. Biobibliography

Protopopul Reghinului, Ariton M. Popa Biobibliografie

Author(s): Ana Todea / Language(s): Romanian / Issue: 7/2008

Keywords: Ariton M. Popa; archpriest; biobibliography; Reghin; Greek-Catholic Church;

During the inter-war period, the archpriest Ariton M. Popa became one of the most important public figures of the socio-cultural life from Reghin. This study, dedicated to him, is divided into two parts; the first one is a brief biography, that points the most important moments of his life; the second part, is a selective bibliography that contains a list of the papers the archpriest wrote during his activity and also a list of references, that means books and articles having as subject his life and activity.

THE ACTING TEACHER – THE MAIN ELEMENT IN THE FUTURE ACTING CREATION

PROFESORUL DE ACTORIE – ELEMENT PRINCIPAL ÎN VIITOAREA CREAŢIE ACTORICEASCĂ

Author(s): Adina Giurescu / Language(s): Romanian / Issue: 4(41)/2021

Keywords: teacher; student; actor; Stanislavsky; director;

The purpose of this work is to highlight and remind the importance of the acting teacher in the artistic development of the actor. The pedagogical dimension of the director in working with the actor will also be highlighted. The actor’s art is in a natural and continuous movement and development, but the knowledge acquired in acting practice, on the student stage, should remain immutable, even if it is rarely ignored and even deliberately forgotten. In order not to lose our creative identity in the whirlwind of sometimes forced modernization of this art, a return to the authentic models revealed in school becomes an urgent necessity. In this context, the acting teacher becomes the main pawn in the formation and development of the student’s interior world, the future professional actor. K.S. Stanislavsky fits into the undeniable pattern of artistic transformation: from the amateur to the professional, from the seeker to the pedagogue.