Publikacje za rok 2004
List of publications on Wadowice and the surrounding area, which appeared in 2004.
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List of publications on Wadowice and the surrounding area, which appeared in 2004.
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Alexandru Plămădeală (1888–1940) is one of the most outstanding personalities, who undoubtedly contributed to the promotion of modernist cultural-artistic values, as well as to the formation and development of the national art school.A valuable heritage is the artist’s plastic creation in the genres: sculpture, drawing, graphics, painting. In this article we tend to present the creation of master Al. Plămădeală in the field of easel graphics. The collection of the National Museum of Art of Moldova and the funds of the National Archive have numerous study drawings of the human figure, several dozen portraits and just a few landscape compositions. The works show the high artisticculture of the plastic artist, manifested both by the manner of composing the drawing on the sheet, and by the graphic interpretation of the imaging. Made in pencil, charcoal, sanguine or ink, pen – these highlight the artistic sensitivity of the author in order to capitalize on formal expressions in nude drawings or in rendering individual character traits, subtle emotional states of the characters represented in the artist’s portraits.
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The figurative painting from 1975–1980 outlines the fourth and last tab in the evolution of the general stage of national treatment of form. The period marks a new sub-stage with a unique character, specific to the socio-cultural environment of the time. Artists print a series of new creative implementations that change the plastic and semantic formula of works through an experimental approach. The plastic and semantic character of figurative painting acquires a series of distinct peculiarities, interested in searches in the area of romantic expressionism and irrational surrealism, gradually opting for schematic modeling that advances towards a decorative syntax. At the same time, the experiment with the plastic-coloristic invoice increases the dematerialized perception of the figurative image, thus adjusting the affective sensitivity of the contemporary environment to anassociated metaphorical image. At the same time, the semantic message focuses on noticing the qualitative features of the figures and pronouncing the values of the inner universe of man. Sometimes the message emits the depth of thought and spiritual-affective valences, through inverted plastic suggestions, with a sensitive connection to the perceptual imaginary. The new intentions predispose the figurative painting to a process of reanalysis of theusual relationship between image and idea, in the intention of expressing the pure unidealized and unwritten values of the social environment. These reduce the well-known data of the form to a pure schematism, intensely directed after a theatrical dramaturgy, in order to obtain the metaphorical perception of the subject. Through these implementations, Moldovan figurative painting manages to overcome the stage of national treatment of form, placing itself on the platform of the modern course of international painting
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This article aims to describe the city of Chișinău as a true center of artistic metal processing. Here there were jewelry making workshops, the Jewelry Factory, the Jewelry Workshops of Plastic Fund, most of the notorious jewelers worked here. Chișinău, rightly, was and remains the core of the development of metal art in the current space of the Republic of Moldova. From a chronological point of view, four stages of development of the city from the perspective of the metal art were outlined: 1812–1917; 1918–1940; 1945–1991 and the period after the proclamation of the independence of the Republic of Moldova. Both fine artists and those who practiced metal art viewed the Chișinău city not only as a socio-economic and cultural center, but also as a source of inspiration to pay a well-deserved tribute to the city (A. Marco, enameled plaque Măzărache Church in Chișinău; V.Vasilkov, set of articles for the Civil Status Office, Central Sector, Chișinău, Gh. Cojușnean, the pendant The Cityin the Evening and the small sculpture Cathedral of the Assumption of the Blessed Virgin in Chișinău).
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With the end of Joseph Vissarionovich Stalin’s governance, the period of totalitarian Stalinist architecture ended. From monumentalism, aesthetics and unique buildings, architecture was oriented to industrialization, prefabrication, project-type and economy, characteristic of the reign of Nikita Sergeyevich Khrushchev. After the monotony, it was passed to the architectural plasticity, brutalism and Soviet modernism characteristic of the time of Leonid Ilyich Brezhnev’s rule. Creative ambitions change with the succession of Soviet political leaders. Later, the arts did not know so many political “conductors”, the architecture developing more freely and diversified. The research focuses on the analysis and detailed descriptive study of ornaments on some components of “Stalinist” buildings in the Moldovan Soviet Socialist Republic. The author presents for the first time the orig inal sketches of the architects. The images are a collage of past drawings and current photo fixations. Such an approach allows a visual comparative analysis between what was proposed by the author and what was achieved. The architects’ sketches allow the correct “reading” of the decorative elements, because today the buildings no longer keep the original version. Unfortunately, the decorum of socialist classicism has not been preserved over the years and it has been mutilated or even intentionally removed.
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Remembering the essential relationship that exists between the public and the stage in the time of the theatrical performance with traditional puppetry, and the triangulation of the relationship between the viewer and the actor with the puppet object, it is the experience space and distances of play and movement between the living and the inert which are revisited. The contribution of digital arts and the use of technologies in puppet works reveal new original and innovative forms that disturb the landmarks, the presence of living, virtual or robotic bodies. An intuitive text based on a curious need to question the connections between digital arts and the arts of puppetry.
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The classical repertoire and, especially, its stage rewritings define a thematic obsession for the great theatre creators of the moment. Just as each great director has their own aesthetic, so each of them has their own way of appropriating representative plays. Henrik Ibsen is one of the indispensable playwrights in the artistic portfolio of the most important names whose creations were performed on the Romanian stages. This article aims at a parallel analysis of two recent versions of the Ibsenian play The Lady from the Sea, directed by Radu Afrim (2014) and Andriy Zholdak (2022), respectively, in order to deepen the specific differences of two theatrical aesthetics decisive for understand the evolution of contemporary theatre. We also aim to question the possibilities that the readaptations, the rewritings of the great classical texts involve in the attempt of the creators to “contemporize” a play representative of the sensitivity of a past century.
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A classic character brought to myth rank, Cervantes’s Quixote was tackled philosophically, by Miguel de Unamuno in his essay Vida de Don Quixote y Sancho, 1905 on the realm of Spanish literature; we have been recently amazed from a postmodern, even postcolonial perspective, by Salman Rushie (Quichotte, 2019) and dramatically on the stage of the National Theatre of Iași by Carmen Dominte who initially proposed The Quixote Syndrome (2021) as a theatrical performance meant to be read. Without dealing with the adaptations in various arts (Minkus’s ballet), we will study the resilience of a character with reference to the above texts and what was left of it on stage with insights into adaptation theory and theatrical interpretation in the context of pandemic distancing.
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Among the reference creators in the Romanian theatrical space, but also internationally, the director Gábor Tompa had a constant attraction for the aesthetics of Eugene Ionescu's texts, which strongly influenced his path of perfection and ranking among the most important directors. In 1992, at the Hungarian Theater of Cluj, Gábor Tompa staged the memorable theater play The Bald Soprano, a performance that will represent one of the pillars of his later career. Then, in 2003, the theater performance elaborated by Gábor Tompa using the text Jacques or the Obedience, at the Hungarian Theater of Cluj, can be called a total one, in which the decryption of the Ionescian message was done with a lot of fantasy and suggestive black humor. In 2014, he rebuilt the The New Tenant on the stage of Nottara Theater in Bucharest. The staging was well received by the general public, but also by the theater people, also appreciated by the selection among the best performances in prestigious festivals of 2014. At the beginning of 2020, Rhinoceros appears to Gábor Tompa as an extremely percussive text, which determines its staging at the Mihai Eminescu National Theater of Timişoara, enjoying an authentic success. Until now, the stage imagery signed by Gábor Tompa, will remain a reference page of theatrical constructions and Eugene Ionesco's texts, real revelations, owning well-articulated messages on stage, reflecting socio-human realities and concurrently, a real urge to reflect.
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Starting from a brief analysis of the validity and applicability as a cognitive tool of the concept of emergency in the examination of the theatrical phenomenon, we evaluate the aspects related to the radical novelty that emergence implies as a phenomenon of systemic self-organization. Thus, taking into account both the ostensible nature of theatrical process and emergency and their ambiguous nature, any theatre performance can be considered as characterized by emergency. At the same time, the unpredictability of emergence makes it difficult to establish which of the current trends of theatrical manifestation will be validated by the appearance of theatrical novelty. Obviously, the impact that information technology has in the field of performing arts seems to imply that novelty might come from this dimension of theatrical activity. However, even if we can note performances played by actroids or performances whose texts are created by robots, we should treat carefully the idea that emergence might occur from this direction. In fact, there is a similarity in reception between, for example, animation theatre and performances based on actroids. We can also notice a similarity between a text created with the means of artificial intelligence and the collage technique. That is why we ask ourselves if what Martin Scorsese observed, namely that some films that benefit from a substantial contribution of the film trick made with the help of computer technology can no longer be included in the concept of cinematography, does not have the same kind of impact in the performing arts. Thus, the emergence, in the performing arts, does not necessarily lead to the renewal of the system, but can also lead to the appearance of a parallel system, different from the existing one. It remains to be seen to what extent a performance can still be defined as a theatre performance when the spectator becomes a robot.
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An open letter signed by a large group of Romanian cultural NGOs and published in Scena.ro review (no. 49 (3)/2020) signaled the danger of disappearance of the entire independent cultural sector. The authors reported the authorities’ lack of involvement concerning this sector’s support during the pandemic crisis, the inability of those in a decisional position to understand how it functions or the fact that the artists working here are the innovators that the culture urgently needs. Indeed, the Coronavirus pandemic has hit hard the independent cultural sector, as well as the one formed by entrepreneurs, small or medium-sized businesses. The prolongation of the state of emergency, the new regulations concerning the functioning of performance halls at the capacity of 30-50-70% depending on the evolution of the pandemic have brought the cultural organizations at the brink of bankruptcy. The uncertainty of living and project continuity has existed in our society even under what we now call ”normal conditions”, but in the last two years, this uncertainty increased dramatically. That is why the condition of the Romanian independent artist draws near to the precariat class - a concept widely theorized by the economist Guy Standing - who calls it a dangerous class by the authorities' tendency to ignore it, pushing it into the trap of insecurity, debt and humiliation. Most of the time, however, the freedom of creation is born of external constraints. Independent artists were once again forced to take risks and give birth to hybrid artistic experiments - new forms that renegociate the relationship with the spectators, space and even their own bodies. This presentation aims to analyze the manner in which the work on the show Severed Green (produced by Pro Theatre Association, Zalău, 2020) managed to propose a new dramaturgical direction, which the artistic team named it documented theatre. Situated at the congruence of documentary and classical forms, documented theatre represented a liberating discovery for the practitioners.
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During the last 10 years the field of Acting has witnessed an unprecedented development in Romania – now it encompasses teaching, personal development, sometimes even therapy; it has blended well with the visual field in Installations and, due to pandemic situation, it has engulfed the virtual medium. Therefore, Acting has changed – nowadays, the purpose of an Acting School is not that of forging masters of Acting, but of guiding and supporting the discovery and designing of the unicity, creativity and personality of each and every artist. Romanian theatre has fought many battles along the way – that with censorship, that with mass media and now a completely new and insidious challenge – the fight with the present sanitary situation. Nowadays, the theatres, either conventional or unconventional, are closed due to various reasons: the political wage of war, the conflict between the vaccine followers and the vaccine opponents, the gulf between the majority parties and the minorities, various restrictions and our own personal fears. Thus, nowadays artists should prove, once more, their amazing capacity of adapting themselves to these conditions. And, if our times are confusing for artists, they are even more bewildering for the Acting teachers. An Acting teacher that is a former graduate of a 4 year course of study in a form of 5-6 fellow mates, that, most likely, has a job as an actor in a National Theatre, is supposed now to teach in Bologna system to a double number of students than the one he was used to (and that even online) and to prepare them for a very crowded and diversified market place. So, what is to be done on part of the Acting teacher?
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In recent decades, the professional and artistic training of the emerging actor in the European area has required significant adjustments. Drama schools in Europe have had to respond positively to the introduction of the Bologna system, whose initial aim was to homogenize the university curriculum at European level. But we must keep in mind that these aspects are the outcome of intense transmutations of an evolving society. Under these circumstances, today's actor is no longer just a drama performer. The concept of his performance, be it artistic, is present in many fields of activity. The show is everywhere; it went out of the theater hall to be present in the street, at rock concerts, at fashion shows, at all type of events, including sports. Today’s actor is asked to perform in theater halls, but also in cinemas, or media, to get acquainted with new technologies. From this perspective, should drama schools train actors for all these fields or only for drama? Should there be a separate training for each of these categories or the initial, basic drama training responds to the new skills required of the young actor? At European level, there is a need for pedagogical cooperation in arts high education. Drama schools strive to expand their teaching methods panel, trying to facilitate the coexistence of Stanslavskian methods with the artistic practices of Brecht, Grotowski, Eugenio Barba. The phenomenon itself is accelerated by the development of international trade. Of course, there are international festivals and events that allow drama schools to present their creations, research in the field of drama pedagogy and to give students-actors of different nationalities the knowledge of various artistic traditions. Today, exchanges of students and teachers take place regularly within the European Erasmus + program. Whether we are referring to Western Europe or Eastern Europe, we find that the rapid evolution of society is naturally reflected in the emergence of new drama forms. This makes the mission of drama schools difficult. It seems complicated, but it may not be impossible to predict the type of artistic training that an emerging actor should receive in an arts high education institution. Moreover, the clear boundaries between the various fields are fading. Contemporary artists like to explore territories bordering the artistic fields, using different methods and techniques, and multidisciplinary is a predominant feature of our era. The educational institutions that train future actors prove difficulties to change their curriculum taking into account the rapid metamorphosis of reality. Could interdisciplinary intervene in this context as an alternative solution that brings together both defining and specific aspects of arts pedagogy? The answer could be affirmative provided that it represents an opening and it is understood as a means of integrating and sustaining the dynamics of each field of activity taught for the training of the future actor.
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The COVID-19 pandemic has had a major social and cultural impact, to such an extent that coping with everyday life has become synonym with exhaustion and anxiety. Highly present among the jobs that require exposure to a risky and challenging working environment, the burnout syndrome has affected different micro-communities – one of the most vulnerable being that of healthcare workers. Daily exposure to the risk of infection, extended hours, the absence of resources and the battle with a virus whose evolution and lifespan are impossible to estimate have affected the mental health of the medical personnel. The study carried out in 2021 at “Dr. Victor Babeș” Hospital in Timișoara – where hospital administration aimed to assess the level of exhaustion of their staff – showed that 56,37% of respondents had either a medium or high burnout level, 55,88% felt emotionally exhausted, 67,16% had a high stress level and 64,22% were experiencing concernment. Having identified their needs, the 9th edition of the socio-cultural intervention Art therapy by Create.Act.Enjoy (2021) – produced by the Create.Act.Enjoy Association in Romanian hospitals – focused on implementing artistic activities that contribute to diminishing the symptoms of burnout syndrome among medical personnel. Based on specific performing arts methods, the intervention was carried out by professional actors, experienced in using art as therapy. In the nine years since its foundation, Art Therapy by CAE became a unique intervention, participatory, assigned to the public health service, being motivated by the fact that well-being is the result of a well-balanced mental and emotional state – besides financial satisfaction – and a social life that enables access to culture. The paper analyses the impact and the outcome of the intervention among the medical staff in six hospitals from two perspectives: qualitative: methodology, creation and implementation; quantitative: the result of the study The impact of artistic interventions on healthcare workers in Romania during the COVID-19 pandemic, created by Create.Act.Enjoy and Cluj Cultural Center.
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We are getting more and more familiar with virtual worlds and realities. From social media to being forced to use a QR code for accessing the menu of a restaurant. This change that is happening now pushes the artists to rethink the way they are doing projects and to create new conventions. Because social media and QR codes requests a participatory involvement, the art pieces should start to have this kind of quality as well. The new generation of spectators is less familiarised with the classical conventions where they would have to stay passive and silent. There are many applications and platforms that can be used for creating more engaging and immersive projects. The choice of which kind of technology should be used it depends on the project and the type of interaction that is wanted. We can choose from motion capture systems, mobile apps or different devices that can provide different features. Even the headphones can be a tool that can be used for creating an immersive experience. The next step is to choose on what platforms we are going to create the interaction. There are many options here as well and depends also on the direction that the project has but also on the knowledge that we have, because many platforms can be used to provide almost the same tools. The one that I am focusing on is Unreal Engine, which is an open source game. This platform also recently released a new feature which is called Metahuman. With this feature we can create avatars that can be animated in real time through an application on the phone. The application makes the camera of our smart phone a motion capture device that animates the face and the head of the avatar. This can be made by either the performers or the spectators.
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We live in an era more and more attached and inclined towards a technological system which makes inevitable the fact that this system is becoming a part of the performing arts, characterized lately by impressive visual dimensions. The new concept of the 21 century, digital scene, represents just one step into a completely unknown world and at the same time, a completely vibrant world, in which we recognize the availability of the visual capacity. Through this text, we aim to define digital space, how far is it from the theatrical forms, if it can approach them in some way and how spatiality is being perceived. We investigate the possibility of the theatre to have its own leverage on this path, so we can decide if the digital transfer could determine theatre to repress its survival instinct and, in the end, to be silenced. At the same time, we aim to discover versions of digital theatre or theatrical versions of the digital world. We also speak about how theatre „speaks” or „shuts up” on digital platforms; how much theatre has transformed lately its mechanisms and if we could perceive the possibility of an ascending, so we can affirm that the theatre has become or it’s about to become a more accessible and visible art, almost being worthy of a cinema film notoriety. Silence, a rare condition of our century, can become theatre’s more characteristic and fatalist mood, a theatre that is very connected to the physical can risk its place by being out of its comfort zone and pushed into an unfinished world. If the theatrical forms have the capacity to survive in this transformational context, we could actually talk about an evolution of these forms towards ones that can determine theatre reform itself. In regards to this, starting from this point where theatre transforms its language, we can make an imaginative travel, invoking a possible future for a silenced theatre that can be silenced also by a new artistic structure, placed somewhere between theatre and film – digital theatre or online theatre.
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The article is an analysis of recent studies of non-governmental organizations (World Economic Forum) which have generated cultural strategies and which are today influencing the relationship between the society and the forms that organize and finance culture. The article also analyses the way in which the cultural strategies generated by these studies are manifesting themselves in the theatrical landscape in Romania: the polarization of the theatrical speech, the standardization of the means of expressing messages on the stage and the offensive brought by the non-governmental organizations. Starting from the context aforementioned, we need a research regarding the way ideological trends are influencing the way we represent things on the stage and are modifying the axiology of the theatre. I’m talking about notions that are necessary to establish a frame and some standards of evaluation regarding the theatrical domain: competence and relevance. How are they defined? How and who can measure them? It is also of utter importance to analyze the terms and notions that are used in the recent and most acid critic reviews of the theatre productions in Romania: independent theatre, state financed theatre, gigantic productions, alternative spaces, the under-financing of the cultural sector, management, cultural management experts, etc. Last but not least, the article mentions the way in which some of the most influent characters involved in the theatre world of the 20th century have looked to what is the problematics of researching the theatrical act: Ariane Mnouchkine and Peter Brook. Is there innovation in a multi-millennial art? Is theatre something else than an art of the present which is serving the city? We are crossing a period of time in which, also due to the restrictions generated by the pandemics, it was debated in the public space (and the authorities have encouraged that idea) to move the theatre in the on line. Starting from the premise that the theatre without an audience stops being theatre, I will analyze, in the context described earlier, the relationship between theatre and the new trends in the Euro-Atlantic culture: progressivism and digitalization.
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This essay discusses the unpublished and unstudied church of the Transfiguration in the village of Sotera, Cyprus, located south of the Famagusta. The study focusses on the layer of the thirteenth century and offers a general view on the inscriptions in relation to the iconographic program implemented as well as an idea of the masters, contextualizing the monumet artistically, theologically and historically to the possible for a fragmentary survived decoration.
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Numerous medieval manuscripts were copied by teams of scribes. As little as we know about the organization of manuscript copying in medieval Bulgaria and the relations between commissioners and doers, we know even less about the personalities of the scribes. Is it worth it then discussing on the subject since, to quote Richard Gameson, ‘collectivity and self-effacing humility and obedience were (or should have been) the norm for the monastics who undoubtedly comprised the vast majority of scribes in our period’? In his view it is the modern thinking that is susceptible to “human interest” and tends to admire individuality. Following his argument, Corinne Dale makes an apt distinction between scribe’s individuality and the human being behind a book by pointing out that if the scribes were not concerned with communicating their individuality, numerous colophons testify that their human labour and dedication was something they were keen to purvey to their readers. While such an understanding of medieval scribes’ ethics and limits in which they are supposed to speak about themselves must be a pre-condition of any modern investigation on medieval scribe’s “self”, a particular manner or writing and leaving a name on the book offered to God puts nevertheless an individual imprint on it. In practice, more often than not we see collectively copied manuscripts displaying the idiosyncrasy of scribes’ hands. Therefore the question who are these poor servants of the pen who make themselves known and remembered, in what circumstances their act of self-revealing was admissible, becomes even more insistent when addressing a group of collaborators. What we actually know about the medieval notion of working together is not much and it usually refers to distribution of texts or gatherings. As to the nature of a team which could be a settled one or travelling, or convoked if a need arises, the information is often uncertain, much more so for Bulgarian manuscripts of the periods to the late fourteenth century. This paper does not focus on paleographical methods of discerning hands, but tries to gain some insight into the circumstances in which a scribe in a team pronounces himself. Is it a permissible spontaneous self-expression or a gesture sanctioned by a privilege? Is it related to commission-and-payment conditions and does the situation differ from that when a single scribe signs or not a manuscript he has copied? The issue of individuality of scribes in medieval Bulgaria has not been studied nor are there many sources to cast light on it. Therefore, this paper is an attempt to examine some of the disputable points in a selection of Bulgarian manuscripts dated to the thirteenth and fourteenth centuries – the Bologna Psalter, the Theodore Triodion, the Gruban Triodion, the Triodia Sin. slav. 23 and Sin. slav. 24, the Miscellany from the Russian National Library cod. Gil’f. 34, the Dobreisho Four Gospels. Each example represents a different case for which an explanation is offered. The provisory conclusions may be summarized in the following: the appearance of personal names in manuscripts copied by two or more persons is not submitted to written formulae resolutely different from those in manuscripts copied by a sole hand – except those indicating one’s share. Insufficiently explained remains the scribe’s motivation to sign – whether it is of business-like or non-material character. No specifically different context was detected for getting a person out of anonymity in comparison with the occasions when one copyist worked on a book. It comes to say that to understand the mechanism of individualization both situations should be studied in parallel. The impression is that the copyist, participating in fulfillment of a commission, did not feel himself bound by terms of collectivity but could react individually. Finally, the expediency of the offered research, here only outlined, is justified by the expectation that it could contribute to clarify the profile of an organization of the earlier calligraphic schools or copying centres and workshops. Their recognition and reconstruction of their activity is what we try to do, including the evidence about the individual ‘behind the book’. Any further investigation should be done on a larger scale and expanded theoretical grounds.
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In the broadest sense of the word, musicus is the medieval forerunner of the present-day musicologist. On its part, as a term, it is the Latinized inheritor of the Greek μουσικός. Who are those who deserve to bear this name, is a question, which passes throughout music history from Antiquity to the end of the Middle Ages, going along with another question, namely, what is music. The answers given to these questions make it possible to outline the constant core of the concept of musicus as well as the changeable contents it takes in itself throughout the centuries. Christopher Page, the translator, editor, and author of Introduction of the bilingual (Latin/English) edition of the Summa musice (first published 1991) urged us to read this treatise attentively in order to stop calling it “anonymous” or attributing wrong authorship to it. The fact that many of us read it in such a way is due to the great scope of this remarkable edition for which I am personally grateful to him. Summa musice is an eloquent testimony to the prevalent answer to the question of who is a musicus during a considerable period of Middle Ages. At the same time the treatise provides us with an opportunity to see the musicus on the horizon of the idea of person – an idea fundamental for Christian Middle Ages, which has its origin and its pattern in the Holy Trinity. The idea of person (ὑπόστασις) spreads its rays over all human deeds, actions of life, and professional undertakings. It guides people in their musical practice and broadens the boundaries of musical practice itself, filling them with the meaning not only of labor of the hands, but also of labor of the soul (πράξις).
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