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One of the most important heritage of the universal literature, William Shakespeare’s work constitutes itselfalso as a prolific, inexhaustible and fascinating material for the lecture on stage, regardless of continent or time when it isaccomplished. Taking Hamlet for a landmark, our study follows the multiple ways of resemantization of this play in cultural viewpoints of various directors: the English Peter Brook, the Slovenian Tomaž Pandur, the Japanese Yukio Ninagawa. In the comparatist approach, from text to performance, we closely observe the unifying coordinates, and the code or message difference, too. Interesting it was for us bothchanges in the text and those between the stage directors’ perspectives. But the continuity and vitality of this encyclopedic work is not resumed on literature area or on the stage enactment. The “last” Shakespeare belonging to our time is the one placed on virtual space. We analyzed some of the virtual forms in which the playwright get global dimensions, from online projects dedicated to the brit author’s work, to myth and parodic presence on web communities. How does the “last” Shakespeare look, how far can hebe “estranged” – these are few of the questions on which it is worth meditatingupon,under the multiculturalism sign.
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The disputable problematic of the article “On behalf of the Party: Theoretical Texts by Alexander Obretenov on Socialist Realism (1940’s – 1960’s)” by Ina Belcheva impresses with its strive for analytical insight and objectivity in discussing important concepts of the essence and prac¬tice of socialist realism in Bulgaria. The PhD student regards the concept as one externally imposed on the local environment, as a conflict between ideological and artistic requirements and a gap between prescribed norms and artistic results. The text convinces that the new generation of researchers have their own chances to achieve a more adequate reading of the recent past.Architect Alexander Obretenov was a leading culture ideologist during the first two decades of Communist rule in Bulgaria. His texts provide a veritable illustration of the artistic climate in the country during various periods of Communism, and serve as an authentic testimony for the theoretic background of the method of socialist realism in Bulgaria. The article hereby examines theoretical publications by Obretenov from 1945 untill 1966 as well as excerpts from stenographic record files of expert commissions taking part in the discussion of the Monument of Soviet army and Brotherhood Commemorative Mound in Sofia. It is an attempt to reveal the role of this figure in the cultural life as well as to discuss the views of artists, art critics and art historians on the normative aesthetics of socialist realism and the difficulties of its implementation in practice.
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Two unusual art galleries appeared in the last two decades along the Vistula valley in Cracow: the Manggha Museum of Japanese Art and Technology and Cricoteka. They were created by Andrzej Wajda and Tadeusz Kantor, artists once associated on the film set of The Dead Class and the rostrum of the Congress of Polish Culture in December 1981, even though they pursued diverse types of expression in art and perceived the latter’s place in life totally differently. The durable medium of architecture, into whose language architects translated the divergent stands represented by Wajda and Kantor, will leave for long evidence of a conflict and even an architectural fracas. What does this dissonance say about us?
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Constantin Brancusi remains an enigmatic personality of his time. If the image of the man, the one that reached us, is ambivalent, the work is just as important, as it defies analysis. Difficult to place on its sources, without any direct lineage, Brancusi's work occupies a special place in the history of modern sculpture of the twentieth century. However, exegeses and interpretations abound. For some critics, the sculptor is largely indebted to his Romanian origins, an heir of the ancient tradition of the direct carving of wood and stone and marked by a certain tendency to mysticism. For others, his settling in Paris is essential, due to the influences he might have undergone - those of Cubism, Dadaism and Surrealism, the styles of his time or the African figurines and the Egyptian art. But if none of these assumptions is negligible, each of them offers only a partial perspective on his secret personality. The constancy of his objectives and the exceptional formal unity of his sculpture make his work even more refractory to analysis. Because it is the work of a lifetime, which, at first glance, seems to show no change, no sequence styles or themes that may help understand maturation in its concepts or forms. The aim of this paper is to analyse La Sagesse de la Terre and Le Baiser, two sculptures that represent a radical swerve from Brancusi’s previous attempts, as well as the sculpture of his time, a visible break in the stylized simplification, the frontal and the relative symmetry that characterize them.
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Beatrice di Tenda is a tragedia lirica in due atti on Felice Romani’s libretto after the historic tragedy Beatrice Tenda. From the entire opera I chose to analyze the final part. In comparison with the other scenes, this ending, part of act II, scene 2, is shorter, but it is remarkably expressive, with a balanced construction. The scene is structured into four large fragments. It is remarkable the gradation mingling of voices: one can notice how the composer starts from presenting the theme with one voice and eventually combines three voices..
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Today, the visualization of any idea is generated by digital technology. Theybecame an integral part of everyday life and our professional work. Of course, they have ahuge impact on cognition and education. Our educational system is developed, create neweducational programs and platforms in response to the high expectations of young people intraining in Fine Arts. The theme of this study was caused by increasingly completepenetration of digital technologies in the visual arts in the case in teaching composition atthe chart.
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Foundations, linkers and pigments are the alphabet in the complex and diverselanguage of painting. Not knowing the materials and technology often leads to processes ofdarkening, graying, opacity or blackening of the painting layer. All the materials thatpainters use are subject to modification from the moment of their use. Part of these processesdevelop regardless of the painter's skills but by studying the theory thoroughly he may beable to predict them. All too often the reasons for graying are problems with the primer,applying painting layer on a wet bottom layer, excessive use of turpentine oil etc. Opacity iseven graying of all tones of the painting. If this occurs at certain places only, then this is adefect. Blackening of the painting layer is mainly due to formation of copper salts as a resultof improper mixing of paints as well as quick drying of the oil.
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The prominent Romanian composer Paul Constantinescu bequeathed somevaluable works, which are distinguished by the originality of style and technique addressed.The Sonatina for violin and piano written in 1933 is dedicated to "my Master Mihail Jora"representing an important step in achieving a national musical language. Part I - Allegromoderato, Part II - Andante, Part III - Allegro assai proposing a sound of modal essencewith themes inspired by the folklore.
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The universal innovator of sculpture, one of the greatest artists of the twentiethcentury, who demonstrated that modern art while maintaining the fundamentalcharacteristics, namely rationality, harmony, balance, measure, finds sources long before theperiod in which Mediterranean civilization was defined by Celery classical statuary, isConstantin Brâncuşi1.The monumental complex of Târgu-Jiu, one of Brâncuşi masterpieces, can beregarded as a manifestation of ancient Romanian traditions related to the cult of the deadand a dedication to heroism. The assembly begins on the shores of Jiu river, symbol of thejourney of no return, as water never flows only in one direction. Roundtable stonereminiscent of the meals for the dead unsoumoned or those who come to the great days. Theseats, located far away from the table, are like silent shadows made for those that are not.
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After great stylistic research, a period of true synthesis appears in the Latin-American music around the half of the XXth century. The national avant-garde features,imbued with personal esthetical approaches, are valued in a superior, anew and wellstructuredmanner. The varied instrumental colours, with folk music echoes, are impressive,thus giving contour to the whole compositional process of national origin.
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University Constanta, RomaniaAbstract: With this scientific work, we wish to reconsider the phenomenon of the acutestage-fear as seen from the perspective of the expert musicteacher, who can educate, controland ameliorate all psycho-clinical manifestations that occur during the young musicians’performance.
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We can research Ottoman Empire to four segment; expansion, stagnancy,regression and downfall. Reason of downfall is contain internal and external dynamics.Positivism has created significant changes on art and science in europe but Turkishbureaucracy did not understand this progress and Turkey (Sembolised Muslims) stayed backfrom many perspectives. Plastic Arts was just one of them.
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The Megleno-Romanians represent a particular part of the Romance-Languagespeakingethnography of the Eastern areas of Europe. Originating in northern Greece, theymoved to Romania in the early twentieth century, hoping for a life free from the struggles andshortages of requirements that they had faced on their native territories.Currently, in the village of Cerna, the Megleno-Romanians boast a musical repertoirethat is predominantly in their own language. This has led me to the premise that, within thecontext of the family, there has always existed there a pure Megleno-Romanian repertoirethat has circulated orally until today.However their cohesiveness as an ethnic group in the village of Cerna has resulted inrepertorial uniformity, since their songs are sung and their games played by all residents,regardless of their place of origin. Not only has the repertoire suffered from a lack ofcreative input, but it has also suffered from a lack of players of the instruments they considertraditional.The repertoire was attenuated by having to be adapted to the technical specifics of theperformers on the ţigulcă, whistle, large pipe, and tambura for whom the songs were notwritten. Thus those songs and game melodies which could only be performed on the Gaidawere lost.
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The Romanian cultural word was irremediable marked by the communist regime ofNicolae Ceauşescu’s that started as a breath of fresh air for the artistic domain, and ended tobe oppressive also because of the imposed aesthetics. From the early 70s the figure ofCeauşescu and of his wife Elena, started to be more and more present as a subject in thecultural press of the time and in exhibition. By the 80s, the dogmatic formulas ofrepresentation were supposed to be ideologically accurate and were subjected to scrutiny toa committee formed by artist and official of the communist party. On festive occasions thehead of the Artists Union had a public positions to encourage the production of works inwhich the Romanian ruler to appear as an exemplary hero of the nation. Such analyze ofcontext has the purpose to give us a wider picture of Romanian cultural background that canhelp to better understand the premises of the Romanian art scene after the fall of thecommunist regime.
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Pantomime is one of the fields being studied at the acting school. This paperbrings forth a case study based on the play before the play, focusing on the theatrical piece‘Three sisters’ by A. P. Cehov. The pantomime approach, from the visual perspective of thistheatrical piece, the movement combined with the text, with a certain rhythm dictated byspecific sounds, alongside the silence, discerning and the closeness of the word and feeling,the specific cehovian atmosphere made possible the road for students towards understandingthe artistic concept. The theatrical representation of “Eloquence of silence” was born fromthe idea to point out the show „Three sisters” before the show actually begins.
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The study presents the beginnings functions of the choral singing, that isfundamental in any human construction - the cohesion function and the mystical function.These functions have contributed to the human progress and to the formation of the humansociety: the group action in hunting and in mystical activities or to form beliefs, as a premiseto develop the ethical and moral functions and other social and individual functions. Thepresentation is sustained by examples from frescoes in caves which prove the important roleof these primary functions.
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In 1883, when the first volume of ”Tonpsychologie” by Carl Stumpf (1848-1936)appear - become classics – the psychologists took notice of experiences made – for the firsttime - on a category of sound judgment. The experiments in determining the absolute pitchwould challenge to numerous and controversial discussions.
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The notion of rhythm is a concept and also a complex phenomenon that over time,from antiquity to the present, has preoccupied many experts in diverse areas as art,aesthetics, philosophy, literature, science and even economy.The various definitions of rhythm assign its multiple meanings that reflect, beyondgeneral explanations of the phenomenon, thinkers concerns and more importantly, itsaffiliation as principle or determining element in a certain domain such as artistic, technicalor medical. In general, the rhythm is defined as the phenomenon of time succession ofidentifiable events.The aim of this paper is to compare the image of this process in various fields ofactivity to outline, by similarities or differences, a picture of the phenomenoninterdisciplinary collecting for this purpose some characteristic features from differentbranches of science or art.
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