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– o privire de ansamblu (re)compusă din 13 fragmente și viziuni asupra vieții culturale
Beyond the discussions about restrictions, losses or limitations, the pandemic that affected the cultural life in Romania during March – June 2020 (with the possibility of extending this term beyond the date of writing this article) also brought a period of introspection and analysis on how art will regather to meet the new challenges of social, economic nature - and, perhaps most importantly, the challenges of technological nature. Thirteen personalities in the field of the performing arts answered a set of three questions that aimed to point out both the reaction of the cultural environment to the immediate constraints of the suspension of activity in the performance halls and the medium and longterm forecasts of new art forms and the new ways of the creator – artist – stage – audience relationship, with the digitization of artistic creation on an unprecedented scale.
More...O cercetare comparativă Offline versus Online
In the fields of Theatre Performing Arts and Film and Media only some of the specializations are theoretical, most of them being eminently practical, based on active-participatory methods and self-experimentation. Research specific to the actor’s art, choreography, (theatre, film and TV) directing, scenography or the art of puppetry has at its center the human body and, in the case of online education, the emphasis is formally shifted to its image. In other words, the challenge is huge and the long-term impact of this type of education cannot be yet quantified. The article „Hybridization of Education – A Solution for the Future?” is a research related to the advantages and disadvantages of offline education versus online education from the point of view of the acting teacher and her students, ageneration whose training began online in the context of the 2020 pandemic, later also benefiting from face-to-face classes. Following the analysis of the Top 5 advantages and disadvantages of both types of education, the evaluation criteria used were evident, highlighting: the criterion of social affiliation, the criterion of physical performance, the criterion of health effects, the financial criterion, the technical performance criterion, the time management criterion, that of accessibility, comfort, direct experience, cognitive development, emotional development, artistic performance, the criterion of general learning ability, that of creativity development, the criterion of professionalization. The analysis of the results leads to the conclusion that, despite a number of benefits of online learning, the benefits of direct learning are still major. Online education is and remains a replacement for the direct way of communication, a substitute with a second choice function, with multiple disadvantages related to the quality of the educational process as a whole. In the future, offline-online hybridization will be chosen, but this should only be done for courses with content that can be transmitted and received in this manner, following a carefully conducted research. Education and consequently the ways in which it is achieved is responsible for shaping the future of humanity.
More...Joc şi improvizaţie teatrală, Master Ped-ArtE
The issue of online teaching is a very complex one. The Covid-19 Pandemic interrupted in-person classes worldwide in 2020 and maintained teaching online. Teaching theatre games and theatre improvisation online is provocative. This paper offers considerations toward pre-existing contexts with destructive effect on the pedagogical act in the perspective of the present and aims to present the aspects related to the environment with pedagogical implications identified following the observations made after analyzing the courses of Games and theatrical improvisation.
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The following article is a marketing research based on a survey among the students enrolled at the BA program Multimedia: sound-editing. Having experienced a semester of online learning and preparing for a hybrid one, the research aims to discover the attitude of the students concerning online education and to improve the online teaching process by finding the best online teaching methods and techniques. Although the students recognize the advantages of online education, like time saving, accessibility, and flexibility, they also mention the biggest disadvantages: the lack of human interaction, technical problems, and the impossibility to perform specific practical activities related to their field of study.
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March 2020 will certainly remain, in the history of artistic university education, an unexpected turning point, causing dramatic changes that fundamentally upset everyone’s life. This article does not aim to discuss the causes of the Covid-19 pandemic, nor the diversified reaction that the governments of different states have had, but is rather an attempt to identify a possible common area in the evolution of the way in which artistic education, especially theatre education and, more precisely, education focused on Acting/Actor’s Art, will be able to navigate through this challenging period that is unlikely to end very soon.
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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.
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Once a child is born, he starts to play. It is his way to discover the world and eventually himself. Across time and cultures, the becoming of the human individual follows the same pattern. Research has shown that games are significant to this process. By experiencing his environment playfully, both on his own and through interpersonal engagement, the child acquires valuable information that shape his development as a person and his view of the world. Also, this phase works as a training period for the adult life to come. By comparison, the becoming of the actor follows the same stages as the playing child, thus making theatre games essential in the study of Acting.
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Many of the fundamental Performing Arts principles can be discovered while playing theater games. They are a key point in helping a first-year student enhance his natural abilities. Not only that, but theater games also lead to a higher individual and group performance. Both of these elements are of great importance when it comes to becoming a professional actor. The article points out key aspects such as „process, not success”, me in the given circumstances, the relationship with the scene partner, organicity and so forth. Several quotes from Viola Spolin and Ion Cojar are mentioned in order to support the analysis. At the very end there are 3 theater games (which are presented from the point of view of the facilitator) in order to exemplify the fundamental Performing Arts principles.
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Teaching foreign languages in the traditionaleducational system of Romania is a subject that hasraised and continues to raise interest in what concernsthe lack of motivation for students to learn and deepena foreign language in classroom. Despite the efforts thatare made in order to improve the formal learning processthrough the implementation of new teaching methods,foreign languages are still assimilated with difficultyand practiced in reduced number. French is a foreignlanguage that is studied in Romania since primary school.However most students encounter difficulties in learningthis language from the very beginning so that they endup not deepening the information given and maintainingthe same level of training even in middle school or highschool. Seeing the fact that, nowadays, students need a surplus that can motivate them to improve the level of a foreign language such as French and practice the language itself, our goal is to interfere in the learning process of students from middle school and highschool by proposing a series of theatrical techniques in the non-formal setting that can encourage verbal communication in French and can improve students’s level of preparation and the results in this discipline.
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The process of formation and training ofyoung actors, as well as the continuous improvementof experienced actors requires extensive knowledgeof applied psychology. That the actor must be a finepsychologist is almost a commonplace, but how histraining process should unfold in order for him toassimilate the necessary understanding of psychicprocess in a coherent and appropriate way remains to bestudied. In the doctoral thesis „Performative Alternativesof Shakespearean Characters Born of Their EmotionalUniverse” we proposed a didactic model of analysis usingpsychological theories, methods and tools that investigatethe personality and its dimensions, as well as drawingcredible and coherent lines of character evolution. Thistype of approach is complementary to the traditional one, responding to Stanislavski’s urge to create new methods and to break traditions in both the training process and the interpretation process.
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Creativity is one of the most important elements of an actor’s process, perhaps the central element of that process. Because of this, the analysis of the creative process should become a study object for the work of an actor. From this perspective, acting is in part an individual process and in part a collective process. The detailed analysis of the stages of the creative process toghether with the presentation of some creative group models may prove useful for the individual process of the actor as well as for the group of actors that are in the process of rehearsal. Furthermore, the presentation of personality types that are representative for actor’s approach of the rehearsal process may be a reference point for self- identification of one’s strong and week suits in regard to the creative process.
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During my doctoral research (2014-2018) I managed to open a two-way relationship between the Actor’s Art and the Science of Sport, questioning the possibility of borrowing sports training techniques in the actor’s specific training. I believe that notions such as training, coaching, training periodization, regeneration or recovery can inspire both acting pedagogues and directors or student-actors. The article „Similarities between Actor-Specific Training and Sports Training” presents the results of my research in order to identify and define the performance of the actor, taking as a model borrowed terms from the world of sports. The need to objectify specific parameters of the actor’s art with the help of Sports Science was also motivated by the analogy between theatre and sports, between sports training and rehearsals or competition and performance. Both athletes and actors trainto adapt their body to the performance requirements specific to the sport, respectively their role. The very title of this article includes the term training, and one of the constants of the research undertaken during my doctoral research was the attempt to quantify and objectify the components of the inner process carried out in the actor’s intimate laboratory, relying on a better understanding of psycho-emotional mechanisms, hoping that this awareness will improve the actor’s creative performance.
More...Strategia militară a ciclului decizional aplicată artei actorului
OODA Loop is a daily phenomenon, developingin cerebral and physical activity: Observation, Orientation,Decision, Action. It is a concept created by John. R. Boyd,in the late 50’s, representing the diagram of a decisionalcycle. Originally applied in military strategies and combat,OODA Loop became, in time, a tool for understanding andpracticing commercial needs and policies, for the developmentof public financial, business and media domain, and alsothe Education field. The author of this article frames OODALoop versus acting. The study consists in revealing theapplication of the decisional Boyd cycle upon the relationbetween the performer and her audience. „The VirginM. Project” is the performance she has sustained, alongwith director A. Hausvater. The artist of the 21st centuryshould focus on self-knowledge, creative, inspirative dramatic inner tension, characterising the supreme act of creation in Arts. Thus, a reconfiguration of the artist and his work of art might be possible. There are ways of reaching such an upgraded artistic and spiritual state of acting. Associated with performance, approched as empowerment of the creative resources in order to achieve the best results during acting, one may appeal to and experience the OODA Loop military strategy, to enforce his artistic and creative surviving skills.
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Acting means, at a certain level, to play withyour own mind. The actors are researchers of their ownbrains, as long as we know what to search for. There shouldexist an interdisciplinary approach to the art of acting,using instruments from neuroscience and the philosophyof mind. Learning about our main instrument, we learnabout ourselves and our art. Therefore, studying actingwith instruments from neuroscience, is an important stepin rediscussing our most known methods – Stanislavsky’s,Lee Strasberg’s etc. My hypothesis is that, by walking downthe road of interdisciplinarity, the level of understandingand developing oneself will grow substancially. Manythings that were discovered in the field of cognitive sciencehad already been empirically demonstrated in acting. Thelong-term effects of such an approach are significant: better mental structures, better understanding of oneself and one’s mind, higher levels of empathy. By combining theatre methods, neuroscience and the philosophy of mind, the art of acting may become a much more solid field of study, with high contributions in one’s life.
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The Romanian modern drama was marked (till1965, n. b.) by two plays: „The Manole Handicraftsman”(1927) by writer and philosopher Lucian Blaga and „TheDeath of an Artist” (1964) by Horia Lovinescu. The firstwas an expressionist illustration of the idea that patternsof the Modern Age are coming from the Indo-Europeancomplex primitivism; the second was a metaphoricalanswer to Socialist Realism, supporting the idea thatbehind an artistic act lays a mythological and idealisticmentality. Our study investigates the Balkanic roots andvariants of The Manole Handicraftsman Myth and theirevolution according to the views of Mircea Eliade. Thenext step will make subtle connections between the mythheritage that survived in the regional popular balladsand the modern drama. Even if the study does not directlylink the mythological and the modern mentalities, we try to demonstrate that a connection over ages is activated when the nowadays artists create by regaining the lost paradise of unity between the essence and the form.
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This is a two part article which strives to trace a cultural history and, as well, a practical framework of the „verfremdung” concept, following its emergence from the earlier theoretical work of Viktor Shklovsky and its ostranenie and Meyerhold’s later „odchudzny”, as he in turn chose to coin Shklovsky’s conceptual frame. This cultural paradigm is important because it renders a precise context and helps to further clarify the importance of „grotesque” in modernist drama and also the means to express it.The first part of the article is dedicated to the cultural exchange and the exposure that soviet modernist drama had in the Weimar Republic Germany and how Brecht was acquainted with the formalism developed by Meyerhold and Shklovsky. It reads like a travel log, concentrating on how Brecht’s antourage, such as Asja Lācis, Walter Benjamin, Vasilij Lunacharsky, Eisenstein, Tretiakov, Bernard Reich familiarized him with theideas of Meyerhold either directly or through their own work, which was stemmed as well from Meyerhold’s pre 1917 theatrical experiments. Finally, as secretary general of the Department for Theater in the Illumination Minister (Education), Meyerhold encouraged the developement of labourers artistic brigades, or TRAM, blue-collar workers. The TRAM performances, akin to the cabaret performances of the early 1900’s had a profound influence on the left leaning theater practitioners in Western Europe. Through this network of people that were influential to Brecht’s carreer I closely follow the developement of epic theater and the „verfremndungseffekt”, from his debut in directing, with Leon Feuchtwanger’s „The Life of Edward The Second, King of Scotland” up to Brecht’s work being formally introduced into the artistic life of Soviet Union, with the adaptation of his „Three Penny Opera” by Tairov in Moscow in 1930 and also Brecht’s direct contact with Meyerhold’s theater, during the latter’s 1930’s tour in Germany and France. The end of this fructuous exchange came to a brutal end as Stalin began his Purge in the Soviet Union and Hitler began his rise to power in Germany. Meyerhold was executed after a swift trial and Brecht had to flee Germany, settling in the United States during World War 2.
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The article aims to investigate a model of goodpractices in the field of higher education focused on streetarts and implicitly on street theatre at European level,using as a case study the Formation supérieure d’art enespace public (FAI-AR) - a French formal school of artistictraining dedicated to creation in the public space. In anattempt to identify a methodology for street arts thatcould be taught formally, we have looked at what suchschools that already exist in Europe in search of a possiblecurriculum for street arts or street theatre. Our researchhas led us to the French cultural space where in fact theonly such school exists in Europe, namely the Formationsupérieure d’art en espace public (FAI-AR), born fromthe street arts movement that developed in France in the1970s and founded in 2004 in Marseille by the well-known French director Michel Crespin, whose name is linked to other institutions emblematic for the history of street arts. FAI-AR offers four cycles or study programs with variable durations and is addressed to professional artists and technicians who want to develop their skills in street arts within several professional categories - playwrights, directors, choreographers, visual artists, set designers, performers, actors, dancers, graffiti artists, circus artists, musicians, storytellers, puppeteers, urban professionals, architects, urban planners, designers, landscapers, geographers or project „accompanists”, cultural mediators, managers, producers, administrators, decorators, stage managers, technicians etc. The four vocational training programs that the school offers free of charge, with the help of subsidy programs from the French state, are: higher education (formation supérieure); continuous training (formation continue); online MOOC courses (massive open online courses); and research internships (salons de recherche).
More...Studiu de caz: Sigmatismul
The accessible and fun diction exercises, which have long entered the theatrical practice, have become, through the sometimes indiscriminate use, a double-edged instrument. Effective correction of pronunciation defects in adulthood is a complex process in which it is essential to adhere to principles resulting from the corroboration of the latest information in areas such as speech therapy, defectology, phonetics and cognitive sciences. The operation of these principles is demonstrated below in the case of sigmatism, a very common category of pronunciation deficiencies. The plan for correcting the s consonant is presented in detail and the work methods for correcting the ș, z, ț, j, tʃ͡ (ci, ce) and d͡ʒ (gi, ge) consonants are briefly presented.
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The Elizabethan era (1558-1603), under the reign of Queen Elizabeth I, experienced an explosion in both culture through literature and the arts through music, architecture and painting. At the same time, the techniques for making jewelleries and fabrics and their dyeing were developed, an important place being occupied by embroidery and lace. This can be noticed throughout that period in the painted portraits of Elizabeth and her courtiers, but also in the few costume elements that have been preserved to this day, such as Margaret Layton’s jacket, currently in the Victoria and Albert Museum in London, and the dress in the „Rainbow Portrait” at Hampton Court Palace. All the dresses in the Queen’s portraits have motifs either embedded in the fabric, such as pomegranate, or embroidered, such as oak leaf, moon, stars, sun, snake, eyes and ears. Also, pearlapplications that give the costume an unmatched atmosphere but also a symbolism that has not yet been fully deciphered. In addition, the portraits contain objects such as prayer book, crown insignia with sceptre and sphere, Earth globe, sieve and rose, as well as animals such as ermine and birds on the pendants depicting the Phoenix bird and the pelican.From all the symbols above, it follows that Elizabeth I was a wise queen (serpent), of unparalleled power and wealth (Earth globe), pure (ermine and the multitude of pearls), virgin (sieve), rose (the legal successor to the throne) and who sacrificed herself for her people (pelican pendant).
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