REVIEW OF ARTISTIC EDUCATION
Volume 1 / number 8 / Year 2014
PART II
Drama
1. IONESCIAN AND BECKETTIAN MASKS AND STAGE PROPS
Tamara ConstantinescuAssistant, Doctoral Candidate, “George Enescu” University of Arts from Iaşi, Actress at “Fany Tardini” Drama Theatre from Galați of Romania editor of the journal “Theatrical Colloquy”
Abstract: In modern theatre shows, the masks were used to create typologies, to dis-individualize characters, to emphasize the ceremonial character of staging. The mask reveals the ritual roots of the genre, infusing the dramatic experience with more detachment, releasing it from the style and dynamics of realistic drama. The antiheroes / anti-heroines in the Absurd Drama appear as grotesque automata, drained of any human substance, like masks and puppets easy to handle. The playwrights of the Theatre of the Absurd do not necessarily use the mask as disguise. The human figure becomes materialized in true masks. Stage props can have a plurality of meanings. Ionesco’s stage props can be understood as an attribute of the character, a distinguishing feature, that characterizes the antihero / anti-heroine, acquiring symbolic value. Beckett brings on the stage objects that overpower the spirit as the body separates from it. But the object can be bearer of humorous messages, tending to balance the feeling of despair or finitude. The absurd drama plays, the Ionescian or Beckettian ones cannot be reduced to the interpretations offered to traditional plays that have a conflict which can be summarized in narrative form. The essential feature of the plays indebted to the Theatre of the Absurd is precisely that they motivate us to find multiple reading versions.
Key words: theater of the absurd, Ionesco, Beckett, Bible, birthday, meaning
2. INFLUENCES OF THE ORIENT IN THE EUROPEAN THEATRE
Ioana Petcu Assistant PhD, “George Enescu” University of Arts from Iaşi of Romania
Abstract: Without ever depleting its abundance of image, the Orient’s world represented a clear and refreshing spring, a definitive experience, beneficial for the artists from European zone. From the cultural view – but not only, the theatre had only gains from the multi-facets dialogue with the Hindu, Arabian or Egyptian traditions. The results were to be seen in directing, in theatrical pedagogy, because the direct or indirect interaction with the Levant had been refreshing the visions of scene’s people, it made possible approaching and discovery of the tangential points. The opinions and conceptions of some personalities as Ariane Mnouchkine, Eugenio Barba or Peter Brook have interested us in the analyze of the process by which Oriental elements are discovered, adopted and inserted into the Occidental scene.
Key words: influences, inter-culturality, theatrical anthropology, theatrical pedagogy, directing.
3. THE PUPPETEERS AS SOLO PERFORMANCE „MAKERS”
Anca-Mihaela Ciofu Assistant PhD, “George Enescu” University of Arts from Iaşi of Romania
Abstract: Certain syntagms such as total actor and total show have been increasingly used for some time. When it comes to the puppet theatre one might say that the corresponding term for the ideal actor, the total actor as he is called, is the solo puppeteer. There are a number of very good reasons that support the idea of promoting the solo puppet show: the many transformations the art of performing undergoes, the various expectations of the audience, the responsibility the artist assumes towards perfecting his professional activity. The work of some solo puppeteers has been closely observed despite their being un-contemporary but yet important figures in the field. I have contacted some of them personally and had the chance of discussing with them some of my most ardent questions.
Keywords: solo puppet show, total actor, preparing a show.
4. EDUCATIONAL THEATRE
Mirela Nistor Doctoral Candidate, “George Enescu” University of Arts from Iaşi of Romania
Abstract: The Educational Theatre took form in the 60’ in Great Britain as a direct response to both school and theatre necessities. Since then it has been developed in many different forms and contexts taking an impressive variety of theatrical forms. The Educational Theatre facilitates the classical educational system incapable of developing behaviour patterns and demeanours concerning moral values that young people need. This new form of art has tried, since its emergence, along with solving complex issues (from the communication and community development area), to redefine the role of theatre in society, calling in question the relation between the actor and the audience, the playwright and the actor, the theatre and the state, the theatre and the present and not the least important relation between the theatre and the propaganda.
Key words: Educational Theatre, Theatre in Education, Theatre, Education
5. THE DEVELOPMENT OF CREATIVITY THROUGH THEATRICAL TECHNIQUES
Angela Bejan Lecturer, Doctoral Candidate, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: In this article the creativity is built as an inexhaustible subject in education, the subject is brought by psychology, but finds its purpose fully in education. It reminds about the innate character of creativity, about the age particularities of imagination, about the educational character of the theatrical education. The methodological value of this work is the theatre techniques to be used for the description and the development of children's creativity.
Key words: creativity, features of creativity, imagination, theatrical techniques
6. THE PHYSICAL TRAINING OF THE ACTOR IN THE 20TH CENTURY DRAMA PEDAGOGY
Ana-Cristina Leşe Lecturer PhD. “George Enescu” University of Arts from Iaşi of Romania
Abstract: In this paper we will focus on the aspects of the actor’s physical training and on the relations between the body and the soul, the body and the psyche which, in Stanislavski’s theory and practice, organically form one entity. We will also refer to the domain of Physical Education which includes physical training and is defined along two avenues: general physical training and motion; a parallel can thus be drawn between the methods and means used by K. S. Stanislavski and the methods currently used in Physical Education.
Key words: actor, physical training, physical education
7. THE PUBLIC SPECTACLE IN ROMANIAN SOCIETY PREMODERN. SCENOGRAPHY AND AUTHORITY IN DEVELOPING RELIGIOUS CELEBRATIONS
Carmen Alexandrache Assistant, Doctoral Candidate, „Dunărea de Jos” University from Galaţi of Romania
Abstract: In the case of pre-modern Romanian society, religious celebrations were not only religion lessons; its were lessons which practicing behaviors, gestures and social attitudes. Thus, they became a good opportunity for to show the political power and social differences. Having a large capacity of social mobilization, the deployment religious celebrations could be done anyway. Therefore, gestures were ritualized framework was carefully prepared, place and contribution of each well fixed. In our paper we showed some examples that illustrate that respect religious holidays are a form of public spectacle.
Key words: celebration, gestures, ritual, public spectacle
8. THE CORPOREALITY OF THE ACTOR / DANCER IN POST POSTMODERN THEATRE ASPECTS
Ligia Delia Grozdan Lecturer PhD, “George Enescu” University of Arts from Iaşi of Romania, organizer and producer of drama shows, dance and stage movement, trainer and international referee of dancesport and rhythmic gymnastics
Abstract: Undergone spectacular changes within post-dramatic theatre, the understanding of what means the dancer corporeality supports a spectacular reversal. From vital dance, expansive, based on movement pushed to flight and float, it reaches the tendency of transforming the actor-dancer into an object of contemplation, other than the traditional one. It comes to a statutory body that leaves the viewer to admire the attitude and noble picture. In post-postmodern theatre, the companies promoting new physicality in Dance art enjoy great interest. There are so-called "living sculptures", which certifies the specific inclination of the new postdramatic theater to metamorphose living body in an organic theatrical body.
Key words: theatre, dance, movement, corporeality
9. PERFORMANCE WORKSHOP – CONCEPT AND CREATIVITY
Anca Doina Ciobotaru Associate Professor PhD, “George Enescu” University of Arts from Iaşi of Romania
Abstract: The analysis of the double dimension of characters of the animation theatre – the imitative and the interpretative – and the role between animation and public, allows us to show the need to use methods focused on interdisciplinary and comparative studies; belonging of these characters to performing arts is obvious. These elements determine us to structure the show workshops so as to have as a starting point the practical argumentation of theory supported by our research. Every scenic action started from a core idea, concept or hypothesis, the stage performance confirming or invalidating the anticipated formula. This led to better understanding of resources of scenic expressivity offered by simultaneous presences (puppet actors – actors), which can be identified throughout the history of performing arts; this aspect forces us to perceive more attentively and objectively the relation between various forms of performance; tendencies to structure the role theatrical language in outlining the show being harmful, in our view.
Key words: scenic action, animation theatre, theatrical language
PART III
FINE ARTS
1. ORIENT AND OCCIDENT. SPECIFIC SPATIAL IMAGES
Maria Urmă Professor PhD, “George Enescu” University of Arts from Iaşi of Romania, urma3@yahoo.com
Abstract: Geographical factors, the landscape are key factors in establishing the spatial images. There are differences between the spatial organizations of southern Europe, where assemblies and volumes have been developed horizontally, and Northern Europe, where forms have been developed vertically. The intermediate zone has made a balance between these two trends. At the global level, there are differences on the East - West direction: in the East were developed symmetrical and monumental ensembles and volumes, while the West has developed free and asymmetric compositions, Far East balancing the two tendencies. At the cultural level, the differences in the organization of space are difficult to see. There are models of investigation of Frobenius, Spengler and Lucian Blaga. These theories provide a useful analysis for each culture, rather from inside than outside. This study proposes, in addition, an analysis from the interference of cultures.
Key words: spatial images, Orient, Occident
2. FEATURES OF PALEOCHRISTIAN BASORELIEF IN THE PROVINCES DACIA TRAJAN AND SCYTHIA MINOR
Ioana-Iulia Olaru Lecturer PhD, ”G. Enescu” University of Arts from Iași of Romania, olaruioana2004@yahoo.com
Abstract: On the territory of the two Roman provinces situated in the north of Danube, Dacia Trajan and Scythia Minor, after the Roman conquest, there will be changes both regarding the encountered topics and the artistic style of basreliefs. Once Antiquity ends, PaleoChristianity will add a religious component, with transformations regarding iconography, but also stylistic ones, this field represents one of the proofs of pervasion and spread of the new religion also in these border provinces of the Roman Empire. And this happens at the level of the two types of relief which exist even nowadays, as they did since Antiquity: funeral relief which ornaments monuments and also architectural relief which decorates the new types of buildings, the PaleoChristian basilicas.
Key words: PaleoChristianism, chrismon, stele, kline, kantharos, impost
3. GUIDED INVESTIGATION – RESEARCH AS INSTRUCTIVE – EDUCATIONAL PROCESS
Ecaterina Toşa Lecturer PhD, University of Arts and Design from Cluj-Napoca of Romania, catitosa@yahoo.ca
Abstract: In fine arts the guided investigation – research, as training method extends from the work and creation process to the evaluation of the strategy that led to certain results observable or measurable within an axiological framework and to the assessment of the teaching – learning situation.
Key words: learning by guided investigation - research, assessment, items
4. THE IDEALS OF EASEL GRAPHIC BEAUTY IN BESSARABIA
Tatiana Rășchitor Doctoral Candidate, Academy of Sciences of Moldova, from Chișinău, Republic of Moldavia, traschitor@gmail.com
Abstract: The present article offers a summarized vision on the situation of the Bessarabian nude in easel graphic, trying to unveil the local specifics of the evolution of the genre. The study reveals the artistic and stylistic particularities present in the nudes signed by notorious artists like Auguste Baillayre, Alexandru Plamadeala, Moissey Kogan, Eugenia Malashevski and others. The mixture of the works mentioned in this study tries to outline the image of the Bessarabian figurative art, marked by oriental and Western cultural interferences.
Key words: easel graphic, Bessarabia, nude, human figure, drawing
5. FORM AND METAMORPHOSIS EMBEDDED WITHIN THE PLASTIC COMPOSITION OF GRAPHIC, SCULPTURAL AND ARCHITECTURAL LANGUAGE IN SCENOGRAPHY
Cosmin Mihai Iaţeşen Assistant PhD,“George Enescu” University of Arts from Iaşi of Romania, iatecos@yahoo.com
Abstract: The syncretic character of arts gained momentum especially in the second half of the XXth century though the diversification and the transmutation that started from the first decades of the regarded century. The plastic corespondances between graphics, painting, architecture and scenography originate from the relation between the perception of volume and becoming of some shape concept’s space, from sketch up to props and setting. One can represent volume in plastic arts in a large and diverse variety of possibilities, all the more so in which sculpture is regarded. The elements of language, such as the dot, the line, the spot and the shape, complete their expressivity through the plastic language’s value, plastic rithm, chromatic expresivenes through dominance, contrast and harmony. Through that which signifies or symbolize a representation in a specific context of the composition.According to the sculpting creators and therorists the sculpture disposes of a richen potential of expression than the painting or the graphics. This may be because the sculpture has a certain force generated by a tridimensional configuration while it’s volume regenerates. The plastic image that is embrassed on in ronde-bosse, attaches and convoys the content of ideas and the piece of art’s aesthetic value in scenography, more evidently , through its style (functional or spiritual, according to the century’s overview). By amplifying the vibes and the atmosphere of the century’s through architecture (where the volume, the surface and the design coordinate with the science and the art) and through the style of the costumes (outliving time and space) one can create the perfect circumstances for the action this is suggested to the characters whichever these may be eithen in the theatre, cinematography on television.
Key words: shape, metamorphosis, grafic, sculptural, painting, arhitectural, scenography
PART IV
EDUCATION
1. NEWS ARGUMENTS FOR AESTHETIC EDUCATION AND THE EDUCATIONAL DIMENSIONS OF THE ART MUSEUM
Constantin Cucoș Professor, PhD, “Alexandru Ioan Cuza” University of Iaşi from Romania, cucos@uaic.ro
Abstract. Education for aesthetic values has to draw both on classical art, which is based on the cultural tradition as a source of perennial meanings, passed down to us from ancient times, and on novel recent contemporary artistic expressions, which, though possibly perishable, evoke the life experience, the apprehensions and the hopes of the contemporary people. In close connection with these innovations, we aim at re-systematizing and re-formulating new arguments in favor of the institutionalized aesthetic education in accordance with these recent artistic developments. At the same time, we insist on the importance of the objectives of the art museum as a way of didactic cognition and reinterpretation of reality.
Key words: aesthetic education, museum pedagogy, museum education, non-formal education, informal education
2. ETHNIC IDENTITY, ASSIMILATION AND THE NOTION OF ‘HALF-ROMA’ AMONG THE ROMA IN LATVIA
Ieva Tihovska Mag. art., Jāzeps Vītols Latvian Academy of Music from Riga of Latvia, ieva.tihovska@gmail.com
Abstract: The article concerns changes in Latvian Roma ethnic identity over last decades. Roma traditionally perceive society in a dichotomized way (Roma and non-Roma), but in the process of assimilation a category of ‘half-Roma’ has appeared. Thus, a question arises – what is the ethnic awareness and status of “half-Roma” in Roma and non-Roma communities. The study is based on interviews recorded during author’s fieldwork. The author continues the exploration of ethnic boundaries actualised by Fredrik Barth. The focus here is on assimilated younger generation Roma living in the “ethnic borderland”. The article discusses the modes of ethnicity articulation. The author concludes that until recently the most significant exposure of ethnic belonging has been the participation in community events and communication, not the use of ethnic attributes or a traditional lifestyle. Moreover, today ethnic belonging is a choice not a restriction more than before.
Key words: Roma, ethnic identity, assimilation
3. THE STANDARDS OF PROFESSION IN CURRENT APPROACHES TO ASSESSING QUALITY IN ROMANIAN ARTS HIGHER EDUCATION
Mihaela Mitescu Manea Lecturer PhD, “George Enescu” University of Arts from from Iaşi of Romania, mihaelamitescu@yahoo.com
Abstract: It introduces an analytical approach to assessment of quality in arts higher education in Romania, with a focus on academic standards for university teaching staff. Should a similar view over professional standards apply to artists in higher education as it does for other academics, or better yet should their work be reviewed on another set of professional standards? A comparative perspective on approaches to assessment in arts higher education in other countries informs the argument presented here, proposing a critical view on what is local/universal in practices of arts higher education and, implicitly, in approaches to assessment for quality in this type of academic activity.
Key words: assessment, arts, higher education, standards.
4. THE SUCCESS OF ARTISTIC EDUCATION: INTEGRATION APPROACHE
Vladimir Babii Professor PhD, „Alecu Russo” State University of Balti from Republic of Moldavia, vbabii@rambler.ru
Tatiana Bularga Associate Professor PhD, „Alecu Russo” State University of Balti from Republic of Moldavia, tatianabularga@rambler.ru
Abstract: The material treats the educational technologies that are subject to a fundamental rethinking, the authors are confirming, that it is the most advantageous way for the streamline the designated area is the launch of a new research directions such as the implementation by all routes of innovative praxiology. As a starting point is highlighted success and school failure in the arts. The research is adjusted to current needs of arts education and highlights some theoretical benchmarks. In the center is placed the perception and interpretation of music in the specific actions, which are identified with educative action. Worth are available: the participation of pupils in the design, organization and implementation / evaluation of musical action, the dynamics of the teacher's professional skills to achieve gradual procedure of theoretical design and practical operation (identifying the contents countries and educational and outstanding shares; diagnosis of individual resources, planning / development of assumptions, current and final assessment of the results, the changes that have occurred).
Key words: success, efficiency, educational action, musical action, innovative praxiology
5. THE DEVELOPMENT OF ABSOLUTE PITCH: THE EARLY TRAINING THEORY
Dorina Geta Iușcă Lecturer PhD, “George Enescu” University of Arts from Iași of Romania, dorinaiusca@yahoo.com
Abstract: Absolute pitch is defined as the ability to identify the pitch class of a certain given sound without the aid of an external reference pitch. Due to the fact that this aptitude is quite rare between musicians, absolute pitch often remains to the mercy of myths and speculations. During the last decade, a growing body of literature focused on finding the psychological and musical factors associated to absolute pitch, as well on discovering its true etiology. The present study aims to review the most relevant studies dedicated to this special ability. The relationship between absolute pitch, pseudo-absolute pitch and relative pitch is first discussed. The incidence of absolute pitch is significantly higher between tone language speakers and, as a result, the link between language development and absolute pitch development is also approached. This aptitude may be considered either having a genetic component (the innateness hypothesis) or being a consequence of early music training during a critical period (the early training theory). Educational implications of the early training theory are argued.
Key words: absolute pitch, innateness hypothesis, early training theory, tone language
6. THE DEVELOPMENT OF THE AESTHETICAL TASTE THROUGH THE BUILDING-UP OF SKILLS AND ABILITIES TO PERCEIVE AND CREATE THE NATURAL BEAUTY
Viorica – Torii Caciuc Lecturer PhD, „Dunărea de Jos” University from Galaţi of Romania, caciuca@yahoo.com
Abstract: The aesthetical dimension of personality is the most disfavored in the context of the contemporary school. However, the interdisciplinary approach to the study of various components of nature in disciplines like art, technologies, mathematics and natural sciences creates educational situations for developing the aesthetic taste. Besides practicing skills and abilities to perceive and create the natural beauty, the introduction of elements of ecological ethics contributes to the development of the aesthetic taste, as a premise for the pupils’ ecological awareness.
Key words: aesthetical taste, the beauty of nature, ecological ethics, ecological awareness
7. AESTHETIC DIMENSIONS IN ROMANIAN PRIMARY SCHOOL CURRICULUM
Nicoleta Laura Popa Associate Professor, PhD, „Alexandru Ioan Cuza” University of Iaşi from Romania, npopa@psih.uaic.ro
Liliana Stan Associate Professor, PhD, „Alexandru Ioan Cuza” University of Iaşi from Romania, lstan@psih.uaic.ro
Abstract: The change in structures of Romanian primary school produced by the inclusion of preparatory grade within this educational level, determined curricular changes especially for the cycle of fundamental acquisitions. The new curricular products form the reference materials for the present analysis on the place and the role of aesthetics in Romanian primary education. Although international programmatic documents describe a personality profile for which the aesthetic dimension is relevant in the context of integrated education of the autonomous and creative citizen, national curricular structures do not cover appropriately this aim. It is also the case of Romanian curriculum for primary education (cycle of fundamental acquisitions) which isolates the aesthetic dimensions in two curricular structures: music and movement, respectively, visual arts and practical abilities. Although other curricular areas/disciplines avoid the aesthetic dimension, the two integrated structures previously mentioned indicate a more visible concern among decision-makers and practitioners for innovative revaluation of contemporary tendencies to include aesthetic education in all curricular structures (including mathematics and sciences).
Key words: aesthetics, art education, elementary education, Romanian curriculum
8. THE FORMATIVE SIGNIFICANCE OF AESTHETIC CONTENTS IN EARLY CHILDHOOD EDUCATION – AN ANALYSIS OF ROMANIAN PRESCHOOL CURRICULUM
Liliana Stan Associate Professor, PhD, “Alexandru Ioan Cuza” University of Iaşi from Romania, lstan@psih.uaic.ro
Nicoleta Laura Popa Associate Professor, PhD, ”Alexandru Ioan Cuza” University of Iaşi from Romania, npopa@psih.uaic.ro
Abstract: Human beings prove constant receptivity for aesthetic dimensions of world’s components, regardless of their age. The interest of young children for beauty (in its various facets) allows educators to activate it for its instrumental value in developing personalities (the emotional, volitional, moral, cognitive etc. dimensions), and for the benefits of reaffirming aesthetics itself. More than at other educational levels, in preschool education children’s interest for aesthetics is acknowledged, and their aesthetic sensitivity grounds the achievement of all educational aims, by the coherent and proper integration of aesthetic contents into preschool education. The curricular offer for young children includes aesthetic experiences in distinct spaces, related with priority themes appropriate to children’s developmental level (getting acquainted with the natural world, with human/social groups, and with humans as unique individuals). The present study integrates conclusions derived from the analysis of the current Romanian curriculum recommended for preschool education in 2008; main ideas refer to the identity of aesthetic contents and to associated formative meanings, as illustrated in the curriculum, but also beyond it.
Key words: education, aesthetics, aesthetic contents, preschool curriculum, young child.
9. THE CREATIVE USE OF AUTHENTIC DOCUMENTS WITH ARTISTIC VALUE IN FOREIGN LANGUAGE EDUCATION
Elena Odette Tarabuzan Teacher, Economic Administrativ College of Iasi from Romania, odetine@yahoo.com
Nicoleta Laura Popa Associate Professor, PhD, „Alexandru Ioan Cuza” University of Iaşi from Romania, npopa@psih.uaic.ro
Abstract: Authentic documents have been intensively advocated as effective tools for foreign language education, and enthusiastically embraced by foreign language teachers. The present contribution reviews advantages and limits in using authentic documents in language classrooms, but also advocates for the creative use of such documents which also have artistic value, namely comic strips, photographs and films, audiobooks based on literary texts. A general introduction for each of these authentic documents is provided, as well as some didactical suggestions which may support language teachers in their attempts to create stimulating learning activities.
Key words: learning tools and materials, artistic value, foreign languages teaching and learning
10. SPECIFIC EDUCATIONAL MEASURES FOR THE PROMOTION OF ARTISTIC EXCELLENCE AT EARLY AGES
Eugenia Maria Paşca Associate Profesor PhD, “George Enescu” University of Arts from Iaşi of Romania
Abstract: Teachers can play an important role in identifying, supporting and evaluating educational measures that meet the needs of gifted and talented children. Regardless of the educational policy adopted at national level to encourage the education of gifted children, it is important to analyze how teachers are trained in order to work with children possessing potential and exceptional artistic skills.
Key words: art education, gifted children, educational policy
11. THE DEFINITION OF THE ART WORK: ONTOLOGICAL ASPECTS
Marina Morari Associate Professor PhD, „Alecu Russo” State University from Bălţi , Republic of Moldavia, mmmorari@gmail.com
Abstract: Based on the theoretical developments, the article hereby defines the art work from the ontological perspective and identifies the qualities/features given to the art work: as spiritual, unitary and simple process and product. The art work is the result of many variables, resulting from: the type of thinking, the way of action, the complexity of the artistic personality, the interaction of the subject with the cultural environment and the society. The art work is proposed to the artistic experience, t the edge of which the aesthetic object is constituted as value carrier.
Key words: the work of art, principles of organizing the art work, aesthetic experience
