REVIEW OF ARTISTIC EDUCATION
Journal Code: Review of Artistic Education - 10.2478
Issue Information
Number: 19
Cover Date (month and year): 04.2020
Individual Article Information
Filename: Review of Artistic Education - 10.2478/19/2020/01_paper.pdf
DOI: 10.2478/rae-2020-0001
Title: PERIOD INFLUENCE ON THE WORK OF JOHANN SEBASTIAN BACH
Author(s): Karol Medňanský
Affiliation(s): Associate Professor, PhD., “University of Prešov“ from Prešov, Slovak Republic Abstract: The work of Johann Sebastian Bach (1685 - 1750), significantly influences the work of the contemporary composers even almost 270 years after his death. It is undoubtedly caused also by the fact that by his work Bach impersonates contemporary musical tradition. There are the three most significant areas in his work – the influence of family tradition on his work, which we can observe throughout the Thuringia, where they have had a significant musical position for 200 years in all the areas of music – secular, urban, spiritual and ecclesiastical. The tradition of German music is not less important. It influenced Johann Sebastian Bach during his studies and was based directly on the essence of protestant educational principle. Filip Melanchton, the most significant collaborator and a friend of Martin Luther, was contributory in the reform of this principle. The most important is the influence of Luther's Reformation on the spiritual world of J. S. Bach, which reached such dimensions that he unites theology and music. Under the influence of the aforementioned three areas, the work of Bach has acquired exceptional artistic and spiritual quality, a unique phenomenon in the history of music.
Key words: impact of the works, family traditions, educational principle, reformation, theology and music, artistic quality, spiritual mission
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 02_paper.pdf
DOI: 10.2478 / rae-2020-0002
Title: ACHIEVING HARMONY THROUGH MUSIC: A COMPARISON BETWEEN ANCIENT GREEK AND CHINESE THOUGHT
Author(s): Rossella Marisi
Affiliation(s): Assistant PhD., Conservatorio “Lorenzo Perosi” from Campobasso, Italy
Abstract: Ancient Greek and Chinese philosophers held music as a fundamental component of education and deemed it effective in guiding students at gaining harmony within themselves and with one another. A quality music education was thus considered relevant in the Bildung of individuals, the preservation of the state, and the maintenance of harmony between heaven and earth. This study makes a comparison between the thought of Plato and his Greek predecessors on one side, and the one of Confucianism on the other, identifying fascinating similarities which offer a source of inspiration to modern educators.
Key words: Confucius, Li Ji, Plato, Pythagoras, Shiji
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 03_paper.pdf
DOI: 10.2478 / rae-2019-0003
Title: Quo vadis the Contemporary Music criticism? (The First International Workshop of Journalism in Kalv, Sweden. Reflection, orientation, persuasion)
Author(s): Luminiţa Duţică
Affiliation(s): Professor PhD., „George Enescu” National University of Arts from Iaşi, Romania Abstract: Annually, in Kalv is organized one of Sweden's most innovative festivals for Contem-porary Music. For the first time, on 8-11 August 2019 took place a workshop in Music Journalism field. In this study we intend to show working methods used in Western Journalism and the impact of current music on the cultural level Kalv’s rural population. Together with the mentor Andreas Engström from Berlin, we attended concerts, seminars, we interviewed more artists and musicians across the globe, also we wrote different texts, essays and chronicles for publication. To conclude, organising a Musical Journalism Workshop during a festival of contemporary music is a commendable initiative which plays a major role in getting acquainted and gaining a better understanding of the compositional intentions of present-day creators. We will be happy to come back here, in a world at once picturesque and post-modern owing to these unforgettable musical encounters.
Key words: journalism, contemporary music, workshop, critical writing
Filename: Review of Artistic Education – 10.2478 / 19 / 2020 / 04_paper.pdf
DOI: 10.2478 / rae-2020-0004
Title: The Enescian pianistic Notes and commentaries (2nd part)
Author(s): Lăcrămioara Naie
Affiliation(s): Professor PhD., „George Enescu” National University of Arts from Iaşi, Romania Abstract: George Enesco was a remarkable composer, conductor, teacher, violinist and pianist. He is one of the few "chosen" ones who lived under the emblem of the idea of BEAUTIFUL in its multiple images: by art, in the name of art and under the sign of art. Being in the circuit of authentic spiritual values, his entire pianistic creation is delicate, subtle, refined and elegant but extremely difficult as an artistic technique and expression; it calls for the intelligence accordingly, a lot of common sense, potential of much spiritual unrest, very much scenic experience, by determining the interpreters to very special refinement and expressive elevation, in addition to a worked touché trained in the art of the pianistic expression.
Key words: Enesco's pianistic art, expressivity, instrumental technique
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 05_paper.pdf
DOI: 10.2478 / rae-2020-0005
Title: The evaluation between partial and impartial attitude
Author(s): Luminiţa Ciobanu
Affiliation(s): Lecturer PhD., „George Enescu” National University of Arts from Iaşi, Romania
Abstract: Docimology is based on knowledge from the field of psychology and pedagogy. There are several functions of the didactic evaluation, related to their social and personal relevance. The interpretive evaluation involves a degree of subjectivism which, however, can be diminished by experience, patience and permanent self-control. The proposed evaluation methods will be applied simultaneously, with the objectification of the relevance of each one and with maximum sense of responsibility on the part of the evaluator.
Key words: assessment, objective, subjective, teaching methods
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 06_paper.pdf
DOI: 10.2478 / rae-2020-0006
Title: Teaching Strategies Employed to Approach a Postmodern Opus. Recital I (for Cathy) by Luciano Berio
Author(s): Loredana Viorica Iaţeşen
Affiliation(s): Associate Professor PhD., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: The difficulties encountered by any history of music teacher when tackling postmodern repertoire is a well-known fact. Doubts are only natural. For instance, of the innumerable creators belonging to different cultures, which would be the relevant composers? Furthermore, when finally choosing one representative, on which of his/her works should one focus? And after one particular piece of selected, what is the best way to teach the scientific arguments required for its perception? When the chosen opus fails to distinguish itself through the direct expressiveness of its language, what should one do? What are the works of music considered to be exquisite in terms of technique and expression, with an actual impact on the teaching field? This approach is all the more tedious as the specialized teacher is faced with the lack of any immediate feedback about the importance of some music, as the biggest impediment is the music score itself, which becomes gradually accessible, after numerous auditions and explanatory comments. Therefore, the purpose of this research was to achieve the teaching approach of an opus with direct expressiveness composed during the last decades of the last century: Recital I for Cathy by Luciano Berio. An innovative mezzo soprano and 17 instruments score, which promotes the subtleties existing either in the relationship between themes, dramaturgy and language, or in the correspondence between text and sonority. These are some of the aspects that we intend to tackle in order to help our students understand the postmodern phenomenon by means of Berio’s inclusive and synthetic vision. In order to ground our scientific approach, we rely on the well-known quotation technique used by the creator, which, by recalling apparently disparate music, facilitates the process of didactic demonstration. The actual quotation or allusion to different sonorities constitutes a challenge in discovering the general and particular meanings of sound dramaturgy, but especially the deep meanings of the emotional reception of the opus.
Key words: postmodern opus, themes, dramaturgy, language, quotation technique, teaching strategies
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 07_paper.pdf
DOI: 10.2478 / rae-2020-0007
Title: Echoes of Romanticism in Violin and Piano Sonata No. 2, Op. 45 by Marcel Mihalovici - Analytical Landmarks for an Upscale Interpretation
Author(s): Augustina Florea
Affiliation(s): Candidate Doctoral., “George Enescu” National University of Arts, Iași, Romania, Lecturer, Academy of Music, Theatre, Fine Arts from Chişinău, Republic of Moldavia
Abstract: The evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of Romanticism, especially, of Enescian Romanticism, distinctly manifesting in Violin and Piano Sonata no. 2, op. 45, by Marcel Mihalovici, one of the most renowned Romanian composers settled in Paris, appreciated by the famous contemporaries, such as M.Ravel, V.d’Indy, F. Poulenc etc. Sonata (1941), preceded by a motto in the sonnet of Romantic poet Gérard de Nerval Myrtho: „Je sais pourquoi lá bas lé volcan s’est rouvert…”, impresses through the high emotional tension, metaphorically expressed by the image of the “woken” volcano, figurative suggestiveness of the musical language, architectonic innovativeness, spectacular capitalization of the violin technique in the formula of a violin-piano choir.
Key words: Romanian violin sonata, Romantic influences
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 08_paper.pdf
DOI: 10.2478 / rae-2020-0008
Title: Gioachino Rossini, Voice Assemblies in the Opera Il Barbiere di Siviglia
Author(s): Cristina Simionescu Fântână
Affiliation(s): Associate Profesor PhD. habil., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: In Naples, Gioachino Rossini creates some of his works for representations in other cities. The best known, the Barber of Seville or Useless Precaution, opened on February 20, 1816, atTeatro Argentina in Rome. The booklet, a version of Pierre de Beaumarchais's eponymous novel, was rewritten by Cesare Sterbini, being a variant other than that already used by Giovanni Paisiello. Moreover, since then the work has enjoyed a great popularity, contributing to this triumph and the extremely short period in which it was conceived: two or three weeks. Later, Rossini claimed that he had created the work in just twelve days. The opening, initially bearing the title of Almaviva, was not successful, as the admirers of Paisiello, extremely indignant, sabotaged the show by whistling and shouting throughout the first act. However, shortly after the second performance, the work became so appreciated that the fame of Paisiello's work was transferred to Rossini, the title The Barber of Seville becoming an inalienable Rossinian heritage. Il Barbiere was not Rossini's favourite work. Ironically, it won the status of classical opera much later, at the end of the Rossini’s career. Today we clearly consider its status as the first in the history of the work, often overlooking the radical impact it had at the time of the opening, when it shocked and provoked a large audience of unknowing persons. The speed of his writing could explain the dramatic drop in intensity felt in the second half of the second act.
Key words: Comic opera, Italian opera, Italian music in the 19th century
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 09_paper.pdf
DOI: 10.2478 / rae-2020-0009
Title: PERSONAL CONCEPTION ON THE WAY OF INTERPRETING THE AREA FROM ACT I OF THE OPERA LA BOHÉMA – Si, MI CHIAMANO MIMÌ By Giacomo Puccini
Author(s): Doina Dimitriu Ursachi
Affiliation(s): Associate Profesor PhD., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: Giacomo Puccini's artistic creation spans a period of 40 years, from 1884 to 1924, during which time he composed 12 works. This small number proves once again the great artistic exigency of the composer. The enormous success that Giacomo Puccini's works have enjoyed since his life, continues to this day and is constantly growing. We aim to analyze the area SI, MI CHIAMANO MIMÌ from LA BOHÉMA's work with personal interpretative aspects.
Key words: verism, Italian opera, soprano
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 10_paper.pdf
DOI: 10.2478 / rae-2020-0010
Title: Comparative interpretative analysis of David Mancini's work Suite for solo drumset and percussion ensemble
Author(s): Constantin Stavrat
Affiliation(s): Lecturer PhD., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: The endless possibilities of expression that jazz has developed over the last hundreds of years could not only influence the composers, but also the performers who dedicated themselves to the fascinating and complex field of percussion. One of the percussion players who has been influenced by this genre is David Mancini, whose conposition I chose for comparative analysis - Suite for solo drum and percussion ensemble in the interpretation of two percussion ensembles Vibraslap and Guiro, whose activity was perpetuated due to enthusiasm and the professionalism of the two mentors of the respective groups, professors Marian Vaida and Bedo Gabor, both perfected within the percussion class of the Conservatory of Music ”George Enescu” in Iasi Romania, founded and led for more than half a century by the renowned professor Florian Simion. Two totally different interpretations of David Mancini's work - Suite for solo drums and percussion ensemble, each with a few moments of success, but also with the need to perfect many elements of technique and interpretive design.
Key words: percussion ensemble, jazz, comparative analysis
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 11_paper.pdf
DOI: 10.2478 / rae-2020-0011
Title: The Vocal-Chamber Music Recital – Theoretical and Practical Aspects of an Interdisciplinary Approach
Author(s): Cezara Florentina Petrescu / Alexandru Radu Petrescu
Affiliation(s): Associate Professor PhD., “George Enescu” National University of Arts from Iași, Romania
Abstract: In a world of spectacle in which everything seems to have already been told, the vocal-chamber music recital is found in an identity crisis. The economic, social and cultural context in which it takes place is labile and determines the performers to ask themselves what is their position within the sctructures in which they function/operate. The purpose of the research is to identify and reevaluate links, configurations, structures and elements of a type of an aparently morally obsolet musical performance and marked by the passage of time. The originality of the thesis spans from its interdisciplinary character and from its multifaceted approach of the performative phenomenon.
Key words: Vocal-chamber music recital, performance, interdisciplinary approach
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 12_paper.pdf
DOI: 10.2478 / rae-2020-0012
Title: THE METHODOLOGY OF MUSIC EDUCATION LESSON COMPLETENESS BY MEANS OF THE VOCAL-CHORAL SINGING DOMINANT ACTIVITY
Author(s): Marina Caliga
Affiliation(s): Doctoral Candidate, Lecturer, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: Choral singing has always been an activity in which the participant, the choir singers sang together, achieved the same goals, lived and perceived music together. In the music education lesson, the choral-vocal singing is an activity with great teaching and educational possibilities. It is one of the most accessible ways of interpreting music in school. This article methodologically investigates the completeness of the music education lesson with the dominant activity of vocal-choral singing.
Key words: the completeness of the lesson, the vocal-choral singing activity, methodology
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 13_paper.pdf
DOI: 10.2478 / rae-2020-0013
Title: THE SYSTEMATIC OF THE CHARACTERS FROM THE OPERA A STORMY NIGHT BY PAUL CONSTANTINESCU
Author(s): Consuela Radu-Țaga
Affiliation(s): Lecturer PhD., “George Enescu” National University of Arts, Iași, Romania
Abstract: In the history of the Romanian musical theatre the comic opera A Stormy Night written by Paul Constantinescu set up the buffa style. All along the two acts carried out in approximately 50 minutes you can hear Romanian folklore resonances, with Anton Pann echoes, as the 7 characters from the opera live in the Bucharest of the 19th century. The leitmotif technique is at the basis of the musical story, 9 melodious-rhythmic configurations getting detached. The musical discourse of the singers is entirely subordinated to the text, and the ample breath appeals to the recitative singing, which evolves towards arioso. The categorical overlapping of the musical declamation with the spoken language initiates a route in which we encounter phenomena such as sprechgesang, parlato, yelling, buffa slipping of the voice. The characters are X-rayed with a deep critical spirit and the capacity to illustrate funny situations gains a lot from Constantinescu’s experience.
Key words: comic opera, leitmotif, character, urban folklore, musical declamation
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 14_paper.pdf
DOI: 10.2478 / rae-2020-0014
Title: NICOLETTE CHORAL PIECE BY Maurice RAVEL. ANALYSIS AND INTERPRETATIVE CONCEPT
Author(s): Marta Otilia Burduloi
Affiliation(s): Assistante PhD., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: In order to place the piece in the context of the impressionist current, we will try to emphasize its characteristics and tendencies on several occasions. The unit of romantic art, governed by academic laws, begins to be shaken, realism as a fundamental direction, based on a direct connection with life, gradually imposing itself, bringing a new aesthetic, with its own, particular ideas, with specific methods and means of expression. The decline of Romanticism started with the first signs of crisis manifested by the repetition of the clichés and by the insistence with which one struggles to maintain all the arts within the narrow frame of the canons, is accentuated and, especially after the Paris Commune, will lead to the outline of new directions, of national specificity, to which a large number of artists from all generations joined, considering their action as a mission and a patriotic duty of honor, of an exceptional significance in finding a path conducive to the further development of French art.
Key words: Impressionism, choral creation, musical analysis
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 15_paper.pdf
DOI: 10.2478 / rae-2020-0015
Title: STYLISTIC-INTERPRETATIVE ANALYSIS OF THE CREATION FOR GUITAR SOLO BY HEITOR VILLA LOBOS (Preludes no. 1-4)
Author(s): Daniel Dragomirescu
Affiliation(s): Associate Professor PhD., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: Along with the structural analysis of the preludes, an interpretive analysis is extremely necessary for a practitioner of this instrument. Carlos Bonell, in an article in the specialized magazine "Guitar" (vol.11 of April 9, published in 1983), states that when the music of Villa-Lobos guitar parts becomes familiar to our ears, it is difficult let us imagine how they were in their "raw" state, in other words, how they were conceived in the composer's imagination. But our duty as performers is to try to give this music its freshness and spontaneity, instead of imitating famous recordings or interpretations, which can only lead us to an outdated and at the same time lacking originality.
Key words: creation for guitar, Latin American school, interpretive style for guitar
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 16_paper.pdf
DOI: 10.2478 / rae-2020-0016
Title: TRUMPET AND ORCHESTRA CONCERT IN D MAJOR BY GEORG PHILIPP TELEMANN IN INTERPRETATION VISION OF Wynton MARSALIS AND RAFAEL MÉNDEZ
Author(s): Iulian Horez
Affiliation(s): Associate Professor PhD., habil., “George Enescu” National University of Arts from Iaşi of Romania
Abstract: Like most baroque concerts, the Concerto for trumpet and orchestra in D major by Georg Philipp Telemann raises particular problems of interpretation. It is a concert written in the head register of the trumpet, with frequent references in the acute register. I should mention that the head register of a trumpet depends on its size. At a normal trumpet in and flat (and not piccolo), the acute register is from do (and flat from the first octave) to the next do ascendant. The head register continues from do² to do³. In the trumpets in do, re, mi flat, fa, sol, the principle remains the same, with a variability depending on the size of the trumpet, except that in the acute record the other notes correspond to that of the flat, but the upper limit is generally the same.
Key words: style and interpretive technique, trumpet, baroque music
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 17_paper.pdf
DOI: 10.2478 / rae-2020-0017
Title: The Level of Musical Competency Training: A Comparative Study of Full-Time and Distance Students
Author(s): Nelida Nedelcuț, Ciprian Gabriel Pop, Ioana Chiorean
Affiliation(s): Professor PhD., Associate Professor PhD. “Gheorghe Dima” National Academy of Music from Cluj-Napoca, Romania, Associate Professor PhD., Babeș-Bolyai University, from Cluj-Napoca, Romania
Abstract: Within the frame of the study field of Aesthetics at Faculty of Arts Prešov University in Prešov, the students have an opportunity to acquire abilities and skills also in creative artistic activities. One of the possibilities is to participate in the creative workshops as the part of Academic Prešov Festival that is very popular with the participants. The actors of a creative workshop can experience, in a short period of time (mostly weekly), an intense creative process in which a young undergraduate student headed by a professional, in the amateur communication with a professional, can experience an unrepeatable experience of creativity, creation of theatrical work as well as the distinctive level of theatrical communication on the axis of participant-lecture-process-making-theatrical work-viewer. In this way, he discovers potential artistic, authentic, and generationally specific dispositions. Estimating the level of competency training at the end of a university programme aims, in the competency-based learning, at a certification of the training’s outcomes. This research wishes to evaluate the degree of specific competency training for a Bachelor programme in music organized by the Gheorghe Dima National Academy of Music from Cluj-Napoca in different forms of learning, namely full-time and distance learning. By means of a questionnaire which measures the appreciation of students on a scale from 1 to 5 we interviewed 60 students who measured their own professional training based on the competencies approved on a national level for music as major subject. We analyzed descriptors characteristic of certain development levels of the key competencies for three specific content areas: the theoretical, methodological, and artistic areas. The main findings of the research, following a comparative analysis of the implementation of programme-specific competencies, reveal superior outcomes in the case of distance students in the development of competencies belonging to the field of performance, the practical activity carried out during the learning process, at their place of work and through participation in artistic productions, thus motivating the students’ interest in acquiring and improving certain specific skills and abilities. The theoretical knowledge and consolidation of the musical language represent the priorities of the full-time students and, by means of a statistical comparison, we highlighted different answers for the results of the questionnaire meant for the assimilation of competencies for each of the descriptors analyzed in this study.
Key words: competencies, descriptor, music education, assessment, artistic area
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 18_paper.pdf
DOI: 10.2478 / rae-2020-0018
Title: Technical and interpretive considerations in The Third Sonata for violin and piano, op. 45 By Edvard Grieg
Author(s): Raluca Dobre Ioniță
Affiliation(s): Lecturer PhD. / “George Enescu” National University of Arts from Iaşi, Romania
Abstract: Considered one of the founders of the Norwegian national music culture, Grieg sought to transpose into his music the grandeur of nature, the simplicity of people and their lives, the richness of fantasy and mythological stories. Edvard Grieg retains in his music essential elements of Norwegian folklore, which he uses in his own language. The third Sonata for violin and piano, op. 45 differs from the other two sonatas created previously, both by the dramatic character of the thematic material, as well as by the massive dimensions and the structure of the form that approaches the classical pattern. Starting with this Sonata, Grieg definitely crystallizes his style in the field of chamber music, revealing a mature language of dramatic essence, in which we find rich and inventive rhythmic and melodic structures, plastic harmonies and bold dissonances, picturesque timbre effects that capture the atmosphere and the specific Norwegian color.
Key words: violin, sonata, Grieg, tehnical evolution, interpretative artistry
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 19_paper.pdf
DOI: 10.2478 / rae-2020-0019
Title: Historical Evolution of Adagio (Analysis of the Choreographic Concept)
Author(s): Cristina Todi
Affiliation(s): Lecturer PhD. / “George Enescu” National University of Arts from Iaşi, Romania
Abstract: By this study we propose to expose the steps that led to the development of the choreographic adagio. Without excluding the importance of the precursory period, the approach of the discourse introduces us into the middle of the 18th century, exactly in the age when this miracle of dancing began to assume clear contours. We remind of the entrées full of effects with high elevations of Auguste Vestris, the expressivity of Marie Salle, the Noverian manifesto certainly the pas de deux formula - which is used even nowadays - of Marius Petipa. The transformations of the subjects - from the mythology to the eternal theme of love - are completed by the different states of the danced dialogue. The deciphering of the symbols founding its gesticulation and explains the step or the choreographic element is visible through the scene of the balcony of ballet Romeo and Juliet by Prokofiev and by the meeting between Spartacus and Flavia in the ballet of Avram Haciaturian. The state of poetry, of dreaming, noble rise of the soul towards unsuspected horizons, the adagio, confesses to us its filiation even beyond the border of the age. We consider that this paper is useful both for the teaching staff who must instruct the youngsters in vocational schools a profound and qualitative choreographic culture, and to those who are training in the art of dance.
Key words: adagio, ballet, dance, pas de deux, posture, music
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 20_paper.pdf
DOI: 10.2478 / rae-2020-0020
Title: Motility in sport-artistic activities – a social phenomenon
Author(s): Ana-Cristina Leșe
Affiliation(s): Associate Professor PhD. / “George Enescu” National University of Arts from Iaşi, Romania
Abstract: The history of Physical Education reports us that the physical exercises have emerged and have been perfected in accordance with the social order, evolving in direct relation with it. During this paper we will define the phenomenon of Physical education and sport as a discipline of academic education, starting from the general notions to the particular ones in the general physical training of the student actor. In this paper we try to highlight some similarities between the preparation of the actor and the preparation of the athlete for professional performance. We will present the theoretical framework with well-defined and accepted notions in both sports and theater. We will subsequently present the particular framework in which the theoretical principles in the sports field are taken over by the university theater programme and put into practice for the general preparation of the future actor. The article closes with the selection of some basic conclusions and recommendations appropriate to the topic under discussion
Key words: Actor, general physical training, sportsman, physical exercises
Filename: Review of Artistic Education - 10.2478 / 19 / 2020 / 21_paper.pdf
DOI: 10.2478 / rae-2020-0021
Title: Essential Aspects In The Creation of Means of Scenic Expressivity Specific to The Puppet Show
Author(s): Raluca Bujoreanu Huțanu
Affiliation(s): Associate Professor PhD. / “George Enescu” National University of Arts from Iaşi, Romania
Abstract: The expressiveness of a doll can be generated by the way it is constructed and animated, by the ability of the puppet to transmit messages through the play with the doll. Through color, sound, simple and clear suggestion of the puppet's message to the spectators, the object comes to life and the puppet show becomes an artistic act. In other words, the purpose of the puppet show creator is to suggest in his representation human behavior in the most expressive ways possible - using all the means of language that he has in an original and creative way.
Key words: expressivity, originality, doll
