REVIEW OF ARTISTIC EDUCATION
Journal Code: Review of Artistic Education - 10.2478
Issue Information
Number: 21
Cover Date (month and year): 06.2020
Individual Article Information
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 01_paper.pdf
DOI: 10.2478 / rae-2021-0001
Title: EMOTIONS IN MUSIC AND THEIR IMPACT ON THE EMOTIONS OF PERCIPIENTS: RESEARCH ON HUMAN VOICE AND SINGING
Author(s): Zuzana Sláviková, Eva Králová
Affiliation(s): Associate Professor PhD., “Prešov University“ from Prešov, Slovak Republic, Assistante Professor PhD., “Alexander Dubček University“ from Trenčín, Slovak Republic
Abstract: The field of psychology of singing is the least examined area so far, so in the research study we present the research survey from the field of human voice and singing. Music allows the access to the experience of emotions, which can then manifest itself in various changes at a psychosomatic level. New research findings can therefore be used very effectively in the field of music therapy or singing. The anthropological idea of this phenomenon is based on the fact that the human voice is an extremely sensitive physical and emotional tool through which it is possible to act on the body, psyche and spirit, in terms of complex personality development and to discover human contact with its deeper, archetypal components. The sound experience of singing can touch a person's most basic existential experiences. In this study we want to reveal the underappreciated possibilities of using the human voice and singing in the field of music therapy and point out the purposeful development of vocal dispositions, in concord with the core of human personality (conscious and unconscious). Mainly owing to strong emotions, it has a significant impact on harmonisation of hemispheres, stimulation of all mental functions that leads to spontaneous revitalisation of the psyche and body and it subsequently leads to improved quality of life.
Key words: emotion, mood, auditory perception, human voice, singing, music therapy, music experience
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 02_paper.pdf
DOI: 10.2478 / rae-2021-0002
Title: The Parody Mass and the rhetorical-pedagogical principle of imitation
Author(s): Rossella Marisi
Affiliation(s): Lecturer PhD., Conservatorio “Lorenzo Perosi” from Campobasso, Accademia di Belle Arti from Bologna, Italy
Abstract: In the sixteenth century, composing a parody Mass was a means to pay tribute to an admired piece and master the composing techniques shown therein. The parody Mass is grounded on the principles of imitation and emulation, on which the whole Renaissance rhetoric is based. This article analyses the Missa Quem dicunt homines by Palestrina. It stresses that in the Renaissance a musician could choose to compose a parody Mass, instead of a Mass on cantus firmus, not only to go towards the taste of his clients, and to suit his own preferences, but also to adhere to a certain rhetorical-pedagogical school of thought.
Key words: imitative-style Motet, Palestrina, poetry, Renaissance, visual arts
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 03_paper.pdf
DOI: 10.2478 / rae-2021-0003
Title: THE PARTICULIARITIES OF CHOIR CONDUCTOR TRAINING OF THE CHINESE STUDENT AT MUSICAL AND PEDAGOGICAL INSTITUTIONS IN UKRAINE
Author(s): Inna Kovalenko
Affiliation(s): Professor PhD., National Pedagogical Dragomanov University from Kyev, Ukraine
Abstract: This article deals with the problem of choir conductor training of the Chinese students. It discloses the peculiarities and the difficulties in their training at higher musical and pedagogical institutions in Ukraine.
Key words: musical and pedagogical education, choir conductor training, foreign students
Filename: Review of Artistic Education – 10.2478 / 21 / 2021 / 04_paper.pdf
DOI: 10.2478 / rae-2021-0004
Title: EXERCISES FOR PIANO AND THEIR ROLE IN THE PEDAGOGICAL ACTIVITY OF VITALII SECHKIN
Author(s): Inna Hatipova
Affiliation(s): Professor PhD., Academy of Music, Theater and Fine Arts from Chișinău, Republic of Moldavia
Abstract: In the article, the author analyses the role of technical exercises used in his pedagogical activity by Vitaly Sechkin, remarkable pianist and professor, Honoured Artist of Ukraine. He paid particular attention to the development of the technical skills of his students, for which he used various exercises and virtuoso etudes. A detailed characteristic is made of the particularities of C.-L. Hanon’s and J. Brahms’s sets of exercises, which pursue similar objectives - the development of finger speed, the freedom to execute different kinds of texture, assimilation of tonalities. The professor’s favourite exercises and his methodical recommendations are mentioned as well.
Key words: piano, piano technique, exercise, Charles-Louis Hanon, Johannes Brahms
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 05_paper.pdf
DOI: 10.2478 / rae-2021-0005
Title: Historical and theoretical foundations of the development of vocal and choral culture in Moldova
Author(s): Ana Glebov
Affiliation(s): Assistante Candidate Doctoral, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The origins of the national choral art are based on Church singing, which has been widely developed since the founding of the Putnyansky and Nyametsky monasteries. In the further development of the centuries, Church singing intertwined with folk choral singing, which was reflected in the works of such conductors and composers as G. Muzichesku, M. Berezovsky, A. Kristya, M. Byrke, V. Popovich. Special attention is paid to the creative and conducting activities of Gavriil Muzichesku, all of whose initiatives were innovative and progressive, later becoming the leading ones in the national choral activities of Romania and Moldova. This article identifies and systematizes the main trends related to the process of creating vocal and choral works and their application in the system of Romanian and Moldovan musical education. Their analysis shows that the composer worked on the theoretical generalization of his own experience, turned to the best ideas of domestic and foreign pedagogy, including Russian, and thanks to this he was able to bring his knowledge and experience into a fairly coherent and integral system of musical education and education through vocal and choral culture.
Key words: vocal and choral culture, vocal creativity, Church singing, musical education, pedagogy
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 06_paper.pdf
DOI: 10.2478 / rae-2021-0006
Title: Theodor Rogalski, Conductor, Composer and Professor. 3 Romanian dances, Conducting stylistic analysis
Author(s): Iulian Rusu
Affiliation(s): Associate Professor PhD., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: Dancing in the culture of all peoples is a form of artistic manifestation with various functions, mystical, hunting warriors, etc., with deep roots in the very beginning of the first forms of organization of human communities. At national level, our people are the keeper of old and wonderful folk traditions, with dances of great wealth and variety. In our popular creation, the choreographic term “danse” is called “play”. Romanian dances have various ritual, ceremonial, or party functions, related to specific occasions. As a spatial deployment, they are divided into several categories: group, band, couple and soloistic. Theodor Rogalski in the Three Romanian dances highlights the beauty and vitality of the character of our people, especially through orchestration and the timbral coloring of the instruments. The conducting analysis of the 3 Romanian dances can also be a teaching material that is designed to guide the young musicians on the way to musical analysis.
Key words: postmodern opus, themes, dramaturgy, language, quotation technique, teaching strategies
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 07_paper.pdf
DOI: 10.2478 / rae-2021-0007
Title: STYLISTIC CONSIDERATIONS ON SCENE NO. 8 FROM THE MUSICAL PERFORMANCE PREȚIOASELE RIDICOLE [THE AFFECTED YOUNG LADIES] BY VASILE SPĂTĂRELU
Author(s): Alexandru Radu Petrescu
Affiliation(s): Associate Professor PhD., “George Enescu” National University of Arts from Iași, Romania
Abstract: Molière is one of the playwrights who not only marked and defined the seventeenth century in France, but, creator of the modern comedy and discoverer of the authentic comic, contributed fully to educating the public in his present and for the future. His comedies have stood the test of time, as they resonated with the audience, which found itself in them. In the twentieth century, his plays entered the artistic territories adjacent to the theater trough other creators, who turned them into film scripts and librettos for musical theater. The subject of our research is a fragment pertaining to the farcePrețioasele ridicole [The Affected Young Ladies] turned into a musical show under the signature of Vasile Spătărelu. An important name in Romanian music, creator with great melodic imagination, harmonic refinement and perfect literary taste, the composer from Iași made a possible compositional model for the genre, which is part of the Romanian musical show’s route opened by Paul Constantinescu and Pascal Bentoiu. His work is distinguished by the stylistic area to which it adheres, by rhythm and vivacity, by the original combination between the spoken and the sung text, by the ingenious architecture of the scenes, by the adequacy of the writing technique to the desired effect and expression. Fully requesting all the resources of the interpreters, we consider that the analysis of the important moments is very useful to them. If pages of theatrical exegesis were dedicated to the characters Magdelon and Cathos, for Mascaril we did not identify something similar, much less a stylistic-interpretive analysis from a musical perspective. In order to achieve a complete characterization of the character, useful to potential student performers, we will comment on the first segments of the Scene no.8 in which Mascaril’s "identity" is established, as he presents himself in front of the two "precious ones". (the entrance and the monologue).
Key words: The Affected Young Ladies, Molière, Vasile Spătărelu, Mascaril, stylistic considerations
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 08_paper.pdf
DOI: 10.2478 / rae-2021-0008
Title: AN ANALYSIS OF THE VOICE ASSEMBLIES FROM THE OPERA LA CENERENTOLA BY GIOACHINO ROSSINI
Author(s): Cristina Simionescu Fântână
Affiliation(s): Associate Profesor PhD. habil., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: A musical inspiration, the opera La Cenerentola by Gioachino Rossini offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal ensembles and to emphasize their musical and dramaturgical. realization.
Key words: opera, vocal ensembles, comic
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 09_paper.pdf
DOI: 10.2478 / rae-2021-0009
Title: The romantic German lied – an overview
Author(s): Doina Dimitriu Ursachi
Affiliation(s): Associate Profesor PhD., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: The lied represents a fundamental form of expression of the cantability and of the relation of the melody with the poetic. And, although the model of the cultural lied could still be heard in the music of the 18th century in the compositions of the Viennese classical school - in Haydn folk songs and, especially, in forms somewhat akin to the aria of Mozart or Beethoven – the landmarks of this genre were established precisely by the romantics of the 19th century, representatives in most of the German school. Schubert, Schumann, Franz, Mendelssohn-Bartholdy, Wagner, Brahms, Wolf etc. transformed the song into a cultural art form, incorporating images of popular origin into literary-musical structures for voice and piano making use of technical possibilities and expressiveness specific to romanticism.
Key words: lied, Romanticism, cultural art form, vocal art
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 10_paper.pdf
DOI: 10.2478 / rae-2021-0010
Title: Famous pianists perform Beethoven 32 Variations on an Original Theme in C minor according to the pianists Daniel Barenboim and Evgeny Kissin
Author(s): Brîndușa Tudor
Affiliation(s): Associate Professor PhD., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: Year 2020 constitutes an incredibly significant landmark in the classical music history as it is the year celebrating 250 years since the composer Ludwig van Beethoven was born. The “32 Variations on an Original Theme in C minor” are deemed to be some of the most brilliant pianistic works marking the second period of Beethoven creation. The interpretative visions of Daniel Barenboim and Evgeny Kissin are equally interesting, the two great pianists putting their personality, sensitivity, and culture mark. All these elements confer upon the piece “32 Variations on an Original Theme in C minor” particular expressive valences highlighting Beethoven’s creative genius.
Key words: Ludwig van Beethoven, 32 Variations on an Original Theme in C minor, Daniel Barenboim, Evgeny Kissin, interpretative visions
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 11_paper.pdf
DOI: 10.2478 / rae-2021-0011
Title: FIVE LIEDER FOR MEDIUM VOICE AND PIANO, OP. 1 BY MIHAIL JORA – STYLISTIC-INTERPRETIVE CONSIDERATIONS
Author(s): Cezara Florentina Petrescu
Affiliation(s): Associate Professor PhD., “George Enescu” National University of Arts from Iași, Romania
Abstract: Mihail Jora, „the father” of modern Romanian lied, consistently composed vocal miniatures for voice and piano between 1914 and 1968, permanently refining the appearance and content of this group of works that became representative for Romanian music. He began his journey in the first decades of the XX-th century, when, in Romania, the vocal-chamber musical genre had just begun its rapid evolution and synchronization with European trends, creatively capitalizing on the influence of already established composers. The visible transformation took place not only through the creative assimilation of formal patterns and the way music was „made”, but also trough the choice of poems. Five lieder for medium voice and piano [Fünf Lieder für eine Mittelstimme] op.1 on german lyrics is the work we will submit to stylistic-interpretive analysis to show both its uniqueness and its contact surfaces with the German lied and with Jora’s mature creation.
Key words: Mihail Jora, Romanian music, lied, op.1, stylistic-interpretive aspects
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 12_paper.pdf
DOI: 10.2478 / rae-2021-0012
Title: Managing the Changes in the 21st Century Performing Art. Methods of Eliminating Social Barriers in the Consumption of Classical Music Performances
Author(s): Oana Bălan Budoiu
Affiliation(s): Associate Professor PhD., “Gheorghe Dima” National Academy of Music from Cluj-Napoca, Romania
Abstract: In the unfortunate circumstances of the current declining consume of classical music, the intention to facilitate the access of the young, uneducated audience to classical music is becoming increasingly visible in the practices of the local, national and international cultural operators. Identifying the optimal methods around which unconventional, innovating artistic events can develop is essential in order to shape the audience of the future. The consumer needs to be educated progressively in order to accept what some call “elite art”. The mediation of the education process must be initiated from a point that places the audience in a comfortable position, even though this may, on the other hand, represent a compromise for the artists. From this perspective, the classical artistic product must become flexible, must outgrow patterns as well as traditional social constraints and adapt in order to be closer to the community. The research relies on a survey involving a sample group of 571 people, study aimed to measure the individuals’ propensity to consume symphonic music, opera and classical ballet. The mission consisted in highlighting the reasons that cause consumers to move away from classical music as well as searching for solutions to lure them and win their loyalty, in order to be transformed into an educated audience capable of understanding and processing artistic emotions.
Key words: Music, educated audience, cultural mediation, flexibility, unconventional spaces
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 13_paper.pdf
DOI: 10.2478 / rae-2021-0013
Title: Transfigurations and Interferences of the Ballad Master Builder Manole with the Opera Genre. Choral Polychromies
Author(s): Consuela Radu-Țaga
Affiliation(s): Lecturer PhD., “George Enescu” National University of Arts, Iași, Romania
Abstract: One of the fundamental myths of the Romanian literature, Master Builder Manole had various approaches in the opera genre. On individual stylistic paths as musical language and show formula, Alfred Mendelssohn, Gheorghe Dumitrescu, and Sigismund Toduță reinterpreted the myth of the human sacrifice, in an extremely nuanced approach of the transfiguration of the ancient folklore. The choral inserts are polychromatic, having different forms and formulas: men choir, female choir, mixed choir, choral conglomerations. The three composers wrote a romantic music, in terms of content, and a classic one, in terms of the formal elements themselves.
Key words: Master Builder Manole, human sacrifice, Romanian opera, choir, ancient folklore
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 14_paper.pdf
DOI: 10.2478 / rae-2021-0014
Title: The Violin in L’Histoire du soldat – A Metaphor of the Soul
Author(s): Oana Iuliana Vișenescu
Affiliation(s): Lecturer PhD., National University of Music from Bucharest, Romania
Abstract: From 1909, Stravinsky manifested a keen interest in composing theatre music, as proves the many and various dedicated scores. Almost all of his large works, from the ballet The Firebird (1909-10) to the one-act opera buffa Mavra (1921-22), are written for the stage. Stravinsky thus worked most of the time with scenic presentations, with questions on movement, dance, gestures or scenic tableaus. He develops a particular theatrical instinct: his works have a good scenic orientation, and the correlation with modernism and the new currents in theatre aesthetics is more than obvious. Critics have already analysed and discussed the parallels with such contemporary theatrical concepts as by Bertold Brecht (1898-1956) or Vsevolod Meyerhold (1874-1940). After three great ballets, whose new conception by Stravinsky and Sergei Diaghilev (1872-1929) brought about a fundamental revolution in dance aesthetics, the composer crystallises his notion of incidental music. The aesthetics of L’Histoire du soldat, a work “to be read, played and danced”, is opposed to that of Richard Wagner (1813-83) and his Gesamtkunstwerk (a work blending various arts, a total work of art): a new artistic idea, frozen in gesture and movement, compressed, finding its concentrated expression. Stravinsky establishes a brilliant draft of the issues of Opera, to which he would from now on dedicate himself. Stravinsky’s theatre music reveals a tendency to introduce new concepts in the works written between Sacre du printemps and Pulcinella. A quick look at his stage works before and after L’histoire is necessary in order to fit it in his artistic view.
Key words: a work blending various arts, a total work of art
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 15_paper.pdf
DOI: 10.2478 / rae-2021-0015
Title: aspects of musical language of Heitor Villa-Lobos' concert studies
Author(s): Daniel Dragomirescu
Affiliation(s): Associate Professor PhD., “George Enescu” National University of Arts from Iaşi, Romania
Abstract: Careful research has shown that the Brazilian composer's works are inaccurate in terms of indications yet respecting every parameter of music. Regarding the technical aspects, which represent the quintessence in the interpretation of string instruments, and in our case, a dark realm due to the lack of their representation on the score, the performer must make balanced decisions based on imagination and education acquired during years of study.
Key words: guitar, studies, style and guitar performance
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 16_paper.pdf
DOI: 10.2478 / rae-2021-0016
Title: Sinfonia avanti il Barcheggio by Alessandro Stradella in interpretations of the trumpeters Iulian Horez and Miroslav Kejmar
Author(s): Iulian Horez
Affiliation(s): Associate Professor PhD., habil., “George Enescu” National University of Arts from Iaşi of Romania
Abstract: Alessandro Stradella is a lesser-known composer in trumpet works. However, the Sinfonia avanti il Barcheggio is of great beauty and is written perfectly trumpet. The original is composed for trumpet in C, but the key of D major in which the concerto played with trumpet in C is written poses the biggest tuning problems. For this reason, I recommend for this concert a trumpet in A. The tuning will be much better, it will be played in F major, the natural notes of the trumpet will be used a lot (C, E, G).
Key words: trumpet interpretive technique, trumpet tuning
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 17_paper.pdf
DOI: 10.2478 / rae-2021-0017
Title: Electro Arts, a Tool of Interactive Digital Education: A Case Study
Author(s): Nelida Nedelcuț, Ciprian Gabriel Pop, Amalia Cristina Nedelcuț
Affiliation(s): Professor PhD., Associate Professor PhD. “Gheorghe Dima” National Academy of Music from Cluj-Napoca, Romania, Candidate Doctoral, Babeș-Bolyai University, from Cluj-Napoca, Romania
Abstract: This research analyses the impact of the Elektro Arts Festival on the attending audience, based on the responses offered by 98 respondents, highlighting the socio-demographic characteristics of the participants, the interest in computer art and realising an evaluation of the event’s quality by emphasizing preferences and customs of cultural consumption and identifying the communication and advertising channels preferred by the audience. The organizers of the future editions of the event obtained the necessary feedback on the interest manifested in digital arts as well as on the satisfaction and the preferences of the audience. The Elektro Arts Festival is considered an innovative environment propitious to IT-mediated artistic expression, and the newly organized editions have been linked to the research in the field of computer-based numerical technologies.
Key words: Digital art, audience, music, dance, computerized technology
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 18_paper.pdf
DOI: 10.2478 / rae-2021-0018
Title: The second Sonata for Piano and Violin, ópus 6 by George Enescu
Author(s): Raluca Dobre Ioniță
Affiliation(s): Lecturer PhD. / “George Enescu” National University of Arts from Iaşi, Romania
Abstract: The second Sonata for Piano and Violin, op. 6 by George Enescu marks the beginning of a long road of assimilation and synthesis of the Romanian folklore elements and of the way of expression“in Romanian popular character”, transposed on the characteristics of the universal language. Without knowing the authentic folk art from a scientific point of view, Enescu was deeply influenced, shaping his entire artistic personality. He consciously assimilated popular music by generalizing some essential folkloric principles, which he later organized in a personal vision. The innovative elements of the Enescian musical language are transposed in the free rhythm, the heterophonic construction, the complexity and subtleties of dynamics and agogics, the timbre color, as well as in the synthesis between freedom and rigor in the creative and interpretive act.
Key words: Enescu, Sonata, piano, violin, analysis
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 19_paper.pdf
DOI: 10.2478 / rae-2021-0019
Title: Hamlet – to be or not to be and the television theater
Author(s): Antonella Cornici
Affiliation(s): Lecturer PhD. / “George Enescu” National University of Arts from Iaşi, Romania
Abstract: To be or not to be, the famous monologue that is very present in the actors’ repertoires, has suffered many changes overtime which either gave us extraordinary moments or it was simply transformed into dialogue, it was fragmented, moved into different acts other than where the author put it. All these changes were based on a directorial vision. In the television theater this scene (and even the whole show) has a different impact due to filming, editing and directorial vision. So the same show that has been watched at the theater it can be different on a television theater. In the performance hall we can watch the show as a whole, we have the chance to focus on a specific actor, on a specific image, which is something that we can lose in the television theater. In the filmed show we only see which is on the tiny screen. From this perspective, I’ve watched the famous monologue, To be or not to be, in some shows that are considered landmarks for this text only to watch it afterwards when has been taken over and edited by television.
Key words: theater, Shakespeare, television, Hamlet, monologue
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 20_paper.pdf
DOI: 10.2478 / rae-2021-0020
Title: Performance in sports and art. The beginnings
Author(s): Ana-Cristina Leșe, Raluca Minea, Adina Ioana Armencia
Affiliation(s): Associate Professor PhD., Lecturer PhD., “George Enescu” National University of Arts from Iaşi, Romania, Lecturer PhD., „Grigore T. Popa” University of Medicine and Pharmacy from Iași, România
Abstract: Performance or show is one of the phenomena that characterizes our society since antiquity to nowadays and we make reference to: theater, music, sports, politics and more. We will approach performance also in sports and art, because this word has its origin in this area. According to the explanatory dictionary, performance represents a set of elements, things, facts which recall our attention, make an impression and provoke reactions. A show can surprise, intrigue, monopolizes and creates a kind of beneficial addiction. And this can only be in favor of a society in a constant search for "strong" sensations. A show in the field of sports or art is a good attempt to direct the spectators towards a better perception of reality. The involvement of society as for creation and continuous development of the phenomenon called "show" reveals people’s need for palpable human and beautiful sensations.
Key words: entertainment, art, sports
Filename: Review of Artistic Education - 10.2478 / 21 / 2021 / 21_paper.pdf
DOI: 10.2478 / rae-2021-0021
Title: THE WAY ANIMATION THEATRE IS PERCEIVED AT DIFFERENT AGES
Author(s): Andreea-Corina Ionescu
Affiliation(s): Candidate Doctoral, "Ion Luca Caragiale" National University of Theatrical and Cinematographic Art from Bucharest, Romania
Abstract: The game for the child represents everything – develops and stimulates communication, senses, mediates emotional states, solves certain conflict situations. Most of the time, the child uses toys as substitutes for real beings, engaging them in daily activities such as eating, sleeping, walking in the park. For a child there are no barriers between what is real and what is fiction, so when he sees on stage a doll that has life, he will walk with you in the story, whether he likes that story or not. They trust the messages that the stories offer, given the animist view of everyday life. Besides, their behavior demonstrates it – they shout, they grieve, they are frightened, they enjoy every moment with the heroes of the stories that perform in front of them, living with intensity everything that happens.
Key words: animation theater, emotion, puppet, story, children, art, game, fairytale
