On the basis of the author’s fi eld researches, the characteristic features of holding a traditional wedding among the Lipovans of the Republic of Moldova were revealed. Th e traditional wedding lasted three days, this feature is largely preserved to this day. On Sunday, aft er the wedding, the wedding party was celebrated in the groom’s house, the next day there took place the so-called “otvodiny” – the wedding in the bride’s house, and on the third day only the closest people were invited. On the fi rst and second days, the “dressing” of relatives (parents, etc.) was carried out: cuts of fabric, embroidered towels were used for this, which were hung crosswise on both shoulders. Th e parents planted at the wedding were usually the godmother and the godfather, with their active participation, the guests gave gift s to the young family; on the second day, they traveled around the village and collected these “gift s” (grain, goats, lambs, cuts of fabric, etc.). In the morning of the second day, the godmother entered the young couple’s room to check the “honesty” of the bride. If everything turned out to be in order, she went out to the guests with a red rag or bow. We also studied a number of transformations that took place in the wedding traditions of the Lipovans of the Republic of Moldova, especially in cities.
{"title":"Wedding traditions among the Lipovans of the Republic of Moldova (based on fi eld materials)","authors":"Tatiana Zaicovschi","doi":"10.52603/pc22.28","DOIUrl":"https://doi.org/10.52603/pc22.28","url":null,"abstract":"On the basis of the author’s fi eld researches, the characteristic features of holding a traditional wedding among the Lipovans of the Republic of Moldova were revealed. Th e traditional wedding lasted three days, this feature is largely preserved to this day. On Sunday, aft er the wedding, the wedding party was celebrated in the groom’s house, the next day there took place the so-called “otvodiny” – the wedding in the bride’s house, and on the third day only the closest people were invited. On the fi rst and second days, the “dressing” of relatives (parents, etc.) was carried out: cuts of fabric, embroidered towels were used for this, which were hung crosswise on both shoulders. Th e parents planted at the wedding were usually the godmother and the godfather, with their active participation, the guests gave gift s to the young family; on the second day, they traveled around the village and collected these “gift s” (grain, goats, lambs, cuts of fabric, etc.). In the morning of the second day, the godmother entered the young couple’s room to check the “honesty” of the bride. If everything turned out to be in order, she went out to the guests with a red rag or bow. We also studied a number of transformations that took place in the wedding traditions of the Lipovans of the Republic of Moldova, especially in cities.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121121789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Th e interference of the arts, respectively the inter- and trans-disciplinary methods, constitute the perspectives of approaching the show “Frunze de dor”/”Leaves of Longing” based on the novel of the same name by Ion Druță. Th e stage adaptation and direction belong to Alexandru Cozub, artistic director and fi rst director of “Mihai Eminescu” National Th eater from Chisinau. Th e object of research is the relationship between prose and theater, the forms of theatricality in the narrative literary text and the artistic ways of their scenic realization in the show. In this context, the specifi cs of the artistic vision of the prose writer I. Druță, his style and the way of reception and creation of the scenario by the director A. Cozub, as well as the artistic realization of the show, are highlighted. Th e director preserved the consecutiveness of the development of the action, the main scenes from the lyrical Druțian novel, creating a theatrical discourse in which the transition from epic to dramatic is fully manifested, the authorship and orality being, for the most part, transmitted to the choir or to specifi c characters, thus demonstrating that the voice of the author in the epic work acquires a certain dramatic intensity in the stage action
{"title":"Prose and theatre. A stage vision of director Alexandru Cozub","authors":"Ana Ghilaş","doi":"10.52603/pc22.19","DOIUrl":"https://doi.org/10.52603/pc22.19","url":null,"abstract":"Th e interference of the arts, respectively the inter- and trans-disciplinary methods, constitute the perspectives of approaching the show “Frunze de dor”/”Leaves of Longing” based on the novel of the same name by Ion Druță. Th e stage adaptation and direction belong to Alexandru Cozub, artistic director and fi rst director of “Mihai Eminescu” National Th eater from Chisinau. Th e object of research is the relationship between prose and theater, the forms of theatricality in the narrative literary text and the artistic ways of their scenic realization in the show. In this context, the specifi cs of the artistic vision of the prose writer I. Druță, his style and the way of reception and creation of the scenario by the director A. Cozub, as well as the artistic realization of the show, are highlighted. Th e director preserved the consecutiveness of the development of the action, the main scenes from the lyrical Druțian novel, creating a theatrical discourse in which the transition from epic to dramatic is fully manifested, the authorship and orality being, for the most part, transmitted to the choir or to specifi c characters, thus demonstrating that the voice of the author in the epic work acquires a certain dramatic intensity in the stage action","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114953109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Th e stone fortress of Kilia was erected on the banks of the Danube in the summer of 1479 on the initiative led by Stephen the Great. An inner wall separated it, following the example of the Cetatea Alba, into two distinct parts: the Outer Fortress, which corresponded to the “civil court”, and the Middle Fortress, to which conformed to the “middle court” corresponded. It was joined by the third courtyard, the “garrison courtyard”, which surrounded the old stone citadel. Th e inner citadel corresponded to the “middle court” and the “garrison court”. Th e fourth court, the “court of the citadel” or “court of the military commander”, was bounded by the citadel walls. Among the fl anking towers were the Arsenal Tower, the Weapons Tower, the Commander’s Tower, the Lighthouse Tower, the Bloody Tower, the Prison Tower, the Maiden’s Tower, the Arab Tower, the Wool Tower, the Millet Tower, the Flat Tower, the Cracked Tower, the Biscuit Tower, the Mountain Tower, etc. During the rule of Stephen the Great, ordinary towers appeared, with an inner hollow, “full” towers and “artillery towers”. Th e roads connected the Great Gate of the citadel with three Gates from the water, the Small Gate, the Guild Gate and the Greek Gate. Th e defensive complex of Kilia was conquered by Ottoman troops in July of 1484.
{"title":"Kilia fortress of Stephen the Great","authors":"Mariana Şlapac","doi":"10.52603/pc22.08","DOIUrl":"https://doi.org/10.52603/pc22.08","url":null,"abstract":"Th e stone fortress of Kilia was erected on the banks of the Danube in the summer of 1479 on the initiative led by Stephen the Great. An inner wall separated it, following the example of the Cetatea Alba, into two distinct parts: the Outer Fortress, which corresponded to the “civil court”, and the Middle Fortress, to which conformed to the “middle court” corresponded. It was joined by the third courtyard, the “garrison courtyard”, which surrounded the old stone citadel. Th e inner citadel corresponded to the “middle court” and the “garrison court”. Th e fourth court, the “court of the citadel” or “court of the military commander”, was bounded by the citadel walls. Among the fl anking towers were the Arsenal Tower, the Weapons Tower, the Commander’s Tower, the Lighthouse Tower, the Bloody Tower, the Prison Tower, the Maiden’s Tower, the Arab Tower, the Wool Tower, the Millet Tower, the Flat Tower, the Cracked Tower, the Biscuit Tower, the Mountain Tower, etc. During the rule of Stephen the Great, ordinary towers appeared, with an inner hollow, “full” towers and “artillery towers”. Th e roads connected the Great Gate of the citadel with three Gates from the water, the Small Gate, the Guild Gate and the Greek Gate. Th e defensive complex of Kilia was conquered by Ottoman troops in July of 1484.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129669348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Th e article describes the fairy tale folklore refl ection of the social sphere of Bulgarians of the Republic of Moldova and Ukraine as part of their ethnic refl ection of the world. Th e social world is represented in the fairy tales through the nomination of social functions and statuses of people; their actualization is connected with real and axiological value, as well as with their ethical function. Th e research is done on the basis of novel fairy tales and anecdotes collected in the Republic of Moldova and Ukraine in the 70-90th of the XX century. About 50 lexical units were found that refl ect the nomination of the social status of the characters (family, social, and professional status, economical situation, etc.). Th e units were considered from the point of the social structure of an ethnic community; the classifi cation of social groups and their stratifi cation was done. Th rough the example of some nominations, their semantic and contextual expansion were researched (involving the background cultural information), as well as the connotation of the corresponding nominations (as an axiological element).
{"title":"Social world in the fairy tale folklore of the Bulgarians of Moldova and Ukraine","authors":"Надежда Кара","doi":"10.52603/pc22.30","DOIUrl":"https://doi.org/10.52603/pc22.30","url":null,"abstract":"Th e article describes the fairy tale folklore refl ection of the social sphere of Bulgarians of the Republic of Moldova and Ukraine as part of their ethnic refl ection of the world. Th e social world is represented in the fairy tales through the nomination of social functions and statuses of people; their actualization is connected with real and axiological value, as well as with their ethical function. Th e research is done on the basis of novel fairy tales and anecdotes collected in the Republic of Moldova and Ukraine in the 70-90th of the XX century. About 50 lexical units were found that refl ect the nomination of the social status of the characters (family, social, and professional status, economical situation, etc.). Th e units were considered from the point of the social structure of an ethnic community; the classifi cation of social groups and their stratifi cation was done. Th rough the example of some nominations, their semantic and contextual expansion were researched (involving the background cultural information), as well as the connotation of the corresponding nominations (as an axiological element).","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115978696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Th e study ”Th e repertoire of the performer Nina Ermurachi in the Folclor orchestra: dominant categories and aesthetic trends” addresses some methodological and epistemological aspects of the theme, designed as a preliminary stage of a wider research on the contribution of the professional folk orchestra “Folclor” in the work of cultural patrimonialization on the platform of neo-traditional art from the late Soviet period (1960-1980). Th e focus is on elucidating the heuristic relevance of some seminal notions from cultural studies theory. Th e author tries to argue the complexity, multiplicity and plurivalence of aspects related to aesthetics, ideology, social base, semantic universe, expressive and typological structures in the repertoire and vocal art of the soloist Nina Ermurachi. Full-time employee of the orchestra for over 37 years, the artist got the most out of around 180 songs in neo-traditional style, a solid and important musical heritage in the form of audiovisual recordings, included in the fund of IPNA Company “Teleradio-Moldova”. Starting from Cliff ord Geertz’s suggestions, two strategic typological categories are delimited in the artist’s repertoire, which symbolize the hegemonic force of two great directions or layers in the patrimonialization process: 1) creations grouped around the idea of national ethos and 2) creations centered on the “new, socialist vision”.
{"title":"Th e repertoire of the performer Nina Ermurachi in the “Folclor” orchestra: dominant categories and aesthetic trends","authors":"Vasile Chiseliţă","doi":"10.52603/pc22.25","DOIUrl":"https://doi.org/10.52603/pc22.25","url":null,"abstract":"Th e study ”Th e repertoire of the performer Nina Ermurachi in the Folclor orchestra: dominant categories and aesthetic trends” addresses some methodological and epistemological aspects of the theme, designed as a preliminary stage of a wider research on the contribution of the professional folk orchestra “Folclor” in the work of cultural patrimonialization on the platform of neo-traditional art from the late Soviet period (1960-1980). Th e focus is on elucidating the heuristic relevance of some seminal notions from cultural studies theory. Th e author tries to argue the complexity, multiplicity and plurivalence of aspects related to aesthetics, ideology, social base, semantic universe, expressive and typological structures in the repertoire and vocal art of the soloist Nina Ermurachi. Full-time employee of the orchestra for over 37 years, the artist got the most out of around 180 songs in neo-traditional style, a solid and important musical heritage in the form of audiovisual recordings, included in the fund of IPNA Company “Teleradio-Moldova”. Starting from Cliff ord Geertz’s suggestions, two strategic typological categories are delimited in the artist’s repertoire, which symbolize the hegemonic force of two great directions or layers in the patrimonialization process: 1) creations grouped around the idea of national ethos and 2) creations centered on the “new, socialist vision”.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125332240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Th e paper presents the results of the study on the traditions of preparing the „Baba Neagră” (Black sweet dish), as an element of the gastronomic patrimony in the area of the Republic of Moldova. Baba Neagră is a sweet dish prepared especially in the northern part of the Republic of Moldova. Th e preparation is also identifi ed in Romania. Th e study undertaken allowed the identifi cation of a varied range of this preparation-13, excelling from one area to another, being identifi ed as a preparation served hot or cold, with cognac, fruits, nuts, sweetness from fruits, etc. For diff erent periods in the religious calendar, the inventive housewives identifi ed solutions: there was the Baba Neagră for lent and Baba Neagră for celebration. Th us, considering the religious customs (as a landmark), but also through their native skill, various recipes were created valid for any period of the religious calendar year. We note that the importance of discovering, preserving and passing on to the next generations of authentic Baba Neagră recipes derives from the interest in promoting authentic dishes. In this context, the preparation of Baba Neagră is a brand of national cultural and gastronomic identity.
{"title":"Baba neagra – element of gastronomic heritage and of preparation traditions","authors":"Lucia Adascalița-Crigan, Viorica Cazac-Scobioala","doi":"10.52603/pc22.26","DOIUrl":"https://doi.org/10.52603/pc22.26","url":null,"abstract":"Th e paper presents the results of the study on the traditions of preparing the „Baba Neagră” (Black sweet dish), as an element of the gastronomic patrimony in the area of the Republic of Moldova. Baba Neagră is a sweet dish prepared especially in the northern part of the Republic of Moldova. Th e preparation is also identifi ed in Romania. Th e study undertaken allowed the identifi cation of a varied range of this preparation-13, excelling from one area to another, being identifi ed as a preparation served hot or cold, with cognac, fruits, nuts, sweetness from fruits, etc. For diff erent periods in the religious calendar, the inventive housewives identifi ed solutions: there was the Baba Neagră for lent and Baba Neagră for celebration. Th us, considering the religious customs (as a landmark), but also through their native skill, various recipes were created valid for any period of the religious calendar year. We note that the importance of discovering, preserving and passing on to the next generations of authentic Baba Neagră recipes derives from the interest in promoting authentic dishes. In this context, the preparation of Baba Neagră is a brand of national cultural and gastronomic identity.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132343355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Th e purpose of the article is to elucidate the evolution of the fi ve-string guitar in Spain during the Baroque period. It acquires a multidimensional character: interpretation techniques are developed, the repertoire is enriched, there is a plethora of talented performers and composers who promote new trends in the Spanish guitar practice. Th e author studies three major innovations of the time that led to the essential change of the guitar practice: the replacement of the polyphonic style with the homophone-harmonic one; introduction of a new notation system – Alfabeto; the formation of the Spanish composers’ school. Treatises written by J.C. Amat, G. Sans, L. R. de Ribayaz, S. de Murcia are analyzed as well as the time repertoire composed by famous performers and composers. Th e most important features of the Spanish baroque guitar style are revealed in the conclusions: favorite genres, typical guitar texture, etc.
本文的目的是阐明五弦吉他在巴洛克时期在西班牙的演变。它获得了一个多维度的特征:演绎技术的发展，曲目的丰富，有很多有才华的表演者和作曲家，他们推动了西班牙吉他实践的新趋势。作者研究了当时导致吉他实践发生本质变化的三大创新:以同音和声风格取代复调风格;引入一个新的符号系统- Alfabeto;西班牙作曲家学派的形成本文分析了J.C. Amat, G. Sans, L. R. de Ribayaz, S. de Murcia的专著，以及著名演奏家和作曲家的时间曲目。结论部分揭示了西班牙巴洛克吉他风格最重要的特点:喜爱的流派、典型的吉他织体等。
{"title":"Spanish baroque guitar: theoretical landmarks","authors":"Mihail Agafița","doi":"10.52603/pc22.22","DOIUrl":"https://doi.org/10.52603/pc22.22","url":null,"abstract":"Th e purpose of the article is to elucidate the evolution of the fi ve-string guitar in Spain during the Baroque period. It acquires a multidimensional character: interpretation techniques are developed, the repertoire is enriched, there is a plethora of talented performers and composers who promote new trends in the Spanish guitar practice. Th e author studies three major innovations of the time that led to the essential change of the guitar practice: the replacement of the polyphonic style with the homophone-harmonic one; introduction of a new notation system – Alfabeto; the formation of the Spanish composers’ school. Treatises written by J.C. Amat, G. Sans, L. R. de Ribayaz, S. de Murcia are analyzed as well as the time repertoire composed by famous performers and composers. Th e most important features of the Spanish baroque guitar style are revealed in the conclusions: favorite genres, typical guitar texture, etc.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"290 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113958904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Information about „Циганешти князове” was mentioned in a Moldavian medieval document dated 1414 A.D. Th e most appropriate interpretation of these words is the following: Циганешти is an anthroponym-patronym, which denotates several (at least two) people that descended from a man whose name is Цыган. Next, this name, Цыган comes from the ethnonym tsigan (an old ethnonym for Roma people). Following the typical Romanian medieval toponymical model (an early model) the patronymic Цыганешть later gave birth to the oikonym (name of a village) Цыганешть. According to L. L. Polevoi, the formation of the complete form of Romanian oikonyms with the suffi x –ешть needed about 102 +- 29 years. Th us, we have to date the origin of the village „Циганешти князове” earlier than 1400 A.D. Moreover, it is akso possible that this village appeared even in the times of the Golden Hoard (as some other early Moldavian villages (see researches of L.L. Polevoi and N. D. Russev). We can suppose that early groups of Roma (being merchants and craft smen) came to Balkans in the XIII – early XIV centuries A.D., and entered at the same time the Carpathian-Dniester lands that were owned by the Golden Hoard.
关于“Циганешти князове”的信息在公元1414年的摩尔达维亚中世纪文献中被提及。对这些词最合适的解释如下:Циганешти是一个人名-父名，它表示几个(至少两个)人是Цыган这个人的后裔。其次，这个名字Цыган来自民族名tsigan(一个古老的罗姆人的民族名)。按照典型的罗马尼亚中世纪地名模式(早期模式)，父名Цыганешть后来产生了oikonym(一个村庄的名字)Цыганешть。根据L. L. Polevoi的说法，以x -ешть为后缀的罗马尼亚语的完整形式的形成大约需要102 +- 29年。因此，我们必须确定村庄“Циганешти князове”的起源时间早于公元1400年。此外，这个村庄甚至可能出现在金盾时期(就像其他一些早期的摩尔多瓦村庄一样)(参见L.L. Polevoi和n.d. Russev的研究)。我们可以假设，早期的罗姆人(作为商人和手工业者)在公元十三世纪至十四世纪初来到巴尔干半岛，同时进入了金帐汗国拥有的喀尔巴阡-德涅斯特地区。
{"title":"“Циганешти князове” and the issue of appearance of Roma people on the lands of Țara Moldovei and Țara Românească","authors":"Алексей Романчук","doi":"10.52603/pc22.32","DOIUrl":"https://doi.org/10.52603/pc22.32","url":null,"abstract":"Information about „Циганешти князове” was mentioned in a Moldavian medieval document dated 1414 A.D. Th e most appropriate interpretation of these words is the following: Циганешти is an anthroponym-patronym, which denotates several (at least two) people that descended from a man whose name is Цыган. Next, this name, Цыган comes from the ethnonym tsigan (an old ethnonym for Roma people). Following the typical Romanian medieval toponymical model (an early model) the patronymic Цыганешть later gave birth to the oikonym (name of a village) Цыганешть. According to L. L. Polevoi, the formation of the complete form of Romanian oikonyms with the suffi x –ешть needed about 102 +- 29 years. Th us, we have to date the origin of the village „Циганешти князове” earlier than 1400 A.D. Moreover, it is akso possible that this village appeared even in the times of the Golden Hoard (as some other early Moldavian villages (see researches of L.L. Polevoi and N. D. Russev). We can suppose that early groups of Roma (being merchants and craft smen) came to Balkans in the XIII – early XIV centuries A.D., and entered at the same time the Carpathian-Dniester lands that were owned by the Golden Hoard.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126267715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Clever, highly artistic performances by Andrei Baleanu entered the golden fund of the Moldovan theatrical culture. His performances are distinguished by cultural and civic identity - Rops by Boris Kabur, the comedy Inspector General by Nicolai Gogol, the tragedy Romeo and Juliet by William Shakespeare, On the Night of the Lunar Eclipse by Mustai Karim, the heroic-romantic play Th e Blue Deer by Alexei Kolomiets, the play Solo for a Striking Clock by Osvald Zahradnik, the production drama Bonus by Alexandr Gelman, the play Th e Lower Depth by Maxim Gorky, the comedy Man and Gentleman by Eduardo de Filippo, Th e Lark by J. Anouilh. Performances that are distinguished by cultural, national and civic identities - the ballad At the Gates of Paradise based on the play Earth by Ion Podoleanu, the play Th e White Moor based on the story by Ion Creanga, the play A Stormy Night by Ion Luca Caragiale, to the hidden meanings in the text of the playwright to which was given a modern sound.
{"title":"Cultural identity of Andrei Baleanu’s performances","authors":"Elfrida Koroliova","doi":"10.52603/pc22.20","DOIUrl":"https://doi.org/10.52603/pc22.20","url":null,"abstract":"Clever, highly artistic performances by Andrei Baleanu entered the golden fund of the Moldovan theatrical culture. His performances are distinguished by cultural and civic identity - Rops by Boris Kabur, the comedy Inspector General by Nicolai Gogol, the tragedy Romeo and Juliet by William Shakespeare, On the Night of the Lunar Eclipse by Mustai Karim, the heroic-romantic play Th e Blue Deer by Alexei Kolomiets, the play Solo for a Striking Clock by Osvald Zahradnik, the production drama Bonus by Alexandr Gelman, the play Th e Lower Depth by Maxim Gorky, the comedy Man and Gentleman by Eduardo de Filippo, Th e Lark by J. Anouilh. Performances that are distinguished by cultural, national and civic identities - the ballad At the Gates of Paradise based on the play Earth by Ion Podoleanu, the play Th e White Moor based on the story by Ion Creanga, the play A Stormy Night by Ion Luca Caragiale, to the hidden meanings in the text of the playwright to which was given a modern sound.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121830708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Public institutions for spectacle are given special attention in detailed urban plans, serving as dominant features and accents in the urban context. Th e importance of buildings of this type requires not only a careful search for the architectural image, taking into account the form of representation, but also the identifi cation of the uniqueness of the object designed to solve urban planning tasks. Aesthetics inspired by buildings for spectacle affi rm and validate their compositional role, cultural and artistic value being described by evaluation criteria such as spatial proportion and structure, visual openings and ability to provide views, expression and style, image and identity, spirit of the time and atmosphere of the place. Th e spectacular side of these buildings becomes evident through the intensifi cation of the formal features: from the treatment of the fronts to the decorative elements.
{"title":"Th e compositional role of buildings for spectacle in the urban context","authors":"A. Trifan","doi":"10.52603/pc22.12","DOIUrl":"https://doi.org/10.52603/pc22.12","url":null,"abstract":"Public institutions for spectacle are given special attention in detailed urban plans, serving as dominant features and accents in the urban context. Th e importance of buildings of this type requires not only a careful search for the architectural image, taking into account the form of representation, but also the identifi cation of the uniqueness of the object designed to solve urban planning tasks. Aesthetics inspired by buildings for spectacle affi rm and validate their compositional role, cultural and artistic value being described by evaluation criteria such as spatial proportion and structure, visual openings and ability to provide views, expression and style, image and identity, spirit of the time and atmosphere of the place. Th e spectacular side of these buildings becomes evident through the intensifi cation of the formal features: from the treatment of the fronts to the decorative elements.","PeriodicalId":296131,"journal":{"name":"Patrimoniul cultural: cercetare, valorificare, promovare","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124424256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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