Pub Date : 2020-12-31DOI: 10.2478/9788366675193-016
Valentina Sandu-Dediu
: I have already tackled in some previous texts the problems of Romanian musicology nowadays, related to its communist past. On the same path, I intend in this essay to follow a case study - the recent history of the Bucharest Philharmonic - in order to observe the transformations of an institution in socialist and post-socialist times. While reading the documents and volumes that have already been published about the Bucharest Philharmonic, we discover the tendencies, trends and mentalities that characterize Romanian culture as a whole: the musical definition of the nation, interwar nationalism, modernization, synchronicity, cosmopolitanism, socialist realism and communist nationalism, adaptation to international musical life. How can we write about the Philharmonic today, more than 150 years after its foundation? Research reveals that there is significant documentation covering the period up until World War II on the one hand, on the other hand there are only sporadic sources that have not been centralized and thus can still form only a fragmented image of the interwar period. Romanian musical historiography abundantly refers to the first hundred years (1868-1968), but the reader of those pages ought to maintain his/her critical spirit awake, so as to amend the ideological slippages of those writings. Most of them date back to the Communist decades and are inevitably contaminated with nationalist exaggerations, with phrasings that conformed to the censorship of the time. One can get an overall image at least of the music performed by consulting the collection of concert programmes in the Philharmonic Library. However, this image has its minuses, as – we know only too well – a concert programme printed before a concert may not coincide with the reality of last-minute changes. The Philharmonic’s ups and downs are also intertwined with the evolution of the other musical institutions in Bucharest: the (currently the National University of Music), the Society (and 1945, the Union) Composers and Musicologists, the Opera, it only because the same personalities of composed, conducted and taught, others wrote chronicles, were soloists and professors, or filled different temporary administrative positions, due to their professional status. The trends of Romanian Communist musical historiography are obvious in such an endeavour.
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Pub Date : 2020-12-31DOI: 10.2478/9788366675193-029
Sorin Constantin Semenov
The term Graffiti comes from the Latin being the plural of the verb graffiare (to scratch), it reminds of the way in which the Roman or Greek "vandals" recorded their political beliefs, love statements or even simple protests, on the walls of buildings. This practice is of course common in other civilizations, with more or less the same goal. Printing a text using colored spays and repeating it in a contemporary context, acquires an independent force. The association of casual letters, that seem to be accidental and implicitly their obsessive repetition have an exponential visual impact, but at the same time they contribute decisively to the general ensemble of the public space. Graffiti Art does not require the permission of civil society or the authorities, it is not associated with an ideology or belief but impregnates in the public consciousness a suite of characters that over time become part of it.
{"title":"Reiterating the Message in Graffiti Art","authors":"Sorin Constantin Semenov","doi":"10.2478/9788366675193-029","DOIUrl":"https://doi.org/10.2478/9788366675193-029","url":null,"abstract":"The term Graffiti comes from the Latin being the plural of the verb graffiare (to scratch), it reminds of the way in which the Roman or Greek \"vandals\" recorded their political beliefs, love statements or even simple protests, on the walls of buildings. This practice is of course common in other civilizations, with more or less the same goal. Printing a text using colored spays and repeating it in a contemporary context, acquires an independent force. The association of casual letters, that seem to be accidental and implicitly their obsessive repetition have an exponential visual impact, but at the same time they contribute decisively to the general ensemble of the public space. Graffiti Art does not require the permission of civil society or the authorities, it is not associated with an ideology or belief but impregnates in the public consciousness a suite of characters that over time become part of it.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131694316","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}
Pub Date : 2020-12-31DOI: 10.2478/9788366675193-019
Iulia Cibişescu-Duran, Eugenia Cibisescu-Duran, Georgiana Cibisescu-Duran
Located in the middle between the Concerto for string orchestra no. 1 written in 1951 and Concerto per archi nr.3 "in stile antico" (1974), both of them being of neo-baroque affiliation twinned with a folkloric modalism specific to the composer, Concerto for strings no. 2 (1972-1973), dedicated to the conductor and his disciple, Emil Simon, only demonstrates with special expressive force the approach of Toduta’s creative thinking to the baroque forms belonging to the Suite through the successive parts: Preludio, Fuga, Recitativo e Arioso, Toccata as well as a language based on an intensely chromatically folkloric modalism that gives its music a modern and contemporary breath.Toduta’s personal style present in the polyphonic articulations of the discourse, in his modal melody of folkloric origin, essentialized in cells belonging to the Romanian folk song, dressed in improvised baroque "forms" or with a fixed pattern (see Fuga), through a harmonic style proper to the composer, resulting from the vertical arrangement in consonant-dissonant conglomerates of the sounds of the modal melody, gives to the score of the String Concerto no.2 (score edited by the Music Publishing House of the Union of Composers and Musicologists of Romania) a special aura, unmistakable through the masterful grinding of every compositional detail.
位于弦乐协奏曲的中间。《第1号弦乐协奏曲》(1951年)和《反风格协奏曲》(1974年)，这两部作品都与新巴洛克风格有关，并与作曲家特有的民俗风格相结合。2(1972-1973)，献给指挥家和他的弟子Emil Simon，通过连续的部分:Preludio, Fuga, recativo e Arioso, Toccata以及基于强烈的音色民俗情态的语言，以特殊的表现力展示了Toduta对属于组曲的巴洛克形式的创造性思维方法，使其音乐具有现代和当代的气息。Toduta的个人风格呈现在话语的复调发音中，在他的民间起源的模态旋律中，本质上是属于罗马尼亚民歌的细胞，穿着即兴的巴洛克“形式”或固定的模式(见Fuga)，通过作曲家特有的和声风格，由模态旋律声音的辅音和不谐音组合的垂直排列产生，给出了第二弦乐协奏曲的乐谱(由罗马尼亚作曲家和音乐学家联盟音乐出版社编辑的乐谱)一种特殊的光环，通过对每一个作曲细节的大师般的打磨，毫无疑问。
{"title":"String Concerto nr.2 by Sigismund Toduță between the neobaroque and the contemporary styles","authors":"Iulia Cibişescu-Duran, Eugenia Cibisescu-Duran, Georgiana Cibisescu-Duran","doi":"10.2478/9788366675193-019","DOIUrl":"https://doi.org/10.2478/9788366675193-019","url":null,"abstract":"Located in the middle between the Concerto for string orchestra no. 1 written in 1951 and Concerto per archi nr.3 \"in stile antico\" (1974), both of them being of neo-baroque affiliation twinned with a folkloric modalism specific to the composer, Concerto for strings no. 2 (1972-1973), dedicated to the conductor and his disciple, Emil Simon, only demonstrates with special expressive force the approach of Toduta’s creative thinking to the baroque forms belonging to the Suite through the successive parts: Preludio, Fuga, Recitativo e Arioso, Toccata as well as a language based on an intensely chromatically folkloric modalism that gives its music a modern and contemporary breath.Toduta’s personal style present in the polyphonic articulations of the discourse, in his modal melody of folkloric origin, essentialized in cells belonging to the Romanian folk song, dressed in improvised baroque \"forms\" or with a fixed pattern (see Fuga), through a harmonic style proper to the composer, resulting from the vertical arrangement in consonant-dissonant conglomerates of the sounds of the modal melody, gives to the score of the String Concerto no.2 (score edited by the Music Publishing House of the Union of Composers and Musicologists of Romania) a special aura, unmistakable through the masterful grinding of every compositional detail.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125909029","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}
Pub Date : 2020-12-31DOI: 10.2478/9788366675193-028
Andrei Lazar
: This paper presents the initial results of a study on cultural memory, from the design product`s perspective, with focus on user interface. In user experience design the cultural memory brings new ways of expression of the interface elements, consisting of updated reinterpretations of some elements well known by the masses of users. The cultural memory keeps, preserves the knowledge and the collective human experiences from the past, such as texts, images, practices and others, in order to be rediscovered and reused by the current generations. This leads to the creation of a new form of interface, in which the user becomes an integral part, by using a mutual fund of memory, manifested through the elements of interface who refer to the knowledge and the experience of the user. These memories are bringed back through a metonymical pattern, where the part named mnemonic trigger , refers to the whole, to the memory of the accumulated experience. This way, the cultural memory constitutes the foundation on which the new element will be built, reinterpreted and updated. The stage of reinventing the wheel is skipped in user interface because all the elements and all the operating modes already exist in the memory.The concept of cultural memory is exemplified by the element of the analog potentiometer, analysed in the light of some iconic design products. During the analysis, a new evolutionary interface is revealed, connected to the period-specific technologies of each product. These have influenced and they continue to infuence the development of new interfaces, constituting references to the foundation upon which a new interface will be built, which could be a potential interface of the future by the synchronisation with the emerging technologies and the recent scientific discoveries.
{"title":"Cultural Memory Within The User Experience: From The Past To An Interface Of The Future","authors":"Andrei Lazar","doi":"10.2478/9788366675193-028","DOIUrl":"https://doi.org/10.2478/9788366675193-028","url":null,"abstract":": This paper presents the initial results of a study on cultural memory, from the design product`s perspective, with focus on user interface. In user experience design the cultural memory brings new ways of expression of the interface elements, consisting of updated reinterpretations of some elements well known by the masses of users. The cultural memory keeps, preserves the knowledge and the collective human experiences from the past, such as texts, images, practices and others, in order to be rediscovered and reused by the current generations. This leads to the creation of a new form of interface, in which the user becomes an integral part, by using a mutual fund of memory, manifested through the elements of interface who refer to the knowledge and the experience of the user. These memories are bringed back through a metonymical pattern, where the part named mnemonic trigger , refers to the whole, to the memory of the accumulated experience. This way, the cultural memory constitutes the foundation on which the new element will be built, reinterpreted and updated. The stage of reinventing the wheel is skipped in user interface because all the elements and all the operating modes already exist in the memory.The concept of cultural memory is exemplified by the element of the analog potentiometer, analysed in the light of some iconic design products. During the analysis, a new evolutionary interface is revealed, connected to the period-specific technologies of each product. These have influenced and they continue to infuence the development of new interfaces, constituting references to the foundation upon which a new interface will be built, which could be a potential interface of the future by the synchronisation with the emerging technologies and the recent scientific discoveries.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126497378","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}
Pub Date : 2020-12-31DOI: 10.2478/9788366675193-006
Călin Ciobotari
: The present study aims to abandon the unconditional excitement related to interdisciplinarity and highlight a series of limits and risks proposed by the interdisciplinary methods, as those limits and risks reflect themselves in the research of the theatre field. We are concerned, inter alia, by the different attitudes towards interdisciplinarity, as can be seen in the Western space - much more reserved, cautious – compared to the Eastern one, where we seem to witness a glorious time for the concept in question. We also insist on the origins of the interdisciplinary practices from the first half of the Twentieth Century and on the profound connection they have with the disappearance of the systemic philosophies and with the development of scientism. The study offers a series of examples which, as a Ph.D. coordinator, one considers relevant for what they, ultimately, support in this matter: the necessity of a cautious, lucid, and critical attitude. The fragility of prior documentations of those who venture into other fields, the risks of becoming superficial, the dictatorship of the approximate, the temptation of the manipulation – these are only a couple of the topics we address. The conclusions also refer to the imperative to not lose one's scientific identity, in the way that the philosopher Thomas Khun used this syntagm.
{"title":"Theatrical Research and the Limits of Interdisciplinarity","authors":"Călin Ciobotari","doi":"10.2478/9788366675193-006","DOIUrl":"https://doi.org/10.2478/9788366675193-006","url":null,"abstract":": The present study aims to abandon the unconditional excitement related to interdisciplinarity and highlight a series of limits and risks proposed by the interdisciplinary methods, as those limits and risks reflect themselves in the research of the theatre field. We are concerned, inter alia, by the different attitudes towards interdisciplinarity, as can be seen in the Western space - much more reserved, cautious – compared to the Eastern one, where we seem to witness a glorious time for the concept in question. We also insist on the origins of the interdisciplinary practices from the first half of the Twentieth Century and on the profound connection they have with the disappearance of the systemic philosophies and with the development of scientism. The study offers a series of examples which, as a Ph.D. coordinator, one considers relevant for what they, ultimately, support in this matter: the necessity of a cautious, lucid, and critical attitude. The fragility of prior documentations of those who venture into other fields, the risks of becoming superficial, the dictatorship of the approximate, the temptation of the manipulation – these are only a couple of the topics we address. The conclusions also refer to the imperative to not lose one's scientific identity, in the way that the philosopher Thomas Khun used this syntagm.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133184252","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}
Pub Date : 2020-12-31DOI: 10.2478/9788366675193-023
E. Campau
: The origins of symphonic jazz are a synthesis of Afro-American culture, popular music from the beginning of the 20th century and European classical music. Just like the European composers who assimilated folk melodies in creating new compositional languages in the spirit of artistic nationalism, American composers integrated the synthesis of African-American music and popular music in symphonic works, ways in which they defined a new genre - symphonic jazz. This genre was defined and promoted in the 1920s by musicians like George Gershwin and Paul Whiteman, but the interest for the confluence of jazz and classical music had been initiated by European composers, particularly French composers, at the end of 19th century. When looking at European confluent works, the influences of American music was not as substantial as in symphonic jazz, mainly because in those times European composers did not have access to live jazz music. In European confluent works there are influences of pre-jazz music, like blues and ragtime, as pentatonic scales related to the blues scale and especially specific rhythms. Symphonic Jazz used the romantic orchestra, combining also vernacular African-American instruments, or integrating in instrumentation different new effects, to suggest an image of the 20th century urban American society. Of course, some American composers found inspiration in the jazz big bands of the beginning of the 20th century, by this turning to their typical economy of instrumentation. Symphonic jazz works are usually presented in classical or romantic ample forms, which contain smaller forms, inspired by the typical American song form or blues form. This genre had a big impact in creating the idea of musical modernism, by combining subcultural music with classical music.
{"title":"Characteristics Of Symphonic Jazz","authors":"E. Campau","doi":"10.2478/9788366675193-023","DOIUrl":"https://doi.org/10.2478/9788366675193-023","url":null,"abstract":": The origins of symphonic jazz are a synthesis of Afro-American culture, popular music from the beginning of the 20th century and European classical music. Just like the European composers who assimilated folk melodies in creating new compositional languages in the spirit of artistic nationalism, American composers integrated the synthesis of African-American music and popular music in symphonic works, ways in which they defined a new genre - symphonic jazz. This genre was defined and promoted in the 1920s by musicians like George Gershwin and Paul Whiteman, but the interest for the confluence of jazz and classical music had been initiated by European composers, particularly French composers, at the end of 19th century. When looking at European confluent works, the influences of American music was not as substantial as in symphonic jazz, mainly because in those times European composers did not have access to live jazz music. In European confluent works there are influences of pre-jazz music, like blues and ragtime, as pentatonic scales related to the blues scale and especially specific rhythms. Symphonic Jazz used the romantic orchestra, combining also vernacular African-American instruments, or integrating in instrumentation different new effects, to suggest an image of the 20th century urban American society. Of course, some American composers found inspiration in the jazz big bands of the beginning of the 20th century, by this turning to their typical economy of instrumentation. Symphonic jazz works are usually presented in classical or romantic ample forms, which contain smaller forms, inspired by the typical American song form or blues form. This genre had a big impact in creating the idea of musical modernism, by combining subcultural music with classical music.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115219758","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}
Pub Date : 2020-12-31DOI: 10.2478/9788366675193-013
Alexandra Bandac
: Samuel Beckett remains in the history of literature as one of the most important creators of the XXth century. His work, streched over more than six decades, surprises the reader through his permanent stylisation of form, from the vast intertextualities in his early novels and nuvelas to the language essentialization, the characters synthesis and the structural economy which we find in his later works. In our cultural memory remai, still current and widely known, his plays, of which Martin Esslin said in 1960 that they uncover a new type of theatre, a theatre of the absurd. Indeed, Beckett’s plays contradict, up to a point, the scenic `canon` of those times and propose an universe in which the character is no longer a prisoner of the relevant biography, tributary to the Stanislavskian inheritance. However, in this study we are interested in understanding how Beckett’s plays are influenced by his scenic experience, because, starting with the late 60s, he directs his own texts in some European theaters. This step is a defining one, in our opinion, because working directly with actors changes and reflects in his late work both in theatre and prose.
{"title":"Samuel Beckett And The Temptation Of Direction","authors":"Alexandra Bandac","doi":"10.2478/9788366675193-013","DOIUrl":"https://doi.org/10.2478/9788366675193-013","url":null,"abstract":": Samuel Beckett remains in the history of literature as one of the most important creators of the XXth century. His work, streched over more than six decades, surprises the reader through his permanent stylisation of form, from the vast intertextualities in his early novels and nuvelas to the language essentialization, the characters synthesis and the structural economy which we find in his later works. In our cultural memory remai, still current and widely known, his plays, of which Martin Esslin said in 1960 that they uncover a new type of theatre, a theatre of the absurd. Indeed, Beckett’s plays contradict, up to a point, the scenic `canon` of those times and propose an universe in which the character is no longer a prisoner of the relevant biography, tributary to the Stanislavskian inheritance. However, in this study we are interested in understanding how Beckett’s plays are influenced by his scenic experience, because, starting with the late 60s, he directs his own texts in some European theaters. This step is a defining one, in our opinion, because working directly with actors changes and reflects in his late work both in theatre and prose.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121791709","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}
Pub Date : 2020-12-31DOI: 10.2478/9788366675193-008
M. Costea
: It is known that any effect is generated by a cause. The feedback effect, or inverse connection, is that physical phenomenon by which the effect returns to the cause that produced it, changing its initial parameters. For this phenomenon to occur, it is necessary to have a feedback circuit that returns the signal. A simple example of this is learning from mistakes. In our case, we will refer to the pronunciation of the stage text and the importance of the feedback effect in correcting and the actor's progress in interpreting the text from one repetition to another. Every mistake made by a man can correct his behavior, if he realizes the mistake he made. Thus, his partially wrong actions, however, bring him closer step by step, to the goal originally proposed. In this sense, we will deal with the feedback effect and its applications in the art of stage speech and will review the study and applicability of the feedback phenomenon in the art of theater in general. The set voice, specific to the stage speech technique, the support of the voice on the diaphragm during phonation, the permanent control of intonation and breathing, the multitude of interactions to which the actor is subjected on stage, his progress, on the contrary, vocal regression, student interaction in stage speech art and his teacher, all are possible due to the reverse connection effect. All reaction circuits are made in this case through the central nervous system. and persevering the speech, of the of the phonatory apparatus, of all kinds of interactions, which appear in the art of theater performance or in the of
{"title":"Feedback Effect And Its Applications In The Art Of Stage Speech","authors":"M. Costea","doi":"10.2478/9788366675193-008","DOIUrl":"https://doi.org/10.2478/9788366675193-008","url":null,"abstract":": It is known that any effect is generated by a cause. The feedback effect, or inverse connection, is that physical phenomenon by which the effect returns to the cause that produced it, changing its initial parameters. For this phenomenon to occur, it is necessary to have a feedback circuit that returns the signal. A simple example of this is learning from mistakes. In our case, we will refer to the pronunciation of the stage text and the importance of the feedback effect in correcting and the actor's progress in interpreting the text from one repetition to another. Every mistake made by a man can correct his behavior, if he realizes the mistake he made. Thus, his partially wrong actions, however, bring him closer step by step, to the goal originally proposed. In this sense, we will deal with the feedback effect and its applications in the art of stage speech and will review the study and applicability of the feedback phenomenon in the art of theater in general. The set voice, specific to the stage speech technique, the support of the voice on the diaphragm during phonation, the permanent control of intonation and breathing, the multitude of interactions to which the actor is subjected on stage, his progress, on the contrary, vocal regression, student interaction in stage speech art and his teacher, all are possible due to the reverse connection effect. All reaction circuits are made in this case through the central nervous system. and persevering the speech, of the of the phonatory apparatus, of all kinds of interactions, which appear in the art of theater performance or in the of","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121111752","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}
Pub Date : 2020-12-31DOI: 10.2478/9788366675193-011
Ivona Lucan
Abtract : The present research is designed to identify the clown-related items inserted in several theater performances by Romanian directors. We started with the clown term and we tried to establish the nuances it has, helping us with some definitions, then moving the focus to some landmark representations, where the position of the clown is associated with its "classic" animator status, with the theater and theatricality. The set ups we refer to are: Hamlet (set up under the signature of different directings: Liviu Ciulei, Vlad Mugur, Tompa Gábor, Victor Ioan Frunză), Why the Child Is Cooking in the Polenta , Three sisters , Iov's butcher's shop , Wolfgang (directed by Radu Afrim), The Cherry Orchard (directed by Vlad Mugur), Death of a Salesman (directed by Claudiu Goga), The Good Person of Szechwan , Carousel , Richard III (directed by Andrei Șerban), Ubu Rex with scenes from Macbeth , Danaidele , The cafe , Exit the King (directed by Silviu Purcărete), Night of the Buffoons (directed by Alexa Visarion) etc.
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Pub Date : 2020-12-31DOI: 10.2478/9788366675193-010
A. Pușcașu
: Whether he appears on the theater stage, in the circus arena or on-screen, the clown attracts the eyes of those around him due to his specific costume. Easily recognizable by color, shape or unconventional combinations of clothing items, the clown has become a source of inspiration for fashion lovers, designers or consumers.
{"title":"Clown-Inspired Elements Present In Everyday Clothing","authors":"A. Pușcașu","doi":"10.2478/9788366675193-010","DOIUrl":"https://doi.org/10.2478/9788366675193-010","url":null,"abstract":": Whether he appears on the theater stage, in the circus arena or on-screen, the clown attracts the eyes of those around him due to his specific costume. Easily recognizable by color, shape or unconventional combinations of clothing items, the clown has become a source of inspiration for fashion lovers, designers or consumers.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128318727","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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