Pub Date : 2020-12-31DOI: 10.2478/9788366675193-004
Adrian Netedu
: Sociological research of cultural consumption practices has an old tradition in many European countries and more recently in EU-statistics at the continental level. In Romania, extensive research has been coordinated under the auspices of the Ministry of Culture, but they are also the prerogative of some local initiatives, especially in the context of the elaboration of the county cultural strategies or in-depth analysis of creative industries. Such research is also very useful in the context of various European competitions such as the Competition for the European Capital of Culture. In our communication, we will exemplify a series of profile researches set up at national or local level in recent years to emphasize the role of sociological research in the field.
{"title":"Sociological Research On Cultural Consumption Practices","authors":"Adrian Netedu","doi":"10.2478/9788366675193-004","DOIUrl":"https://doi.org/10.2478/9788366675193-004","url":null,"abstract":": Sociological research of cultural consumption practices has an old tradition in many European countries and more recently in EU-statistics at the continental level. In Romania, extensive research has been coordinated under the auspices of the Ministry of Culture, but they are also the prerogative of some local initiatives, especially in the context of the elaboration of the county cultural strategies or in-depth analysis of creative industries. Such research is also very useful in the context of various European competitions such as the Competition for the European Capital of Culture. In our communication, we will exemplify a series of profile researches set up at national or local level in recent years to emphasize the role of sociological research in the field.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"6 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":"128782461","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: 10.2478/9788366675193-003
Miruna Runcan
: The paper intends to analyse, in historical and comparative paths, the evolution of diverse types of theatre criticism beneficiaries, in direct relationship with the evolutions of theatre as art in XX century. In this respect, the paper tries to address several illusions about the targets and goals of theatre criticism, from a perspective who implicates demographic changes, political changes and spectatorial praxis.
{"title":"Theatre Criticism and Its Recipients","authors":"Miruna Runcan","doi":"10.2478/9788366675193-003","DOIUrl":"https://doi.org/10.2478/9788366675193-003","url":null,"abstract":": The paper intends to analyse, in historical and comparative paths, the evolution of diverse types of theatre criticism beneficiaries, in direct relationship with the evolutions of theatre as art in XX century. In this respect, the paper tries to address several illusions about the targets and goals of theatre criticism, from a perspective who implicates demographic changes, political changes and spectatorial praxis.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"433 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":"132794925","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: 10.2478/9788366675193-026
P. Bejan
{"title":"Dorin Baba. Art and research","authors":"P. Bejan","doi":"10.2478/9788366675193-026","DOIUrl":"https://doi.org/10.2478/9788366675193-026","url":null,"abstract":"","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":"121836426","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: 10.2478/9788366675193-005
D. Monah
: This chapter will explore two theatre productions which seek to approach the Nazi concentration camps from the perspective of the contemporary spectator, faced with a restricted, mediated access to the reality of the camps, a perspective which is partially superimposed upon that of the direct eyewitness. Both Hotel Modern’s Kamp (2005) and Rodéo d’âme’s Eldorado Terezín (2017) stage an imaginative account of daily life in concentration camps, as it is mediated through archive documents, the media as well as family stories. Both productions required an important amount of documentary research, that artists conducted in concentration camps. The practitioners portrayed victims and perpetrators through puppets and figurines that they filmed during the performance. The images were projected on screens, so the spectator had access to the concentrationary world from two perspectives at the same time. We will analyse the distancing techniques which mediate in these productions the viewer’s relationship with the represented universe.
{"title":"When The Puppets Tell The Concentrationary Inferno. Eldorado Terezín (Rodéo D’âme, 2017) And Kamp (Modern Hotel, 2005)","authors":"D. Monah","doi":"10.2478/9788366675193-005","DOIUrl":"https://doi.org/10.2478/9788366675193-005","url":null,"abstract":": This chapter will explore two theatre productions which seek to approach the Nazi concentration camps from the perspective of the contemporary spectator, faced with a restricted, mediated access to the reality of the camps, a perspective which is partially superimposed upon that of the direct eyewitness. Both Hotel Modern’s Kamp (2005) and Rodéo d’âme’s Eldorado Terezín (2017) stage an imaginative account of daily life in concentration camps, as it is mediated through archive documents, the media as well as family stories. Both productions required an important amount of documentary research, that artists conducted in concentration camps. The practitioners portrayed victims and perpetrators through puppets and figurines that they filmed during the performance. The images were projected on screens, so the spectator had access to the concentrationary world from two perspectives at the same time. We will analyse the distancing techniques which mediate in these productions the viewer’s relationship with the represented universe.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"285 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":"134448121","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: 10.2478/9788366675193-027
S. Muscalu
Recent artistic production does not have the ambition to repeat historical forms or to assign to art the same functions as previous history. Currently, the boundaries between genres and artistic mediums have dissolved and the hierarchical vision has ceased to exist, as a result of the change of the avant garde paradigm towards installation and inter-media practices. Painting thus became a hybrid form of art. All media now form an universal, self-contained medium, this being the post-media condition of the productions that constitute artistic practice today. The post-media condition consists in the equivalence of the mediums, followed by the natural process of mixing them, supported by mutual influence and determination. The outside the borders resulted circuit is being naturally identified with mechanisms similar to artistic hybrid.
{"title":"Post-Medium Condition In Contemporary Art. Post-Medium Aspects In Photographic And Pictorial Images","authors":"S. Muscalu","doi":"10.2478/9788366675193-027","DOIUrl":"https://doi.org/10.2478/9788366675193-027","url":null,"abstract":"Recent artistic production does not have the ambition to repeat historical forms or to assign to art the same functions as previous history. Currently, the boundaries between genres and artistic mediums have dissolved and the hierarchical vision has ceased to exist, as a result of the change of the avant garde paradigm towards installation and inter-media practices. Painting thus became a hybrid form of art. All media now form an universal, self-contained medium, this being the post-media condition of the productions that constitute artistic practice today. The post-media condition consists in the equivalence of the mediums, followed by the natural process of mixing them, supported by mutual influence and determination. The outside the borders resulted circuit is being naturally identified with mechanisms similar to artistic hybrid.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"148 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":"123172264","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: 10.2478/9788366675193-022
L. Palade
: As Tiberiu Olah’s disciple, Anton Zeman proposes us a lesson in compositional refinement through the Piano sonata. The author's modern conception of the sonata form captivates you in identifying the compositional techniques that combine modalism diatonic with the chromatic structures. The musical discourse is presented monodically, homophonically or polyphonically. The melodic line is displayed horizontally by the fifth interval that is projected in some hypostases through the serial stage, or vertically, through major-minor chords superimposed with quartz structures, treated at the boundary between the gravitational and the atonal – spaced by registers of different timbres, supported by a heterogeneous or homogeneous rhythmic pulsation.
{"title":"Elements of Modernity in the Piano Sonata by Anton Zeman","authors":"L. Palade","doi":"10.2478/9788366675193-022","DOIUrl":"https://doi.org/10.2478/9788366675193-022","url":null,"abstract":": As Tiberiu Olah’s disciple, Anton Zeman proposes us a lesson in compositional refinement through the Piano sonata. The author's modern conception of the sonata form captivates you in identifying the compositional techniques that combine modalism diatonic with the chromatic structures. The musical discourse is presented monodically, homophonically or polyphonically. The melodic line is displayed horizontally by the fifth interval that is projected in some hypostases through the serial stage, or vertically, through major-minor chords superimposed with quartz structures, treated at the boundary between the gravitational and the atonal – spaced by registers of different timbres, supported by a heterogeneous or homogeneous rhythmic pulsation.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"36 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":"122929953","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: 10.2478/9788366675193-002
Nicoleta Ularu
Technology constantly provides new tools that revolutionize higher art education worldwide, engaging students and teachers equally in educational processes that try to combine traditional patterns of interaction and virtual interaction. Humanity is constantly evolving, and technology is an essential part of contemporary society influenced (for the better or worse) by unprecedented experiences in information exchange. The new technologies that affect our daily lives have started to have a critical impact on the way art is created and perceived. The use of technology is more than a modern trend in education; soon, it can represent a sharp change in the way we teach art, the way students learn and how artistic productions will be perceived. In the 21st century economy, the term creative industry encompasses art that is increasingly produced and distributed by technological means. The presentation will address some of the complex aspects of technological innovation and their impact on educational methodologies in the field of arts. Due to the concession to which this presentation is subject, we will try to answer only some of the fundamental questions that arise in understanding the relationship between technology and creativity as a prelude to innovation in art: How does technology influence creativity in artistic education? Does breaking barriers between art and technology affect positively or negatively the education programs? How much can cultural/educational policies be adapted to address the tensions between culture and economy, especially in recession conditions? If the technology reshapes the artistic expression, how can art and technology be redefined in the new paradigm of creative industries? How can education models in higher education be reassessed soon? How does technology influence the behavior of the audience? Who will be addressed in the future by artistic creation? Is artistic creation driven by technology? How do we educate the new generations of artists, who after graduation will reach an audience influenced by the unprecedented development of technology? Does the Internet affect the artistic creation and its perception?
{"title":"The Impact Of Technology In Reshaping Artistic Education","authors":"Nicoleta Ularu","doi":"10.2478/9788366675193-002","DOIUrl":"https://doi.org/10.2478/9788366675193-002","url":null,"abstract":"Technology constantly provides new tools that revolutionize higher art education worldwide, engaging students and teachers equally in educational processes that try to combine traditional patterns of interaction and virtual interaction. Humanity is constantly evolving, and technology is an essential part of contemporary society influenced (for the better or worse) by unprecedented experiences in information exchange. The new technologies that affect our daily lives have started to have a critical impact on the way art is created and perceived. The use of technology is more than a modern trend in education; soon, it can represent a sharp change in the way we teach art, the way students learn and how artistic productions will be perceived. In the 21st century economy, the term creative industry encompasses art that is increasingly produced and distributed by technological means. The presentation will address some of the complex aspects of technological innovation and their impact on educational methodologies in the field of arts. Due to the concession to which this presentation is subject, we will try to answer only some of the fundamental questions that arise in understanding the relationship between technology and creativity as a prelude to innovation in art: How does technology influence creativity in artistic education? Does breaking barriers between art and technology affect positively or negatively the education programs? How much can cultural/educational policies be adapted to address the tensions between culture and economy, especially in recession conditions? If the technology reshapes the artistic expression, how can art and technology be redefined in the new paradigm of creative industries? How can education models in higher education be reassessed soon? How does technology influence the behavior of the audience? Who will be addressed in the future by artistic creation? Is artistic creation driven by technology? How do we educate the new generations of artists, who after graduation will reach an audience influenced by the unprecedented development of technology? Does the Internet affect the artistic creation and its perception?","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"60 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":"122023577","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: 10.2478/9788366675193-018
D. Ibănescu
Abstrac t: From the last century to the present day, the constant increase of interest in early music, has triggered a real musicological and interpretive effervescence in anchoring in contemporaneity a distant period in the history of music. The work we are analyzing is part of the interest shown in the last century towards the creative personality of Antonio Soler. Of the total of 120 sonatas for keyboard instruments by the Spanish composer Antonio Soler, known today as Padre Antonio Soler, 103 are single-part, which was common in that era, especially in Italy and Spain. But, as other composers in the Iberian space have done - we are thinking first of all of the Portuguese composer Carlos Seixas - Soler also approaches the tripartite structure in six of his sonatas. These sonatas were published in Madrid, under the care of Fr. Samuel Rubio, in volume IV. Sonata no. 64, the one on which we stopped, from the previously mentioned volume, is composed of several parts (according to the da chiesa model), through this the composer anticipating the genre of classical sonata. It falls into a special typology that refers to the old patterns and reveals an ancient style – stile antico - writing, due to the use of polyphonic procedures belonging to the Baroque tradition. Within the architectural construction, we notice how the sonata plan includes the following sequence of movements: that the first and the second part contrast with the last through the homophone character. At the same time, we notice that these two parts, although unified by the moderate tempo, establish contrasts rhythm. From the point of view of the form, these parts fit the pattern of the sonata. The novelty of the third part stands out, the one that represents the corollary of the entire cycle of the sonata, Soler resorting here to the ample, developed, fugue form.
{"title":"Contemporary Perspectives On The Multi-Part Sonata R. 64 By Antonio Soler","authors":"D. Ibănescu","doi":"10.2478/9788366675193-018","DOIUrl":"https://doi.org/10.2478/9788366675193-018","url":null,"abstract":"Abstrac t: From the last century to the present day, the constant increase of interest in early music, has triggered a real musicological and interpretive effervescence in anchoring in contemporaneity a distant period in the history of music. The work we are analyzing is part of the interest shown in the last century towards the creative personality of Antonio Soler. Of the total of 120 sonatas for keyboard instruments by the Spanish composer Antonio Soler, known today as Padre Antonio Soler, 103 are single-part, which was common in that era, especially in Italy and Spain. But, as other composers in the Iberian space have done - we are thinking first of all of the Portuguese composer Carlos Seixas - Soler also approaches the tripartite structure in six of his sonatas. These sonatas were published in Madrid, under the care of Fr. Samuel Rubio, in volume IV. Sonata no. 64, the one on which we stopped, from the previously mentioned volume, is composed of several parts (according to the da chiesa model), through this the composer anticipating the genre of classical sonata. It falls into a special typology that refers to the old patterns and reveals an ancient style – stile antico - writing, due to the use of polyphonic procedures belonging to the Baroque tradition. Within the architectural construction, we notice how the sonata plan includes the following sequence of movements: that the first and the second part contrast with the last through the homophone character. At the same time, we notice that these two parts, although unified by the moderate tempo, establish contrasts rhythm. From the point of view of the form, these parts fit the pattern of the sonata. The novelty of the third part stands out, the one that represents the corollary of the entire cycle of the sonata, Soler resorting here to the ample, developed, fugue form.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"7 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":"128975455","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: 10.2478/9788366675193-001
A. Ciobotaru
: Although doctoral research (and not only) is under the sign of searching for the new, overcoming pre-existence and solving problems specific to the field in which it takes place, in fact, the results are influenced mainly by the freedom that researchers/PhD students allow themselves in order to make associations, to break down barriers, the wall of prejudice. Research in the performing arts area involves, above all, transdisciplinary approaches, which determine us to have an exercise of reflection on the knowledge – action – creativity triad, but also on the relationship between creative technique and research. The rigor of the research does not exclude the abandonment of Procustian patterns, but (only) the lack of arguments, finality and ethics.
{"title":"Knowledge - Creativity - Action","authors":"A. Ciobotaru","doi":"10.2478/9788366675193-001","DOIUrl":"https://doi.org/10.2478/9788366675193-001","url":null,"abstract":": Although doctoral research (and not only) is under the sign of searching for the new, overcoming pre-existence and solving problems specific to the field in which it takes place, in fact, the results are influenced mainly by the freedom that researchers/PhD students allow themselves in order to make associations, to break down barriers, the wall of prejudice. Research in the performing arts area involves, above all, transdisciplinary approaches, which determine us to have an exercise of reflection on the knowledge – action – creativity triad, but also on the relationship between creative technique and research. The rigor of the research does not exclude the abandonment of Procustian patterns, but (only) the lack of arguments, finality and ethics.","PeriodicalId":410365,"journal":{"name":"Art and Research – Contemporary Challenges","volume":"45 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":"128733450","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: 10.2478/9788366675193-024
Cristian Ilie Doboș
: Considering the discrepancy between the huge amount of universal works of film music criticism and the existence of a relatively small number of Romanian specialized materials, concerning film music, in general, and particularly music for historical film, I consider that a study is perfectly justified as a small contribution to increase the perception of musical creation for cinema, among musicians and moviegoers or filmmakers in Romania. The choice of the subject is based on subjective arguments, like my passion for history and for cinema, having a support of musical knowledge, acquired step-by-step since childhood. Due to the vastness of this chapter in the history of film music, it is obvious that this essay is hardly an exhaustive presentation, but more of a concise approach. Out of the several hundred cinematic masterpieces that contain original scores loved by the public, I have chosen three titles: ‘Ben Hur’, ‘Mihai Viteazul’ and ‘Schindler's List’. The criteria I have been guided by are not only positive reviews by specialists in music and film, awards at various festivals or film competitions, the notoriety of the films, thematic diversity, also the leading characters and historic moments: the hero Ben Hur of the first Christian century, the Romanian ruler Mihai Viteazul (late sixteenth - early seventeenth centuries) and the Holocaust phenomenon of the Nazi period of the twentieth century. The different periods in which the films were made, 1959 – ‘Ben Hur’, 1971 – ‘Mihai Viteazul’ (‘Michael the Brave’), 1993 – ‘Schindler's list’, reflect both the technical and artistic features specific to these stages of cinema development, as well as the content of the original musical scores used in the respective soundtracks.
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