Pub Date : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302041
Iryna Dats
The purpose of the article is to examine the conditions of Oleh Tymoshenko’s institutional development and management from a mono-unit to a university-type higher institution. The research methodology constitutes fundamental methods of scientific research, namely: source studies, theoretical-analytical, historical, and the method of generalisation. The article clarifies the concepts of institutional development of culture, music education, art schools, and music education on the example of scientific and educational activities and administrative work of the rector O. Tymoshenko. The obtained results made it possible to better understand the processes taking place in the cultural environment of Ukraine. Scientific novelty. The article reveals the process of institutional evolution of music education at the Kyiv Conservatory during the rectorate of O. Tymoshenko. The study chronicled the main stages of formation and development of the Conservatory as a leading institution of music education in the socio-historical, cultural and artistic processes of Ukraine, and also revealed the place and role of the Academy in the formation of the modern national system of music education. Conclusions. Using institutional principles, the method of involving leading Ukrainian theatre artist, expansion of specialties and areas of educational activity, the Kyiv Conservatory acquired the status of Academy. The integration processes that took place between universities, cultural institutions, and international institutions were implemented due to O. Tymoshenko’s organisational and managerial qualities. Despite the unpopular managerial steps, he was able to preserve and ensure the functioning of the opera studio, and due to close ties with theatre institutions, the studio repertoire policy was restored and expanded. It is difficult to overestimate the long-term contribution and hard work of Oleh Tymoshenko in the context of historical and cultural changes in the formation of Ukrainian statehood and national art.
{"title":"Oleh Tymoshenko’s Institutional Development and Management From Mono-Unit to University-Type Higher Institution","authors":"Iryna Dats","doi":"10.32461/2226-3209.1.2024.302041","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302041","url":null,"abstract":"The purpose of the article is to examine the conditions of Oleh Tymoshenko’s institutional development and management from a mono-unit to a university-type higher institution. The research methodology constitutes fundamental methods of scientific research, namely: source studies, theoretical-analytical, historical, and the method of generalisation. The article clarifies the concepts of institutional development of culture, music education, art schools, and music education on the example of scientific and educational activities and administrative work of the rector O. Tymoshenko. The obtained results made it possible to better understand the processes taking place in the cultural environment of Ukraine. Scientific novelty. The article reveals the process of institutional evolution of music education at the Kyiv Conservatory during the rectorate of O. Tymoshenko. The study chronicled the main stages of formation and development of the Conservatory as a leading institution of music education in the socio-historical, cultural and artistic processes of Ukraine, and also revealed the place and role of the Academy in the formation of the modern national system of music education. Conclusions. Using institutional principles, the method of involving leading Ukrainian theatre artist, expansion of specialties and areas of educational activity, the Kyiv Conservatory acquired the status of Academy. The integration processes that took place between universities, cultural institutions, and international institutions were implemented due to O. Tymoshenko’s organisational and managerial qualities. Despite the unpopular managerial steps, he was able to preserve and ensure the functioning of the opera studio, and due to close ties with theatre institutions, the studio repertoire policy was restored and expanded. It is difficult to overestimate the long-term contribution and hard work of Oleh Tymoshenko in the context of historical and cultural changes in the formation of Ukrainian statehood and national art.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"25 33","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697118","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302055
Zhanna Denysiyuk
The article is devoted to the analysis of the specifics of the image of representatives of the Roma community in the fine art of Europe. The contribution of innovative Roma artists, such as Alfred Ullrich, Dan Turner, Delaine Le Bas, Oden Gyudy and others, who paved the way for self-presentation of the Roma people and formed a new image of their community. The role of modern Roma artists in the establishment of Roma identity and the use of new forms of art to convey complex realities of today’s Roma communities has been studied. The article analyses the creative work of leading contemporary Roma artists. In particular, Damian Le Bas, Emilia Rigova, Den Turner, Selma Selman and others, who using the artistic tools, by combining the traditional Roma art with modern techniques, reflect the Roma mentality. The purpose of the article is actualisation of Roma images in the works of art of the late 20th – early 21st centuries. Research methodology. To understand and realise the purpose, the cultural and historical approaches were used, and to study the evolution of Roma artistic images the research methods were used, such as chronological method, art analysis, among others. The scientific novelty lies in the fact that transformation of the presentation of Roma people in the European art of the late 20th – early 21st centuries century was comprehensively investigated for the first time. The contribution of modern Roma artists to the formation of a new image of their community was analysed. The obtained conclusions assume that, based on a number of specific examples, it was established that Roma people at different times, as well as in the modern period, were and are the objects of the increased interest of artists due to peculiarities of their origin and migration within the territory of Europe, as well as the specifics of ethnogenesis, original material and spiritual culture, ethnic unity and stability.
{"title":"Transformation of the Artistic Image of the Roma Community in the European Contemporary Art","authors":"Zhanna Denysiyuk","doi":"10.32461/2226-3209.1.2024.302055","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302055","url":null,"abstract":"The article is devoted to the analysis of the specifics of the image of representatives of the Roma community in the fine art of Europe. The contribution of innovative Roma artists, such as Alfred Ullrich, Dan Turner, Delaine Le Bas, Oden Gyudy and others, who paved the way for self-presentation of the Roma people and formed a new image of their community. The role of modern Roma artists in the establishment of Roma identity and the use of new forms of art to convey complex realities of today’s Roma communities has been studied. The article analyses the creative work of leading contemporary Roma artists. In particular, Damian Le Bas, Emilia Rigova, Den Turner, Selma Selman and others, who using the artistic tools, by combining the traditional Roma art with modern techniques, reflect the Roma mentality. The purpose of the article is actualisation of Roma images in the works of art of the late 20th – early 21st centuries. Research methodology. To understand and realise the purpose, the cultural and historical approaches were used, and to study the evolution of Roma artistic images the research methods were used, such as chronological method, art analysis, among others. The scientific novelty lies in the fact that transformation of the presentation of Roma people in the European art of the late 20th – early 21st centuries century was comprehensively investigated for the first time. The contribution of modern Roma artists to the formation of a new image of their community was analysed. The obtained conclusions assume that, based on a number of specific examples, it was established that Roma people at different times, as well as in the modern period, were and are the objects of the increased interest of artists due to peculiarities of their origin and migration within the territory of Europe, as well as the specifics of ethnogenesis, original material and spiritual culture, ethnic unity and stability.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"53 S265","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140694729","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302045
Yevhen Verbetsky
The purpose of the article is to reveal the peculiarities of the cultural study of the reception of foreign cultural practices in the modern urban space. Research methodology. A culturological and phenomenological approach, an analytical method, which contributed to the identification of the cultural content of the phenomenon, its place in modern culture, a systematic method, a theoretical method, and a modeling method, were applied. Scientific novelty. The reception of foreign cultural practices in the modern urban space was studied as a subject of cultural research; clarification of the concept of "reception" and "foreign cultural practices"; on the basis of the analysis of theoretical developments on the issues of dialogue of cultures, perception of the work and reception aesthetics, promising approaches to the study of the specified issues have been identified. Conclusions. Foreign cultural practices presented in the modern urban space of Ukraine is a complex phenomenon, the study of which is a prism for identifying the national cultural strategy. Based on the understanding of cultural reception as the perception, assimilation, understanding and further development within the limits of one's own culture of a certain phenomenon borrowed from another culture and the peculiarities of the response of a person or a group of people to a certain cultural phenomenon, it is possible to state the feasibility of researching the reception of foreign cultural practices in the context of transfer (of concepts, ideas , methods of cultural practices or their elements) from the donor culture, their adaptation and integration into the modern urban space of Ukraine (the main mechanisms of reception of foreign cultural practices - "transformation" and "reproduction") and reception of foreign cultural practices by the recipient (spectator, listener, participant). A promising direction of research is addressing the personality by means of applying the receptive approach of a key figure of a specific foreign cultural practice, which contributed to its formation, development and popularization. At the same time, this approach can contribute to the identification of characteristic features of foreign cultural practices and a number of features of their multifaceted receptions.
{"title":"Reception of foreign cultural practices in modern urban space as a subject of cultural research","authors":"Yevhen Verbetsky","doi":"10.32461/2226-3209.1.2024.302045","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302045","url":null,"abstract":"The purpose of the article is to reveal the peculiarities of the cultural study of the reception of foreign cultural practices in the modern urban space. Research methodology. A culturological and phenomenological approach, an analytical method, which contributed to the identification of the cultural content of the phenomenon, its place in modern culture, a systematic method, a theoretical method, and a modeling method, were applied. Scientific novelty. The reception of foreign cultural practices in the modern urban space was studied as a subject of cultural research; clarification of the concept of \"reception\" and \"foreign cultural practices\"; on the basis of the analysis of theoretical developments on the issues of dialogue of cultures, perception of the work and reception aesthetics, promising approaches to the study of the specified issues have been identified. Conclusions. Foreign cultural practices presented in the modern urban space of Ukraine is a complex phenomenon, the study of which is a prism for identifying the national cultural strategy. Based on the understanding of cultural reception as the perception, assimilation, understanding and further development within the limits of one's own culture of a certain phenomenon borrowed from another culture and the peculiarities of the response of a person or a group of people to a certain cultural phenomenon, it is possible to state the feasibility of researching the reception of foreign cultural practices in the context of transfer (of concepts, ideas , methods of cultural practices or their elements) from the donor culture, their adaptation and integration into the modern urban space of Ukraine (the main mechanisms of reception of foreign cultural practices - \"transformation\" and \"reproduction\") and reception of foreign cultural practices by the recipient (spectator, listener, participant). A promising direction of research is addressing the personality by means of applying the receptive approach of a key figure of a specific foreign cultural practice, which contributed to its formation, development and popularization. At the same time, this approach can contribute to the identification of characteristic features of foreign cultural practices and a number of features of their multifaceted receptions.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"9 35","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140696143","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302048
Olesia Komarnitska
The purpose of the article is to reveal the essence and propose varieties of projects in the field of culture, as well as to identify the principal criterion for their division. The research methodology is based on the application of a systemic approach, as well as analytical, synthetic, and cultural methods, which made it possible to comprehensively consider the essence and types of projects in the field of culture and, on this basis, to formulate reasonable conclusions. The scientific novelty of the obtained results consists in clarifying the principal criterion for dividing projects in the field of culture (competition basis and grant funding by state/non-state and other institutions), defining projects in the field of culture as a set of their varieties: socio-cultural (socio-cultural), cultural, artistic projects. Conclusions. As a result of the conducted research, based on the analysis of numerous interpretations of the concept of "project" and consideration of their most representative examples in the field of culture, the difference between various types of projects in the field of culture was clarified, and the principal criterion for their division was also indicated. It is emphasised that project activity in the field of culture, as a way of organising, identifying and increasing the resource potential of the latter, a means of interaction with authorities, the public and partners, is a specific form of regulation of sociocultural processes. Project activity is increasingly becoming an auxiliary and, at the same time, innovative tool for managing cultural institutions, giving the subjects of cultural activity the opportunity to implement various creative ideas. The implementation of projects in the field of culture on a competitive basis and with the financial support of various grantmakers contributes to the creation of a civilized market of cultural goods and services for citizens of the country and foreign tourists, as well as strengthening the cultural presence of Ukraine abroad.
{"title":"Essence and varieties of projects in the sphere of culture","authors":"Olesia Komarnitska","doi":"10.32461/2226-3209.1.2024.302048","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302048","url":null,"abstract":"The purpose of the article is to reveal the essence and propose varieties of projects in the field of culture, as well as to identify the principal criterion for their division. The research methodology is based on the application of a systemic approach, as well as analytical, synthetic, and cultural methods, which made it possible to comprehensively consider the essence and types of projects in the field of culture and, on this basis, to formulate reasonable conclusions. The scientific novelty of the obtained results consists in clarifying the principal criterion for dividing projects in the field of culture (competition basis and grant funding by state/non-state and other institutions), defining projects in the field of culture as a set of their varieties: socio-cultural (socio-cultural), cultural, artistic projects. Conclusions. As a result of the conducted research, based on the analysis of numerous interpretations of the concept of \"project\" and consideration of their most representative examples in the field of culture, the difference between various types of projects in the field of culture was clarified, and the principal criterion for their division was also indicated. It is emphasised that project activity in the field of culture, as a way of organising, identifying and increasing the resource potential of the latter, a means of interaction with authorities, the public and partners, is a specific form of regulation of sociocultural processes. Project activity is increasingly becoming an auxiliary and, at the same time, innovative tool for managing cultural institutions, giving the subjects of cultural activity the opportunity to implement various creative ideas. The implementation of projects in the field of culture on a competitive basis and with the financial support of various grantmakers contributes to the creation of a civilized market of cultural goods and services for citizens of the country and foreign tourists, as well as strengthening the cultural presence of Ukraine abroad.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"30 34","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697019","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302110
Alona Stulii
This article aims to define the main principles of editing concepts in the context of spherical audiovisual content (360 videos); identify the reasons for the formation of these principles; and analyse their impact on the viewer. Research methodology. To examine the topic, the author uses a case-study method, which relies on the studying, analysis, and generalisation of specific examples. The author also applies a comparative approach to compare editing techniques for the spherical and non-spherical audiovisual content. The scientific novelty lies in the editing of spherical video being considered as a separate, unique system with its own laws and rules that have formed as a result of the development of devices for the recording, processing, and playback of this video format, and most importantly – as a response to the growing audience demand for such spectacle. Conclusions. Spherical video is a new visual form that is dynamically evolving and transforming, thus, developing its own system of editing concepts. This system uses the same ideas and tools as classical cinematography but applies them differently because of the immersiveness of its environment. The viewer's freedom in interacting with content does not equate to the loss of control for the author over the work; instead, it transforms the tools with which the author operates to guide the audience through the narrative. As a result, this medium influences the cinematic language – the visual language of the 21st century, expanding its artistic boundaries. The author of this article believes that the features of editing concepts in spherical audiovisual content represent a promising topic for study and practical research.
{"title":"Features of editing concepts in spherical audiovisual content","authors":"Alona Stulii","doi":"10.32461/2226-3209.1.2024.302110","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302110","url":null,"abstract":"This article aims to define the main principles of editing concepts in the context of spherical audiovisual content (360 videos); identify the reasons for the formation of these principles; and analyse their impact on the viewer. Research methodology. To examine the topic, the author uses a case-study method, which relies on the studying, analysis, and generalisation of specific examples. The author also applies a comparative approach to compare editing techniques for the spherical and non-spherical audiovisual content. The scientific novelty lies in the editing of spherical video being considered as a separate, unique system with its own laws and rules that have formed as a result of the development of devices for the recording, processing, and playback of this video format, and most importantly – as a response to the growing audience demand for such spectacle. Conclusions. Spherical video is a new visual form that is dynamically evolving and transforming, thus, developing its own system of editing concepts. This system uses the same ideas and tools as classical cinematography but applies them differently because of the immersiveness of its environment. The viewer's freedom in interacting with content does not equate to the loss of control for the author over the work; instead, it transforms the tools with which the author operates to guide the audience through the narrative. As a result, this medium influences the cinematic language – the visual language of the 21st century, expanding its artistic boundaries. The author of this article believes that the features of editing concepts in spherical audiovisual content represent a promising topic for study and practical research.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"22 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697475","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302065
Svitlana Biskulova
The purpose of the study is to establish the technique of creating four miniature portraits by Rosalba Carrera (1673–1757) from the collection of the Bohdan and Varvara Khanenko National Museum of Art (The Khanenko Museum) using optical and physicochemical methods and to introduce the results into scientific circulation. The methodology of the work is to use modern methods of analysing works of art in different spectral ranges, including microscopic, ultraviolet (UV) and infrared (IR) studies, X-ray fluorescence analysis (XRF) and Fourier transform infrared spectroscopy (ATR-FTIR). The scientific novelty is that for the first time a comprehensive study of miniature portraits of the famous Venetian artist Rosalba Carrera from the Khanenko Museum collection is presented, which establishes the technological features of creating miniatures on ivory and their design using various materials, the author's techniques of applying the image of portraits and the identification of pigments of the paint layer. Conclusions. As a result of the research, it was found that ivory was used as a basis for creating the miniatures. Infrared light studies have shown the absence of preliminary drawings, author's changes of composition and hidden signatures on the miniatures. The XRF method confirmed that copper substrates, gilded silver frames, and Venetian glass coverings were used in the design of the art objects. It has been established that the portraits were painted with watercolours using the author's spot method, and the pigments in the paint composition identified by ATR-FTIR correspond to the time of creation of the miniatures in the second quarter of the 18th century, which coincides with the museum attribution. The results obtained can be useful for art historians, restorers, and technology experts for the attribution/re-attribution of works of art of the 18th– 19th centuries.
{"title":"Technical Study of Miniature Painting by Rosalba Carriera (1673–1757)","authors":"Svitlana Biskulova","doi":"10.32461/2226-3209.1.2024.302065","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302065","url":null,"abstract":"The purpose of the study is to establish the technique of creating four miniature portraits by Rosalba Carrera (1673–1757) from the collection of the Bohdan and Varvara Khanenko National Museum of Art (The Khanenko Museum) using optical and physicochemical methods and to introduce the results into scientific circulation. The methodology of the work is to use modern methods of analysing works of art in different spectral ranges, including microscopic, ultraviolet (UV) and infrared (IR) studies, X-ray fluorescence analysis (XRF) and Fourier transform infrared spectroscopy (ATR-FTIR). The scientific novelty is that for the first time a comprehensive study of miniature portraits of the famous Venetian artist Rosalba Carrera from the Khanenko Museum collection is presented, which establishes the technological features of creating miniatures on ivory and their design using various materials, the author's techniques of applying the image of portraits and the identification of pigments of the paint layer. Conclusions. As a result of the research, it was found that ivory was used as a basis for creating the miniatures. Infrared light studies have shown the absence of preliminary drawings, author's changes of composition and hidden signatures on the miniatures. The XRF method confirmed that copper substrates, gilded silver frames, and Venetian glass coverings were used in the design of the art objects. It has been established that the portraits were painted with watercolours using the author's spot method, and the pigments in the paint composition identified by ATR-FTIR correspond to the time of creation of the miniatures in the second quarter of the 18th century, which coincides with the museum attribution. The results obtained can be useful for art historians, restorers, and technology experts for the attribution/re-attribution of works of art of the 18th– 19th centuries.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"31 20","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695901","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302109
Tetyana Nechayenko
The purpose of the work is to highlight and provide a theoretical justification of the means and techniques of ideological and emotional expressiveness in the stage formation of monologues of the theatre of one actor. The research methodology consists in the application of the comparative method for the holistic analysis of means and reception of ideological and emotional expressiveness in monologues, the determination of the dominant categories of stage action, the complementarity of verbal and physical action in the stage embodiment of these forms; the art method for understanding the artistic and creative activity of the theatre of one actor, its artistic significance, the realisation of original directorial and acting ideas, demand in modern theatre practices and understanding of the genre plan of actions, their characteristic features; a systematic method for analysing the algorithm of the performer's order of actions, the universal balance of the system of the creators' implementation of the discrete process of forming a one-man show with the help of the necessary skills and abilities to achieve a certain ideological and emotional solution; modelling method for researching means of ideological and emotional expressiveness, their complementarity in various ways of modelling stage orientation regarding the choice of means and techniques of artistic artistry of role-playing material; of the functional method for substantiating the characteristic means of creating a stage image of the protagonist of the role in various genres of monologues. The novelty of the study consists in a comprehensive approach to the analysis of the professional competences of a theatre artist of one actor, the degree of his qualifying artistic capabilities and means of ideological and emotional expressiveness in monologues, their complementarity in the stage formation of the action. Conclusions. Therefore, the performer of the theatre of one actor must possess universal artistry, the high technique of a professional as a master of plastic, verbal, multifaceted techniques of theatrical effectiveness, who is subject to all the techniques and means of stage expressiveness, manners, and motivations of figurative theatrical play, the complementarity of the proposed circumstances of the production, directorial decisions on the scale of the stage space and time, the atmosphere of the action for the ideologically integral formation of a stage high-art work. In general, a one-actor theatre artist should be a role model of a highly qualified play theatre professional.
{"title":"Theater of one actor: complementary tools and techiques of ideological and emotional of mono performances","authors":"Tetyana Nechayenko","doi":"10.32461/2226-3209.1.2024.302109","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302109","url":null,"abstract":"The purpose of the work is to highlight and provide a theoretical justification of the means and techniques of ideological and emotional expressiveness in the stage formation of monologues of the theatre of one actor. The research methodology consists in the application of the comparative method for the holistic analysis of means and reception of ideological and emotional expressiveness in monologues, the determination of the dominant categories of stage action, the complementarity of verbal and physical action in the stage embodiment of these forms; the art method for understanding the artistic and creative activity of the theatre of one actor, its artistic significance, the realisation of original directorial and acting ideas, demand in modern theatre practices and understanding of the genre plan of actions, their characteristic features; a systematic method for analysing the algorithm of the performer's order of actions, the universal balance of the system of the creators' implementation of the discrete process of forming a one-man show with the help of the necessary skills and abilities to achieve a certain ideological and emotional solution; modelling method for researching means of ideological and emotional expressiveness, their complementarity in various ways of modelling stage orientation regarding the choice of means and techniques of artistic artistry of role-playing material; of the functional method for substantiating the characteristic means of creating a stage image of the protagonist of the role in various genres of monologues. The novelty of the study consists in a comprehensive approach to the analysis of the professional competences of a theatre artist of one actor, the degree of his qualifying artistic capabilities and means of ideological and emotional expressiveness in monologues, their complementarity in the stage formation of the action. Conclusions. Therefore, the performer of the theatre of one actor must possess universal artistry, the high technique of a professional as a master of plastic, verbal, multifaceted techniques of theatrical effectiveness, who is subject to all the techniques and means of stage expressiveness, manners, and motivations of figurative theatrical play, the complementarity of the proposed circumstances of the production, directorial decisions on the scale of the stage space and time, the atmosphere of the action for the ideologically integral formation of a stage high-art work. In general, a one-actor theatre artist should be a role model of a highly qualified play theatre professional.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"9 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140696478","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302074
Zlata Sapelkina
The purpose of the article is to identify the features of Ukrainian modernism as a unique socio-cultural phenomenon. The research methodology is based on a systematic approach to the study of the problem and includes synchronous and diachronic methods of scientific knowledge, as well as analysis, comparison, generalisation, and extrapolation. The scientific novelty lies in the attempt to find historical parallels between the events of the early 20th century, which influenced the figurative rethinking of reality in art, and postmodern trends of today. Conclusions. Considering modernism in the Ukrainian socio-cultural space, it was found that art was not only characterised by keeping up with European times in gaining experimental experience, but also by a philosophical basis aimed at self-identification. Thus, for many Ukrainian artists, a complete break with traditional art became impossible, and the search for the answer to the question "who we are" became the reason for the integration of centuries-old ethnic codes into the art space of the modern era. Thus, the phenomenon of modernism in Ukrainian culture is primarily associated with the reflection of the historical and cultural paradigm and the search for autochthonous meanings.
{"title":"Modern Ukrainian art: European identity or separateness","authors":"Zlata Sapelkina","doi":"10.32461/2226-3209.1.2024.302074","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302074","url":null,"abstract":"The purpose of the article is to identify the features of Ukrainian modernism as a unique socio-cultural phenomenon. The research methodology is based on a systematic approach to the study of the problem and includes synchronous and diachronic methods of scientific knowledge, as well as analysis, comparison, generalisation, and extrapolation. The scientific novelty lies in the attempt to find historical parallels between the events of the early 20th century, which influenced the figurative rethinking of reality in art, and postmodern trends of today. Conclusions. Considering modernism in the Ukrainian socio-cultural space, it was found that art was not only characterised by keeping up with European times in gaining experimental experience, but also by a philosophical basis aimed at self-identification. Thus, for many Ukrainian artists, a complete break with traditional art became impossible, and the search for the answer to the question \"who we are\" became the reason for the integration of centuries-old ethnic codes into the art space of the modern era. Thus, the phenomenon of modernism in Ukrainian culture is primarily associated with the reflection of the historical and cultural paradigm and the search for autochthonous meanings.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"31 S106","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695268","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302030
Yurii Horban
The purpose of the article is to explore the peculiarities of forming an individual's information culture in the digital age, taking into account aspects of academic integrity. The paper examines the main components of digital literacy, particularly computer literacy, data skills, digital communication, and digital environment security. The influence of developing an information literacy level on creating a culture of academic integrity is explored. Research methodology. The study uses general scientific methods of system analysis, synthesis, and comparison, informational, cultural, and activity approaches (to analyse the theory of generations, namely the characteristics of centenarians born in the digital age; to define codes of academic integrity of higher education establishments). The scientific novelty of the work lies in identifying the peculiarities of forming an individual's information culture in the digital age and concerning fields such as sociology, psychology, and education. Conclusions. The article discusses the importance of digital literacy and its impact on academic development. It is determined that the ability to work with information in the digital environment can increase the level of integrity in the academic sphere. This combination expands the understanding of the relationship between information culture, digital technologies, and academic ethics, and forms new views on personal development in the modern information environment. The importance of developing the information culture and the culture of academic integrity as a holistic process in the modern digital environment has been determined. In the digital era, the formation of an individual's information culture plays an important role in creating an information space. Academic integrity should be a key aspect in raising the level of literacy and ethical standards in the information sphere. To ensure the successful development of the digital society, it is important to maintain and promote the values of academic integrity and high standards of information culture.
{"title":"Information Culture of the Personality in the Digital Age: On the Issue of Academic Integrity","authors":"Yurii Horban","doi":"10.32461/2226-3209.1.2024.302030","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302030","url":null,"abstract":"The purpose of the article is to explore the peculiarities of forming an individual's information culture in the digital age, taking into account aspects of academic integrity. The paper examines the main components of digital literacy, particularly computer literacy, data skills, digital communication, and digital environment security. The influence of developing an information literacy level on creating a culture of academic integrity is explored. Research methodology. The study uses general scientific methods of system analysis, synthesis, and comparison, informational, cultural, and activity approaches (to analyse the theory of generations, namely the characteristics of centenarians born in the digital age; to define codes of academic integrity of higher education establishments). The scientific novelty of the work lies in identifying the peculiarities of forming an individual's information culture in the digital age and concerning fields such as sociology, psychology, and education. Conclusions. The article discusses the importance of digital literacy and its impact on academic development. It is determined that the ability to work with information in the digital environment can increase the level of integrity in the academic sphere. This combination expands the understanding of the relationship between information culture, digital technologies, and academic ethics, and forms new views on personal development in the modern information environment. The importance of developing the information culture and the culture of academic integrity as a holistic process in the modern digital environment has been determined. In the digital era, the formation of an individual's information culture plays an important role in creating an information space. Academic integrity should be a key aspect in raising the level of literacy and ethical standards in the information sphere. To ensure the successful development of the digital society, it is important to maintain and promote the values of academic integrity and high standards of information culture.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140696380","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302093
Lesya Mykulanynets
The purpose of the study is to reveal Ishtvan Marton’s life creativity issue and to confirm the idea of the master’s life reflected the cultural and historical flow Zakarpattia in the 20th century. The research methodology includes a number of approaches: biographical – embracing the milestones of Ishtvan Ferentsovych’s life; culture studies – characterising the specifics of the regional artistic life; historical – interpreting the social and political events of the locus; analytical – studying scientific sources on the aforementioned issue; systemic – mastering the spiritual foundations of the region as part of nationwide daily life; theoretical generalisation – formulating the conclusions of the study. Science novelty. For the first time ever in national art studies, Ishtvan Marton’s chronicle has been interpreted from the perspective of revealing the significance of his practice for the flow of regional sociocultural processes in the 20th century. Conclusions. Ishtvan Marton’s chronicles reflected the civilizational evolvement of Zakarpattia of the 20th century. Shaping the demiurge’s personal and occupational features took place in earlier period when the territory used to be a part of the Czech Republic (1919–1939), the Hungarian Kingdom (1939–1944). The political situation contributed to the following: the master’s West European artistic focusing; domination of humanistic values; openness to the achievements of various ethnic groups. An important role in the master’s maturity was performed by family circumstances, communication with prominent local musicians, an opportunity of self-growth, active creativity practice. Late 20th century was the period of the region joining the USSR (1945–1991). The demand of the authority was to create occupational composer and performing regional schools, educational development, activating concert-performing life. Ishtvan Marton got involved in implementing the abovementioned goals: he wrote a great amount of various genre opuses, cooperated with regional groups, taught in Uzhhorod Music College, consulted amateur composers. Late period of Ishtvan Marton’s life was the time of Ukraine reviving its independence, enhancing the role of local artistic domains. The master’s creative heritage established the professional music culture of Zakarpattia within the national and West-European spiritual scope.
{"title":"Ishtvan Marton’s biography as the reflection of culture and historical domain of the 20th century Zakarpattia","authors":"Lesya Mykulanynets","doi":"10.32461/2226-3209.1.2024.302093","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302093","url":null,"abstract":"The purpose of the study is to reveal Ishtvan Marton’s life creativity issue and to confirm the idea of the master’s life reflected the cultural and historical flow Zakarpattia in the 20th century. The research methodology includes a number of approaches: biographical – embracing the milestones of Ishtvan Ferentsovych’s life; culture studies – characterising the specifics of the regional artistic life; historical – interpreting the social and political events of the locus; analytical – studying scientific sources on the aforementioned issue; systemic – mastering the spiritual foundations of the region as part of nationwide daily life; theoretical generalisation – formulating the conclusions of the study. Science novelty. For the first time ever in national art studies, Ishtvan Marton’s chronicle has been interpreted from the perspective of revealing the significance of his practice for the flow of regional sociocultural processes in the 20th century. Conclusions. Ishtvan Marton’s chronicles reflected the civilizational evolvement of Zakarpattia of the 20th century. Shaping the demiurge’s personal and occupational features took place in earlier period when the territory used to be a part of the Czech Republic (1919–1939), the Hungarian Kingdom (1939–1944). The political situation contributed to the following: the master’s West European artistic focusing; domination of humanistic values; openness to the achievements of various ethnic groups. An important role in the master’s maturity was performed by family circumstances, communication with prominent local musicians, an opportunity of self-growth, active creativity practice. Late 20th century was the period of the region joining the USSR (1945–1991). The demand of the authority was to create occupational composer and performing regional schools, educational development, activating concert-performing life. Ishtvan Marton got involved in implementing the abovementioned goals: he wrote a great amount of various genre opuses, cooperated with regional groups, taught in Uzhhorod Music College, consulted amateur composers. Late period of Ishtvan Marton’s life was the time of Ukraine reviving its independence, enhancing the role of local artistic domains. The master’s creative heritage established the professional music culture of Zakarpattia within the national and West-European spiritual scope.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"71 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140694858","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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