Pub Date : 2023-12-01DOI: 10.52603/arta.2023.32-2.16
Wojciech Adam Święch
Throughout the period of the People’s Republic of Poland, political and systemic solutions were undemocratic. There was the Main Office of Control of Press, Publications and Shows (GUKPPiW)., whose name was changed in July 1981 to the Main Office of Control of Publications and Shows (GUKPiW). On 13 December 1981, the communists (under the leadership of General Wojciech Jaruzelski) introduced martial law, which was abolished on 22 July 1983. The state authorities tried to stop the development of Independent Self-Governing Trade Union “Solidarity”. Society, including the makers of television serial and series, has been subjected to even tighter control. Preventive censorship had a negative impact on the development of cultural and artistic life. The aim of this article is to show the mechanisms of operation of Polish censorship (also in the historical and legal context), which had an impact on the broadcast of programs on Polish Television during martial law (1981-1983).
{"title":"The censorship interference in television serials and series during martial law in Poland (1981-1983) – historical and legal context","authors":"Wojciech Adam Święch","doi":"10.52603/arta.2023.32-2.16","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.16","url":null,"abstract":"Throughout the period of the People’s Republic of Poland, political and systemic solutions were undemocratic. There was the Main Office of Control of Press, Publications and Shows (GUKPPiW)., whose name was changed in July 1981 to the Main Office of Control of Publications and Shows (GUKPiW). On 13 December 1981, the communists (under the leadership of General Wojciech Jaruzelski) introduced martial law, which was abolished on 22 July 1983. The state authorities tried to stop the development of Independent Self-Governing Trade Union “Solidarity”. Society, including the makers of television serial and series, has been subjected to even tighter control. Preventive censorship had a negative impact on the development of cultural and artistic life. The aim of this article is to show the mechanisms of operation of Polish censorship (also in the historical and legal context), which had an impact on the broadcast of programs on Polish Television during martial law (1981-1983).","PeriodicalId":55785,"journal":{"name":"Arta","volume":"236 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139014142","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.14
Dumitru Olărescu
The ideological background, the complex of problems related to dictatorship, occupation of foreign territories, freedom, national identity, etc. addressed by director Vlad Druc in the feature films “Alternante/Alternatives (1991) and “Frontiere/Frontiers” (1992) in the dialogue “Quo vadis, populi?” (“Where are you going, people?”) will be elucidated parallel to the investigations of the ways of expression through the cinematographic language. At the basis of these films, being, for the most part, the cinematic chronicle, the director’s work on this material is of interest, which on the screen goes far beyond the informative limits, obtaining the qualities of an artisticaesthetic state, which provokes meditation and even emotions. These are the repercussions of a profoundly creative attitude on the part of the director V. Druc towards all the components of his cinematographic discourses.
弗拉德-德鲁克（Vlad Druc）导演在故事片《Alternante/Alternatives》（1991 年）和《Frontiere/Frontiers》（1992 年）中的对白 "Quo vadis, populi?"（"你要去哪里，人民？"）中所涉及的意识形态背景、与独裁统治、外国领土占领、自由、民族身份等相关的复杂问题，将与对电影语言表达方式的研究并行阐释。这些影片的基础是电影编年史，导演对这一素材的创作令人感兴趣，其在银幕上的表现远远超出了信息量的限制，获得了艺术审美状态的特质，引发人们的沉思甚至情感。这些都是导演 V. Druc 对其电影论述的所有组成部分所持的深刻创作态度的反响。
{"title":"Cinematic dialogue “Quo vadis, populi?”: history and destinies","authors":"Dumitru Olărescu","doi":"10.52603/arta.2023.32-2.14","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.14","url":null,"abstract":"The ideological background, the complex of problems related to dictatorship, occupation of foreign territories, freedom, national identity, etc. addressed by director Vlad Druc in the feature films “Alternante/Alternatives (1991) and “Frontiere/Frontiers” (1992) in the dialogue “Quo vadis, populi?” (“Where are you going, people?”) will be elucidated parallel to the investigations of the ways of expression through the cinematographic language. At the basis of these films, being, for the most part, the cinematic chronicle, the director’s work on this material is of interest, which on the screen goes far beyond the informative limits, obtaining the qualities of an artisticaesthetic state, which provokes meditation and even emotions. These are the repercussions of a profoundly creative attitude on the part of the director V. Druc towards all the components of his cinematographic discourses.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"295 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138991443","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.15
Alexandru Bohanţov
The phenomenon of globalization is characterized by a multitude of components: economic, financial, political, military, cultural and communicational. In the media sphere, for example, the new information technologies generated the metaphor of “global village” (Marshall McLuhan), which substantially reconfigured the universe of communication through the free circulation of information and audiovisual entertainment formats. A veritable industry of international formats has sprung up, which has caused the homogenization of the global media market. Nonetheless, the harmful dimension of this agglutinating process has also become visible by the fact that media globalization threatens the national identity, the traditional cultural customs and values, etc. The start of the digital era is marked by the expansion of the Internet, the proliferation of mobile phones and the strong impact of social networks in the public space. In the given context, our analysis will also focus on a relatively new phenomenon: virtual identity.
{"title":"Identity dilemmas in the context of media globalization","authors":"Alexandru Bohanţov","doi":"10.52603/arta.2023.32-2.15","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.15","url":null,"abstract":"The phenomenon of globalization is characterized by a multitude of components: economic, financial, political, military, cultural and communicational. In the media sphere, for example, the new information technologies generated the metaphor of “global village” (Marshall McLuhan), which substantially reconfigured the universe of communication through the free circulation of information and audiovisual entertainment formats. A veritable industry of international formats has sprung up, which has caused the homogenization of the global media market. Nonetheless, the harmful dimension of this agglutinating process has also become visible by the fact that media globalization threatens the national identity, the traditional cultural customs and values, etc. The start of the digital era is marked by the expansion of the Internet, the proliferation of mobile phones and the strong impact of social networks in the public space. In the given context, our analysis will also focus on a relatively new phenomenon: virtual identity.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"91 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138991483","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.07
Elfrida Koroliova
The article provides a brief analysis of the process of the artistic development of Alexandru Grecu’s creative personality and the manifestation of his distinct directorial peculiarities in the performances: Ce e viaţa omului/ What is the life of a man, Moţoc, Hercules, Unde mergem, domnilor?/Where are we going, gentlemen?, Triunghiul păcatului/The triangle of sin, Moliere, Căsătorie cu de-a sila/Forced Marriage, Ciuleandra, Care-s sălbaticii?/ Who are the savages?, Metamorphoses I, Metamorphoses II, S.R.L, The Moldovan, the Master and Margarita. Examining the peculiarities of Alexandru Grecu’s direction, the author reveals the artistic message that identifies the interconnection and interdependence of public life and of each individual in a rapidly changing world. The article emphasizes the fact that, being a relevant component of the artistic culture of the era of postmodernism, the performances of Alexandru Grecu, as a distinct sociocultural phenomenon, reveal through the prism of a multidimensional theatrical action the essence of the phenomena of social life, basing its artistic approach on the dramatic material, its stage interpretation, the situation and the moment in which the stage creation is produced.
文章简要分析了亚历山德鲁-格雷库创作个性的艺术发展过程，以及他在表演中表现出的鲜明导演特色：Ce e viaţa omului/ What is the life of a man, Moţoc, Hercules, Unde mergem, domnilor?/Where are we going, gentlemen?Triunghiul păcatului/The triangle of sin, Moliere, Căsătorie cu de-a sila/Forced Marriage, Ciuleandra, Care-s sălbaticii?/ Who are the savages?, Metamorphoses I, Metamorphoses II, S.R.L, The Moldovan, the Master and Margarita.通过研究亚历山德鲁-格雷库导演的独特之处，作者揭示了在瞬息万变的世界中公共生活和每个人之间相互联系和相互依存的艺术信息。文章强调，作为后现代主义时代艺术文化的一个重要组成部分，亚历山德鲁-格勒库的表演作为一种独特的社会文化现象，通过多维戏剧行动的棱镜揭示了社会生活现象的本质，其艺术手法以戏剧素材、舞台诠释、舞台创作的情境和时刻为基础。
{"title":"The artistic peculiarities of Alexandru Grecu’s direction from the last decade of the 20th century","authors":"Elfrida Koroliova","doi":"10.52603/arta.2023.32-2.07","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.07","url":null,"abstract":"The article provides a brief analysis of the process of the artistic development of Alexandru Grecu’s creative personality and the manifestation of his distinct directorial peculiarities in the performances: Ce e viaţa omului/ What is the life of a man, Moţoc, Hercules, Unde mergem, domnilor?/Where are we going, gentlemen?, Triunghiul păcatului/The triangle of sin, Moliere, Căsătorie cu de-a sila/Forced Marriage, Ciuleandra, Care-s sălbaticii?/ Who are the savages?, Metamorphoses I, Metamorphoses II, S.R.L, The Moldovan, the Master and Margarita. Examining the peculiarities of Alexandru Grecu’s direction, the author reveals the artistic message that identifies the interconnection and interdependence of public life and of each individual in a rapidly changing world. The article emphasizes the fact that, being a relevant component of the artistic culture of the era of postmodernism, the performances of Alexandru Grecu, as a distinct sociocultural phenomenon, reveal through the prism of a multidimensional theatrical action the essence of the phenomena of social life, basing its artistic approach on the dramatic material, its stage interpretation, the situation and the moment in which the stage creation is produced.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"98 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139021691","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.06
Ana Ghilaş
The article addresses the specifics of the monodrama at the level of text and performance, the main objective being the ways of expressing the identity dimension of the character in such an artistic form. Considering the protean character of the monodrama, some aspects of the evolution of this type of artistic communication are exposed, highlighting its specific features: the combination of the epic with the lyric at the level of structuring the subject, the monologue as a way of creating conflicts and of developing inner action, the improvisational character, etc. Emphasis is placed on the typology of the character at the level of monodrama - psychodrama relationship, thus revealing the ways of affirming and manifesting the character’s identity/identities in the text and in the performance. The analyzed dramaturgical texts and the theatrical discourses reflect the specificity of monodrama in the Romanian space.
{"title":"Character identities in monodrama","authors":"Ana Ghilaş","doi":"10.52603/arta.2023.32-2.06","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.06","url":null,"abstract":"The article addresses the specifics of the monodrama at the level of text and performance, the main objective being the ways of expressing the identity dimension of the character in such an artistic form. Considering the protean character of the monodrama, some aspects of the evolution of this type of artistic communication are exposed, highlighting its specific features: the combination of the epic with the lyric at the level of structuring the subject, the monologue as a way of creating conflicts and of developing inner action, the improvisational character, etc. Emphasis is placed on the typology of the character at the level of monodrama - psychodrama relationship, thus revealing the ways of affirming and manifesting the character’s identity/identities in the text and in the performance. The analyzed dramaturgical texts and the theatrical discourses reflect the specificity of monodrama in the Romanian space.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"493 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139022770","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.04
Dumitru Calmis
The topicality and importance of the theme addressed in this article are determined by the extent of the phenomenon of academization of the most performing types of chromatic harmonica by adopting the traditional genres of European instrumental music, including the sonata. The historical evolution of the sonata for accordion / bayan, reflecting various stylistic orientations and trends of contemporary composition, is presented randomly, being primarily examined in the creation of a certain composer. A large part of the investigations is devoted to the elucidation of the specific peculiarities of the works composed in the period of 1970-1980 by Russian and Ukrainian musicians. Most of the studies carried out by European scholars are limited only to informative materials (brochures, annotations etc.), failing to identify and formulate the defining characteristics of the sonata within certain schools of composition.
{"title":"The research level of the sonata genre for accordion / bayan in specialized literature","authors":"Dumitru Calmis","doi":"10.52603/arta.2023.32-2.04","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.04","url":null,"abstract":"The topicality and importance of the theme addressed in this article are determined by the extent of the phenomenon of academization of the most performing types of chromatic harmonica by adopting the traditional genres of European instrumental music, including the sonata. The historical evolution of the sonata for accordion / bayan, reflecting various stylistic orientations and trends of contemporary composition, is presented randomly, being primarily examined in the creation of a certain composer. A large part of the investigations is devoted to the elucidation of the specific peculiarities of the works composed in the period of 1970-1980 by Russian and Ukrainian musicians. Most of the studies carried out by European scholars are limited only to informative materials (brochures, annotations etc.), failing to identify and formulate the defining characteristics of the sonata within certain schools of composition.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"141 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139017548","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.13
Violeta Tipa
The article highlights the paradigm of the road, starting with biblical stories, myths and folk stories up to the image of the road presented in the youngest art - cinematography - where it is involved both functionally and symbolically-metaphorically. The road becomes a fundamental element, especially in the road movie genre, which obviously broadens its boundaries, discussing the most current issues. The emphasis will be on the meanings of the road in a special genre, the films-tales, and in particular, those inspired by Ion Creangă’s works. Arming ourselves with the theories of Vladimir Propp and those of Joseph Campbell, we will go through the interpretations of Crengian fairy tales in the films: De-aşi fi…Harap Alb/If I were Harap Alb (1965), Povestea dragostei/Love story (1976), Maria Mirabela (1981) - all directed Ion Popescu Gopo, Se caută un paznic/ Looking for a guard (1965) by Gheorghe Vodă and Dănilă Prepeleac (1996) by Tudor Tătaru. The road in the mentioned films is one of the basic elements: from the road of knowledge of the world and the internal road to oneself, to becoming a personality, as well as other meanings that we will detect in the analysis process.
文章强调了 "路 "的范式，从圣经故事、神话和民间故事开始，一直到最年轻的艺术--电影--中呈现的 "路 "的形象，"路 "在其中既有功能上的参与，也有象征--隐喻上的参与。道路已成为一个基本要素，尤其是在公路电影类型中，它显然拓宽了自己的边界，讨论了最前沿的问题。重点将放在公路在电影-故事这一特殊类型中的意义上，尤其是那些受 Ion Creangă 作品启发的电影。我们将以弗拉基米尔-普罗普（Vladimir Propp）和约瑟夫-坎贝尔（Joseph Campbell）的理论为武器，探讨电影中对克伦格童话的诠释：De-aşi fi...Harap Alb/If I were Harap Alb》（1965 年）、《Povestea dragostei/爱情故事》（1976 年）、《Maria Mirabela》（1981 年）（均由 Ion Popescu Gopo 执导）、Gheorghe Vodă 的《Se caută un paznic/ Looking for a guard》（1965 年）和 Tudor Tătaru 的《Dănilă Prepeleac》（1996 年）。上述影片中的道路是基本要素之一：从认识世界的道路和通往自我的内部道路，到成为一个人，以及我们在分析过程中将发现的其他含义。
{"title":"The meanings of the road in the films inspired by Ion Creangă’s stories","authors":"Violeta Tipa","doi":"10.52603/arta.2023.32-2.13","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.13","url":null,"abstract":"The article highlights the paradigm of the road, starting with biblical stories, myths and folk stories up to the image of the road presented in the youngest art - cinematography - where it is involved both functionally and symbolically-metaphorically. The road becomes a fundamental element, especially in the road movie genre, which obviously broadens its boundaries, discussing the most current issues. The emphasis will be on the meanings of the road in a special genre, the films-tales, and in particular, those inspired by Ion Creangă’s works. Arming ourselves with the theories of Vladimir Propp and those of Joseph Campbell, we will go through the interpretations of Crengian fairy tales in the films: De-aşi fi…Harap Alb/If I were Harap Alb (1965), Povestea dragostei/Love story (1976), Maria Mirabela (1981) - all directed Ion Popescu Gopo, Se caută un paznic/ Looking for a guard (1965) by Gheorghe Vodă and Dănilă Prepeleac (1996) by Tudor Tătaru. The road in the mentioned films is one of the basic elements: from the road of knowledge of the world and the internal road to oneself, to becoming a personality, as well as other meanings that we will detect in the analysis process.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"77 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139025226","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.01
Victor Ghilaş
In the center of attention of the paper, there are three Wallachian dance melodies in piano transcription, which, together with the music of other peoples, are included in a collection of songs published at the beginning of the 19th century in London. The article focuses on the morphological and syntactic analysis of the musical content, trying to distinguish the facets of the sound discourse, which would prove its belonging to the Romanian musical fund. The radiography, undertaken along the way, at the level of structural elements (motif, phrase, melodic profile) and musical language as a carrier of semantic, cognitive and affective information (intonations, scales, modes, cadences, modulation), aims to mark the specific particularities of the music of the national dance in the perspective of the melodies found in the London collection. The aspects investigated and the conclusions of the study underline the idea of the interest shown for our musical culture of oral tradition and its circulation abroad, which, along with the recognition of its artistic qualities, configures the ethnic specificity rendered through music.
{"title":"Three XIX Century Wallachian Dances in Edward Jones’ Melody Collection","authors":"Victor Ghilaş","doi":"10.52603/arta.2023.32-2.01","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.01","url":null,"abstract":"In the center of attention of the paper, there are three Wallachian dance melodies in piano transcription, which, together with the music of other peoples, are included in a collection of songs published at the beginning of the 19th century in London. The article focuses on the morphological and syntactic analysis of the musical content, trying to distinguish the facets of the sound discourse, which would prove its belonging to the Romanian musical fund. The radiography, undertaken along the way, at the level of structural elements (motif, phrase, melodic profile) and musical language as a carrier of semantic, cognitive and affective information (intonations, scales, modes, cadences, modulation), aims to mark the specific particularities of the music of the national dance in the perspective of the melodies found in the London collection. The aspects investigated and the conclusions of the study underline the idea of the interest shown for our musical culture of oral tradition and its circulation abroad, which, along with the recognition of its artistic qualities, configures the ethnic specificity rendered through music.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"66 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139013010","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.11
S. Talpa
Current research highlights the importance of art and its benefits in the holistic development of the individual in the educational process. The literature focuses mainly on the visual arts and music, while studies on dance, namely folk dance, and its contribution to the overall health of the individual are just beginning. The aim of the present study was to analyze the contribution of folk dance and its identity dimension in examining the holistic approach of the individual in the educational process. In particular, the contribution of folk dance during the school age represents the foundation of the development of the individual and his holistic approach. Folk dance is a practice of forming the cultural identity of individuals that allows them to self-identify, on the one hand, and redefine themselves on the other. Certain characteristics of mental resilience studied in relation to folk dance appear to contribute positively to children’s holistic psycho-emotional development, providing multiple benefits. Research has shown that folk dance works beneficially and holistically across all ages, genders, socio-cultural and socio-economic backgrounds. Thus, this article reports the conclusions of a study in the field of artistic-choreographic education highlights the identity dimension, the ends and goals of folk dance in the educational process.
{"title":"Folk Dance in the Educational Process","authors":"S. Talpa","doi":"10.52603/arta.2023.32-2.11","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.11","url":null,"abstract":"Current research highlights the importance of art and its benefits in the holistic development of the individual in the educational process. The literature focuses mainly on the visual arts and music, while studies on dance, namely folk dance, and its contribution to the overall health of the individual are just beginning. The aim of the present study was to analyze the contribution of folk dance and its identity dimension in examining the holistic approach of the individual in the educational process. In particular, the contribution of folk dance during the school age represents the foundation of the development of the individual and his holistic approach. Folk dance is a practice of forming the cultural identity of individuals that allows them to self-identify, on the one hand, and redefine themselves on the other. Certain characteristics of mental resilience studied in relation to folk dance appear to contribute positively to children’s holistic psycho-emotional development, providing multiple benefits. Research has shown that folk dance works beneficially and holistically across all ages, genders, socio-cultural and socio-economic backgrounds. Thus, this article reports the conclusions of a study in the field of artistic-choreographic education highlights the identity dimension, the ends and goals of folk dance in the educational process.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"172 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138991737","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 : 2023-12-01DOI: 10.52603/arta.2023.32-2.05
Galina Chiforisin
In the present study, we propose to identify the structural elements of sound discourse, as well as their manifestation in the concept of the work Fantasy on a theme by G. Enescu for clarinet and orchestra by Oleg Negruţa. The author’s compositional records include vocal, instrumental chamber, concert and symphonic music. Most of his creations are attributed to concert and chamber music. The work that we are going to analyze serves as proof of the novelty of the genre, form and elements of writing. Fantasy as a genre represents an instrumental or orchestral work with a fairly free architecture, and the basic principle is improvisation. In this piece, we highlight one of the distinctive features of the composer, namely the folkloric stylistic direction - the use of folkloric species such as doina, sarba, hora, organically combined with elements of the classical language - genre, form, theme, etc. Equally important is the use of the quote, which O. Negruţa creatively develops and exposes in different sections, creating a thematic core, but also a sound reagent for the entire musical discourse.
{"title":"Fantasy on a theme by G. Enescu for clarinet and orchestra by Oleg Negruţa","authors":"Galina Chiforisin","doi":"10.52603/arta.2023.32-2.05","DOIUrl":"https://doi.org/10.52603/arta.2023.32-2.05","url":null,"abstract":"In the present study, we propose to identify the structural elements of sound discourse, as well as their manifestation in the concept of the work Fantasy on a theme by G. Enescu for clarinet and orchestra by Oleg Negruţa. The author’s compositional records include vocal, instrumental chamber, concert and symphonic music. Most of his creations are attributed to concert and chamber music. The work that we are going to analyze serves as proof of the novelty of the genre, form and elements of writing. Fantasy as a genre represents an instrumental or orchestral work with a fairly free architecture, and the basic principle is improvisation. In this piece, we highlight one of the distinctive features of the composer, namely the folkloric stylistic direction - the use of folkloric species such as doina, sarba, hora, organically combined with elements of the classical language - genre, form, theme, etc. Equally important is the use of the quote, which O. Negruţa creatively develops and exposes in different sections, creating a thematic core, but also a sound reagent for the entire musical discourse.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"1288 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139018969","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：