Pub Date : 2023-01-01DOI: 10.52603/arta.2022.31-2.05
Vasile Grecu
Since the end of the XIX century — beginning of the XX century, the musical life in Bessarabia is being intensified due to the artistic activity of some professional musicians with studies at Russian and Western European conservatories, thus creating standards of musical education and interpretive mastery with a significant impact on the professional training of pianists. The first musical institutions appear: M. Voloshinovskaya, who had studied in Vienna, opened a private school in 1891 in Chisinau. Previously, in 1890, a music school, accessible to all social classes, was opened at the initiative of Vasile Gutor, born in Chișinău and having graduated from the Saint Petersburg Conservatory in Professor K. Davydov’s cello class. At the same time, premises of the national school of composition are manifested; the first works for piano being made in the style and forms of Western schools adapted to the native oral sound stratum. As a result of the adaptation and the valorization of musical folklore, professional music is being developed in the Bessarabian area.
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Pub Date : 2023-01-01DOI: 10.52603/arta.2022.31-2.19
Georgeta Stepanov
Th e mass media’s socialization discourse includes a varied range of journalistic activities, including journalistic mediation. Journalistic mediation is a voluntary process that ensures the formation of fl exible frameworks for exposing and debating social problems and confl icts. Th is type of media activity is most oft en carried out through television journalism. Th e purpose of the research carried out in this study resides in the conceptualization of the televisual mediating communication and in projection of its identity profi le in the contemporary media context. In order to achieve this prerequisite, the investigative eff ort has been oriented to explain the essence of mediating journalistic activity, in general, and the television mediating communication in particular, as well as its peculiarity by describing the main signs, characteristics, missions, etc. Th e case study was based on the talk-shows Vorbește Moldova and Время правды (Timpul adevărului) from the Prime TV channel.
{"title":"Televisual mediating communication","authors":"Georgeta Stepanov","doi":"10.52603/arta.2022.31-2.19","DOIUrl":"https://doi.org/10.52603/arta.2022.31-2.19","url":null,"abstract":"Th e mass media’s socialization discourse includes a varied range of journalistic activities, including journalistic mediation. Journalistic mediation is a voluntary process that ensures the formation of fl exible frameworks for exposing and debating social problems and confl icts. Th is type of media activity is most oft en carried out through television journalism. Th e purpose of the research carried out in this study resides in the conceptualization of the televisual mediating communication and in projection of its identity profi le in the contemporary media context. In order to achieve this prerequisite, the investigative eff ort has been oriented to explain the essence of mediating journalistic activity, in general, and the television mediating communication in particular, as well as its peculiarity by describing the main signs, characteristics, missions, etc. Th e case study was based on the talk-shows Vorbește Moldova and Время правды (Timpul adevărului) from the Prime TV channel.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44178488","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 : 2023-01-01DOI: 10.52603/arta.2022.31-2.07
Ирина Сикорская
Th e article presents the concept of the study of Ukrainian-foreign musical relations in the “Ukrainian Music Encyclopedia”, which is published by the Musicology and Ethnomusicology Department of the M. Rylsky Instiitute, on the example of Moldovan-Ukrainian musical connections. The directions, on which facts were systematized, are investigated. One of the components of the rich and long-lasting Moldovan-Ukrainian musical relationship is composer creativity, aimed at enriching both our cultures. It should be emphasized that the creative relations of figures of both cultures at all times were exclusively friendly and based on partnership. Of course, the creative dialogue of artists — both direct and indirect — began long before its formalizing in 1937 by launching the branch of the Union of Moldovan Composers within the Odessa organization of the Union of Composers of Ukraine. In the last century, the relations were concentrated mainly on the educational and pedagogical sphere and connected with the names of S. Vorobkevych, G. Muzychenko (Muzychescu), and M. Kazanli. One of the aspects of mediated creative dialogue is the appeal to Ukrainian composers concerning the Moldovan theme. In the XIX century, it was manifested in Th e Memoirs of the land of Moldova, op. 85, J. Rukgaber, 48 folk Romanian songs by K. Mikuli. The same aspect is deepened by an appeal to national poetry, for instance, in the romances by S. Vorobkevych, E. Mandychevsky, based on the poems of V. Alecsandri, A. Vlahutse, M. Eminescu, G. Cosbuc, etc
{"title":"Moldovan-Ukrainian musical relations in the context of the cultural polylogue of the “Ukrainian Musical Encyclopedia”","authors":"Ирина Сикорская","doi":"10.52603/arta.2022.31-2.07","DOIUrl":"https://doi.org/10.52603/arta.2022.31-2.07","url":null,"abstract":"Th e article presents the concept of the study of Ukrainian-foreign musical relations in the “Ukrainian Music Encyclopedia”, which is published by the Musicology and Ethnomusicology Department of the M. Rylsky Instiitute, on the example of Moldovan-Ukrainian musical connections. The directions, on which facts were systematized, are investigated. One of the components of the rich and long-lasting Moldovan-Ukrainian musical relationship is composer creativity, aimed at enriching both our cultures. It should be emphasized that the creative relations of figures of both cultures at all times were exclusively friendly and based on partnership. Of course, the creative dialogue of artists — both direct and indirect — began long before its formalizing in 1937 by launching the branch of the Union of Moldovan Composers within the Odessa organization of the Union of Composers of Ukraine. In the last century, the relations were concentrated mainly on the educational and pedagogical sphere and connected with the names of S. Vorobkevych, G. Muzychenko (Muzychescu), and M. Kazanli. One of the aspects of mediated creative dialogue is the appeal to Ukrainian composers concerning the Moldovan theme. In the XIX century, it was manifested in Th e Memoirs of the land of Moldova, op. 85, J. Rukgaber, 48 folk Romanian songs by K. Mikuli. The same aspect is deepened by an appeal to national poetry, for instance, in the romances by S. Vorobkevych, E. Mandychevsky, based on the poems of V. Alecsandri, A. Vlahutse, M. Eminescu, G. Cosbuc, etc","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43843634","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 : 2023-01-01DOI: 10.52603/arta.2022.31-2.06
Valeria Barbas
In this article is analyzed the correlation of the concepts of music and identity is analyzed, in which music lends itself as one of the key elements of identity, because it offers a perception of the self, but also of the collective. The concept of musical identity was the main focus in the creation of new national musical schools (Eastern Europe). Musical compositional creation that tended to embody tradition has served as a powerful cultural resource for nationalism since the 19th century. Th e compositional vector was directed, on the one hand, to get out of the crisis of the romantic music trend, and on the other hand, to strengthen the new national schools in the states of Eastern Europe, where the academic musical culture was at a relatively young stage. In the post-romantic crisis, the appeal to formulas of folklore origin brought a new breath, diversifying the musical language and the means of expression, in order to affirm musical cultures (Poland, Hungary, Czech Republic, Bulgaria, Romania), etc. The new states, previously under the influence of the great empires, distanced themselves somewhat from Western musical culture, a fact that allowed, on the one hand, the creation of national schools and the preservation of traditions in the conditions of essential changes in European, pan-European and world composition.
{"title":"The culturally distinct musical discourses in the new compositional schools of the late XIX century — beginning of the XX century","authors":"Valeria Barbas","doi":"10.52603/arta.2022.31-2.06","DOIUrl":"https://doi.org/10.52603/arta.2022.31-2.06","url":null,"abstract":"In this article is analyzed the correlation of the concepts of music and identity is analyzed, in which music lends itself as one of the key elements of identity, because it offers a perception of the self, but also of the collective. The concept of musical identity was the main focus in the creation of new national musical schools (Eastern Europe). Musical compositional creation that tended to embody tradition has served as a powerful cultural resource for nationalism since the 19th century. Th e compositional vector was directed, on the one hand, to get out of the crisis of the romantic music trend, and on the other hand, to strengthen the new national schools in the states of Eastern Europe, where the academic musical culture was at a relatively young stage. In the post-romantic crisis, the appeal to formulas of folklore origin brought a new breath, diversifying the musical language and the means of expression, in order to affirm musical cultures (Poland, Hungary, Czech Republic, Bulgaria, Romania), etc. The new states, previously under the influence of the great empires, distanced themselves somewhat from Western musical culture, a fact that allowed, on the one hand, the creation of national schools and the preservation of traditions in the conditions of essential changes in European, pan-European and world composition.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47473508","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 : 2023-01-01DOI: 10.52603/arta.2022.31-2.11
Elfrida Coroliova
Th e present article analyses the performances of the Moldovan Academic Musical Dramatic State Theater „A.S. Pushkin” staged in the 1970s, in which cultural and civic identities were manifested, and namely: Egor Bulâciov and others by M. Gorki, Th e tiger and the hyena by S. Petőfi , Th e armored train 14-69 by Vs. Ivanov, Romeo and Juliet by W. Shakespeare, On the Night of a Moon Eclipse by M. Karim, The Inspector General by N. Gogol, Beyond the Green Door by R. Ibraghimbekov, Th e Blue Deer by A Kolomieț, An interview in Buenos Aires by H. Borovik, Servant to two masters by C. Goldoni, As long as we are going live by O. Iosseliani, The Prize by A. Ghelman, Night Asylum by M. Gorki, Solo for the clock by O. Zagradnic, the trilogy Th e Paths, A boat in the forest and Th e Dogs by N. Haitov, The Lark by J. Anouilh. The article also examines the shows marked by cultural, national and civic identities, among them: Love is not a bad counsel by A. Marinat, Th e Birds of our youth by I. Druță, Two girls and a nanny by V. Alecsandri, The Leader by D. Matcovschi, Childhood Memories and Harap Alb (Once upon a time…) by I. Creangă, Father by D. Matcovschi.
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Pub Date : 2023-01-01DOI: 10.52603/arta.2022.31-2.15
Dumitru Olărescu
For centuries, art and culture have established themselves as fundamental forms of activity, through which man manifests his visions of the world. Having the man and his creation at their center, they also defi ne the human way of existence, becoming the symbol of man’s creative force. Th at is why they are always in the center of attention of scientists, people of art and culture, including filmmakers, who have released an indefinite number of films on this theme on the world’s screens. One of them is the filmmaker Vlad Druc, for whom art and culture are his favorite themes. His films can serve as argument: Arta, Maria Codreanu, Ion Creangă, Ploi de dor, Firul viu, Goblen, Tata, Meșterul anonym, …și neobosite mâinile tale, Vai, sărmana turturică, Obsesie, Aria, etc. On the basis of the feature film Timp de a trăi (Time to Live), we will try to highlight the spectrum of interests of the director Vlad Druc in the fi eld of art and culture, the visions and the ways of expression through the cinematographic language of the invaluable matter subjected to cinematic investigations in order to elucidate his identity paradigm.
几个世纪以来，艺术和文化已经确立了自己作为基本活动形式的地位，人类通过艺术和文化来表现自己对世界的看法。它们以人和人的创造物为中心，定义了人的生存方式，成为人的创造力的象征。这就是为什么它们一直是科学家、艺术和文化界人士，包括电影制作人关注的中心，他们在世界各地的银幕上发行了无数关于这一主题的电影。其中之一是电影制作人弗拉德·德鲁克，对他来说，艺术和文化是他最喜欢的主题。他的电影可以作为论据:阿尔塔，玛丽亚Codreanu, Ion creangei, Ploi de dor, Firul viu, Goblen, Tata, Meșterul匿名，…și neobosite m inile tale, Vai, surrmana turturicei, Obsesie, Aria等。在故事片《生命的时刻》的基础上，我们将试图突出弗拉德·德鲁克导演在艺术和文化领域的兴趣范围，通过电影研究的无价之宝的电影语言的愿景和表达方式，以阐明他的身份范式。
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Pub Date : 2023-01-01DOI: 10.52603/arta.2022.31-2.10
Dorina Khalil-Butucioc
Th e female characters of the mono-shows in the „Valeriu Cupcea” Studio Hall of the „Mihai Eminescu” National Th eater in Chisinau soar, mutely or tumultuously, „In search of the lost self ”. With a test of high quality talent, Diana Decuseară demonstrated this in the monodrama directed by Vitalie Drucec I’m afraid of the Black Sea (2010), aft er the play Nudistii by Irina Nechit, dedicated to the problems and condition of women in society. The inner turmoil of the Beloved from the show Letter from an unknown woman (2014), by Stefan Zweig, directed by Nugzar Lordkipanidze (Georgia), are rendered in depth by Ana Tkacenko, who externalizes in filigree the dramatic and scenic transformation of her heroine. In the Maria Tănase one-man show I would die, death does not come to me (2017), directed by Nelly Cozaru, the knot of life „Th e Master Birds of the Romanian Song” is skillfully handled by Ecaterina Mardari, who masterfully carries her character on the road of the ages of human life. The tonalities of the actresses’ monologues are subtle and appropriate, balancing humor and irony with omnipresent sadness, without slipping into the pathetic. Th e three performances sensitize the spectators and invite them from a collective therapy to a cathartic participation.
基希讷乌“米哈伊·埃米内斯库”国家剧院“Valeriu Cupcea”工作室大厅里的独幕剧中的女性角色，或无声或喧闹地翱翔，“寻找失落的自我”。作为对高素质人才的考验，在伊琳娜·内希特(Irina Nechit)的《裸体》(Nudistii)之后，黛安娜·德库塞罗(Diana decusearei)在维塔利·德鲁切克(Vitalie Drucec)导演的独唱剧《我害怕黑海》(I 'm afraid of the Black Sea, 2010)中证明了这一点，该剧致力于探讨女性在社会中的问题和状况。《一个陌生女人的来信》(2014)由斯蒂芬·茨威格执导，努格扎尔·洛德基帕尼泽(格鲁吉亚)执导，安娜·特卡琴科(Ana Tkacenko)将女主角戏剧性的、风景优美的转变用精雕细琢的手法表现出来，剧中心爱的人的内心动荡。在由内莉·科扎鲁导演的玛丽亚·特洛涅斯的独角戏《我会死，死亡不会来找我》(2017)中，埃卡特琳娜·马尔达里巧妙地处理了生命的结“罗马尼亚之歌的主鸟”，她巧妙地将她的角色带到了人类生命的时代之路上。女演员独白的语调微妙而恰当，在幽默和讽刺与无处不在的悲伤之间取得平衡，而不会陷入可悲的境地。这三场表演让观众变得敏感，并邀请他们从集体治疗到宣泄参与。
{"title":"„(Mono)dramas of unknown women” at „Mihai Eminescu” National Th eater in Chisinau","authors":"Dorina Khalil-Butucioc","doi":"10.52603/arta.2022.31-2.10","DOIUrl":"https://doi.org/10.52603/arta.2022.31-2.10","url":null,"abstract":"Th e female characters of the mono-shows in the „Valeriu Cupcea” Studio Hall of the „Mihai Eminescu” National Th eater in Chisinau soar, mutely or tumultuously, „In search of the lost self ”. With a test of high quality talent, Diana Decuseară demonstrated this in the monodrama directed by Vitalie Drucec I’m afraid of the Black Sea (2010), aft er the play Nudistii by Irina Nechit, dedicated to the problems and condition of women in society. The inner turmoil of the Beloved from the show Letter from an unknown woman (2014), by Stefan Zweig, directed by Nugzar Lordkipanidze (Georgia), are rendered in depth by Ana Tkacenko, who externalizes in filigree the dramatic and scenic transformation of her heroine. In the Maria Tănase one-man show I would die, death does not come to me (2017), directed by Nelly Cozaru, the knot of life „Th e Master Birds of the Romanian Song” is skillfully handled by Ecaterina Mardari, who masterfully carries her character on the road of the ages of human life. The tonalities of the actresses’ monologues are subtle and appropriate, balancing humor and irony with omnipresent sadness, without slipping into the pathetic. Th e three performances sensitize the spectators and invite them from a collective therapy to a cathartic participation.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41481994","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 : 2023-01-01DOI: 10.52603/arta.2022.31-2.13
S. Talpa
Th e study addresses a wide range of interpretations of (H)ostropat dance from the repertoire of dance groups in the Republic of Moldova in the XXI century. (H)ostropat — represents a ceremonial dance that accompanies various ritual acts in the traditional wedding, being an expression of a specific language of communication that determined the very aesthetics of the dance, its forms of expression, stylistic norms of the repertoire, etc. The (H)ostropat dance, being part of the value system of popular culture, with some aspects of ritual and entertainment, highlights the importance of professional choreographic practice and the role of dance groups in cultural institutions of traditional amateur artistic activity. Th e author focuses her attention on the configuration of the methodological apparatus of researching the repertoire of dance groups as a paradigm of a new stylistic direction and cultural identity in the realm of contemporary choreographic art. It is found that the tendencies of simplifying the ritual structure of the wedding and of compressing the temporal and spatial framework, the modernization of the ceremonial conception and the flow of new dances, created by professional artists or adapted from the repertoire of folk, neo-traditional and national dances in the region, have essentially marked the structure of the repertoire of the traditional dance groups.
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Pub Date : 2023-01-01DOI: 10.52603/arta.2022.31-2.16
Violeta Tipa
Th e image of the forest or of the woods is deeply implanted in the spiritual life, becoming for centuries a maternal symbol of our people. We fi nd it in popular creation (doinas, ballads, tales). In most folk tales, the main characters, on their way to becoming, wander through a thick and dark forest, as the forest itself is the destination point, where the dramatic denouement, an unpredictable meeting or a love idyll will take place. We also fi nd this space of transformations in the creation of our poets and writers (Mihai Eminescu, Vasile Alecsandri, Grigore Vieru, Ion Druță, etc.), in some tales, cult fairy tales, including those of the classic Ion Creangă. We will elucidate this space, represented in various interpretations of the Crengian tales: „Capra cu trei iezi”(Goat with three kids) in the fi lm Mama (1976, directed by Elisabeta Bostan); „Povestea lui Harap Alb”(Th e Story of Harap Alb) in De-ași fi Harap Alb (If I were Harap Alb) (1965), „Povestea porcului” (Th e story of the pig) in “Povestea dragostei”(Love story) (1977), “Fata babei și fata moșneagului” (Th e grandmother’s girl and the old man’s girl) in Maria-Mirabela (1981) — all directed by the Romanian Ion Popescu- Gopo, Dănilă Prepeleac (1996, directed by Tudor Tătaru) etc., fi lms where the forest is the main space for the unfolding of actions/events in the evolution of the dramaturgy, but also the spiritual modifi cation of the character.
森林或森林的形象深深植根于精神生活中，几个世纪以来一直是我们人民的母性象征。我们在流行创作中发现了它（doinas，民谣，故事）。在大多数民间故事中，主人公在成长的路上，漫步在一片茂密黑暗的森林中，因为森林本身就是目的地，戏剧性的结局、不可预测的相遇或爱情田园将在这里发生。我们还在诗人和作家（Mihai Eminescu、Vasile Alecsandri、Grigore Vieru、Ion Druță等）的创作中发现了这种转变的空间，在一些故事、邪教童话中，包括经典的Ion Creangă。我们将阐明这个空间，以各种对克伦吉人故事的解读为代表：电影《妈妈》（1976年，伊丽莎白·博斯坦执导）中的“Capra cu trei iezi”（有三个孩子的山羊）“Povestea lui Harap Alb”（哈拉普·阿尔布的故事）（如果我是哈拉普·阿尔布）（1965年），“Povestea porcului”（猪的故事）在“Povesea dragostei”（爱情故事）（1977年），《Fata babeiși Fata moș，DănilăPrepeleac（1996年，由Tudor Tătaru执导）等，描述了森林是戏剧发展过程中动作/事件展开的主要空间，也是角色的精神改造。
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Pub Date : 2023-01-01DOI: 10.52603/arta.2022.31-2.03
Vasile Chiseliţă
Th e study „Sergei Cretu and neo-traditional music: the creative path in the Soviet period” sketches a brief portrait of the artist, highlighting the important biographical data on specialized studies, the context of professional evolution in the Soviet period of the 1960s-1980s, marked by the so-called „new wave of folklore”. Special emphasis is placed on the reflection of his activity as a dulcimer player, arranger and composer in the Popular Stage Orchestra and in the „Folclor” Orchestra of the Moldovan Republican Television and Radio Broadcasting Company. The main compartments and aesthetic directions in the his interpretive and compositional creation, the structure of the genres and styles, including the place, the sources and the social motivations of the works of Soviet ideological inspiration and instrumentalization are also highlighted. The study capitalizes on documents, data and information from the Archive of the „Teleradio-Moldova” Company, materials from the press of the time, audio and video sources as well as a series of concepts from modern specialty literature, able to promote the interpretation and analysis of cultural facts.
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