Pub Date : 2023-01-01DOI: 10.52603/arta.2022.31-2.08
Tatiana Berezovicova
Th e study is dedicated to a large-scale work by the famous composer Boris Dubosarschi (1947—2017). Written in 2004, the Partita for panpipe and orchestra has not yet been studied by musicologists, although it deserves it for a few reasons. It is a multifaceted work, merging the peculiarities of several types of instrumental cycle: baroque suite, baroque sonata, modern suite, symphony, concerto. Framed generally in the stylistics of pre-classical music, the Partita also reveals some features of contemporary writing. A special quality is given by the combination of panpipe and chamber orchestra sonority. The original concept, the attractive musical language, the solo panpipe full of virtuosity and melody — thanks to these qualities the work is in demand in artistic and pedagogical practice, being intended for professional performers and students from the higher level of musical studies. The article is a tribute to the memory of Boris Dubosarschi who would have turned 75 in 2022.
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Pub Date : 2023-01-01DOI: 10.52603/arta.2022.31-2.14
Ana Plamadeala
Th e author of the paper signals, fi rst of all, the urgent need to introduce the phrase “wounded identity” (Michael Pollak) into the scientifi c circuit manifested with unparalleled eloquence in Transylvania and Bessarabia. The excursion into the area of autochthonous arts of the post-war period resulted in the discovery in the subtext of the works by I. Druță, V. Vasilache, G. Vieru, etc. of the “obsession with self-identifi cation”, which later becomes the guide of the subject and of genuistically-stylistic structures. The cardinal problem of the nation’s consciousness, that of losing oneself in the rush of the “terror of history”, is extrapolated in the 60s in the seventh art, culminating in the two archetypal samples: Pădurea spânzuraților/ The Forest of the Hanged and Gustul pâinii/The Taste of Bread, inscribed in the solemn gravity of the tragic genre. In these cinematographic works of universal resonance, the unprecedented psychoanalytic survey impresses the turbulent state of mind of the protagonists, who face, even at the cost of their lives, the nation’s Golgotha “of carrying the life of a stranger in oneself ” (L. Rebreanu). Th e fi lms, subjected to a comparative analysis, reveal the shocking phenomenon — the interpenetration of the great echoes of the ancient tragedy; the prophecies of nature and music corresponding to the famous chorus. In conclusion, the author launches a novel hypothesis: the “ethnic renaissance” is due to the recuperative mission — the healing of the “wounded identity” through the cathartic impact of the work of art.
这篇论文的作者首先发出信号，迫切需要将“受伤的身份”(Michael Pollak)一词引入科学圈，这在特兰西瓦尼亚和比萨拉比亚以无与伦比的口才表现出来。对战后本土艺术领域的探索，使我们在I. Druță、V. Vasilache、G. Vieru等人作品的潜语中发现了“对自我认同的痴迷”，这种痴迷后来成为主题和真正风格结构的指导。民族意识的主要问题，即在“历史的恐怖”的冲击中迷失自我，在60年代的第七艺术中被推断出来，在两个原型样本中达到高潮:pandredurea spânzuraților/被绞死的森林和Gustul p inii/面包的味道，以悲剧类型的庄严庄严而告终。在这些引起普遍共鸣的电影作品中，前所未有的精神分析调查给主人公动荡的精神状态留下了深刻的印象，他们甚至以生命为代价，面对着国家的各各他，“在自己身上承载着一个陌生人的生命”(L. Rebreanu)。通过对比分析，揭示了令人震惊的现象——古代悲剧的巨大回声相互渗透;自然和音乐的预言对应着著名的合唱。最后，作者提出了一个新颖的假设:“民族复兴”是由于休养的使命——通过艺术作品的宣泄作用来治愈“受伤的身份”。
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Pub Date : 2023-01-01DOI: 10.52603/arta.2022.31-2.12
Tamar Tsagareli
From the last decades of the XX century to the present, the overall processes of integration have a total character in all spheres of human activity. In general, the cosmic quickness of development of technologies and especially information technologies have long removed the borders between different countries and civilizations. This triumphal move of globalization on our planet is a quite difficult process full of resistances. Its ongoing process is far ahead of comprehensive deliberation and assessing of possible positive and negative consequences raised by this occurrence. Despite the fact that historically globalization is a fully natural process, which certainly has not started only in the last decades of the XX century; some people consider the renaissance epoch as its beginning. There are people who think that this process originates from ancient times alongside with the development of mankind’s traditional cultures. However, subsequently in later history, it goes beyond the traditional boundaries of culture and often plays a destructive role towards it. During the discussions around globalization, there often appear catastrophic and apocalyptic visions. On the one side are those who consider globalization as historically inevitable and a progressive comprehensive occasion, while others emphasize the dangerous nature of this occasion for distinctiveness and development of different cultures and civilizations.
{"title":"Problems of Th eatrical art in the XXI century","authors":"Tamar Tsagareli","doi":"10.52603/arta.2022.31-2.12","DOIUrl":"https://doi.org/10.52603/arta.2022.31-2.12","url":null,"abstract":"From the last decades of the XX century to the present, the overall processes of integration have a total character in all spheres of human activity. In general, the cosmic quickness of development of technologies and especially information technologies have long removed the borders between different countries and civilizations. This triumphal move of globalization on our planet is a quite difficult process full of resistances. Its ongoing process is far ahead of comprehensive deliberation and assessing of possible positive and negative consequences raised by this occurrence. Despite the fact that historically globalization is a fully natural process, which certainly has not started only in the last decades of the XX century; some people consider the renaissance epoch as its beginning. There are people who think that this process originates from ancient times alongside with the development of mankind’s traditional cultures. However, subsequently in later history, it goes beyond the traditional boundaries of culture and often plays a destructive role towards it. During the discussions around globalization, there often appear catastrophic and apocalyptic visions. On the one side are those who consider globalization as historically inevitable and a progressive comprehensive occasion, while others emphasize the dangerous nature of this occasion for distinctiveness and development of different cultures and civilizations.","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":"42707502","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.2022.31-2.01
Violina Galaicu
Among the agents of the infiltration of polyphony in native religious singing are the reforming current, coming from the West through Transylvania, as well as the act of uniting with Rome a part of Transylvanian Romanians (1701). Catholic choral pieces are insinuated in Psalter manuscripts, including the curious phenomenon of the transposition of polyphonic religious singing into the Byzantine semiographic system. The two components — monodic and polyphonic — are also meet in Moldova. In 1782 during the abbotship of Paisie Velicikovski, a choir of Russian monks was established, who practiced harmonic singing (along with native monks who, traditionally, sang monodically) at Neamts Monastery. In the first half of the 19th century, the contacts of psalter music with polyphonic religious music intensified. The presence of choral singing was signaled in several cultural centers in the researched area (Arad, Bucharest, Iasi). As time goes on, psalter singing is competing more and more dangerously with harmonic singing, things being pushed to a fierce confrontation between the two currents. The saving solution for keeping the balance between continuity and renewal is seen by the bishop Melchizedek of Roman.
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Pub Date : 2022-11-29DOI: 10.52603/arta.2022.31-2.18
Iryna Zubavina
Th e paper focuses on the features of emotional perception of screen-displayed videos and images, when the neural response of the viewer is included into the subject fi eld of neuroaesthetics—an interdisciplinary sphere of knowledge at the intersection of art studies, philosophy, psychology of perception, and neuroscience. Th e study describes innovative methods of neuroscientifi c research for studying the reception of a “screen product.” One of such methods is determining the algorithm of evoking certain impressions in the mind of the viewer— “consumer” of the screen culture. Further ways of development of dialectical ties between neuroscience and screen studies are formulated as a research hypothesis. Practical signifi cance of the study is determining the parameters of regulatory/manipulative infl uence of the audiovisual stimuli on the viewer’s behavior in the contemporary situation when objective and subjective realities are gradually substituted by the virtual reality.
{"title":"Neurocinematics and Beyond: Imagery of Contemporary Screen Culture","authors":"Iryna Zubavina","doi":"10.52603/arta.2022.31-2.18","DOIUrl":"https://doi.org/10.52603/arta.2022.31-2.18","url":null,"abstract":"Th e paper focuses on the features of emotional perception of screen-displayed videos and images, when the neural response of the viewer is included into the subject fi eld of neuroaesthetics—an interdisciplinary sphere of knowledge at the intersection of art studies, philosophy, psychology of perception, and neuroscience. Th e study describes innovative methods of neuroscientifi c research for studying the reception of a “screen product.” One of such methods is determining the algorithm of evoking certain impressions in the mind of the viewer— “consumer” of the screen culture. Further ways of development of dialectical ties between neuroscience and screen studies are formulated as a research hypothesis. Practical signifi cance of the study is determining the parameters of regulatory/manipulative infl uence of the audiovisual stimuli on the viewer’s behavior in the contemporary situation when objective and subjective realities are gradually substituted by the virtual reality.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42008113","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 : 2022-09-01DOI: 10.52603/arta.2022.31-1.17
Sergius Ciocanu
The documents attest the presence in the city of Chisinau of the Lipovans (Russian Old Orthodox Believers) at the end of the 18th century. In the 18th century, the Chisinau’s Lipovans had their own wooden church, located at the south of the central market square of the city. It was seriously damaged by the fire which engulfed Chisinau during the military operations of 1788. Later, the wooden church was rebuilt in the same place. After the annexation of the eastern part of the Principality of Moldova by the Russian Empire, the Lipovan community was subjected to significant persecution by the tsarist authorities regarding to abridge freedom of their religion. This policy also had repercussion on the Lipovan church. During the 19th and 20th centuries, the church underwent several alterations and repairs that changed its appearance. In the middle of the 20th century, by the decision of the Soviet city authorities, this valuable object of the historical and cultural identity of the city of Chisinau was demolished.
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Pub Date : 2022-09-01DOI: 10.52603/arta.2022.31-1.06
Rodica Ursachi
The evolution of the architecture of Chisinau from the end of the 19th century to the beginning of the 20th century was conditioned by different historical, political, economic factors, etc., which imposed a certain stylistic typology of eclectic nature. The conceptual-stylistic and typological character of the architectural monuments in Chisinau was determined by the regulations imposed by the new authorities based on the observance of urban projects specific to the Russian Empire, the preferences and aesthetic taste of architects and, to some extent, the wishes of sponsors. The conceptual-decorative aesthetics of the buildings generally reflect the synthesis of two basic styles, interpreted in a rich variation of plastic forms – neoclassicism and the modern style. During that period, several architects with training in the field and extensive knowledge in “historical” architecture were active. The architects who have left their mark on the image of Chisinau are: Alexandru Bernardazzi, Henrich von Lonsky, Mitrofan Elladi, Vladimir Țiganco, Alexei Sciusev and others. Among the buildings made in a “classical” language can be named: the the Girls’ Gymnasium of Bessarabian Zemstvo, Rascanu-Derojinschi House, etc. The modern stylistic peculiarities are visible in the City Duma Building, the Girls’ Gymnasium “Princess Natalia Dadiani”, Vladimir Herța’s House, etc., which are characterized by a pronounced eclectic aspect.
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Pub Date : 2022-09-01DOI: 10.52603/arta.2022.31-1.11
Vitalie Malcoci
Constantin Lodzeiski was one of the foremost theatre, opera, and ballet designers in the Republic of Moldova. He started his activity in 1947, when he was employed as chief painter at the State Dramatic Theater from Bălţi. Initially, C. Lodzeiski worked on the decoration of drama performances, which can be explained not so much by his interest in this type of dramaturgy, but by the lack of a musical theatre in the country, the latter being closer to his artistic nature. It was only at the end of the 1950s, when the State Opera and Ballet Theatre was established in Chişinău, that C. Lodzeiski began to work mainly on the stage decoration of musical performances. The adoption of the latest trends in the decoration of opera and ballet performances allowed C. Lodzeiski to move to a new stage in the development of the Moldovan scenographic art. Finding himself at the dawn of Moldovan Soviet scenography, the artist contributed to the development of new directions and principles for the organization of the scenic space and theatrical scenery, advancing the development of professional theatrical-decorative art of the republic. During his creation, the artist makes decoration sketches for over 100 shows from national and universal classical and contemporary drama.
Constantin Lodzeiski是摩尔多瓦共和国最重要的戏剧、歌剧和芭蕾舞设计师之一。1947年，他被国家戏剧剧院(Bălţi)聘为首席画家，开始了他的活动。最初，C. Lodzeiski致力于戏剧表演的装饰，这并不是因为他对这种戏剧类型的兴趣，而是因为该国缺乏音乐剧，后者更接近他的艺术本性。直到20世纪50年代末，当国家歌剧院和芭蕾舞剧院在chi伊努成立时，C. Lodzeiski才开始主要从事音乐表演的舞台装饰工作。歌剧和芭蕾舞表演装饰的最新趋势使C. Lodzeiski在摩尔多瓦舞台艺术的发展中进入了一个新的阶段。这位艺术家发现自己处于摩尔多瓦苏维埃舞台艺术的黎明，他为风景空间和戏剧场景的组织制定了新的方向和原则，推动了共和国专业戏剧装饰艺术的发展。在创作过程中，他为全国和世界各地的古典和当代戏剧创作了100多场表演的装饰草图。
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Pub Date : 2022-09-01DOI: 10.52603/arta.2022.31-1.09
Tudor Stăvilă
The National Art Museum of Moldova constantly surprises with vernissages and original themes, regardless of whether it refers to personal or group exhibitions, to regional or international activities. The presence of the exhibition “Five couples”, which was opened this year, on May of 17 and it confirmed the actuality of some events, which have became a tradition and an evolution of the performances of that institution. The moment refers to painters and their works, which were active in various cultural spaces of modern Russia and interwar Bessarabia, from the Romanian Kingdom before the Second World War and the period of the emergence of the Moldavian SSR, following a not simple artistic way, in completely diverse and incompatible environments. Their creation demonstrated the existence of two value systems: one was of European formation; another was of Russian production, both were belonging to the opposite visions. Mihail Grecu and Lidia Arionescu, Mihail Grecu and Fira Grecu, Moisei and Eugenia Gamburd, Valentina Rusu-Ciobanu and Glebus Sainciuc, Ana Baranovici and Dmitrii Sevastianov were honored at the exhibition.
摩尔多瓦国家艺术博物馆(National Art Museum of Moldova)的新作和原创主题不断给人带来惊喜，无论是个人展览还是团体展览，还是地区或国际活动。“五对”展览于今年5月17日开幕，它证实了一些事件的真实性，这些事件已成为该机构表演的传统和演变。这一时刻指的是画家和他们的作品，他们活跃在现代俄罗斯和两次世界大战之间的比萨拉比亚的各种文化空间中，从第二次世界大战前的罗马尼亚王国到摩尔多瓦苏维埃社会主义共和国出现的时期，遵循一种不简单的艺术方式，在完全多样化和不相容的环境中。它们的诞生证明了两种价值体系的存在:一种是欧洲形成的;另一个是俄国生产的，两者属于相反的愿景。米哈伊尔·格列库和利迪亚·阿里内斯库、米哈伊尔·格列库和费拉·格列库、莫伊塞伊和尤金尼亚·甘伯德、瓦伦蒂娜·鲁苏-乔巴努和格列布斯·圣丘奇、安娜·巴拉诺维奇和德米特里·塞瓦茨基亚诺夫在展览会上受到表彰。
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Pub Date : 2022-09-01DOI: 10.52603/arta.2022.31-1.14
A. Trifan
In the second half of the XX century, thanks to a plethora of famous architects, new meanings related to the perception of the wine-making complex are imposed and the concept of wine-making architecture evolves. The major interest given to the image of contemporary wineries makes it opportune to take a new approach to their architecture, classifying them as spaces and volumetric forms that are rational and at the same time expressive, suitable for functional and technical requirements, as well as for aesthetic and semantic ones. As a consequence of the changes taking place in the global wine-making industry, there is a structural revision of the overall image of domestic wine-making complexes. Having moved beyond the period of predominance of purely utilitarian, industrial forms, architecture is now entering a phase in which the expressive aspect of buildings comes to the fore. In the first decade of the XXI century, several projects based on the attractiveness of wine-making complexes have attracted attention, demonstrating a particular ability to convey ideas and concepts that are much more complex than their mere representation as a result of the subordination of a utilitarian architecture. By researching these projects, we can notice various solutions of contemporary wine cellar architecture, important contributions to the conceptualization of their development at the present stage.
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