Pub Date : 2022-09-01DOI: 10.52603/arta.2022.31-1.08
G. Balaban
Idel Ianchelevici, who became a sculptor and illustrator, was born at the end of the first decade of the XX century. He proved from an early age a native talent for drawing and modeling clay on the banks of the Prut River. He had a life permanently under the sign of fortune being surrounded by true friends, who were always by his side Romania, but also in Belgium and France. After the mandatory military service in Galati and the beginning of his artistic career, Ianchelevici left for Belgium for good, where he studied sculpture at the Royal Academy of Fine Arts in Liège. He dedicated his entire life to the art, being supported by his wife, the sculptress Betty Frenay, all the time by his wife. She dedicated her life to her husband and his art, never practicing as a sculptress, considering that two artists was too much in one family. Throughout his artistic life, Ianchelevici used many types of materials in sculpture: gypsum, clay, bronze, stone, marble, and the proper technique for each type of material, including the direct carving of stone and marble. Regardless of the used technique and materials, the motifs related to childhood memories were present in his works his entire life, following him and being part of what he was: motherhood, fatherhood, barefoot small children of peasants, and the animal world even through he never returned to his birthplace.
{"title":"Yanchelevichi and the nostalgia of Bessarabian childhood","authors":"G. Balaban","doi":"10.52603/arta.2022.31-1.08","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.08","url":null,"abstract":"Idel Ianchelevici, who became a sculptor and illustrator, was born at the end of the first decade of the XX century. He proved from an early age a native talent for drawing and modeling clay on the banks of the Prut River. He had a life permanently under the sign of fortune being surrounded by true friends, who were always by his side Romania, but also in Belgium and France. After the mandatory military service in Galati and the beginning of his artistic career, Ianchelevici left for Belgium for good, where he studied sculpture at the Royal Academy of Fine Arts in Liège. He dedicated his entire life to the art, being supported by his wife, the sculptress Betty Frenay, all the time by his wife. She dedicated her life to her husband and his art, never practicing as a sculptress, considering that two artists was too much in one family. Throughout his artistic life, Ianchelevici used many types of materials in sculpture: gypsum, clay, bronze, stone, marble, and the proper technique for each type of material, including the direct carving of stone and marble. Regardless of the used technique and materials, the motifs related to childhood memories were present in his works his entire life, following him and being part of what he was: motherhood, fatherhood, barefoot small children of peasants, and the animal world even through he never returned to his birthplace.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45940966","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.2022.31-1.15
Victoria Rocaciuc
Until now, the values of the Moldavian book graphics of the period of 1945—2010s have been little studied, the criteria for their analysis and evaluation have not been established, and methodological approaches in this area were incomplete and fragmented. We consider it necessary to recall the essence and relationship of some theoretical concepts related to the „artistic image”, „artistic value” and „aesthetic value”, as well as the concepts of „narrative” and „symbol” in the context of an axiological analysis of national book graphics. This investigation will allow us to study the features and possibilities of the axiological approach to the research of illustrations created by local graphic artists. Such characteristic features of the artistic image as narrative and symbol can be interpreted as separate directions or principles of book design. At the same time, previous investigations have shown that in the evolution of national book graphics, narrative and symbol have gone through various stages of approaches and interpretations. Even the degree of evaluation of works with these characteristics has not remained unchanged. Thus, it seems important to analyze these concepts in the context of the evolution of artistic and aesthetic values inherent in book illustration.
{"title":"Historiographical landmarks in the axiology of the art of Moldovan book graphics of the period of 1945—2010s","authors":"Victoria Rocaciuc","doi":"10.52603/arta.2022.31-1.15","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.15","url":null,"abstract":"Until now, the values of the Moldavian book graphics of the period of 1945—2010s have been little studied, the criteria for their analysis and evaluation have not been established, and methodological approaches in this area were incomplete and fragmented. We consider it necessary to recall the essence and relationship of some theoretical concepts related to the „artistic image”, „artistic value” and „aesthetic value”, as well as the concepts of „narrative” and „symbol” in the context of an axiological analysis of national book graphics. This investigation will allow us to study the features and possibilities of the axiological approach to the research of illustrations created by local graphic artists. Such characteristic features of the artistic image as narrative and symbol can be interpreted as separate directions or principles of book design. At the same time, previous investigations have shown that in the evolution of national book graphics, narrative and symbol have gone through various stages of approaches and interpretations. Even the degree of evaluation of works with these characteristics has not remained unchanged. Thus, it seems important to analyze these concepts in the context of the evolution of artistic and aesthetic values inherent in book illustration.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49061393","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.2022.31-1.19
Halyna Ivashkiv
The paper highlights functions and artistic specificity of the earthenware dating back to the late 19th – early 20th centuries in family rituals. Thus, in order to lessen a woman’s pain, a midwife used various ceramic items, in particular bowls, pots, jugs, etc. “A pot” of porridge that was later broken into pieces “starred” during christening. By the shards and the thickness of the porridge, people forecast the child’s further fate. All the guests were treated to vodka from a beautifully painted jug. The wedding ritual involved small and large pots, cups, bowls, soup plates, plates, jars, O-shaped flat jars with a handle, flasks, earthenware casks, figurines of birds, animals and sometimes humans. In funeral customs and rituals people often used cups, bowls “for kolyvo”, large pots, and jugs with “lanterns”. Terracotta items were predominantly decorated with ochre paintings, while smoked works were smoothened, and sometimes this crockery even had no decorations at all. Some items were only glazed. The author provides a comparison between the artistic peculiarities of the works by Ukrainian and foreign potters, in particular Moldavian ones.
{"title":"Ukrainian Folk Earthenware in Family Rituals","authors":"Halyna Ivashkiv","doi":"10.52603/arta.2022.31-1.19","DOIUrl":"https://doi.org/10.52603/arta.2022.31-1.19","url":null,"abstract":"The paper highlights functions and artistic specificity of the earthenware dating back to the late 19th – early 20th centuries in family rituals. Thus, in order to lessen a woman’s pain, a midwife used various ceramic items, in particular bowls, pots, jugs, etc. “A pot” of porridge that was later broken into pieces “starred” during christening. By the shards and the thickness of the porridge, people forecast the child’s further fate. All the guests were treated to vodka from a beautifully painted jug. The wedding ritual involved small and large pots, cups, bowls, soup plates, plates, jars, O-shaped flat jars with a handle, flasks, earthenware casks, figurines of birds, animals and sometimes humans. In funeral customs and rituals people often used cups, bowls “for kolyvo”, large pots, and jugs with “lanterns”. Terracotta items were predominantly decorated with ochre paintings, while smoked works were smoothened, and sometimes this crockery even had no decorations at all. Some items were only glazed. The author provides a comparison between the artistic peculiarities of the works by Ukrainian and foreign potters, in particular Moldavian ones.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44890595","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.01
Violina Galaicu
This paper is dedicated to the catechetical vocation of Byzantine hymnography, the author analyzing, on the one hand, the theological “matter” that nourishes it, and on the other - the way in which it is presented to the recipient. Thus, the dogma of the Holy Trinity (including that of trinity unity and intra-Trinitarian perichoresis) animates a series of liturgical songs and is also found in the ekfonises of prayers. No less fertile for Orthodox hymnography is the Christological dimension intimately associated with that of the trinity. To the extent that Byzantine sacred music has Christological and soteriological relevance, it is also the bearer of mariological meanings. Mariological images amplify the sacrificial, eschatological, and epiphanic resonances of Christian liturgy, in general, and of religious music in particular. In conclusion, we will state that, on its catechetical side, Byzantine hymnography has a higher efficiency than discursive theology. Due to the doxological form in which it presents its teachings, it manages to evade sterile didacticism, it communicates vividly with the heart and mind of the believers, fully involving them in the hierophantic exercise.
{"title":"The catechetical value of Byzantine hymnography","authors":"Violina Galaicu","doi":"10.52603/arta.2021.30-2.01","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.01","url":null,"abstract":"This paper is dedicated to the catechetical vocation of Byzantine hymnography, the author analyzing, on the one hand, the theological “matter” that nourishes it, and on the other - the way in which it is presented to the recipient. Thus, the dogma of the Holy Trinity (including that of trinity unity and intra-Trinitarian perichoresis) animates a series of liturgical songs and is also found in the ekfonises of prayers. No less fertile for Orthodox hymnography is the Christological dimension intimately associated with that of the trinity. To the extent that Byzantine sacred music has Christological and soteriological relevance, it is also the bearer of mariological meanings. Mariological images amplify the sacrificial, eschatological, and epiphanic resonances of Christian liturgy, in general, and of religious music in particular. In conclusion, we will state that, on its catechetical side, Byzantine hymnography has a higher efficiency than discursive theology. Due to the doxological form in which it presents its teachings, it manages to evade sterile didacticism, it communicates vividly with the heart and mind of the believers, fully involving them in the hierophantic exercise.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48362902","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.14
Violeta Tipa
Ion Creangă’s “Childhood Memories”, the most complex and significant work of the classic of Romanian literature, has so far known a single screening, that of the director Elisabeta Bostan from Romania. The film, with the same title, highlights a landscape as authentic as possible of the time, morals, customs and traditions and reflects the national identity. Or else, the memories of the writer, the main character of the film, about his childhood, his native village, villagers, etc., remain a living expression of the time. The drama organically combines two timeframes and spaces: that of Nică’s childhood, spent in the picturesque landscapes of Humulești, and the second that of the writer Ion Creangă, who listed his memories in the “bojdeuca (hut)” from Țicău. The director remains faithful to Creanga’s text, to the same colorful language full of expressions characteristic of Moldovan speech, and creates a universe similar to that of the mid-nineteenth century. The film Memories from Childhood (1965), considered by critics to be the “bridgehead of screening”, remained “in the English Academy and the Los Angeles Museum of the Arts – as a reference film in the field of screenings”.
Ion Creangă的《童年回忆》是罗马尼亚文学经典中最复杂、最重要的作品，迄今为止只放映过一次，那就是来自罗马尼亚的导演Elisabeta Bostan。这部同名电影突出了一个尽可能真实的时代、道德、习俗和传统景观，并反映了民族身份。或者，作为电影主角的作家对童年、家乡村庄、村民等的记忆，仍然是时代的生动表达。该剧将两个时间框架和空间有机地结合在一起：尼克的童年，在胡穆勒蒂风景如画的风景中度过，第二个是作家Ion Creangă的童年，他在Țicău的“bojdeuca（小屋）”中列出了自己的回忆。导演仍然忠于科林加的文本，忠于同样丰富多彩的语言，充满了摩尔多瓦语言的特点，并创造了一个类似于19世纪中期的世界。电影《童年的回忆》（1965）被评论家认为是“放映的桥头堡”，但它仍然“保存在英国学院和洛杉矶艺术博物馆，作为放映领域的参考电影”。
{"title":"Reminiscences – a space of memory (Based on the film Childhood Memories by Elisabeta Bostan)","authors":"Violeta Tipa","doi":"10.52603/arta.2021.30-2.14","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.14","url":null,"abstract":"Ion Creangă’s “Childhood Memories”, the most complex and significant work of the classic of Romanian literature, has so far known a single screening, that of the director Elisabeta Bostan from Romania. The film, with the same title, highlights a landscape as authentic as possible of the time, morals, customs and traditions and reflects the national identity. Or else, the memories of the writer, the main character of the film, about his childhood, his native village, villagers, etc., remain a living expression of the time. The drama organically combines two timeframes and spaces: that of Nică’s childhood, spent in the picturesque landscapes of Humulești, and the second that of the writer Ion Creangă, who listed his memories in the “bojdeuca (hut)” from Țicău. The director remains faithful to Creanga’s text, to the same colorful language full of expressions characteristic of Moldovan speech, and creates a universe similar to that of the mid-nineteenth century. The film Memories from Childhood (1965), considered by critics to be the “bridgehead of screening”, remained “in the English Academy and the Los Angeles Museum of the Arts – as a reference film in the field of screenings”.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46149558","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.09
Dorina Khalil-Butucioc
The inner mobility of the theater, doubled by the fast pace of life under the wave of postmodernity at the end of the twentieth century, conditioned not only the re-definition of a new theatrical language, but also the re-writing of dialogic forms specific to theatrical art. Or, in the texts of Constantin Cheianu, Val Butnaru, Nicolae Negru, Mircea V. Ciobanu, Dumitru Crudu, Irina Nechit, Maria Șleahtițchi and Nicolae Leahu, dialogue does not only have the classic role of triggering and motivating the action. The (sub)layers of conflict dialogues and „deaf dialogues”, parallel and echo dialogues, seemingly „absurd” association dialogues and „thesis-antithesis” dialogues, the dialogue monologues and the monologue dialogues evoke the alternation of linguistic registers and the play of languages. Completing and continuing the openness to multiple textual styles, the language of dialogues triggers and finalizes the communicative process between written and spoken, but also between text-show-audience. The „palpation” of the types of dialogues and the „immersion” in the mise en abysses of language give us the revelation of deciphering the symbols and meanings of contemporary national and universal drama and theater.
{"title":"The art of dialogueor „How the Bessarabian playwrights of the 1990s discussed with Plato","authors":"Dorina Khalil-Butucioc","doi":"10.52603/arta.2021.30-2.09","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.09","url":null,"abstract":"The inner mobility of the theater, doubled by the fast pace of life under the wave of postmodernity at the end of the twentieth century, conditioned not only the re-definition of a new theatrical language, but also the re-writing of dialogic forms specific to theatrical art. Or, in the texts of Constantin Cheianu, Val Butnaru, Nicolae Negru, Mircea V. Ciobanu, Dumitru Crudu, Irina Nechit, Maria Șleahtițchi and Nicolae Leahu, dialogue does not only have the classic role of triggering and motivating the action. The (sub)layers of conflict dialogues and „deaf dialogues”, parallel and echo dialogues, seemingly „absurd” association dialogues and „thesis-antithesis” dialogues, the dialogue monologues and the monologue dialogues evoke the alternation of linguistic registers and the play of languages. Completing and continuing the openness to multiple textual styles, the language of dialogues triggers and finalizes the communicative process between written and spoken, but also between text-show-audience. The „palpation” of the types of dialogues and the „immersion” in the mise en abysses of language give us the revelation of deciphering the symbols and meanings of contemporary national and universal drama and theater.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42480119","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.02
Victor Ghilaş
The study brings to the forefront some reference information on the connections of national oral music with the European space. The sources of documentation, to which we turn, allow a first finding, according to which our music enters the attention of the West in the XVI century. Firstly, we refer to the first records of folklore, which appeared in publications in Poland, Germany and France, and which are found in tabulations, anthologies and (or) collections of music. Once they have come out of print and have been put into circulation, they reach the creative laboratory of European artistic personalities, who have gone on to capitalize on our ethnic music in various forms and genres. We catalog some creations through concrete examples, having as a source of suggestion the local melody. Along the way, the actual musical documents from the period under investigation are supplemented with data and information from adjacent fields. The paper takes into account the contribution of foreign authors in a limited period of time (XVI–XVII centuries), who through their contribution have facilitated the promotion of the originality of our musical culture, increasing its visibility and value on the European continent.
{"title":"Documentary testimonies about the national music in European culture Historiographical journey (XVI—XVII centuries","authors":"Victor Ghilaş","doi":"10.52603/arta.2021.30-2.02","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.02","url":null,"abstract":"The study brings to the forefront some reference information on the connections of national oral music with the European space. The sources of documentation, to which we turn, allow a first finding, according to which our music enters the attention of the West in the XVI century. Firstly, we refer to the first records of folklore, which appeared in publications in Poland, Germany and France, and which are found in tabulations, anthologies and (or) collections of music. Once they have come out of print and have been put into circulation, they reach the creative laboratory of European artistic personalities, who have gone on to capitalize on our ethnic music in various forms and genres. We catalog some creations through concrete examples, having as a source of suggestion the local melody. Along the way, the actual musical documents from the period under investigation are supplemented with data and information from adjacent fields. The paper takes into account the contribution of foreign authors in a limited period of time (XVI–XVII centuries), who through their contribution have facilitated the promotion of the originality of our musical culture, increasing its visibility and value on the European continent.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48880404","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.05
Dumitru Calmis
With the annexation of Bessarabia to the USSR, the process of professionalization of accordionists, convering all levels of artistic education in the country, is influenced by the evolution of performing arts in Eastern Europe (especially Russia, Belarus, Ukraine). The academic bases are consolidated by illustrious pedagogues, such as Iziaslav Birbraier, Valentin Zagumionov (I. Birbraier’s student), Ivan Folomkin (one of the first graduates of the Gnesin State Musical-Pedagogical Institute in Moskow) and others. Durind the years 1940–1960, the establishment of the accordion interpretive art in the Moldavian SSR was directly conditioned by the massive ideologization of the ex-Soviet cultural space, which largely blurred the national identity aspect in the accordion academization process. Based on the classical-romantic aesthetics „adjusted” by the doctrine of socialist realism, the professionalization of Bessarabian instrumentalists is distinguished by a prominent conservatism compared to other accordion schools of that period, such as German, Danish, Czech etc. (we refer primarily to the compositional domain). Even if in this time segment the accordion failed to fully integrate into the „family” of European academic instruments, taking into account some areas (organological, compositional, pedagogical, interpretive) that needed to be intensely perfected, the first postwar decades can still be considered the reference point for establishing the academic status of chromatic harmonics in the Moldavian SSR
{"title":"The constitution of the academic accordion art in the Moldavian SSR in the period 1940–1960","authors":"Dumitru Calmis","doi":"10.52603/arta.2021.30-2.05","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.05","url":null,"abstract":"With the annexation of Bessarabia to the USSR, the process of professionalization of accordionists, convering all levels of artistic education in the country, is influenced by the evolution of performing arts in Eastern Europe (especially Russia, Belarus, Ukraine). The academic bases are consolidated by illustrious pedagogues, such as Iziaslav Birbraier, Valentin Zagumionov (I. Birbraier’s student), Ivan Folomkin (one of the first graduates of the Gnesin State Musical-Pedagogical Institute in Moskow) and others. Durind the years 1940–1960, the establishment of the accordion interpretive art in the Moldavian SSR was directly conditioned by the massive ideologization of the ex-Soviet cultural space, which largely blurred the national identity aspect in the accordion academization process. Based on the classical-romantic aesthetics „adjusted” by the doctrine of socialist realism, the professionalization of Bessarabian instrumentalists is distinguished by a prominent conservatism compared to other accordion schools of that period, such as German, Danish, Czech etc. (we refer primarily to the compositional domain). Even if in this time segment the accordion failed to fully integrate into the „family” of European academic instruments, taking into account some areas (organological, compositional, pedagogical, interpretive) that needed to be intensely perfected, the first postwar decades can still be considered the reference point for establishing the academic status of chromatic harmonics in the Moldavian SSR","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49482858","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.10
Ana Krulitza
The present paper starts from the idea of “archival return” in scientific discourse and its possible uses in choreographic practice. In Poland, many choreographers have tried to reconstruct the works of famous artists from the 20s and 30s of the XX century. The works of Pola Nireńska, Yanka Rudzka and Marie Rambert are brought to the stage from today’s perspective. This phenomenon would contribute to the completion of a history with new valences. In the context of reconstructing the choreography of the past, we will refer to the memory of the body and “the body as an archive”. We will analyze how contemporary choreographers work with memory and bodily memories, trying to find traces to get in touch with historical stagings. The research is based on the concept of the body as an archive and the experience of previous generations in choreographic practice. At the same time, we will try to find the answer to the question: how is the process of including choreography in the archival context treated and how does it manifest itself as such today. We will highlight the connection with the past, but also the contribution to knowing and promoting choreographic values.
{"title":"Dialogue with the past in contemporary choreography","authors":"Ana Krulitza","doi":"10.52603/arta.2021.30-2.10","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.10","url":null,"abstract":"The present paper starts from the idea of “archival return” in scientific discourse and its possible uses in choreographic practice. In Poland, many choreographers have tried to reconstruct the works of famous artists from the 20s and 30s of the XX century. The works of Pola Nireńska, Yanka Rudzka and Marie Rambert are brought to the stage from today’s perspective. This phenomenon would contribute to the completion of a history with new valences. In the context of reconstructing the choreography of the past, we will refer to the memory of the body and “the body as an archive”. We will analyze how contemporary choreographers work with memory and bodily memories, trying to find traces to get in touch with historical stagings. The research is based on the concept of the body as an archive and the experience of previous generations in choreographic practice. At the same time, we will try to find the answer to the question: how is the process of including choreography in the archival context treated and how does it manifest itself as such today. We will highlight the connection with the past, but also the contribution to knowing and promoting choreographic values.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49172403","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.13
Dumitru Olărescu
First, a brief excursion is made in the evolution of the historical-biographical film in the Republic of Moldova by highlighting the stages and personalities from the history of this category of non-fiction films. The research focuses on the televised historical-biographical film Evocare. Bogdan Petriceicu Hașdeu/Evocation. Bogdan Petriceicu Hașdeu – a co-production of Romanian filmmakers (Romanian Television Film Studio) and the Republic of Moldova (State Company Teleradio Moldova) – dedicated to the eminent personality of the history of our culture – Bogdan Petriceicu Hașdeu. The authors of the film managed to evoke the multiple activity of the protagonist (writer, poet, playwright, scientist, folklorist and also the most dramatic moments of his troubled destiny. Some similarities and differences in the aesthetic conditions of the TV film and the one for the screen are revealed. The aesthetic peculiarities of the televised historical-biographical film were highlighted, the premises of its approach to docudrama – a species with a perspective of the non-fiction film.
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