Analele Universităţii „Dunărea de Jos” din Galaţi. Fascicula XXV,CercetARTE / The Annals of ”Dunarea de Jos” of Galati. Fascicle XXV, ARTSResearch

Cuprins

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Contents

Estetica vizualului în opera lui Horia Bernea

2023-12-15T09:00:01+02:00

The beginning of the Bernea’s works are marked by the centering of artist interest on the study of the body. The effects of first paintings are the result of numerous research studies which highlight the importance of the hua and the nature. The fundamental priority condition for conducting his masterpieces was the knowledge of the history of his country. During this period, he started to introduce romanian popular art in his paintings and he stylished monumental structures. In this context his all work is based on promoting the entire popular romanian art and the knowledge of spiritual christian religion.

Complexitatea structurilor perspectivale în opera lui Sam Szafran

2023-12-15T09:02:40+02:00

In the visual arts, the creation of the painter Sam Szafran represents an artistic landmark of the end of the last century in terms of the use of the pastel technique in the development of unique, innovative compositional structures. The in-depth stylistic experiments by mixing pictorial techniques but also the diverse themes extracted from his own life experience are characteristics that develop the specific and unique imprint of his works. Sam Szafran describes compositional spaces dominated by well-crafted principles that give rise to complex surrealist framings. The stairs, the workshop or the contorted plant architectures are Sam Szafran's conceptual proposals for a special exploration of interiors, elaborating in this way true ambient projects. In turn, pastel, thanks to its special pigment qualities, is the working medium that helps both the spontaneous execution of line networks and the imitation of various materials.

Comunicarea prin imagine în era tehnologiei digitale

2023-12-15T09:06:08+02:00

In the age of advanced technology, we live in a society where we are always digitally connected and surrounded by devices and applications that make our lives easier. However, there is a deep contradiction between technology and human connection.

We have a number of approaches to resolve this contradiction. It's about being aware of the overuse of technology, promoting face-to-face communication and genuine human connection, using technology sensibly as needed.

Technology has revolutionized the way we connect and interact in the modern world, but it has also brought a number of challenges to human connection. Social isolation, the fragmentation of interpersonal relationships and the impact on mental health are just some of the consequences of this contradiction. However, awareness and a balanced approach to the use of technology can help solve these problems. Through individual and collective initiatives, we can find solutions to overcome the contradiction between technology and human connection and build a society where technology is used consciously and responsibly, for the benefit of us all.

Naturalismul și virtuozitatea plastică în reprezentarea statuară a lui David în viziunea sculptorilor Donatello, Verrocchio, Michelangelo și Bernini

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Four identities, four masters, five solutions to the same subject, each of them demonstrating, among many others, the importance of the correlation between mimicry and attitude. The most important "novelty" that Donatello brings, through this sculpture, is the positioning of the character in a classic contra-post, but which preserves the elegant and traditional Gothic posture. The portrait, however, contrasts with the serenity of a curiosity displayed on a face that doesn't let us see anything of the heroic act performed, as if he didn't even care about the severed head of his rival lying at his feet. Several of the researchers translated this attitude as one full of personality, a kind of - it was child's play - suggested by the slight twist of the body and the positioning of the left hand on the hip. It is obviously an exaggerated twist, which has nothing in common with reality which rather depicts a character with a peaceful, even gentle attitude. Andreea del Verrocchio was himself a mature sculptor when he tackled the biblical theme of David. He too kept the youth of the character but instead did not want the appearance of a teenager with effeminate features, even if he reproduced with great accuracy the beauty, delicacy and fragility of the age. The harmony, strength, virility, beauty and naturalness of the male nude are the main attributes brought out by the masterful solution that Michelangelo gave to this statuary representation. Naturally, it was assimilated as one of the most popular and representative works of the Renaissance. If in the predecessors we can see the influence of Polycletus, through the work Doriphorul, on the posture of the representations of David, in Bernini we could say that the source of inspiration for the character's pose would be Myron's Discobolus.

Forma de fugă în istoria post-barocă

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The present study does not propose an exhaustive course of the mentioned form, not even in broad terms, since even this type of approach would go far beyond the usual dimensions. On the contrary, some fugue models will be selected from the creation of some representative composers, in order to highlight its unique character and its ability to symbolize. It will only be built schematically, which can be a starting point for further rescheduling. Of course, we will analyze those fugues that come out of the scholastic pattern and assert themselves as independent, completely surprising creations. Also, it will not be insisted on sacred genres, where the use of this form is traditional. If during the Baroque Age the fugue was folded as a technique specific to the period, the following eras will take over this idiom to make it survive in surprising contexts: instrumental miniatures, sonatas, chamber music, symphonic suites, symphonies, oratorios, opera.

Vocalitatea și profilul psihologic al personajelor principale masculine din opera „Rigoletto” de Giuseppe Verdi

2023-12-15T09:13:22+02:00

Giuseppe Verdi was a musician who knew how to emphasize drama in his creations, creating new melodic-rhythmic-harmonic typologies of characters, giving music a portrait role. By adhering to the Risorgimento (Revival) phenomenon and through his personal experiences, Verdi was preoccupied with human dramas and these appear transposed in the melodies, harmonies and rhythms he used, in the conflicts constantly existing in his works and in the strong personalities of the characters, hence resulting in the complexity of his musical language. After a series of remakes of the play, which received titles such as „La maledizione” or „Il Duca de Vendôme”, the opera „Rigoletto” premiered in 1851 at the La Fenice Theater in Venice, where it enjoyed great success with the public. The critics' reaction was less positive due to the lack of large ensembles, but they still recognized the novelty of the music, the vocal style, the structure of the musical numbers and, above all, the expressiveness of the orchestration, which evokes multiple emotions in the audience, depending on the dramatic situation.
Verdi's vocal expression is conditioned by the musical form, the melodic line, the rhythm and the psychological traits of the characters. All these aspects will also be used in the analysis of the voice of the two main male characters – the Duke of Mantua and Rigoletto.

Viziune regizorală în montarea operetei Țara surâsului de Franz Lehar

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„The land of smiles” by Franz Lehar is a very complex operetta: the music is very rich in sonorities, very dramatic when the conflict appears on the stage or when a character is suffering and very suggestive when recreating the cultural influence of the Asian continent, through musical motifs.
These musical aspects have grown in me the interest and the desire to put in stage this operetta. I find it very challenging to recreate a ceremony of a culture not so familiar to our or to set some behavioral trajetory for a character who is such typical for an asian society (Sou-Chong).

Miniatura vocală italiană. Ottorino Respighi, reper al muzicii italiene din prima jumătate a secolului XX

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The life and work of the composer were interesting in the scientific endeavor. Contrast, symmetry, asymmetry, conciseness, national-European-universal trialism, unity in diversity, broad tonality, sometimes atonalism, the presence of the musical theme, divisional rhythm, traditional dynamics, already established timbres, language syntheses, syncretism, pragmatic music, pluri- modalism, the presence of the quotations, often folk writings, stylization, familiar forms and genres define a particularly vast sonorous universe that we find in Ottorino Respighi.
In his numerous creations, the voice is on a fundamental place, whether we are talking about large works (operas) or vocal miniatures (lieds), we can also notice a special sensitivity about the meaning of the word, whereas the chosen texts are organically appropriate to the orchestral speech. The frequent presence of the recitative, of the declamation, of the rhythmic-melodic structures dependent on the text, the so-called intoned recitation (Speachgesang) render a unique imprint to Respighi's miniature creation.

Attualità dell’arte: un ossimoro

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This article analyzes the current state of art, with particular reference to theatrical art. The article discusses concepts such as "artistic avant-garde", "fluidity of artistic status", "interpretation as a recreation of a new artistic product", "updating the dramatic text" in the context of the director's creative freedom.

Metafore obsedante şi tipare simbolice în opera lui Gib I. Mihăescu. Configurarea profilului dramatic în mitul personal auctorial

2023-12-15T09:24:42+02:00

The assimilation of the creative act as a method of integrating the character's memory in an authorial biographical context recovers a frame of existence. Beyond the detectable events of the author's life, the work is a fictional vector always subject to interpretation and reinterpretation by the lecturer. Gib I. Mihăescu, known especially as a short story writer and novelist from the interwar period, but awarded as a dramatist in 1926 for the drama Pavilion with shadows by the Romanian Drama Critics Association, through the specifics of his writing, reflects a closeness to the values of modernism adapted to the autochthonous ethos. To these are added preferred methods of construction such as ambiguity, the act of betrayal, the abyss of consciousness, in the short stories or dramas, and the novels access a wider spectrum of the manifestation of the character's consciousness, conceived in an emotional register, where the authorial profile insinuates itself as a critical instance, having the function of directing the narrated events. Investing the characters with a lucid conscience makes their path even more dramatic, the author preferring the confessional form of the first person, with the passage of time. This is how the transition from the conventional pattern of objectivism to the awareness of the devastating effects of the erotic failure inside the paper being is made, a process that records the degradation and falsification of some perspectives labeled with the term "bovarism" of the characters. Connoted dramatically, the paradigm of love constantly transgresses the form of the ideal, with the expectations and anticipations of the protagonists, a continuous hesitation between chance and destiny, only apparently in opposition.

Secretariatul literar – Slalom între creație și administrație

2023-12-15T09:27:33+02:00

The artistic secretary is one of the most confusing jobs nowadays, regarded from both inside and outside perspective. There are little scientific references in this field and one can find information basically from mouth to mouth, from the people working in this area. It used to be an indispensable job in the past, but it ran through many changes and updates that it has become a melange between creative and administrative task, with a strong focus on administration.
No academic researches, no university specialisations, no professional training courses. Therefore, you start learning what this job means only when you get hired in a theatre. And then one becomes a little bit of everything, since this job involves a combination between marketing, PR, project manager, festivals and tour coordinator, with relevant knowledge of acting, stage directing, set designer etc. In addition, this job calls for mediation, negotiation and strong multitasking skills.
The artistic secretary is in an ungrateful position. Although, according to the organizational chart, it is part of the artistic department and his duties must cover artistic programs, repertory proposals, events organization and so on, the work he does is totally bureaucratic, thus limiting the time dedicated to creation. However, once you get to feel the satisfactions of this job, it's hard to detach yourself from this job and focus on a „common" job.

Stimularea imaginației creatoare a actorului prin instrumentele pedagogice create de Mihail Cehov

2023-12-15T09:29:43+02:00

The central idea of Chekhov's method is that a character can be created starting not from affective memory, from the actor's personal baggage of emotional experiences, but from stimulating the imagination to create a mental vision of the character, from which, through a well-mastered technique can lead to a much more viable and interesting acting interpretation than by way of the System created by Stanislavski. This article analyzes the viability of the pedagogical tools proposed by Chekhov in the context of the contemporary pedagogy of acting.