This article examines the relationship between performing arts, the multidisciplinary aspect of them, thereafter seeking to address a few similarities and differences in approaching a live performance. The confluence between ballet, theatre and opera is obvious and a brief overview of the main interlaced stages in the development of performing arts will also prove that they have always been related and dependant on one another. Every performing art crosses its boundaries and not only does it explore issues or topics specific to the other arts, but it also uses their tools. Thus, this article integrates a few contemporary tendencies of intersection in performing arts, mainly the pervasive presence of ballet and theatre. Subsequently, in considering live performance, the impact on the audience is also assessed, as well as the harmony of perception created between the performer and the public.
Further on, the paradigm development in performing arts is determined due to the augmenting of the new technological tools being used. The aim of using these tools is to create special effects that emphasize the quality of the performance. In addition to a comprehensive influence, this article explains how contemporary social and political changes, scientific and technological progress have determined more changes in the performing arts than they had in the previous centuries.
The road from the theatre text towards the opera performance is an attempt to essentialize words which unravel in order to ease the communication between the characters and the playwrights’ message. This endeavor is very difficult, as the play which stands at the root of the libretto already operates with an essentialization. Anyhow, the libretto cannot have the length of a play, but appends a musical dimension to the production. These things apply to Pelléas And Mélisande by Claude Debussy, built on the same text written by Maurice Maeterlinck. This article, although oriented towards an operatic retrospective of the year 2018 of the great musical stages of the world, also follows this libretto’s journey on these stages. Furthermore, 2018 marks the centenary of Claude Dubussy’s death.
The following article attempts a discussion concerning the issue of creativity in the context of artistic approaches, by taking into consideration the central concepts: creative personality, creative process, and creative product/ creative performance. Our analysis is based on two questions that concern the extent to which we can speak of flexibility and creativity in contemporary artistic activities. Our conclusion is that creative artistic activities are not disorderly/ unorganised, they are realised according to artistic rules and principles that relate to the forms of expression that can be used in creative artistic approaches. Furthermore, in the context of the cultural hybridization phenomenon, the merging of the traditional with the postmodern allows the manifestation of cultural and artistic diversity, as well as the revaluation, redefinition and update of the traditional forms of expression and of cultural forms in a creative manner, by means of a creative exploitation of their spectacular artistic potential.
In the present material, I intend to bring light to somehow marginal elements that form the process of preparing a theatre show. These elements are not present in the show but they critically support it. I have also thought of recalling the importance of each detail which is related to theatre as an institution, starting with the entry into the building, the lobby in which the spectators are welcome and ending with the seconds at the end of the show and the first applauses. I didn’t intent to insist in the sphere of the analysis of the scenic arts by themselves (actor performance, music, dance, scenography and so on), but I wanted to present a redefinition of the attitude towards these marginal elements that support the show. Exactly in the same manner in which the secondary characters increase the value of action and, also, in the theatre there are a lot of people that work hard but, from time to time, their efforts are forgotten. In order for theatre to be a therapy for the souls, it is necessary that every cell that forms the artistic performance contain the premises of the healing.
This study intends to check how much Romanian performances of the last two decades owe to tradition and what is, nonetheless, contemporary in the ‘contemporary performance’. The study takes into consideration the shows produced in the public theatres, the ones which provide the overwhelming majority of the Romanian theatrical production.
This article brings up to date the ceremony of assuming the teacher’s oath, ceremony used to be done during the educational system along the middle of the 19th century, until the first half of the 20th century. We consider that it has been essential to transliterate two oaths (one of Mihai Eminescu, the other of Antonie Cirillo), each of them belonging to one of the two centuries, to demonstrate the perpetuation of this ceremony during almost seven decades, its coerciveness to fullfil being not only a simple solemn demonstration, but something that emerges from responsibility and consciousness of eternal values.
The Estonian child helpline service launched in 2009 uses a free nationwide 24h Child Helpline phone number. The purpose of the service is to enable everyone to report on children in need, forward the information to specialists and, if necessary, get primary social counselling and crisis counselling for children and other people. The service is provided in accordance with the Estonian Child Protection Act that prescribes that all citizens are required to immediately notify the social services, police or other assistanceproviding authorities about children in need of protection or assistance. This article is based on studies conducted between 2013 and 2015. In the course of the research, data were collected for increasing the effectiveness of the hotline’s communication campaigns. In addition to the general objective of the article, the data collected includes quantitative research mixed with qualitative data that helps to understand the factors that encourage and inhibit the use of the hotline service. The focus is on indicators that illustrate the effectiveness of the diffusion of innovation, and special attention is paid to the results that highlight risk, the existence of mental barriers and trust. Finally, the study analyses the weaknesses of past hotline campaigns and makes some suggestions for future.