The city of Iaşi, one of the most important visual art centers in the country, is one with an extraordinary creative potential, this being the reason why in this paper we mentioned local artistic personalities of national and international value. In this context, we will present among the most relevant exhibiting events that are constantly organized in Iaşi and which bring together local, national and international creative values. We would like to mention the ArtIS Salons, the Drawing Salon, the Iasi Identity Exhibitions, the Visual Arts Exhibitions of the International Festival of Education, the Visual Arts Exhibitions of Euroinvent, Inventica, the International Triennial Texpoart, the International Biennale of Contemporary Engraving, as well as visual artists who have already integrated into the international circuit, being rewarded with numerous awards and distinctions among the most honored. Thus, local artistic life is in a continuous creative effervescence, supported by the numerous exhibitions of consecrated and young artists who come to the audience with a great variety of styles.
Bard Bajçinovci, Uliks Bajçinovci and Bujar Bajçinovci
Education for urban development is a process with a primary role to preserve and use of environment, to manage spatial planning and urban development as a whole holistic system. In relation to education for sustainable development, creativity of urban planning and design can significantly improve quality of life of their urbanites. Ergo, students and teachers are an epic symbiosis in a process of teaching. Actually, this interaction can be more bonded and interdependent with high-tech didactic tools. The digital era has implemented in the education system new creative methods of learning, a new way style in schooling. The new turn of the century began a crucial activity for the city of Prishtina in terms of urban, demographic and education phenomena. The study and aim of this paper are to examine the teaching process, with the focus on creativity of interactive education. The research methods consist of empirical observation, and direct observation of teaching methods. Findings indicate that through an informal meeting places for interactive education, the teaching process in architectural studies can bring more: sustainable development and awareness of space, a didactic process which bonds multidimensional threads between students and teachers. Research concludes that uniform old teaching platform, cannot respond to all specific issues faced by students in this globalization era. Therefore, new teaching strategies must involve creativity of interactive education.
The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid presentation of this fusion act that is the ideal show.
Chamber Music has always been a genre predefined to a certain audience. At the merge of the 20th and 21st Centuries, the interest for this genre has grown exponentially, from Romanian and Bessarabia composers alike. Because the concept of Chamber Music has evolved during the ages and has always offered the possibility for experimentation, it has managed to infiltrate into present day Ensembles, by associating timbre and constructive heterogenic instruments. The search for new ways of expressing oneself, new sounds and new stylistic methods and the desire to use new types of sound emission represent a continuous motivation for the composers, whose contribution to the Chamber Ensembles is frequently enrichened. Thus, the Jazz influence has a significant role inside the works of Sabin Pautza, Romeo Cozma (Romania) and Oleg Negruța (Republic of Moldova). The article is focused on Chamber Music compositions with Jazz influences, written by Iași authors. The purpose is to create a general presentation and also a structural-interpretive analysis of some works from my personal repertoire, which was actually one of the main criteria of selection. The objects of the research are: highlighting the particularities of the genre and style of contemporary works; presenting the interpretive aspects of the compositions and proposing some personal suggestions and tips. Although the selected works have been initially composed for different instruments and have been played to live audience, they have not presented themselves, so far, as a research subject, and thus have not been analyzed. Taking into consideration this deduction, the novelty and the personal contribution are visible in the scientific research that deals with the autochthonous compositional patrimony. The aspects presented in this article can be used for pedagogical processes and, at the same time, they can behave as a practical method in managing the chosen repertoire.
It was during the communist regime of the post-war years that Romanian composer Gherase Dendrino wrote an operetta in celebration of the centenary of Ciprian Porumbescu’s birth, named Lăsați-mă să cânt [Let me sing!]. It revolves around the figure of Porumbescu himself, as the first Romanian composer to have ever written an operetta that would be performed and published, named Crai nou [New Moon]. Lăsați-mă să cânt [Let me sing!] tells the story of the making of the first Romanian operetta and was revived during the spring of 2018 at the Cluj-Napoca Romanian National Opera House, as part of the festivities related to the Centenary of the Great Union. The present research highlights three aspects of Dendrino’s operetta: firstly, the one related to the ethical values, epitomized in the libretto by the main character, Ciprian, who, along with his friends, achieves the greatest task of the birth of the Romanian operetta, in spite of all opposition and pitfalls; secondly, the aesthetic content, regarding de musical language of the work, opposing the world of the Romanian provincial town to the Viennese Salonmusik; thirdly, the political aspect, encompassing the subtext of the libretto and the message of the work, which underwent continuous changes over the decades and social and political contexts up to the present day. Thus, the analysis takes into account both the sound and the word.
Theodor Grigoriu, a reference figure for the XXth century Romanian music, as a senior of the post-enescian generation of composers, with a moderately modern attitude towards composing, had explored the expresive resources of the human voice in the vocal-symphonic and vocal-chamber genres. Although, from a quantitative point of view, his voice and piano works are not too numerous and the vocal-chamber genre had not been a constant focus of the composer, lied remains one of the most representative areas of his entire creation, marked by an accomplished literary taste and harmoniously neighboured by the halo of poetry. The lied had marked Theodor Grigoriu’s professional existence, beginning with the first childhood experiments which proved decisive for his future career, up to the inconstant achievements of his creative maturity. Although approached in a non-consistent manner, the diversity, mastery of composition and the abutment to works from a more ample genre to which he resonates and configures genuine “creation laboratories”, the voice and piano cycles of works represent what can truthfully be called lied creation. Letter to birds on words by St. Francisc of Assisi (2004) and The iconographer – The poem of a church painter (2011) on words of a patriarchal, novel text with no poetic aspirations, are the last lieder of Theodor Grigoriu, published posthumously. As a binding of music and poetry into a one poethico-musical universe, they are an exponent of accumulations and transformations of musical language, spectacular compositions, of paramount originality, which harmoniously complete the spiraled path of the genre in the context of the composer’s entire creation.
In the preparation of”complete actors” only the technical aspects are not decisive, they will not only train them for the level of mastery. Aerobic exercises, forexample, can only play a part in recreation and muscular development, but when we talk about the scenic movement that uses actors’ preparation, the situation changes; the future actor has to work out physical exercises by passing through the mental as well as the spiritual filter. Each student should think about how the exercises indicated by the teacher feel in their bodies, the reception may be different from the way the teacher / college actors / dancers experience the movement. In this context, the student is the only expert in what he likes to do with the movements indicated by the one in front of him, or what emotions are evoked when he experiences a choreographic phrase. This makes the study of acting or dance a form of art, and the difference is given by their inner experiences. the uniqueness of the body on the move.”
Creating stylistic unity within a theatre play is more than just a complex process. The original interpretation of the language forms, specific to each artist that becomes part of this creative act, lies within the final aesthetic product. This article starts by analysing the concept of form and movement as a result of syncretism on various levels, from style and movement, to expression and feelings. To achieve this, the author describes the aesthethics of form emphasising the meaning of stylistic unity in achieving the artistic vision of a show. The paper defines compositional laws and theatrical methods that make the muppet play become a harmonic visual ensemble and stylistic unity. Some of these are: stage props and background; the kinetic criterion of moving forms; the ergonomic criterion of forms in space; the criterion of materiality - in creating the clothing and the costume design.
Creativity is one of the specific human traits. The development of personality is most often realized in close correlation with the creative dynamics of each one. The paper proposed by us brings into discussion the most important factors that contribute to the development of creativity. What makes us more creative, what are the conditions that unleash the creative forces of the individual’s mind? First, the cultural factors, inherited ideas about creativity, are critically analyzed. Thus, there are a number of “myths of creativity” that infuse our perception (sometimes in a wrong way) on the definition and understanding of creativity. The family also offers, through education and personal example, means of stimulating creativity. It is the first step towards performance creativity. In this paper, we also present the best-known techniques of creativity training, some of them, in the view of the “new age” trend. Creativity always interferes with a task, as we have to improvise, responding for moment to moment to the changing demands of the situation. Daily creativity improvise and is therefore, different from what the researchers of creativity have studied: creativity that results in a finished product. In order to become more creative, we will have to orient ourselves differently: to have a motivation for it, to choose a field in which we excel, to accept collaboration, to be confident and take risks. Creativity means rejecting the conventional, the routine and finding new solutions in personal development.
Grounding on Marx’s and Freud’s theories, Surrealists sought the liberation of the individual and the transformation of society. With this aim they brought together usual objects in unusual combinations, surprising the audience and giving them the opportunity to perceive reality with different eyes. This study reflects on a character of Jacob’s and Poulenc’s Le bal masqué, Mademoiselle Malvina, presented as epitome of the bourgeoisie and described in both text and music as duplicitous and superficial.