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We can say that the Europidian Greek tragedy situated at the outset man to extreme limits, on the border where the divine begins. Any tragedy signifies and stimulates the energy of the hero to surpass himself through an incredible act of courage, to give a new measure of his greatness in the face of obstacles, to the unknown he meets in the world and in the society of his time. The tragedy shows us that in the very fact of human existence there is a challenge, or a paradox, it tells us that sometimes the aspirations of man come into conflict with the forces of the unexplained and destructive, which is beyond and yet very close to us. The poet and philosopher Euripides turns out to be a great humanist, he loves and sympathizes with the people, suggesting that by birth we are all equal.
The contemporary human is in an eternal transformation, in an unending metamorphosis, he or she projects his/her life and his/her own image in countless fictitious games, plays roles in imagined situations. He/she, though using false conscious representations, will obtain the right results because he/she operates with his/her creations or fictions as if they were real realities. This is social creativity. If all these are real-life defence elements, fireworks that help the individual to anticipate certain situations, to figure the effects of certain volitional impulses, to communicate and to act freely within the scenic arts, the artistic creativity involves a paradoxical relationship between creative freedom and rigorous laws. Artistic creativity is part of the artist/actor’s ability to produce ideas, new and original solutions, appropriate to the given problems and circumstances, being a first step in the innovation process. Thus, both creative imagination and artistic creativity become original components in the creation process and implicitly in the contemporary performing arts.
ale limbii şi traducerii, Univers, Bucharest, 1983. Steiner, George, După Babel. Théâtralité(s). Tradition et innovation , collective edition, Editions Philippe Picquier, Strasbourg, 2015. Webography: http://www.alepreuve.org https://www.uniter.ro/radu-afrim-nu-am-nostalgia-anilor-de-inceput/ https://www.persee.fr/doc/comm
coregrafie , Future Academy, 5 th International Congress of Physical Education, Sports and Kinetotherapy, 2015. Faludi, Julianna, “Open innovation in the performing arts”, in Corvinus Journal of Sociology , 2015. Lisovetc I.M., Education in the Context of the Performative Trends in Modern Culture , Conference paper, Facets of Culture in the Age of Social Transition Proceedings of the All-Russian Research Conference with International Participation Volume, 2018. Pruitt, Lara, Debra Ingram and Cynthia Weiss, “Interdisciplinary Arts Integration”, in Project AIM, Journal
contemporary performances use various combinations of
words and gestures, or are based mainly on movement, regaining their
freedom of expression by own means. Beyond the need for freedom and
innovation, gestures result in an essentialized grammar. Contemporary stage
semiotics sees gesture as a sign in itself, separated from the spoken language,
and the stage not as a space of words, but of gesture and body expression.
Basically, “body art is that particular art that explicitely uses the artist’s own
body to visually, sensorially and sometimes viscerally comment on his
organizers was this year to find the balance
between contemporary, innovation and refreshed taste for the essence of the
theatre, for minimalism, for the well-written texts and the well-played roles.
Performances have been complemented by shows in which the playwright
and their ideas have been highly valued by experienced actors, with hundreds
of roles played.
In order to exemplify the attention paid by the FITPTI team to the
diversity, relevance, social impact and trends in the Romanian and
international theatre today, I will analyze
present moment, the one in which the doings of the children are discussed.
Interrogated, the parents uncover two types of mentalities, the patriarchal one,
with communist reminiscences, and a contemporary one, oscillating between
innovation and freedom. Which of the two is worse is for the audience to
Smaranda’s mother, passioned by the new type of parenting, builds her
mother-daughter relationship on a base of friendship and free-will. She stands
against the Romanian educational system who has so many faults: “Smaranda
has a critical mind, I
existence) and recognising other people as mortal and
therefore the same as we are, but we are shaping our own sense of being, re-shaping
according to our artistic experience.
The most important innovation of this concept is, that the ground of the dialogue,
the main source of mutual understanding is unconscious, bodily, tactile. And that is
why we call the event art and not discourse – we are involved not only in semiotic
(i. e. diverse, deferring), but also in bodily, archetypal, unconscious (i. e. shared, uni-
versal, ancestoral) manner. And there is always “you
year 1991, similar to the case of Beckett.
At this point we should point out that one of the main authors of the theatre of
the absurd Arthur Adamov, appeared only once in Slovenian and Slovak stage, not
only in the selected time period, but also until the present. His drama Le Printemps ’71
[Spring ’71] was staged in the SND Bratislava (1962) and in the Drama SNG Ljubljana
(1964). It is certainly an interesting phenomenon, at least according to his position in
the world classical literature and also to his major innovation in playwriting.