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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Cuprins

Patrimoniul artistic feminin în România comunistă

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Born and raised in a difficult period, artist Geta Brătescu builds herself inside an eternal mental workshop, being, at the same time, present in a concrete space. This conceptual artist builds through her work a crossing of space from the real to the unreal. Complex artist, Geta Bratescu puts Romania on the map of universal art by participating in the Venice Biennale in 2017. Using both brush as well as writing utensils, the artist builds visually and in the literary field, within different mediums of expression, from photography, collage, film, to installation and performance.

Kurt Wenner și pastelul în arta stradală

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Through his works, the contemporary art creator does not tend to represent only the aesthetic interface of the social environment, but, first of all, to develop suggestive and deep messages related to everyday challenges, his work being able to have an interactive role and, at the same time, an educational purpose. In this context, the street pastels of the visual artist Kurt Wenner are edifying images that meet the public, interfering with the latter in its pedestrian environment, in both a pavement and parietal display. The
dominant subjects of his works attract by bringing back to attention the values of classical and ancient culture as well as by complex compositional schemes substituted for extremely accentuated perspective axes.

Interferența artelor contemporane și relația dintre domeniul senzorial și creativitatea artistică

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The intersection of contemporary arts and the relationship between the sensory domain and artistic creativity are central aspects of modern culture, which have evolved and transformed under the influence of technological, cultural, and social changes in recent decades. In this context, contemporary art becomes a fertile ground for experimentation, where the boundaries between different art forms blur, and sensory perception plays a crucial role in the creative process. This synthesis between art forms and sensory domains
not only redefines traditional concepts of art but also expands the possibilities of human creativity. The intersection of contemporary arts and the relationship between the sensory domain and artistic creativity are central aspects of modern culture, which have evolved and transformed under the influence of technological, cultural, and social changes in recent decades. In this context, contemporary art becomes a fertile ground for experimentation, where the boundaries between different art forms blur, and sensory perception plays a crucial role in the creative process. This synthesis between art forms and sensory domains not only redefines traditional concepts of art but also expands the possibilities of human creativity.

Emoție și expresie în portretistica contemporană.

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Contemporary figurative portraiture has behind it numerous studies and explorations on the psychology of facial expression, from features of physiognomy to the essence of the self. Edward Povey proposes a series of
portraits whose facial expressiveness, movement, body language convey immense emotion and therefore calls his style emotional realism. This connection between essence and expression, although not new, is in constant
transformation as a result of the action of social, technological and cultural changes on the individual and around it.

Vocalitatea rolului Gilda - proiecții metodice în însușirea ariei „Caro nome”

2025-05-19T12:39:41+03:00

Approaching an operatic role requires an artist, in addition to vocal and acting skills, to work diligently to research and acquire a great deal of knowledge about everything related to authorship, inspiration, musical
analysis, style, scenography concepts, interpretations, in order to perfectly recreate the role and, at the same time, in giving a touch of originality, without which, the artistic act would have neither meaning nor permanence over time. Therefore, opera singers must put the role into voice, form their empathic ability to transpose themselves into the character's personality, and make their own feelings, even the gestures and facial expressions of the character, all of which are dominated by strong self-control . Singers are
often compared to athletes because they have to work continuously to constantly discipline their body and voice in the service of the artistic act. In the Caro nome aria, the newly awakened love in Gilda's heart is
masterfully rendered by the composer, first of all through the rhythm, then through the phrasing, melodic design and, above all, through the vocal, which acquires various expressive valences during the aria. The Verdian vocal writing is a special one, containing elements of the bel canto style, these being perfectly molded on a construction of a much more prominent drama than in the composers of the bel canto era. Thus, the vocality of the entire aria gravitates around three essential elements of the canto spianato style: legato,
messa di voce and portamento, and the ornamentation has a small weight, only trills and long and short appoggiaturas being present.

O polifonie a arhitecturilor sonore în spațiul expozițional

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The article presents the concept, technical and artistic modalities underlying two types of musical creation and sound design for visual arts exhibitions. The first type is represented by the work “Exhibition – An Instrumental Theater”, which premiered on November 11, 2002, at the Rolston Recital Hall of the Banff Centre
for Arts and Creativity in Canada. The second type of musical creation is described through the music and sound design of the exhibition “Path of Water and Stone,” which opened on May 9, 2024, at the Romanian Cultural Institute in Lisbon, Portugal. The author of the exhibited visual works, Roland Pangrati, uses the Nihonga technique to reinterpret landscapes of the spectacular Portuguese coast along the Atlantic Ocean.

Cultura și muzica în Ordinul Franciscan

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Who are the Franciscans and what was their cultural contribution? The present study aims to show what was the contribution of the Franciscan movement in the cultural-musical context of the European Middle Ages.
During the eight centuries of their existence, the Franciscan monks carried out an intense cultural activity, starting from the study of theology and philosophy under their various aspects, up to the study of nature and man, through art and the human sciences. Thus, in addition to numerous philosophers and theologians, a large number of connoisseurs in the exact and natural sciences and also in the field of art, history and literature stood out.

From a musical point of view, no other monastic order has such a large number of composers, theoreticians, instrumentalists and interpreters of music. And this is not a passing episode, but a constant for centuries, with a particular growth starting from the 16th century

Participarea la viața culturală.

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The terms performance, transparency, sustainability, evaluation, funding, remuneration based on achievements or competences, differentiated funding based on achievements and/or impact produced, added value of the product or impact within the source community, scientific community or
simply within whose activity is carried out, are used more and more often, today, in society. Although the words seem rather specific to the economic field, they are widely used in both the public and non-profit sectors (associations, foundations, NGOs, etc.). The cultural, creative and recreational sector, and implicitly the institutions of shows and concerts, are no exception. Although there are satisfactory definitions of what performance means and how it can be evaluated, the perception is different depending on who/what is analyzed: coordinating and/or funding authority, institution management, specialists in the field of activity, own staff, direct beneficiaries, indirect or possible, community impact and more the like these. A quantitative
analysis of statistical data in the cultural field indicates 5 possible performance indicators relevant for performance and concert institutions

Existența tragică în spațiul erosului și obsesia reconfigurării destinului în opera dramatică a lui Gib I. Mihăescu

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The tragic dimension of human existence is a pattern in which the characters of Gib I. Mihăescu often enter, experiencing the drama of man thrown into the fever of conflict, abandonment in purely instinctive states,
sometimes at the limit of survival, which reveals the disconcerting process of doubling, under the appearance of the lucidity of horrors which, paradoxically, he both accepts and detests. Highlighted critically by
attributes such as passion, voluptuousness, sensuality and pity, love outlines portraits perverted by suspicion, under the obsession of infidelity, histrionic and transforms the characters into caricature figures such as don Juan, don Quixote or, liminally, into the executioner and judge of those close to them. Megalomania or delusion of grandeur represents an important point of convergence of the pathology of this writer's characters with the works of other interwar authors, such as Hortensia Papadat-Bengescu. Killing or suicide is the last stage of moral degradation towards which vulnerable characters move with a consistent and motivated action.

Principles in Contemporary Improv Theatre

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This article explores the foundational principles of contemporary improvisational theatre, focusing on the methods of Keith Johnstone, Viola Spolin, and Del Close. It examines the evolution of improv in Romania and
its impact on actors and audiences. Key principles such as status play, "Yes, and...", "Follow the Fear," and the "Group Mind" are discussed in the context of enhancing spontaneity, creativity, and collaboration in performances. The article also highlights how improv training fosters adaptability, deep listening, and authentic expression, making it a vital practice for all actors. By integrating these principles, improvisers can push the boundaries of theatre, creating dynamic and engaging performances that resonate with
modern audiences.

Adevărul psihologic și Shakespeare:

2025-05-19T12:48:36+03:00

Psychological realism brought in the contemporary theater a natural speech on stage, rejecting the old artificial and pompous manner of speaking. In the contemporary theater pedagogy we need the actor's speech to spontaneously, naturally and freely express the thoughts and emotions of the character. In the case of classical or romantic theater, this often involves speaking in verse, situation that raises a series of specific challenges for
student actors. In this article we will address these challenges in the case of Shakespeare's dramaturgy.