Arhitectura ca spectacol (original) (raw)
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I In nt tr ro od du uc ce er re e Teoriile de arhitecturã disputã, în mod ierarhic, termeni opuºi care definesc sfera producþiei arhitecturale. Dihotomii ca suprafaþãprofunzime, ornamentstructurã, opactransparent, reduc complexitatea actului
Intervenții în peisaj – de la eveniment la experiment
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The urban identity depends on reshaping urban landscape following the restructuring of the city. Agreed with the trends dictated by the society transformed by the new technologies, the new identity must be linked with society, urban history, the local values and character, the specificity or potential elements. Urban image, supported by the phenomenon of appropriation by the society of the living space, becomes it's "brand", and the spatial continuity becomes an essential quality of the urban landscape, that must be understood, memorized, appropriated. In the intervention approach is necessary to understand the escape from the physical limitations of the project itself, the perception at different scales of the site, in connection with the territory that belongs to, the "read" of space as a sum of different accumulations, as identitary space belonging to the local community, a result of needs and social interactions. Building urban landscape requires a sequential approach, but not segmented, allowing urban development running parallel with the evolution of society, so the sequences can be so versatile, convertible to the new requirements arising in the ongoing process of change in traditional social structures. In the the urban interventions developed in recent decades, this has proved the main motivation of investors and the starting point of designers, achieving this by identifying, then marking or intensifying regional or local character (as a reaction to some negative consequences of globalization)-either through a process of restoration and revitalization of heritage, or by marking spaces or areas with no identity. It was intended in all cases to restore urban spatial coherence, building a "mosaic city" characterized by the sequence of places with certain meanings, related to a network perceptible at the urban landscape level.
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This paper aims at discussing some problems of the contemporary art through some of Arthur Danto’s theories. The concept of the end of art, the new way of making art, how to understand the contemporary art are some fundamental problems of nowadays art criticism. Comparisons among artistic techniques used by various avant-gardist movements, especially cubist, abstractionist and dadaist ones are intended to build a comprehensive image of the evolution in art creativity towards post-wars period represented by new contributions (Andy Warhol and Joseph Beuys). These examples prove that the contemporary art needs a more attentive interpretation and a better understanding of the material-form connection within the art work and the process of plastic creativity.
Sergiu Moraru între călăuze și muzee
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Spiritual patron of the gymnasium from Obreja Veche, the folklorist Sergiu Moraru honors his mission ‒ in relation to the young generation ‒ through the model of his becoming and through the opera. The vocation folklorist needs vocation pedagogues, who can adjust the potential of the biography and the work in attractive projects for the pupils of the gymnasium that bears his name, but also for those from the Gymnasium no. 1 from Olacu commune, Giurgiu district (Romania). To motivating them to know more about the museums and libraries in the locality ‒ the patrimonial dimension of their existence, in which Sergiu Moraru’s destiny is a kind of guide. The attractive reason for becoming a folklorist is the reason for vocation, calling, crucial categories, generating controversy and lessons according to the age of the two institutions united in a project. The beneficial nuance, offered from Italy by the poet and pedagogue Iurie Bojoncă, refers to the importance of the family and the nati...
Rădăcinile prezentului. Teatrul Liric din Chişinău
DOAJ (DOAJ: Directory of Open Access Journals), 2019
Rezumat Rădăcinile prezentului. Teatrul Liric din Chişinău La 6 august 1918, în capitala Basarabiei a avut loc primul spectacol de operă, "Faust" de Ch. Gounod. Prin cântăreții, dirijorii din acea perioadă s-au transmis "secrete" ale teatrului muzical, valabile şi pentru artiştii de azi. Ne-am referit, în special, la interpreții autohtoni, încercând să demonstrăm existența unei verigi între artiştii de ieri şi de azi. Spre exemplu tenorul G. Borelli, interpret al rolului titular din opera "Faust", a fost şi pedagog de canto al unor cunoscuți solişti ai Teatrului de Operă şi Balet din anii '60, iar reputatul tenor de azi, M. Muntean, a fost elevul unui alt mare tenor, N. Diducencu, care şi-a făcut studiile în clasa de canto a legendarei L. Lipcovscaia. Am urmărit şi alte exemple din domeniul vocalului. Ne-am propus şi o trecere în revistă a activității regizorilor cu începere de la I. Gorschi, de la Opera Basarabeană, şi terminând cu directorii de scenă din zilele noastre. Am încercat să-i amintim şi pe dirijorii de operă, constatând că primul a fost M. Bârcă, iar pe A. Samoilă considerându-l unul dintre cei mai profesionişti conducători de orchestră pe care i-a avut vreodată Teatrul Liric din Chişinău. Am remarcat, totodată, şi aportul pe care l-au adus la dezvoltarea teatrului din Chişinău şi artiştii invitați special pentru anumite spectacole.
2007
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