The present work aims to analyze the technical-stylistic dimensions involved in the interpretation of the role of Baron Scarpia in Giacomo Puccini's opera Tosca, approaching the role from an interdisciplinary perspective that combines musicological, vocal-technical, dramaturgical and interpretative analysis. Starting from the study of the score, specialized literature and reference recordings, the research highlights the way in which Puccini constructs a negative character of exceptional dramatic force, as well as the complex requirements imposed on the contemporary interpreter. The elements of vocal technique, the construction of the musical phrase, the relationship with the orchestra, the use of the leitmotif and the scenic strategies that contribute to the shaping of a convincing and stylistically coherent interpretation are analyzed. The study also follows the way in which the interpretive tradition has evolved from 20th century models to contemporary directorial and aesthetic perspectives, in which Scarpia is perceived not only as an antagonist, but also as an expression of the institutionalized abuse of power. ...

The paper proposes a critical evaluation of the dramaturgical profile of Floria Tosca, the protagonist of the homonymous opera by Giacomo Puccini, through a double methodological grid: structural and phenomenological. Going beyond traditional interpretations that place the work exclusively in the paradigm of raw verism, the study follows the way in which the affective experiences of the character Floria Tosca are organized in an existential path marked by tension, rupture and self-determination. The force and tension of this dramatic evolution are illuminated by the analysis of the musical text doubled by essential fragments from Puccini's epistolary correspondence. The research proposes an interpretation of emotion as an intentional act of consciousness and examines the intersections between love, jealousy, faith, violence and sacrifice in the dramatic construction of the character. Finally, the paper demonstrates how the protagonist's journey evolves from an aesthetic existence to a tragically pure consciousness, which reclaims its ontological freedom through the radical act of transcending immanence. ...

Building on historical case studies, documented by practice, the present aritcle identifies two recurring typologies through which the artist-audience relationship has been negotiated: the responsive-formative model and the influence-network positioning model. Sociological analysis reveals that the cultivation of musical taste is an acquired social construct, one that may develop through education and musical immersion. Considering this, knowledge of music mediation becomes a significant element in musicians’ lives, with the artist-audience dialog representing an important step in the management of contemporary music careers. This article examines the historical evolution of the artist-audience engagement, tracing the mechanism underlying this phenomenon. ...

The characteristics of the commercial creative segment in the central Balkan area are anchored in the definition of the local modern artistic identity. Normal and logical existence and deepening of specific elements, thus the zonal delimitation outlining the relevance and consistency, the bordering space related to the peoples of Romanian, Bulgarian, Serbian, Croatian, Macedonian origins, constituting the favorable environment for the display and propagation of the artistic product. Particularly interesting and at the same time worthy of analysis is the context of the approach to the construction of traditional local structures, namely the additional implementation of the elements characteristic of modern styles propagated daily in the mass media, the resulting constellation being a compiling, effective one, with a positive impact on the preferential tastes of the public general. Thus, the current musical productions analyzed (2022-2025), in the techno-dance, neo-soul, hip-hop styles or even jazz-etno mergers, mainly the primordial implementation of typical (Balkan) structures outline the weight, the remarkable relevance obtained in the compilatory form. For the success of a concise analysis, highlighting the specific elements, the object of the creative moment in the central eastern European commercial area, we intentionally chose 3 pieces of different invoices. ...

Rapid cultural and technological shifts are profoundly changing how people grow up, learn, and relate to the world. Generational differences are becoming increasingly visible, shaped not only by historical events but especially by the accelerating pace of technological change. Today’s students have instant access to information, yet often struggle with deep processing and with tolerating discomfort. In this context, traditional authority and mistake-correction-based methods are losing their effectiveness. What becomes necessary is a shift in perspective: a learning process grounded in dialogue, vulnerability, and mutual adaptation. Feedback takes on the role of shared exploration, focused on individual resources and potential. The pedagogical relationship turns into a partnership, where authenticity and openness are no longer optional but essential conditions for development. Continuous adaptation to present reality remains a fundamental responsibility. ...

This article examines some aspects of the final years of Dinu Lipatti (1947–1950) through the intersection of illness, concert activity, recordings, compositional work, and correspondence, arguing that these years should be understood not as a passive period of decline, but as a phase of artistic compression and intensified self-definition. Drawing on concert programs, recording chronologies, archival documents, letters, and testimonies from collaborators and friends, the study reconstructs the transformation of Dinu Lipatti’s public and creative activity in his last years. The article also analyses part of Dinu Lipatti’s correspondence with musicians, mentors, friends, and family in Romania and Western Europe as a documentary space where artistic discipline, financial pressure, medical uncertainty, and future aspirations converge. Although important studies have examined Lipatti’s recordings and archival documents, these sources have rarely been integrated into a unified historical interpretation of his final years. . Rather than attempting an exhaustive reconstruction of his final years, the article focuses on key events, recordings, performances, and documents most relevant to understanding the relationship between illness, artistic activity, and interpretative concentration in the last phase of his career. The central argument is that Dinu Lipatti transformed physical limitations into a refined artistic economy, visible in repertoire selection, interpretative concentration, and the documentary traces left by his final years. ...

This article explores the role of the piano accompanist as a co-interpreter in both vocal and instrumental repertoire, moving beyond the traditional view of accompaniment as merely a supportive function. It examines the functional dimensions of pianistic collaboration, including harmonic support, rhythmic coordination, and structural guidance, while also foregrounding its expressive contribution to phrasing, dynamics, agogic nuance, and musical character. The study highlights the specific demands of instrumental accompaniment, defined by timbral balance and technical interaction, as well as those of vocal accompaniment, shaped by text, breathing, and diction. By focusing on shared interpretative responsibility, the paper argues that the contemporary piano accompanist plays an essential role in the creation of musical meaning and should be regarded as an equal artistic partner in performance. ...

The early 20th century marked a period of profound social, cultural, and artistic transformation in Romania, characterized by an accelerated process of modernization and alignment with Western values. In this context, art became not only a means of aesthetic expression but also a tool for reflecting on and reinterpreting emerging social dynamics. One of the essential aspects of this period was the redefinition of women’s status, both in society and in artistic representations. Femininity, as a visual theme, occupies a central place in the work of Romanian artists at the beginning of the 20th century, being explored in a variety of guises—from classical and symbolist idealization to more intimate, everyday, or even introspective representations. Women are present both as objects of aesthetic contemplation and as bearers of cultural, social, and symbolic meanings. At the same time, this period also marks the beginnings of women’s emergence as creative subjects, with the appearance of the first female artists who managed to carve out a place for themselves in a predominantly male artistic medium, contributing to the diversification of visual perspectives on femininity. ...

Ballet represents a model of synthesis between form, harmony, and dramaturgy, being ideal for the analysis of applied musical forms, the study of expressive harmony, the understanding of Romantic orchestration, and the relationship between music, movement, and psychology. Swan Lake, The Sleeping Beauty, and The Nutcracker constitute a fundamental trilogy in the history of ballet music, marking the transformation of the genre from a predominantly choreographic form into a symphonic-dramatic musical construction. This article proposes a comparative analysis of these works from the perspective of musical forms, harmonic language, and the dramaturgical function of orchestration, highlighting the evolution of Pyotr Ilyich Tchaikovsky’s compositional thinking and his decisive contribution to the consolidation of modern classical ballet. ...

This article examines the ways in which the stage adaptation of Hugo’s novel reconfigures the narrative structure, character construction, and central thematic concerns of the original work. Employing a comparative analytical framework, the study investigates the relationship between the novel and its musical adaptation, emphasizing how the theatrical and musical medium facilitates a reinterpretation of the source text. Particular attention is given to the transformative impact of a canonical literary work on one of the longest-running musical productions worldwide, highlighting the dynamics of adaptation across genres and artistic forms. ...

Globalization has significantly transformed fashion and textile design by enabling the rapid circulation of cultural symbols, aesthetic sensibilities, and design practices worldwide. In this process, local cultural elements do not disappear entirely; rather, they are reinterpreted and reproduced in different forms within global design systems. One of the most visible elements of this transformation is local color codes, which are closely related to cultural identity and geographical context. Color has historically been an important cultural indicator reflecting the natural conditions, traditional production techniques, and social meaning of specific geographies. Color palettes used in fashion design represent the visual identity of local cultures while also functioning as an aesthetic and symbolic tool in design processes. Today, the fashion industry draws inspiration from local textile traditions and color cultures, reinterpreting these color codes with a contemporary design approach and presenting them to the global market. This study aims to examine how local color codes are reproduced within the context of fashion design in the process of globalization. The study also addresses how color palettes derived from traditional textile cultures are used in contemporary fashion collections and textile surface designs. Evaluations of selected design examples aim to reveal how local color codes are transformed and reinterpreted within the global fashion system. It also discusses whether this process contributes to the preservation of cultural identity or leads to the commercialization of local cultural values within the global fashion industry. ...

Under the thin ideological crust of the danger of wandering, of distancing oneself from Christian ethics, which determined the overly simplistic classification of the work as satire, lies a profound discourse of self-discovery, in an unexplored space, caught between two shores: an old, abandoned one, and a new, still undefined one. The flight from physical suffering, its exile in a space of exclusion seems to have become the source of a new utopia: a ship moving, on the waters of the Rhine, towards an illusory space-Narragonia. In Foucaultian exegesis, the source of inspiration is the Ship of the Argonauts3, although at the end of the poem, the Ship of Fools seems much closer to Charon's Boat. But Brandt's Ship seems to have had a real existence: foreigners and madmen expelled from cities were entrusted to the boatmen, on a pilgrimage that is difficult to relate to the search for reason. The exiled madman, entrusted to the sailors, left to his fate, is part of a semi-mythical geography, in which navigation is associated with the Great Crossing, with uncertainty. The man on the edge (horos anthropos) is the prisoner of a pointless crossing, without a stable reference system. The irrational is associated with water and wandering. The image of the madman and madness, the main topic of this paper, can be analyzed and understood starting from the need for autonomy devoid of responsibility, from free will substituted by the servant of the arbitrariness, from the necessity of self-perimeterization in a subjective paradise, devoid of innocence. ...

The present research examines the lyric-dramatic creation of Banat composers between 1900 and 1950 from the perspective of cultural identity and repertorial marginalization. The study aims to recover an insufficiently valorized musical heritage consisting of operas, operettas, musical dramas and other stage genres created under the influence of Central European culture and Romanian folklore. It highlights composers such as Sabin V. Drăgoi, Tiberiu Brediceanu, Emil Monția, Filaret Barbu, Hermann Klee, Vadim Șumski and Zeno Vancea, whose works were gradually excluded from the contemporary artistic circuit. The marginalization of these creations was determined by the ideological transformations following the establishment of the communist regime, by the absence of critical editions and by the difficulty of accessing manuscripts. Therefore, this scientific research seeks to contribute to the recovery of regional musical memory and to the reconsideration of Banat’s role in the development of Romanian musical theatre during the first half of the twentieth century. ...

Knowledge in performance studies is produced through action, interaction, and context rather than simple transmission. It highlights dance creation as a key example, where understanding emerges through embodied practice and collaborative processes. Despite this, educational systems often emphasize technique reproduction over exploratory movement inquiry. The article reframes choreography as a form of performative research, positioning the dance studio as a site of knowledge production. Learning is seen as an active process involving doing, reflection, and performance. By analysing creative pedagogical practices as research events, it shows how bodies can think and generate meaning. Ultimately, dance is presented as a bridge between pedagogy and performance research. ...

This article examines the work of Lucian Blaga (1895–1961) in its thematic and stylistic entirety, emphasizing the organic unity that underlies his philosophical, poetic, and dramatic writings. Starting from the conceptual framework of luciferic knowledge and the notion of mystery as an ontological principle, the study investigates the ways in which Blaga’s vision is consistently articulated across different forms of artistic and theoretical expression. Particular attention is given to the concept of the mioritic space as a defining cultural matrix, to the symbolic richness of Blaga’s lyric poetry, and to the metaphysical dimension of his dramaturgy. The article concludes by highlighting the enduring relevance of Blaga’s work within a contemporary cultural landscape increasingly shaped by technical rationalism and by the tendency to reduce the unknown to categories that can be fully explained and controlled. ...

In French vocal music, diction refers to the clear and expressive pronunciation of the language while singing. It is an essential element of proper articulation in the French language, especially in genres such as mélodie and opera. Diction in the French language in the art of singing focuses on clarity, elegance, and natural fluidity. Unlike other languages, French relies heavily on nasal vowels, subtle consonants, and smooth connections between words. Singers must carefully shape the vowels, keeping them pure and very clearly pronounced and articulated, while at the same time avoiding overly harsh consonants that could disrupt the musical line. In the French language specific to the art of singing, great attention is given to nasal vowels such as an, on, and in, which must resonate without becoming heavy or muffled; then to silent consonants, many of which are not pronounced unless followed by a vowel. Phrasing in the art of singing requires legato, and this musical expression ensures a smooth flow of the text together with the melody of prosody; that is, the rhythm and natural accent of spoken French must align with the music. ...

The paper investigates the ontological status of the meaning of the artwork, analyzing the conceptual tension between the author’s intentionalism and the receiver’s interpretive freedom. Oscillating between traditional aesthetics (which places the truth of the work in the mind of the creator) and postmodern radicalism (which proclaims the “death of the author”), the study proposes an integrative vision based on philosophical hermeneutics and the aesthetics of reception. In order to demonstrate the dynamics of these theories, the discourse evolves from philosophical foundations towards historical and contemporary analysis of the artistic phenomenon. It is argued that the evolution of art, from classicism to contemporary immersive installations, marks a transition from meaning as a static, pre-existing entity to meaning as a relational event, actively co-created by the viewer. ...

"Spoken drama plus singing" (huaju jia chang) is a functional music-dramatic form that emerged during the exploration of Chinese new opera in the 1930s. Its formation is connected to multiple artistic resources, including early civilized new drama, "new drama plus singing," modern spoken drama, mass songs, Western Singspiel, and operetta, as well as to the national crisis, left-wing literary and artistic practice, and the demands of mass communication. As a hybrid stage form that employs spoken drama as its narrative core and utilizes songs to condense emotion, shape collective identity, and facilitate dissemination, "spoken drama plus singing" addressed the complex relationship between realistic expression, audience reception, and stage communication. Nie Er's significance within this genre lies in his transformation of mass song experience, labor rhythms, unison singing forms, and musical leitmotifs into methods of organizing stage music, thereby granting songs a relatively clear dramatic function within the dramatic structure. This paper analyzes the form from the perspectives of its generative context, the relationship between speech and song, musical function, the transformation of national musical resources, and generic boundaries. ...

This article develops a diffractive reading of two Romanian films directed by women: Monica Stan and George Chiper-Lillemark’s Imaculat (2021) and Ivana Mladenović’s Sorella di clausura (2025).Drawing on Jean-Luc Nancy’s ontology of corporeality, Sara Ahmed’s affective economies,Vivian Sobchack’s phenomenology of cinematic embodiment, and Karen Barad’s agential realism,the article asks not what these films represent, but what corporeal and affective configurations they produce.It proposes the concept of sticky exposure to name the intersection between bodily openness and historically accumulated affects that adhere to feminine presence. In Imaculat, this takes the form of arrested exposure, where stillness and duration place the body at the limit of signification. In Sorella di clausura, exposure becomes circulatory, shaped by mediated attachment, affective overflow, and unstable intimacy.Read through one another, these regimes generate an interference pattern of uncomfortable proximity.Feminine bodies are rendered affectively near while resisting psychological transparency and representational capture. ...

This paper examines the transformation of research into an artistic act within actor training pedagogy. Starting from the concepts of artistic research and practice-as-research, it presents teaching methods that integrate investigative approaches into the student’s creative process. Concrete examples drawn from university pedagogical experience highlight the ways in which improvisation exercises, physical exploration, and the analysis of dramatic texts transform research into scenic experience. The case studies emphasize the importance of reflexivity and the student’s active involvement, demonstrating that the classroom becomes a performative laboratory where scientific rigor intertwines with artistic creation. ...

The article examines the role of nonverbal theatre in actor training, based on the premise that physical expression precedes and underpins verbal expression. The study highlights the importance of body awareness as the primary tool for stage communication and explores the relationship between presence, authenticity, and the construction of stage situations. An analysis of this approach highlights how the elimination of words stimulates the development of body awareness, the relationship with one’s partner, and the ability to communicate on stage. In this context, I presented a pedagogical exercise conducted with first-semester students, based on the nonverbal dramatization of situations inspired by the Legends of Olympus. The project aims to explore the possibilities of theatrical expression without words and to investigate the relationship between intention, emotion, and their physical manifestation. ...

A prolific composer, averaging six consistent works a year, Liebermann became one of the most performed Americans of his generation. His music has been played by a number of notable musicians, including pianist Stephen Hough, who was entrusted with the first auditions (and later a Grammy-nominated recording) of piano concertos. Although criticized by some as too conservative, while others consider his music too dissonant or too cerebral, Liebermann remains a highly successful contemporary composer. The Sonata for flute and piano, op. 23 composed in 1987 has known a great success both from the public and from the press since its premiere. The composition style of this sonata can be divided into two main directions, based on contrasting characteristics: the nocturnal character (which characterizes the first movement of the sonata) and the diurnal character, more percussive and more vigorous (which defines the second part). ...

This study investigates the emulation of analog aesthetics in digital cinematography, focusing on the "human artifact" qualities of 16mm film. Using Pietro Marcello’s Scarlet (2022) as a primary case study, the research analyzes how chemical imperfections – such as grain and halation – integrate documentary-style realism with the film's lyrical, fairy-tale dimensions. The practical experiment employs vintage zoom optics on a RAW digital workflow to capture organic textures and natural optical artifacts "in-camera". Findings from collaborative grading sessions demonstrate that achieving a cohesive filmic look requires bespoke, artisanal interventions rather than standardized digital profiles. This approach preserves the materiality of the image, countering the clinical nature of modern sensors through a deliberate, frame-specific reconstruction of the analog soul. ...

The paper analyzes the role of intonation exercises in the development of musical skills of sixth-grade students, with an emphasis on the awareness of the melodic elements of musical language. Starting from the definition of the exercise as a fundamental teaching method, the study highlights the formative, educational and corrective functions of intonation exercises. Current school textbooks are analyzed, highlighting the differences in approach and their limits in the use of these exercises. The paper proposes alternative models of exercises, adapted to the curricular contents, which facilitate the understanding of intervals, scales and alteration signs. The results suggest that the systematic and creative use of intonation exercises contributes significantly to the development of musical hearing, auditory memory and intonational precision. The need for a more consistent integration of these exercises into secondary school teaching practice is emphasized. ...