The actor goes through a particular method applicable in the construction of the role. Miss Ratched is the antagonist of Ken Kesey's novel, Cuckoo's Nest. While building this character, who on the surface seems to be very composed, powerful and controlled, while on the inside has a chaos roaming around, I have taken into account everything that she hides on the inside, everything hidden behind the mask, everything that turns her into a cruel person. Miss Ratched is the head nurse of the psychiatric clinic Salem State, where she exercises full authority among patients by prescribing their meds and deciding on their privileges, privileges that she is allowed to leave them without in case of misbehavior. ...

The opera stage has the singer as a power centre, he having to display on the stage a superior level of tangible, so as to convince the audience of the reality of his performance. From all the work steps, the one reserved to the dramaturgic and musical study of the opera takes the largest part in the calendar of preparing a show, hence the crucial role of the director in defining the performance, because the actors-singers must be initiated in the specific opera role play, the theatre-musical one. ...

The XVIIth century was a period of transition towards the virtuosity we shall witness during the XVIIIth century. For a hundred years that precede the great singing epoch, we notice how aria is truly formed, how the recitative shapes up more firmly, becoming more vocal and lyrical. The singer will separate little by little from the composer, virtuosity being his only reason of living. Finally, thing of the greatest importance in the history of singing, in the XVIIth century, the castrati appear, these kings of virtuosity, whose genius will create this special art of the bel canto, which for more than two hundred years raised the Italian school of singing on the first place in the world. ...

The end of the XIXth century and the first two decades of the XXth are influenced in Transilvania by the remarkable personality of the composer, conductor, singer, professor, piano player, translator of literary texts, organizer of Romanian musical life from Transylvania, Gheorghe Dima. In the lied creation, Gheorghe Dima has the power to raise suggestions, to stir certain representations, his originality being unquestionable. ...

Nicolae Bretan, composer who wrote over 230 lieder, ordinary at first sight, without too many moments of virtuosity, but which spread a state of mind dominated by a deep sense of humanism, has been lately rediscovered, by both the critics and especially by the interpreters. His musical language was inspired and sustained by the poems of Mihai Eminescu, Victor Eftimiu and Lucian Blaga, but also by those of Reiner Maria Rilke, Johann Wolfgang von Goethe or Petöffy Sandor. ...

Greek composers have created piano sets of elementary level since the first decades of the 20th century. They include a great number of piano pieces that follow the western compositional techniques of classical harmony or of somehow more contemporary sonorities. These are piano collections and cover a variety of musical elements and musical knowledge. In particular, the use of irregular meters can be very attractive to the students as well as to the piano instructor. ...

Following his musical studies in the Art of Performance (Violin, Piano) and Composition in Paris, the young George Enescu came into contact with the French School and the illustrious composers and teachers. Famous personalities of the early Twentieth Century, such as Jules Massenet, Gabriel Faure and Ambroise Thomas, through pedagogical and especially compositional activity, opened the horizon of new possible stylistic paths in the music to young musicians, among which our compatriot, with this support, seems to have already found a formula of authentic and charming expression. ...

In the course of this study I have been following the way through the visual- language interact with the literary discourse on the one hand, and on the other hand I showed how important is the knowledge of the all original work of the painter Victor Brauner. For Victor Brauner, the inclination towards reading and writing meant a few precise and important things: maintaining and enhancing the artistic imagination, affirming and clarifying ideas, completing and explaining the plastic works, conceptualizing the pictorial expression. ...

Le XVIIe siècle est représenté par le style baroque, que l'on retrouve substantiellement dans la danse, la philosophie, la musique, la littérature, la peinture, la sculpture, l'architecture et le théâtre, caractérisé par la richesse des détails qui symbolisent des choses qui peuvent être facilement interprétées et sans ambiguïté. La période baroque est et restera la période la plus représentative de la fondation du ballet dans laquelle la technique de danse s'améliore, devenant un art exigeant au professionnalisme des études plus longues et de la persévérance, renforcée par l'effort représentatif des chorégraphes, danseurs et théoriciens de l'époque. ...

By creating the "Art Theater," along with Nemirovici-Dancenko, Stanislavski sought to create a complex realism, a refined and profound psychological realism, preserving the exact historical reconstruction, paying special attention to the execution of the decoration, replacing the painted canvas with practicable, an extremely important place, and carefully guiding the ensemble. The desire to escape the clichés used in the theater of the times made the two associates form this New Theater, a theater that will change the theatrical destiny in Russia, Europe and the United States of America. ...

Le langage musical d'une époque, un compositeur ou une œuvre représente un ensemble d'éléments de style et de pensée musicale qui résument des idées, des expériences, tout le contenu de la vie exprimé. Le compositeur roumain Theodor Rogalski est un illustre représentant de la culture musicale roumaine de la première moitié du XIXe siècle. XX. Tout au long de sa création, il reconnaît la sphère musicale roumaine en reprenant des citations mais aussi par la présence de techniques d’écriture faisant référence aux processus de facturation traditionnels. ...

Affirming himself in the interwar period and continuing his prosperous career as a playwright, and after the end of the Second World War, Camil Petrescu is a prominent figure on the stage of the Romanian theater. His dramatic contribution is significant, especially if his theatrical and theatrical criticism is also taken into account, being responsible for imposing a new barrier in the Romanian theater, which in his time has successfully become the theater of introspection, lucidity, man simply marked by existential problems. ...

Niccolò Porpora was a famous singing teacher and composer with notoriety in the glory age of the castrati singers. He composed 50 operas; applying the formula specific to the baroque era, with simple recitatives and aria da capo, representing the basis of the early 18th century in the Italian opera, which gave many opportunities to the singers to assert themselves and become the true stars on the stages from all over the Europe. ...

The issue of our research lies in highlighting religious art during the reign of Constantin Brâncoveanu. The present study aims at an analysis of Brâncoveanu religious architecture in close connection with the socio-political and religious context of the 17th-18th centuries. The historical and artistic researches, presented successively and concurrently, each with the specific route of study, make an objective analysis of the importance of the innovative style in the Romanian creation that has been imposed over the centuries in the national culture. ...

At the beginning of the XXI-st century, we are witnessing an artistic movement of overwhelming freedom. In all genres of cult music there appear works of great diversity where the composers, far from pursuing a fashion, express themselves in musical languages in accordance with their own artistic vision. The lied Lover star enters into the postmodern artistic trend. Being a contemporary work signed by the composer Daniela Cojocaru, we find on its pages elements of original language, melodic lines sometimes sinuous, complex harmonies, surprising rhythms; all these are merged so that they create true images that best suggest the message of the poetic text proposed by poet Lucia Cicoară Drăgan. ...

Spolia appeared for the first time in a Renaissance cultural context and the term refers to fragments of ancient buildings or statues of the ancient world that have been introduced into a new context, a phenomenon that has manifested itself particularly between the third and the seventh centuries. Used either as an economic necessity or as an apotropaic role, or to relate to past or continuity with the present or even as an aesthetic dimension, spolia is a complex phenomenon whose consequences can not remain unnoticed. ...

One of the main fields of my composition activity is stage music, especially writing incidental music for theater shows. I have written the music for both state theaters and independent projects in the last seven years and this helped me develop my language and my cultural knowledge. All the arts are society’s mirror, but the performing ones are more anchored into it. The theater is, by definition, a performing art that has one of its main the purpose to reflect the world that we live in an either subtle or straightforward way. „Emoticon skin” is a show that puts into a humorous light the „language” of nowadays teenagers with their emoticons and all the abbreviations they use when they type or speak. ...

Considering the complex landscape of Romanian music during the second half of the 20th century, -and the first half od the 21st centuri, and the richment of artistic solution offered by various forms of representative Romanian composers of this period of time, this paper proposes to highlight the artistic portrait of composer Felicia Doncenau, reflected in the vocal-chamber paper „Tears”, a complex portrait painted under the influence of collateral talents in the music field. Although it is a miniaturea paper in its essence, this lied called „Tears” is composed with unique lyrics, it is offering us a sound landscape born from moral criteria, by personal methods and means, crossed by syncretic thinking, assembled in an assumed stylistic freedom. ...

Dobruja, one of the provinces of Romania, is a good example of multi-ethnic cohabitation. For hundreds of years, it has been the home of peoples which, through their culture, way of life, and tolerance, have yielded the current configuration of the region’s profile. In Turkish families from Dobrogea, particularly those in rural areas, changes have occurred as to the strictness of the life norms observed and passed on along the centuries. Nowadays traditions and mindsets from patriarchal times coexist with more recent, modern ones. The research strategy I opted for in order to complete my enterprise was the directive interview correlated with the audio recording method. The analysis of the lullaby “Dandini, dandini dastana” from the folklore of the Turks of Dobrogea has revealed that it belongs to the old stratum of traditional creations. ...

Our principal focus in this article will be the elucidation of the Arion star myth narrated by Ovid at Fasti 2.73-121. The methodology we adopt is unusual and involves redividing the text and reformulating it in order to access subtextual meanings. In order to contextualise this approach we first consider Tristia 3.9 in detail with special reference to the role of the ‘speculator’ (‘the look-out’). The intention is to reveal the polysemantic flavour of Ovid’s art which uses allegory, intertextuality, and etymological threads, to create a text that resounds with ‘mille sonos’ (‘a thousand sounds’: Fasti 2.119). We hope to persuade readers of Ovid that his grasp of astronomy, particularly the rising and setting of stars, is technically faultless. Any apparent discrepancies are in fact the result of our failure to apply Ovid’s poetics to the task in hand. ...

The baritone Octav Enigărescu, a high-profile artist of the Romanian singing school, occupies one of the first places in the baritones pleiades from the second half of the 20th century, due to his multiple artistic profile, to his versatility. He was an interpreter of opera, of lied, and oratorio, director, professor, actor, manager of the Romanian Opera House in Bucharest, one of the personalities of Romanian lyric art, that contributed to its integration into the international artistic phenomenon. He possessed a rich range of colours and vocal shades, a voice of great ambitus, clear, warm, without strideness, nuanced enough to give the substance of the roles, with a bright, sharp, well-balanced center and a fairly consistent gravity. ...

Commençant avec les dytyrambes, quand le choeur était le personnage collectif du drame, et jusqu′à la Nouvelle Comédie, celui-ci est passé par des nombreuses transformations qui reflètent les changements produits dans la société grecque, mais aussi celles d′ordre esthétique. Dans la structure de la tragédie, l′alternance choeur/coryphée – héros, reflète la confrontation entre l′ancienne voix de la Grèce – la voix normative, celle des croyances et des coutumes ancestrales, qui montre à l′héros la voie à suivre – et la voix du personnage tragique qui assume son individualité. ...