The advertisement went from promoting a product for what it does, or what it tastes like, to it`s social significance. Relationships between people are transferred to the level of alienated relations between objects, because objects become powerful emotional symbols of the way individuals wants to be perceived. The products have always had an emotional significance; what is new, is individuality. The design products are a representation of the self, ways in which people can tell the world who they are. ...

The theatre of the absurd is as old as the notion of dramatic play, only it was not very explicit until the nineteenth century, because its features did not stand out in the classical theatre. The theatre of the absurd is the expression of the search of the self, of the faith, of the spirit. It is said that once the ancient forms of art lose their validity, new mechanisms must be found. The theatre of the absurd tries to convince the world regarding the reality of its condition. In his theatre, Ionescu does not hide his mechanisms, but makes them as obvious as possible. The way in which Ionescu's concepts are used in a dramatic form closely follows the structures established for each play. The playwright is constantly disturbed by mortality, which is the ultimate paradox of an irrational existence. ...

The aim is to present famous voices from the Italic Peninsula, to evaluate their importance in the History of the vocal music looking through the eyes of the singers from the XVII-th century and their new attitude towards the vocal art, materialised in an expressive interpretation, based on vivid, colourful word utterance - bona pronuntia and coloratio – and on embodying the meaning and feelings they contain. Starting with the XVI-th century until the beginning of the XIX-th, the concept of singer appears in constant evolution, being musicians with complete formation in the music theory, scoring, harmony, composition, instrumental and vocal practice. Illustrious voices of that time are evoked in this study and notions of style and vocal technique development across the century are also approached. ...

Decanting and crystallising the pedagogical thinking in canto depended directly on the education development along the processes of humanization and civilising of the human being, all of this is accomplished by accumulating, preserving and transmitting information. In the history of the vocal music there is not a pedagogy, as a single method, but educators, who have in common only a part, more or less significant, of this set of values. The vocal education of the XVIII-ornamentth century becomes the cornerstone of the vocal technique, most of the international singing teaching relying on this bag of knowledge. ...

It is important to notice that the entire human body participates at the emission of the artistic sound of the instrument called voice. I believe that being a professional singer should be related to performance and that a singer should possess strong knowledge concerning the vocal aparatus (the breathing system, the phonation, muscular, bone, locomotor and nervous system)and to fully understand how they work, how they function and how they are built and structured in the physico-mechanic process of singing. The professional singing implies using several groups of muscles: the breathing muscles, those from the rhinopharyngeal area, the larynx, facial and tongue muscles, performance being achieved only if these muscles, after a necessary preparation, get to be able to support the vocal effort. ...

Educating the voice, the singer’s primary means of self-expression, is a complex process, characterized by progressive accumulations on the theoretical and practical fundamenting level, which is anchored to the natural god-given talent and to the organized instruction, and it develops into the direction of drawing certain concepts and a system of vocal training in order to facilitate a ballanced vocal and artistic development. After this first step towards developing the possibilities of vocal, empirical expression which consisted in adapting some methods that could not get causable explanations and general legitimacy, there followed the theoretical step, where the empirical gathered facts were subjected to interpretations, phase which allowed formulating rules and expressing predictions. ...

In a diachronic overview, Romanian Chamber Music is concentrated in the musical audience opinion, by its most successful and appreciated works and through a constant performance activity, preponderantly in the first five decades of the twentieth century. However, in order to achieve a significant level of expression, the Romanian compositional path begins in the previous century with the creation of the predecessors, in their legitimate search to affirm, first of all, their own aesthetic and stylistic search, in individual connection with the ethos of the Romanians and not the least, for the first time, a coherent, modern and national written musical language. ...

Certain works were promoted with insistence, to give an example in darker periods of our modern history, works that have been completely forgotten today. It is natural, some of them did not resist the musical value site as well from the interprets point of view as from the perspective of an eclectic stylistic diachronicism, specific to the musical composition domain, in the 20th century. In Romania,’The Obsessive Decade’ (of the 1950s) marked a repositioning of the entire compositional thinking, as well as a constant promotion of some authors, who ideologically and musically credited the massive infusion, after the Second World War -in regression terms- of the Romanian Socialist Realism’s Aestetics after Zhdanov thesis, with the excesive use of the basic characteristics of urban genres loved by the popular masses, trated in a simplified stylistic manner, exactly on the taste of the new political and ideological vision’s order. ...

One of the most complex working tools in theater laboratories worldwide is, and we will demonstrate during this dissertation, Theatrical Anthropology. Eugenio Barba defines Theatrical Anthropology as "the study of pre-expressive scenic behavior that underlies the different genres, styles, roles and traditions, personal or collective in the theater" or, as Stanislavski says, the study of the organic nature of all art people, of all nationalities and from all eras. In an organized situation or state of representation, the projection of the physical and mental presence of the actor is based on an elementary architecture, built on the meta-physical pillars of principles different from those of daily life. ...

It is discerned that colors possessed symbolic values and meanings in cultures since early history. Colors were sometimes used as a means of expression in artworks and sometimes as a communication tool for expressing emotions and thoughts of individuals in the society and getting their messages across. Today, the color symbolism gave way to functional use and obtained a different dimension. Colors were always utilized for the expression of certain things since early ages. Of these expressions, the color phenomenon became one of the attention-grabbing elements in clothing habits. ...

The Suisse music pedagogue Emile Jaques-Dalcroze initiated an original education system revealing that rhythm and movement could be combined in order to facilitate the complexity of learning music. The synthesis of imagination, body motion and emotion is fundamental in the development of expressiveness and creativity. In our study, we are going to analyze the tools of Eurhythmics as a multi-senses teaching method. ...

I.L. Caragiale will be sought in the bosom of the world, in the heart of society, through the dungeons where painters, journalists, poor people, people of all varieties pervade. Caragiale's main source of inspiration will be man, in all its splendor and especially, with all its flaws. Using his keen observation spirit, Caragiale will be responsible for taking over and processing the typologies of character, which will give color through the language and which will integrate them into stories that become complex in their simplicity. ...

The study of drawing in higher education institutions represents a basic course in the instructional-educational process of the fine and decorative arts. At the base, making pre-chromatic or compositional sketches we are in direct contact with the drawing. The present study refers to the framing of the proposed subjects to be drawn and evolves with the analysis of the compositional theories that make a true monochrome harmony from the chosen subject. In drawing, the composition represents the way of organizing the elements of artistic language in a balanced and homogeneous context that manages to convey the plastic message of the artist to the viewer. ...

Taking into consideration the importance of advertising in the recent years, it has achieved a significant exposure in human life. The subject covered by this paper deals with unconventional advertising, to which I will refer to as divertising. The way in which society has changed regarding the life of consumerism has affected and influenced advertising, forcing it to be updated to a more effective means of communication. ...

The principal focus in this paper will be to highlight the concept of "aura" as it was developed by W. Benjamin in the context of aesthetic-philosophical reflection, in connection with the discourse on the problematic features of modern and contemporary art, determined by the evolution of the technological world. Benjamin's writings propose a multidimensionality of the concept of "aura". Thus, the aura can be illustrated with reference to the nature, to historical objects and phenomena, to sensitive experiences, to storytelling, but also to the aesthetic world and works of art. ...

To understand neo-impressionist aesthetics supposedly highlights the important role that it was Neo-Impressionism in the birth of modern art. The technique of the neo-impressionists and the mechanisms that led to its use, as well as the themes and topics addressed by these artists are illustrative in this regard. Both in terms of the technique used and the topics covered, neo-impressionist artists refer to the same principle, extracted from the anarchic social philosophy, whereby art is understood as a face of the order of the world and the order or harmony of nature. ...

The present study intoduces a series of characteristics related to Chinese poetry. It shows that, together with rhythmical structure and intonation (which has a crucial role in conveying meaning), an additional, fundamental aspect of Chinese poetry lies in the latent, pictorial effect of the writing. Various genres and forms of Chinese poetry are touched upon, as well as a series of figures of speech, themes (nature, love, sadness, mythology etc.) and symbols (particularly of vegetal and animal origin), which are frequently encountered in the poems. ...

The comic and sarcasm in Prokofiev’s music mirrors his intolerance towards political and social conditions, as well as towards the cultural trends of that time. His career as a composer had been very exposed and labeled from a political point of view, which gave birth to many contradictory discussions. Many music lovers only consider the real Prokofiev creations the ones produced when he was outside Russia. On opposing sides are the ones who consider that the Soviet period (from 1933 until his death) was the one that confered him the comfort of being himself through his creations. The opera Betrothal at a Monastery, composed in his Soviet period, was a truely remarkable achievement of Prokofiev. Although he choose to focus on the lyrical aspect of the subject, he did not omit the libretto parts which offered him the possibility to create comical situations. ...

According to Anne Ubersfeld, theatrical time is an image of time and history and especially of individual psychic time that passes events through the filter of sensitive experience. In Jean Cocteau's play, The Human Voice, in particular, time is determined by the character's individual experience. For example, in The Human Voice, the breaks marked by the fall of the telephone line refer to a subjective time of the character that is not related to the actual duration. The crisis of the protagonist takes place between the first interruption of the telephone line (this marks the woman's discovery that she was deceived) and the last (the winding of the telephone wire around the neck and the death of the character). ...

Each piece has a spatial framework that is organized around the main character, being considered a landmark of the situation of the statement. Through space, the text is juxtaposed with the stage representation, the latter representing the materialization of a fictional universe valued through a directorial conception. The Human Voice by Jean Cocteau relates a telephone conversation between two characters about whom nothing is known (name, age, social status, etc.). ...

The problem of children in needy families whose parents go to work abroad is no longer a nov-elty. Petre Crăciun's novel "Robert cel cuminte" was the basis of the puppet theater show "Al cui ești tu?" and tells the story of a child, whose parents in Spain, where they encounter serious fi-nancial problems. The main character in this dramatization, Robert, serves as a model for the countless children that spend the majority of their time without life’s most important values. ...

Dobrogea can be considered a good example when it comes to the cohabitation and identity preservation of each ethnic group. Accepted in the midst of the compact mass of the majority group, the minority ethnic groups of Dobrogea have a culture and way of life which they assert both inside and outside their communities. For the traditional cultures of Dobrogea, the song per se represents the folkloric genre which is the most resilient to the transformations generated by a prolonged existence in an allogeneous region and by attempts at incorporation into the majority culture. We will analyse six representative songs per se selected from the traditional repertoire of Aromanians, Meglenoromanians, and Lipovan Russians in Dobrogea with the aim of ascertaining whether it is possible to draw a clear line between the types of morphological elements found in the songs of each ethnic group. ...

To consider theater only as literature is a long-standing point of view, but also to regard theater as a spectacle is a false position towards the art of the theater, of her essence and means of expression, the theater being a synthetic art, with a specific language , with their own autonomy. Why Gogol and Caragiale? It seems to me a natural attachment, I strongly believe that the two authors have changed, each in their own way, the gender literature of their countries, that they link a century full of social, political, effervescent phenomena, that the edifice of works is a fundamental one nationally, that they wrote with pathos, with almost fervor, about everything that needed to be addressed in everything around them. The study is a review of the main elements, strategies and models of dramatic construction in the comic work of the two. ...