The Impact Of SARS Cov-2 Pandemic On Children’s Behaviour In Society And Their Reintegration Through Drama Classes

The aim of this article is to point out the acute need of artistic classes for children with ages between 5 and 12 years after one year and a half of online activitities imposed by the SARS CoV-2 pandemic. The 2021 school year brought to the parents’ attention the gaps their children have experienced in terms of sociability. The ease they used to have in communicating with the others has almost disappeared along with the joy of interaction. They got so used to the virtual world that they began to see it as routine and to believe that this is the way our lives should be looking like from now on. As a result, the inauguration of this new school year in comparison to other typical school years, except for the pandemic years, has been registered as the year with the highest number of requests for children’s theatre classes. Teachers saw their students regressing and they also observed that it was very difficult for their students to assimilate any kind of new information, a reason why they came up with the idea of participating in such classes. The worst challenge for the students was to start coming back again physically to classes. Their enthusiasm disappeared alongside with their inability to concentrate and their difficulty in paying attention to the teaching process. The masks on their faces represented another disadvantage that they didn’t have to comply with any longer while attending online classes. Anyhow, it was the first year as a freelance theatre teacher in which the demand increased in such a manner that neither I nor my guild colleagues could honor all the requests we received in terms of drama classes for children at this age. The benefits of such classes in the education and in the evolution of its participants have already been demonstrated by many theatre personalities and they are now being amplified with the increased interest coming from the children’s parents who noticed serious disorders in their children’s’ behavior. In the next lines we are going to analyse the outcome results after questioning 60 children with ages between 5 and 12 years old.

Focus on Estern European Stage Directors

Palgrave Macmillan Publishing House contributions on Global/International Theatre and Performance topics continued in 2021 by a new title 20 Ground- Breaking Directors of Eastern Europe edited by Kalina Stefanova and Marvin Carlson. The book is an important sign taken into consideration by its authors, especially since the theatre, in the last year and a half, has been one of the areas most affected by pandemic situation. Setting the spotlight on the twenty Eastern European stage directors represents a significant gesture in the very diverse landscape, always selfreflective in terms of status in the new context and in which the boundaries between the arts dissipate. The value of such complex studies grows both because they are momentary photographs, as well as a settlement in recent history with directions that foresee the future crossed by a thrill of insecurity.

Beautiful, Truth, Imaginary in the art of puppet theater - THE INSECT CIRCUS by String Theater

One of the shows invited to attend the 14th Edition of the Iaşi International Theater Festival for Young Audiences (FITPTI), outstanding performance with classic short string puppetry, was performed at the Small Hall of the Luceafărul Theater by String Theater from Great Britain. The London Company relies on the charm of the long strings animating techniques for puppets, maneuvered (manipulated) from a height. The Company started the activity in London, 2011, the founders are Soledad Zarate and Stan Middleton, descendants of several generations of artists specializing in the management and promotion of this type of theater, with Elizabethan roots and fresh puppet infusions. The Insect Circus is a gem show, a demonstration of mastery in the art of puppet handling. A performance that overturns prejudices related to this type of theater, but also a sample of good practice, an example of how the tenderness and clumsiness of these irresistible actors on strings can be enhanced.

Embracing The Phantom Or The Imaginary Show

Hundreds or maybe thousands of ghosts haunt our theatre. When I say ours, I do not want to refer to the Romanian one, but neither to the territory proposed and researched by Monique Borie in her already famous book dedicated to spectres. All my shows, and here we talk about more than seventy performances, now appear like ghosts to me. They were played sometime and constitute, not only for me, but for thousands, or tens of thousands of spectators, memories, true glimpses of moments, sometimes beautiful, sometimes sad, relics that begin to fade into a mnemonic mechanism of decomposition of the sensations once arisen by the scenic action and the image proposed through the presence of the actor. Thus, the spirit places the theatre under the protective wing of the document-memory, remaking, for those who were not in the position of witnesses, the way of late understanding for the one who can only imagine. The Romanian theatre does not have too many moments, perhaps astral, that could elucidate us on a certain artistic approach or against another. Too often the document-memory is activated by chronicles that bear far too many subjective opinions or timid analyzes on the work of a profession that deserves more in this regard. A very important director of the end of the last century, a student of Professor Radu Penciulescu, defined his own phantasma through the imaginary shows he left us. Blessed is he. Aureliu Manea’s writing allows us to imagine more than the chronicles of his shows played on Romanian stages could do. The document-memory of these documents concerns me and holds me in an embrace that I feel violently present.

The Significance Of Theatre Play In The Pediatric Oncology Ward

When a child is forced to begin treatment for a lifethreatening condition, both the child and his or her entire family are affected. The shock of diagnosis, the effects and the costs of treatment, can have powerful consequences on a number of levels, both immediate and long-term. Most people see the hospital as an environment that has nothing to do with creativity, imagination, or artistic activities in general. However, research shows increasing evidence that art can help cancer patients by giving them a safe space to express their emotions, relax, detach from worry and regain control. Both child patients and their parents and careers can enjoy the beneficial effects of theatre play. The approach to this social group must take into account the individual characteristics of each patient and be adapted to the emotional state of the people involved. The coordinator of these games will also fulfil to some extent a therapeutic function, and will therefore benefit from knowledge gained within other disciplines, such as psychology, but also other art forms that can be integrated and adapted according to the patient’s interests, in order to offer them a multifaceted and positive experience with therapeutic implications. In my experience working with children and adolescents in the onco-pediatric ward of the Oncology Institute in Bucharest, I have approached theatre games in pairs, puppet theatre, musical and rhythm exercises, with and without instruments. The data gathered from the observations made during these activities will contribute to the elaboration of a useful methodology for the actor coordinator of theatrical games in the hospital and to the drafting of a manual of theatrical games adapted to this unconventional environment.

Female Presences in The Cultural Press of The 19th Century

The nineteenth century was a time of beginnings for the cultural press, marked by the actions of personalities who actively participated in the development of this field, but often the involvement of women is less valued, compared to that of men. Therefore, we consider opportune a study focused on the cultural-journalistic activity of three remarkable ladies: Maria Rosetti, Sofia Nădejde, Cornelia Morţun, who had an important contribution, not only in terms of the topics they covered, but also through their point of view, reformulating the role of women in that era.

In theatre there is no “I cannot”, there is only self-limitation! - Alexander Hausvater Portrait

Risk stands at the beginning of creation – this is the first thing you learn by working with Hausvater, immediately followed by another one of his sayings: In theatre there is no I cannot, there is only self-limitation! Maybe exactly between these two „rules” the world named Alexander Hausvater flourishes, and these „rules” have enough strength and generosity to „contaminate” ourselves, the ones who stand beside him. The art that is proposed by the director Alexander Hausvater is of maximum emotional intensity, very bold and his stagings highlight what is happening here and now, in us, in the society, no matter if we reffer to either staging The Decameron or a contemporary script. His theatre performances are sharp, necessary, and especially, fulfill the meaning of theatre, in the way Hausvater sees it - to remove people out of their inertia and to transform them in “ a being that articulates” and that carries within itself the beauty and the decay of the whole world.

Towards a Universal Language of Theatre

The ways of approaching, treating and interpreting the theatre underwent major changes in the second half of the twentieth century. As Peter Brook’s research contributes decisively to changing the perspective of understanding the nature and the meanings of theatre, the present paper aims to highlight and briefly analyze the most relevant stages of his research. His studies focused on identifying a universal language of theatre reveal key concepts and notions such as the empty space, the visible and the invisible, the holy and the rough in the immediate, the diversity, the homogeneous group, the storyteller with many heads in which still nowadays theatre scholars and practitioners are interested. At the same time, certain results of his research are exploited in his performances in which the emphasis is placed on the scenic presence of the actor, and which denote both a continuous experimentation of scenic forms and a personal way of speaking about truth in the theatre.

The beauty of choreographic genius – Oleg Danovski, proponent of the national ballet repertoire

A prominent figure in national ballet, Oleg Danovski is one of the personalities of 20th century ballet. He gave the world a vast repertoire consisting of classical, neoclassical, modern ballets, Romanian ballets, and divertimentos for operas. Despite his success with classical ballet staging that would make him famous abroad, the choreographer also turned his attention to folklore, by addressing specific local themes. Thus, through this desire to study and stylize the folk dance, he brought an important contribution to the Romanian cultivated dance, from which the image of the Romanian character dance would stem. He was devoted to the idea of Romanian ballet theater and he advocated for original music for ballet, a national repertoire and the development of the Romanian ballet school. His Romanian creations are precious pages of the history of Romanian ballet that should not be forgotten, and that have enormously contributed to the enrichment of the original choreographic repertoire.

The Effects of the COVID-19 Pandemic on the Body Perception of the Actor in Theatre Performance

The COVID-19 pandemic has radically changed our perception of our own bodies and, implicitly, of the bodies of those around us. One’s body becomes a potential source of disease and needs to be protected, permanently isolated from the others and hidden behind different kinds of personal protection equipment. The aim of this study is to review the impact of the COVID-19 pandemic on our interactions with others and to outline the ways in which theatre can fight changes in body perception and social interaction. Another person’s body is perceived as a source of danger which needs to be pushed as far away as possible and must be put under intense scrutiny. In this context, theatre becomes an instrument that contributes to the healing of these ruptures, forcing spectators to have a kind of kinestezic empathy with the actor. Moreover, unlike other public spaces, theatre forces us to engage with those around us and with those on stage. Theatre forces us to watch and connect with the bodies on stage that act independently from our fears, outside of our own corporality. Through this and some other means, theatre can determine its spectators to reconsider and reconstruct their relationships with their own bodies and with the bodies of those around.