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Применение компетентностного подхода в процессе формирования интерпретационных навыков музыканта-исполнителя

100%

Булатоваa Н.

General and Professional Education

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2011

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issue 1

5-8

EN

The article considers one of the main provisions of the competence approach. The development in trainees the ability to independently solve professional problems, write musical text interpretation is discussed in the paper.

2

BÁBKAR – BÁBKOHEREC – PERFORMER

100%

Jurkowski H.

Slovenské divadlo (Slovak Theatre)

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2016

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vol. 64

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issue 1

93 – 98

EN

The author speaks about animated puppet being a part of the theatre art. The eminent drama writer and theatre philosophes have given it their thoughts and opinions: Samuel Foote, Heinrich von Kleis, Gordon Edward Craig. They considered being an important part of the theatre while animated by the puppeteers. The author enumerates various types of puppet-players: puppeteer nugget, puppeteer professional, educated in the theatre school. The last one ignores often importance of the puppet and he dismisses it by his own presence. The author proposes in his place another player that is puppeteer-performer, who is conscious of the creative energy existing in each material (puppet included) and is wishing to demonstrate this energy and to serve it.

3

Performatywne alter ego

71%

Szuba A.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2018

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vol. 26

108-133

EN

Performative alter ego The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conven- tional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of re- cording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The ques- tion arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?

Refine search results

1 DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

1 General and Professional Education

1 Slovenské divadlo (Slovak Theatre)

1 Jurkowski H.

1 Szuba A.

1 Булатоваa Н.

1 2018

1 2016

1 2011

Применение компетентностного подхода в процессе формирования интерпретационных навыков музыканта-исполнителя

BÁBKAR – BÁBKOHEREC – PERFORMER

Performatywne alter ego