- Târgu Mureş, Mureş, Romania
Traian Penciuc
University of Arts Târgu Mureş, Music Departament, Faculty Member
This paper presents a method for incorporating the Keystroke-Level Model into the didactic approach by using algorithmization in teaching computerized score editing, specifically within the Sibelius application. The paper discusses how... more
This paper presents a method for incorporating the Keystroke-Level Model into the didactic approach by using algorithmization in teaching computerized score editing, specifically within the Sibelius application. The paper discusses how the operator categories of the Keystroke-Level Model can enhance the design of instructional algorithms and help students become more aware of the actions required in the complex and sensitive interface of these applications. The study emphasizes the importance of the M (mental preparation) and R (system response) operators, which can be adapted to create moments when the students understand the application’s response and coordinate their actions and decisions. Lastly, the paper explores the role of the Keystroke-Level Model in modeling algorithms suitable for student training and quasi-algorithms used by advanced users.
Research Interests:
Kumbh Mela is a pan-Indian religious gathering. It is considered by Hindus to be the oldest religious festival known in the World History. Undoubted, it is the biggest: according to the Indian officials more than 100 millions people... more
Kumbh Mela is a pan-Indian religious gathering. It is considered by Hindus to be the oldest religious festival known in the World History. Undoubted, it is the biggest: according to the Indian officials more than 100 millions people attended th e 2013 Kumbh Mela. The devotee’s main purpose is to acquire a strong purification of karma through bat hing in the Ganges River in some auspicious days. But Kumbh Mela has been always a religious fair also, a place where believers are searching for their gurus and “holy men” are gathering th eir followers flock. Anything goes here and everything is transformed in a performance: le pers, fakirs laying on barbed wire, sadhus reciting the puranas by hard, yogis meditating – all are performing in pub lic forming what BBC has named “the greatest show on Earth”. In the last two decades, medi a attention and aggression on the Mela festival has raised, due to his exotic potential to the Western audi ence, but also because of the increased usage of media means by the religious leaders and organisa tions in their communication and advertising. Today Kumbh Mela is under media siege. Televi sions, documentary producers, and tourists, eager to capture every moment, aggress pilgrims’ privacy. Mo nastic congregations’ use media for advertising and, even the pilgrims and sadhus themselves, capture memorable religious moments on their smart phones. The paper is presenting the influence of the global media intrusion on this archaic event in the purpose to appreciate in what aspects, and how fa r, the deep religious mentality and mind of the Hindu believer has been changed.
Research Interests:
The end of communism came so fast in 1989 that it took all of us Romanians by surprise. When, after two to three years, we finally understood that we really were free, we were seized by a great torpor. Suddenly, we discovered the freedom... more
The end of communism came so fast in 1989 that it took all of us Romanians by surprise. When, after two to three years, we finally understood that we really were free, we were seized by a great torpor. Suddenly, we discovered the freedom to do nothing. Working was communist, working hard, worse, Stalinist. Chatter was good. In this historical moment, against that mentality, I staged Samuel Beckett’s Happy Days in 1995, at the National Theatre Târgu-Mures, offering a critical perspective on Winnie and using a style I called the immobile Commedia dell’arte. This essay will describe the director’s understanding of Beckett’s text, as well as the staging process in which the crucial point was the search for a theatrical expression of the play’s musicality.
Research Interests:
At the opening, in 1875, 'Carmen' was considered a fall, which would be forgotten as soon as the scandal caused by the main character’s blatantly libertinism would vanish. But, 136 years after that, 'Carmen' is one of the... more
At the opening, in 1875, 'Carmen' was considered a fall, which would be forgotten as soon as the scandal caused by the main character’s blatantly libertinism would vanish. But, 136 years after that, 'Carmen' is one of the most staged operas in the repertoire, and also one of the most cited operas in literature, film and even cartoons. For a time it has been the icon of the feminist movement and, also, the icon of South American Revolution. The value, the reputation and the force of this operatic work comes undoubtedly from the music, but also from the strong fascination awaken in the audience by the main character. Considering this later fact as a dramatic virtue and opera as music in action, in this paper we will seek the changes made by the two librettists, Henri Meilhac and Ludovic Halévy to Mérimée’s novel, by translating in librettist dramatic languages, and how this changes enhance Bizet music.
Research Interests:
Research Interests:
Kumbh Mela is a pan-Indian religious gathering. It is considered by Hindus to be the oldest religious festival known in the World History. Undoubted, it is the biggest: according to the Indian officials more than 100 million people... more
Kumbh Mela is a pan-Indian religious gathering. It is considered by Hindus to be the oldest religious festival known in the World History. Undoubted, it is the biggest: according to the Indian officials more than 100 million people attended the 2013 Kumbh Mela. The power this gathering to bind the pilgrims all over India in the present and through the history into a strong religious community comes from its continuity with the mythical times of the Vedas. Like then, in the illo tempore devotee’s main purpose is to acquire a strong purification of karma through bathing in the Ganges River in some auspicious days close to their living saints and in the presence of their invisible gods. Besides this, other religious activities are carried out in the presence or proximity of Holy Men, folk religious theatre performances being one of them. The paper, based on a personal research at Maha Kumbh Mela in Allahabad in February 2013, will describe this theatre as integrated in the all day religious routine, focusing on its devotional aspects and its aim to mediate the epiphany to the audience. Second, I will recognize similarities in other two important rituals, serving food and bathing.
Research Interests:
On 27th November 1881, Nietzsche attended for the first time the presentation of the opera Carmen by Bizet in Politeama theatre in Genova. After the performance he wrote to his sister:Yesterday I saw an opera entitled Carmen [composed] by... more
On 27th November 1881, Nietzsche attended for the first time the presentation of the opera Carmen by Bizet in Politeama theatre in Genova. After the performance he wrote to his sister:Yesterday I saw an opera entitled Carmen [composed] by a French composer named Bizet and it was moving. So powerful passionate, so gracious and southern in style.1And at the same time to his musician friend Peter Gast2:Hooray! My friend, I found something good, an opera by Francois Bizet3 (who is he?): Carmen. His work is like a short story by Merimee, spiritual, strong, sometimes emotional. A pure talent of the French comic opera not confused by Wagner, on the other hand, a true disciple of Berlioz. I never thought this could be possible. It seems that French are on the best way in dramatic music, and they have an obvious advantage to the Germans in an important question: to them passion is not exaggerated (as at Wagner, for example)4.Shortly after, he bought a score of the opera (piano version), whic...
Research Interests:
Layers of interpretation in the opera "Magic Flute" In the centuries after its opening, the opera "Magic Flute" had faced various interpretations, from a political pamphlet to the allegoric encoding of esoteric knowledge. Starting from... more
Layers of interpretation in the opera "Magic Flute"
In the centuries after its opening, the opera "Magic Flute" had faced various interpretations, from a political pamphlet to the allegoric encoding of esoteric knowledge. Starting from the premises that all these interpretations are legitimate, this opera being an open work, but also, that Magic Flute is essentially a fairy tale, this paper explains its polysemic virtues using the actantial model of Algirdas Julien Greimas. We will point out that these allegorical interpretations are the exterior layers of the opera, borrowing in a truncated way its actantial structure, structure which is more dynamic and complex suggesting much deeper meanings.
In the centuries after its opening, the opera "Magic Flute" had faced various interpretations, from a political pamphlet to the allegoric encoding of esoteric knowledge. Starting from the premises that all these interpretations are legitimate, this opera being an open work, but also, that Magic Flute is essentially a fairy tale, this paper explains its polysemic virtues using the actantial model of Algirdas Julien Greimas. We will point out that these allegorical interpretations are the exterior layers of the opera, borrowing in a truncated way its actantial structure, structure which is more dynamic and complex suggesting much deeper meanings.
The development of the sound playback technology has changed the sound weight in the structure of the film. Also, a more refined public does no longer accept a mechanical sound reproduction. Altered by effects, the sound is called to... more
The development of the sound playback technology has changed the sound weight in the structure of the film. Also, a more refined public does no longer accept a mechanical sound reproduction. Altered by effects, the sound is called to reinforce the fiction proposed by the image, changing the perception of space and movement, but also highlighting the subjective views. However, is always claiming diegetic fidelity. In the case of science-fiction films, this "fidelity" has specific aspects. First, there are unknown sounds of object or phenomena which are to be created. But particularly in science-fiction these sounds must in some degree match the scientific description of the phenomenon it represents, or at least, a popular perception of these scientific theories. Thus, results a pseudo-iconicity of sound and music in the science-fiction film that paper will study.
Research Interests:
Research Interests: Mircea Eliade and Eliade
The muse of theatre is Mnemosyne – the Memory, mother of all muses. We find here a meaning deeper than a simple superstition of an actor facing the text. The mission of the theatre and arts – symbolized by Mnemosyne and her daughters – is... more
The muse of theatre is Mnemosyne – the Memory, mother of all muses. We find here a meaning deeper than a simple superstition of an actor facing the text. The mission of the theatre and arts – symbolized by Mnemosyne and her daughters – is to make audience remember, what they have totally forgotten. What they have forgotten to have lived, or what have forgotten to live. In the novel Nineteen Roses Mircea Eliade emphasizes his belief that theatrical anamnesis can rise us beyond the stars dust to see the forgotten Original Light. My lecture describes Mircea Eliade’s idea about theatre as the vehicle of archetypes and searches for its the background in Antique and Renaissance theories about Memory.
Research Interests:
At the opening, in 1875, 'Carmen' was considered a fall, which would be forgotten as soon as the scandal caused by the main character’s blatantly libertinism would vanish. But, 136 years after that, 'Carmen' is one of the most staged... more
At the opening, in 1875, 'Carmen' was considered a fall, which would be forgotten as soon as the scandal caused by the main character’s blatantly libertinism would vanish. But, 136 years after that, 'Carmen' is one of the most staged operas in the repertoire, and also one of the most cited operas in literature, film and even cartoons. For a time it has been the icon of the feminist movement and, also, the icon of South American Revolution. The value, the reputation and the force of this operatic work comes undoubtedly from the music, but also from the strong fascination awaken in the audience by the main character. Considering this later fact as a dramatic virtue and opera as music in action, in this paper we will seek the changes made by the two librettists, Henri Meilhac and Ludovic Halévy to Mérimée’s novel, by translating in librettist dramatic languages, and how this changes enhance Bizet music.
Research Interests:
Research Interests:
Nietzsche’s fascination for Bizet’s opera is not the outcome of an accidental caprice. We shall look for the metaphoric illustrations of his philosophical thinking contained in this opera– which was not intended to be Nietzschean at all –... more
Nietzsche’s fascination for Bizet’s opera is not the outcome of an accidental caprice. We shall look for the metaphoric illustrations of his philosophical thinking contained in this opera– which was not intended to be Nietzschean at all – and which are the canters that emanate fascination and horror towards the audience, but have inspired the philosopher as well.
Research Interests:
Memories About Mircea Eliade and Maitreyi Devi. Interview with Pabitra Sarkar
Research Interests:
The Happiness of Simple Life. Interview with Maindra Chandra Nandi, Kossimbazar
Research Interests:
Kumbh Mela is a pan-Indian religious gathering. It is considered by Hindus to be the oldest religious festival known in the World History. Undoubted, it is the biggest: according to the Indian officials more than 100 million people... more
Kumbh Mela is a pan-Indian religious gathering. It is considered by Hindus to be the oldest religious festival known in the World History. Undoubted, it is the biggest: according to the Indian officials more than 100 million people attended the 2013 Kumbh Mela. The power this gathering to bind the pilgrims all over India in the present and through the history into a strong religious community comes from its continuity with the mythical times of the Vedas. Like then, in the illo tempore devotee’s main purpose is to acquire a strong purification of karma through bathing in the Ganges River in some auspicious days close to their living saints and in the presence of their invisible gods. Besides this, other religious activities are carried out in the presence or proximity of Holy Men, folk religious theatre performances being one of them. The paper, based on a personal research at Maha Kumbh Mela in Allahabad in February 2013, will describe this theatre as integrated in the all day religious routine, focusing on its devotional aspects and its aim to mediate the epiphany to the audience. Second, I will recognize similarities in other two important rituals, serving food and bathing.
Research Interests:
The end of communism came so fast in 1989 that took all of us, the Romanians, by surprise. We were free but we couldn’t realize that. When, after two tree years, finally, we understood that we are really free, we were seized by a great... more
The end of communism came so fast in 1989 that took all of us, the Romanians, by surprise. We were free but we couldn’t realize that. When, after two tree years, finally, we understood that we are really free, we were seized by a great torpor. Suddenly we discovered the freedom to do nothing. Working was communist, working hard, worse, Stalinist. Chatter was good. In this historical moment, against that mentality, I staged in 1995, at the National Theatre Târgu-Mureş, Happy Days, being unemphatic with Winnie and using a style I called the immobile Commedia dell’Arte.
In the first part of the paper I shall present a record of Beckett’s plays staging before 1989, analyzing in particular a 1985 Happy Days production staged by Mihai Mănuţiu. Further, I will focus on the production I staged and, based on my creation log, I will describe the creators understanding of Beckett’s text, the staging process and the public receiving, which we found sometimes paradoxical. The performance in discussion can be watched at https://www.youtube.com/watch?v=OunW5shtrA8
In the first part of the paper I shall present a record of Beckett’s plays staging before 1989, analyzing in particular a 1985 Happy Days production staged by Mihai Mănuţiu. Further, I will focus on the production I staged and, based on my creation log, I will describe the creators understanding of Beckett’s text, the staging process and the public receiving, which we found sometimes paradoxical. The performance in discussion can be watched at https://www.youtube.com/watch?v=OunW5shtrA8
Research Interests:
Research Interests:
trad. Traian Penciuc, Editura Artes, Iași, 2019, ISBN 978-606-547-430-7. The volume makes a critic description of the Italian theater and opera in the 17th century and proposes an aesthetic and architectural vision grounded in the spirit... more
trad. Traian Penciuc, Editura Artes, Iași, 2019, ISBN 978-606-547-430-7.
The volume makes a critic description of the Italian theater and opera in the 17th century and proposes an aesthetic and architectural vision grounded in the spirit of Rationalism and Neoclassicism. From this point of view, the author approaches the elements of a theater and opera: dramatic text or libretto, music, interpretation, dance, scenography, and costumes, and proposes an architectural project of a circular theater. Francesco Milizia's ideas are easier to understand today, considering the perspective of theater semiotics. His treaty decomposes the performance into communication channels – text, nonverbal communication, music, and image –addressing these "parts" in terms of the public as the receiver. His main concern is to attract and keep to the stage the attention of an audience accustomed to using the venue as a place to socialize. For this he sets hierarchies, putting on top the text – the poetry – the only one capable of carrying a rational message. In the spirit of the epoch, at the end of each chapter, he issues precise rules that can improve communication. Today, these rules would be called "best practices," because most of them refer to the effectiveness of theatrical communication, and only some are aesthetic rules of Neoclassicism. Also, many these rules enumerated by Francesco Milizia have been respected in theater since its beginning, and are still applicable today in the contemporary performance.
The volume makes a critic description of the Italian theater and opera in the 17th century and proposes an aesthetic and architectural vision grounded in the spirit of Rationalism and Neoclassicism. From this point of view, the author approaches the elements of a theater and opera: dramatic text or libretto, music, interpretation, dance, scenography, and costumes, and proposes an architectural project of a circular theater. Francesco Milizia's ideas are easier to understand today, considering the perspective of theater semiotics. His treaty decomposes the performance into communication channels – text, nonverbal communication, music, and image –addressing these "parts" in terms of the public as the receiver. His main concern is to attract and keep to the stage the attention of an audience accustomed to using the venue as a place to socialize. For this he sets hierarchies, putting on top the text – the poetry – the only one capable of carrying a rational message. In the spirit of the epoch, at the end of each chapter, he issues precise rules that can improve communication. Today, these rules would be called "best practices," because most of them refer to the effectiveness of theatrical communication, and only some are aesthetic rules of Neoclassicism. Also, many these rules enumerated by Francesco Milizia have been respected in theater since its beginning, and are still applicable today in the contemporary performance.
Research Interests:
Editura Ardealul, Târgu-Mureș, 2019, ISBN: 978-606-8372-67-9.
Research Interests:
Editura Ardealul, Târgu-Mureș, 2019, ISBN 978-606-8372-66-2
Research Interests:
Editura Ardealul, Târgu-Mureș, 2019, ISBN 978-606-8372-68-6.
Research Interests:
Editura Artes, Iaşi, 2019, ISBN 978-606-547-433-8.