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.

Entertainment outreach projects without losing scientific content: A Neolithic puppet show by senior citizens and Roma women

In this work, we present the genesis, development, and results of a set of inclusive outreach activities developed through a puppet theatre play about the Neolithic. We present our methodology and techniques for outreach activities, showing the advantages of collaborative work and bottom-up approaches. The text also explains how the initiative was born and how the contacts for its realization consolidated. All the activities were carried out with the utmost care for the scientific content since it is essential that the public comes to understand all the archaeological information and differentiates it from the entertaining and dramatic elements.

Historic Building Simulation of the Internal Insulation Behavior in Climate of Slovakia in a Case Study

Main topic of the article speaks about historic building renovation in Košice. Nowadays, the building is in use as puppet theatre. The theatre suffers from various disorders caused by humidity. The envelope of building has been renovated several times, however, over time, the faults return over and over. The article can be divided into two parts. The first one presents the results of moisture analysis of the support wall. The samples from the facade probes were evaluated by gravimetric method. The second part of the article discusses the interior insulation of a historic building. Internal insulation is one of the solutions to reduce heat loss of historic buildings. The use of this type of insulation brings risks that affect the thermal-humidity behaviour of the perimeter structure. These risks are assessed using a simulation model. In addition to the risks, the impact of the insulation on the original wall structure and the impact on the indoor environment were also assessed. Based on the simulation results, we can assess whether the restoration approach is appropriate in this specific case of using insulation. The study shows that the initial humidity of the perimeter wall structure is an important factor for internal insulation. Before applying the internal insulation, it is necessary to examine the moisture and material properties of the masonry.

Current trends in Greek puppet theatre. An informal form of education?

When social and political upheavals are testing the art of puppetry, education, and most importantly, the relationship between theater and education, the digital edition of this volume aspires to present to the general public its "today". Greek puppetry, which is very different from the stereotypical image that circulates in much of the educational world. The volume aspires to capture, as much as possible, the dynamics of its existence and its history, a story that convinces that no matter how much it was underestimated as a theatrical genre, no matter how many exclusions it accepted, it is here and continues to entertain and "erode"» with its special characteristics both the fields of education and those of other arts

Creative activity of Galina Kantor-Molotova in the puppet theatre and not only

В статье раскрываются разнообразные задачи, решаемые Галиной Кантор-Молотовой в области театрального и декоративного искусства, станковой живописи и скульптуры. Достижения работающей в Кишиневе с 1972 года выпускницы Ленинградского института театра, музыки и кинематографии (1971, по специальности «театральная техника и оформление спектакля» со специализацией «художник-скульптор театра кукол») признаны в Молдавии и в других странах. Ее произведения находятся в Театральном музее имени А.А. Бахрушина и Музее Театра Образцова в Москве, в Ташкенте, в частных коллекциях России, Украины, Эстонии, Германии, Франции и других стран. Более 10 персональных выставок этого мастера было организовано в Кишиневе и Париже. Об отдельных гранях творчества художницы написано немало статей, но в целом ее путь не исследовался с достаточной полнотой. В некоторой мере этот пробел восполняет недавно изданный альбом «Galina Cantor-Molotova», презентация которого состоялась в Кишиневе в Национальном музее истории Молдовы на открытии выставки избранных произведений — кукол для детского театра, гобеленов и живописи. Однако местное издание небольшим тиражом увидят лишь немногие любители искусства. Творчество Г. Кантор-Молотовой достойно введения в широкий искусствоведческий оборот, включая не только кукол и эскизы декораций для спектаклей, но и гобелены, скульптуру, живопись. The article reveals the tasks solved by Galina Cantor-Molotova in the field of theatrical and decorative art, easel painting and sculpture. The achievements of this graduate of the Institute of Theatre, Music and Cinematography in Leningrad (1971), who has been working in Kishinev (Chisinau) since 1972, are recognized in Moldova and in other countries. There were organized more than ten personal exhibitions of this master in Kishinev and in other cities, among them being Paris. A lot of articles have been written about individual facets of the artist's work, but in general, her path in art hasn’t been studied with sufficient completeness. To some extent, this gap is filled by the recently published album “Galina Cantor-Molotova”, the presentation of which took place in Kishinev at the National Museum of History of Moldova, while opening the exhibition of her selected works — puppets for children's theatre, tapestries and paintings. However, only a few art lovers will see the local edition with a small circulation. A subtle lyricist in painting, a muralist in tapestry and sculpture, though we are talking about small forms, Galina Cantor-Molotova gives free rein to her imagination in theatrical works. Her puppets are marked by a special warmth of author's feeling, which is the result of her character, modest and benevolent, sincerely loving her main audience — children. The artist's works are worthy of introduction into a wide range of art criticism.

The Flight of a Man in the Work of Efim Chestnyakov as an Ethnocultural Project: Technical and Moral Foundations

Representative of the Silver Age Efim Chestnyakov approached writing and illustrating literary works from the standpoint of an artist and a school teacher. He was also doing painting, clay modeling, hand-made puppet theatre with the participation of children and photography. The topic of creating an aircraft runs through his many-sided work. The relevance of the problem under study shows that Chestnyakov composed entire works and individual stories about the «flying man». For the first time, the question is raised about the influence of various publications of the early XXth century on the literary work of the writer. Methods of historical and philological research and «real commenting» are applied to the material of Chestnyakov’s literary works, based on a comparison of the author's plots and images with folklore works and data on technical innovations of his time. The results of the study and their discussion show that Chestnyakov deeply studied the innovative achievements of his time and reflected them in a creatively transformed form in a well-structured own system of different types and genres of art. Also he was worried about the moral aspects of aircraft construction and the issues of the influence of human flights over long distances on the established life of a traditional society for centuries. Conclusions are made that the first manned flights on the designed aircraft and the means of their detection attracted the attention of Chestnyakov and were widely reflected in his work.

Applicability of traditional storage methods in Indonesia for today’s conservation practice

This contribution aims to distil the experience from several conservation projects in Java, Indonesia, into a summary of methods in an attempt to arrive at some suggestions for best practice for the preservation of cultural heritage items in a tropical country. The related projects concerned a museum of contemporary art, traditional puppet theatre materials, a museum of traditional art and an archive.

Gordon Craig`s "über-marionette" concept as an expressive means of a puppet theatre

Purpose of the article. To study the process of the emergence of stage truth in the live-action puppet art. To define the peculiarity of creating stage truth by the expressive means of the puppet theatre. To analyze the theoretical works by Gordon Craig concerning the aesthetic concept of "über-marionette". To designate the ways of realization of stage truth in puppet theatre with the help of Gordon Craig`s "über-marionette" concept. Methodology of the research consists in the application of methods of system analysis, analogy, comparison, and opposition to analyze the "über-marionette" concept in comparative description with the expressive means and aesthetic principles of the live-action puppet art. The scientific novelty of the article is in the view on the nature of stage truth, in considering Gordon Craig`s "über-marionette" concept in the context of psychophysical image creation in puppet theatre and in searching for the ways to realize stage truth of puppet theatre in the context of new puppeteer`s artistic techniques. Conclusions. A live-action puppet, regardless of its system, genre restrictions, and movement characteristics, obeys its own conventional truth. The Puppeteer has Gordon Craig's stage truth. Gordon Craig in his theory of the "über-marionette" substantiated a new kind of stage truth needed by the puppeteer. Thanks to it the puppeteer can transform in his own way and even identify himself with the doll image. However, Craig did not elaborate on the actor's practice of achieving such stage truth. Guided by his theoretical works, one can only make an assumption about the practical implementation of the "über-marionette" theory in the stage practice of the live-action puppet art.