Theatrical Scrawls. The Aesthetic Creations of Young Girls and Young Boys Scribble the Scene

The paper discusses the purpose of early childhood theater, as a possibility to establish horizontal relationships between children and adults. The article thus explores the potential solutions offered by the aesthetic movement of the arts, in the creation of “theatrical scribbles” by tiny young children. In this paper, it is highlighted the training work carried out by the theater Company “La Baracca” together with Early Childhood Education and Care (ECEC) educators from Bologna, Italy. Much emphasis it is also given to how imaginative approaches through arts are proposed, thus shaping new ways of being an educator, without making use of formal teaching methods.

The Interpretation Of Chinese Empress Dowager Cixi's Image In The Portraits Of American Artists

The Chinese themes in Early American art have long been obscured under the veil of Japonisme, Aesthetic movement, boundary-pushing modernism and more significantly because of the political circumstances - decline of China as an empire and complicated Chinese-American interconnections. One of the favoured theme of American academism at the period of the late 19th- early 20th centuries were genre scenes, street scenes, portrait d’intérieur , portraits, still life works related to China and Chinatowns. Nonetheless, the American press through the imagery created by illustrators and caricaturists was largely involved in interpretations of Western encounters with Chinese culture from the highlighted negative light, either being deeply affected by anti-Chinese flows or fuelling those xenophobic moods. Consequently, a few American artists featured Chinese people and Chinese settings from the perspective of admiration of their “otherness”. Only two American artists- Katherine A. Carl and Hubert Vos, succeeded to pave their career path to the Chinese court, enriching American arts of the early 1900s with the unprecedented depictions of high rank Chinese and the scandalously renowned empress Dowager Cixi (1835-1908) in the positive light of fascination. A number of publications have viewed and examined those portraits from the angle of "political self-fashioning”, but our research is another academic attempt to place those oil paintings in the context of China-related subject matter and its extension in the rising American art of the previous century, stressing their artistic value, function and their relations to the intended audiences.

Pious Puppets and the Limits of Symbolism

Following the immensely successful premiere of Maurice Bouchor and Paul Vidal’s Noël, ou le Mystère de la Nativité at Paris’s Petit-Théâtre de la Marionnette in 1890, numerous critics observed an increasing fondness for religiously themed theatrical productions on the city’s popular stages. Though these works have received scant musicological attention, scholars often credit the success of these works to the rise of Symbolism during the 1880s, citing the Symbolists’ fondness for the realm of the metaphysical as a step toward a universally spiritual world that could be revealed only through non-representational signs. Contemporaneous reception of these works, however, suggests that audiences understood them not as exemplars of a burgeoning aesthetic movement, replete with idealistic suggestion, but rather as a nostalgic return to the Catholicism of their youth, regardless of—and likely despite—their skepticism of the Church as an institution. This chapter provides new readings of Maurice Bouchor and Casimir Baille’s Tobie and Bouchor and Paul Vidal’s Noël, ou le Mystère de la Nativité that reveals how Symbolism, as an interpretive framework, falls short of the musical and political complexities within these works. Through analyses of poetic texts, musical scores, and critical responses, this chapter examines the roles that such puppet productions played in the enfolding of Catholicism into the “secular” Republican mindset.

The Body’s Memory Archives in the Process of Generating an Aesthetic Movement and `Flow Experiences` for the Audience in the Production of the Performance tXc -TOXIC (after F. Richter’s play Rausch)

"The present enquiry is particularly interested in the performer’s body archiving memory while generating poetic movement on stage. The main site of investigation is a theatre-dance performance and the work engaged by the performers of tXc-TOXIC (after the Falk Richter’s play Rausch, an Insula Creative Hub production, directed by Cristian Grosu, choreographed and co-directed by me). The focal point of my argument is that, with proper and sustained body training, performers can easily incite and produce aesthetic movement after engaging the CI (contact improvisation) means of accessing movement and body memory. Keywords: (Non-toxic) body archives, aesthetic experience, embodiment, dance, performance "

“Une grâce, une modestie, un sérieux”: The Reforming Neo-Classicism of Sedaine’s Philosophe sans le savoir

The objective of this article is to explain how Michel-Jean Sedaine’s play Le Philosophe sans le savoir (1765), considered the most successful example of the drame bourgeois, is characterised not only by the theatrical innovations advocated by Diderot in his writing on drama, but by central aspects of the reforming aesthetic movement that dominated the last half of the eighteenth century, and which has come to be known as neo-classicism.

How to Overcome the Crisis of Symbolism with the Help of ‘Populist Ideas’? V.F. Chodasevič’s Critical Essays of the Early 1910s and the Article Nadson

This paper analyses V.F. Chodasevič’s early 1910s critical essays and his article Nadson, read in 1912 in the Literary and Artistic Club. Although the article did not play an important role in the critic’s work, because it was only during the exile period that Chodasevič criticized Nadson’s poetry, yet it represents the first example of Chodasevič’s appeal to the aesthetic model proposed by the utilitarian critics and the ideas of patriotism and civic virtues (graždanstvennost’), which were important in his poetry and later critic works. Chodasevič delivered a speech at the Club’s anniversary meeting which conveys his views on how to possibly overcome the crisis of symbolism. According to the poet, literature should restore and fully embody the ideals of the early Aesthetic Movement. The aim of the present research is to analyse the concepts, aesthetic ideas, and quotations used by Chodasevič in Nadson, and ascertain which sources influenced the author and how they relate to the literary context of the time (early 1910s). I argue that Chodasevič’s text echoes, to some extent, symbolist aesthetics while also reflecting elements of radical critique of early Aestheticism. Chodasevič only reproduces politically radical intentions that were present in the texts written by symbolists after 1907. Chodasevič’s article and his social views correspond to the evolution of Blok’s thought during the so-called ‘synthesis’ period; he, in fact, employs Blok’s ideas and introduces indirect quotations from his essays. Chodasevič’s speech at the Literary and Artistic Club was received as advancing principles which were seen too eclectic and old-fashioned, and which, most importantly, did not fit into the established literary context. Notwithstanding Chodasevič’s strategy of turning to Belinskij’s and Pisarev’s literary views was unsuccessful, since his intentions were misunderstood by the audience, he followed a similar pattern in several essays from the early 1910s. Chodasevič used symbolist aesthetic ideas in a number of texts written at the end of the exile period, where it can be seen that his approach and social and political views changed.

Modernization of Beauty in China

The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the aesthetic movement and their aesthetic theories. It introduces the period of appropriation of the aesthetic debates to Marxist ideology that prevailed in China after 1949 and lasted until the end of 1970s. The 1980s and 1990s represent a shift in the Chinese aesthetic debate which focused on the adoption of Western aesthetic concepts and paradigms in a more scientific way. The article tackles the problem of Chinese society on the verge of the millennium, and problematizes the consumerism of art and attitudes towards aesthetics in general.

JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES

Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).

JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER

Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).