1. The Acting Student’s Choreographic Training. Several Cognitive Objectives
Dance is an artistic genre that is more and more frequently used in theatre productions. The syncretism of theatre and dance can take many shapes, from inserting dance sequences in dramatic performances, to new artistic genres, such as dance theatre. Due to the fact that they offer manifold innovati...
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doaj-3972f8acad3b4e6c944ed7ff8402e7272021-09-05T14:01:15ZengSciendoReview of Artistic Education2501-238X2018-03-0115111012610.2478/rae-2018-0012rae-2018-00121. The Acting Student’s Choreographic Training. Several Cognitive ObjectivesȘușu Petre0Crețu Carmen Mihaela1Bălăiță Aurelian2Doctoral Candidate, “Alexandru Ioan Cuza” University Iaşi, Iaşi, RomaniaProfessor PhD. “Alexandru Ioan Cuza” University Iaşi, Iaşi, RomaniaProfessor Habilitated PhD. “George Enescu” National University of Arts, Iaşi, RomaniaDance is an artistic genre that is more and more frequently used in theatre productions. The syncretism of theatre and dance can take many shapes, from inserting dance sequences in dramatic performances, to new artistic genres, such as dance theatre. Due to the fact that they offer manifold innovating possibilities for artistic expression in a greatly audience-oriented universal language, theatrical forms that include dance, and especially the artistic genre of dance theatre are increasingly often put on stage by directors who work in Romania. Thus, training actors in the area of dance at a high level of performance that allows them to approach these types of syncretic artistic genres becomes a priority for the Romanian theatre school. The director, one of the stakeholders in higher education theatre schools, is the one who decides both the form of a performance and an actor’s involvement (or lack thereof) in that certain performance. Limited or stimulated by the actor’s training level, the director is also a beneficiary of the education the acting student receives in drama school. This study aims at identifying the opinions of ten Romanian directors on the matter of the choreographic categories and skills the acting student acquires during his years of training at a higher education institution. We have used qualitative methodology research, based on semi-structured interviews, applied to a cross-section of ten directors from Bucharest, Cluj-Napoca, Constanţa, Craiova, Iaşi, and Tg. Mureş. This article tackles the issue of cognitive didactic objectives and students’ cognitive competencies that have been emphasized during the conversations with the aforementioned directors.https://doi.org/10.2478/rae-2018-0012acting studentchoreographic competencieseducational objectivescognitive taxonomycognitive competenciesstakeholdertheatre/film director |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
Șușu Petre Crețu Carmen Mihaela Bălăiță Aurelian |
spellingShingle |
Șușu Petre Crețu Carmen Mihaela Bălăiță Aurelian 1. The Acting Student’s Choreographic Training. Several Cognitive Objectives Review of Artistic Education acting student choreographic competencies educational objectives cognitive taxonomy cognitive competencies stakeholder theatre/film director |
author_facet |
Șușu Petre Crețu Carmen Mihaela Bălăiță Aurelian |
author_sort |
Șușu Petre |
title |
1. The Acting Student’s Choreographic Training. Several Cognitive Objectives |
title_short |
1. The Acting Student’s Choreographic Training. Several Cognitive Objectives |
title_full |
1. The Acting Student’s Choreographic Training. Several Cognitive Objectives |
title_fullStr |
1. The Acting Student’s Choreographic Training. Several Cognitive Objectives |
title_full_unstemmed |
1. The Acting Student’s Choreographic Training. Several Cognitive Objectives |
title_sort |
1. the acting student’s choreographic training. several cognitive objectives |
publisher |
Sciendo |
series |
Review of Artistic Education |
issn |
2501-238X |
publishDate |
2018-03-01 |
description |
Dance is an artistic genre that is more and more frequently used in theatre productions. The syncretism of theatre and dance can take many shapes, from inserting dance sequences in dramatic performances, to new artistic genres, such as dance theatre. Due to the fact that they offer manifold innovating possibilities for artistic expression in a greatly audience-oriented universal language, theatrical forms that include dance, and especially the artistic genre of dance theatre are increasingly often put on stage by directors who work in Romania. Thus, training actors in the area of dance at a high level of performance that allows them to approach these types of syncretic artistic genres becomes a priority for the Romanian theatre school. The director, one of the stakeholders in higher education theatre schools, is the one who decides both the form of a performance and an actor’s involvement (or lack thereof) in that certain performance. Limited or stimulated by the actor’s training level, the director is also a beneficiary of the education the acting student receives in drama school. This study aims at identifying the opinions of ten Romanian directors on the matter of the choreographic categories and skills the acting student acquires during his years of training at a higher education institution. We have used qualitative methodology research, based on semi-structured interviews, applied to a cross-section of ten directors from Bucharest, Cluj-Napoca, Constanţa, Craiova, Iaşi, and Tg. Mureş. This article tackles the issue of cognitive didactic objectives and students’ cognitive competencies that have been emphasized during the conversations with the aforementioned directors. |
topic |
acting student choreographic competencies educational objectives cognitive taxonomy cognitive competencies stakeholder theatre/film director |
url |
https://doi.org/10.2478/rae-2018-0012 |
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