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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Main Authors: Șușu Petre, Crețu Carmen Mihaela, Bălăiță Aurelian
Format: Article
Language:English
Published: Sciendo 2018-03-01
Series:Review of Artistic Education
Subjects:
Online Access:https://doi.org/10.2478/rae-2018-0012
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spelling 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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