{"id":2549,"date":"2017-02-08T16:14:36","date_gmt":"2017-02-08T12:14:36","guid":{"rendered":"http:\/\/ich.md\/?p=2549"},"modified":"2017-02-08T16:14:36","modified_gmt":"2017-02-08T12:14:36","slug":"se-anunta-sustinerea-tezei-de-doctor-pretendent-dolgodvorov-veaceslav","status":"publish","type":"post","link":"https:\/\/ich.md\/?p=2549","title":{"rendered":"SE ANUN\u0162\u0102 SUS\u0162INEREA TEZEI DE DOCTOR. Pretendent: Dolgodvorov Veaceslav"},"content":{"rendered":"

A V I Z <\/strong><\/p>\n

21 februarie 2017<\/p>\n

\n

SE ANUN\u0162\u0102 SUS\u0162INEREA TEZEI DE DOCTOR<\/strong><\/p>\n

Pretendent<\/strong>: Dolgodvorov Veaceslav<\/p>\n

\u00a0<\/strong><\/p>\n

Conduc\u0103tor \u015ftiin\u0163ific: <\/strong>Ro\u0219ca Angelina, dr. \u00een studiul artelor, profesor universitar<\/p>\n

\u00a0<\/strong><\/p>\n

Consiliul \u015ftiin\u0163ific specializat<\/strong>: D 22. 654. 01 \u2013 02<\/p>\n

\u00a0<\/strong><\/p>\n

Tema tezei<\/strong>: Particularit\u0103\u021bile regiei \u00een teatrele rus<\/em>\u0435<\/em> din Republica Moldova la intersec\u021bie de veacuri<\/em><\/p>\n

\u00a0<\/strong><\/p>\n

Specialitatea: <\/strong>654.01. Art\u0103 teatral\u0103, coregrafic\u0103<\/p>\n

Data: <\/strong>21 februarie 2017<\/p>\n

Ora:<\/strong> 14.00<\/p>\n

Local: <\/strong><\/strong>Academia de \u0218tiin\u021be a Moldovei, bd. \u0218tefan cel Mare \u0219i Sf\u00e2nt nr. 1, etajul 2, Sala Mic\u0103<\/p>\n

Principalele publica\u0163ii \u015ftiin\u0163ifice la tema tezei ale autorului:<\/strong><\/p>\n

\u0421<\/u><\/em>ategoria<\/u><\/em> \u00ab\u0412\u00bb<\/u><\/em><\/p>\n

    \n
  1. \u00ab\u041e\u0441\u043e\u0431\u0435\u043d\u043d\u043e\u0441\u0442\u0438 \u043f\u0435\u0434\u0430\u0433\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u0438 \u043f\u043e\u0441\u0442\u0430\u043d\u043e\u0432\u043e\u0447\u043d\u043e\u0439 \u0440\u0435\u0436\u0438\u0441\u0441\u0443\u0440\u044b \u0432 \u0440\u0443\u0441\u0441\u043a\u0438\u0445 \u0442\u0435\u0430\u0442\u0440\u0430\u0445 \u041c\u043e\u043b\u0434\u043e\u0432\u044b \u0432 \u043a\u043e\u043d\u0446\u0435 \u0425\u0425 – \u043d\u0430\u0447\u0430\u043b\u0435 \u0425\u0425<\/em><\/strong>I<\/em><\/strong> \u0432\u0435\u043a\u043e\u0432\u00bb<\/em><\/strong>.<\/li>\n<\/ol>\n

    Arta. Seria arte audio-vizuale, Chi\u0219in\u00e2u, 2010. ISSN 1857-1050, \u0440. 108-114.<\/p>\n

    \u0421<\/u><\/em>ategoria<\/u><\/em> \u00ab<\/u><\/em>\u0421<\/u><\/em>\u00bb<\/u><\/em><\/p>\n

      \n
    1. \u00ab\u0420\u0443\u0441\u0441\u043a\u0438\u0435 \u0442\u0435\u0430\u0442\u0440\u044b \u0420\u0435\u0441\u043f\u0443\u0431\u043b\u0438\u043a\u0438 \u041c\u043e\u043b\u0434\u043e\u0432\u0430 \u043d\u0430 \u0440\u0443\u0431\u0435\u0436\u0435 \u0425\u0425- \u0425\u0425<\/em><\/strong>I<\/em><\/strong> \u0432\u0435\u043a\u043e\u0432: \u0441\u043e\u0445\u0440\u0430\u043d\u0435\u043d\u0438\u0435 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u0439 \u0440\u0443\u0441\u0441\u043a\u043e\u0439 \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u043e\u0439 \u0448\u043a\u043e\u043b\u044b\u00bb<\/em><\/strong><\/li>\n<\/ol>\n

      Art\u0103 \u0219i educa\u021bie artistic\u0103, B\u0103l\u021bi, \u21161 (16) 2011. ISSN 1857-0445, \u0440.35-47.<\/p>\n

      \u00a0<\/u><\/p>\n

      Articole \u00een culegeri \u015ftiin\u0163ifice interna\u0163ionale<\/u><\/p>\n

        \n
      1. \u00ab\u0420\u0443\u0441\u0441\u043a\u0438\u0435 \u0442\u0435\u0430\u0442\u0440\u044b \u041c\u043e\u043b\u0434\u043e\u0432\u044b \u043d\u0430 \u0440\u0443\u0431\u0435\u0436\u0435 \u0432\u0435\u043a\u043e\u0432: \u043e\u0441\u043e\u0431\u0435\u043d\u043d\u043e\u0441\u0442\u0438 \u0438 \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \u0440\u0435\u0436\u0438\u0441\u0441\u0443\u0440\u044b\u00bb. <\/em><\/strong><\/li>\n<\/ol>\n

        \u041c\u0435\u0436\u0434\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u0430\u044f \u043d\u0430\u0443\u0447\u043d\u043e-\u043f\u0440\u0430\u043a\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0438\u044f \u00ab\u0414\u0435\u044f\u0442\u0435\u043b\u044c\u043d\u043e\u0441\u0442\u044c \u0441\u043e\u0446\u0438\u0430\u043b\u044c\u043d\u043e-\u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u044b\u0445 \u0438\u043d\u0441\u0442\u0438\u0442\u0443\u0442\u043e\u0432 \u0432 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0439 \u0441\u043e\u0446\u0438\u043e\u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0439 \u0441\u0438\u0442\u0443\u0430\u0446\u0438\u0438: \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \u0442\u0435\u043e\u0440\u0438\u0438 \u0438 \u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0438\u00bb, \u041f\u0440\u0430\u0433\u0430, 2013. p.55-65.<\/p>\n

          \n
        1. \u00ab\u0421\u0442\u0443\u0434\u0438\u0439\u043d\u043e\u0441\u0442\u044c \u043a\u0430\u043a \u0444\u043e\u0440\u043c\u0430 \u043f\u0440\u043e\u0444\u0435\u0441\u0441\u0438\u043e\u043d\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0444\u043e\u0440\u043c\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u044f \u0430\u043a\u0442\u0435\u0440\u043e\u0432\u00bb. <\/em><\/strong><\/li>\n<\/ol>\n

          \u041c\u0435\u0436\u0434\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u0430\u044f \u043d\u0430\u0443\u0447\u043d\u043e-\u043f\u0440\u0430\u043a\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0438\u044f \u00ab\u0421\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u044b\u0435 \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \u043f\u043e\u0434\u0433\u043e\u0442\u043e\u0432\u043a\u0438 \u0441\u043f\u0435\u0446\u0438\u0430\u043b\u0438\u0441\u0442\u043e\u0432 \u0432 \u043e\u0431\u043b\u0430\u0441\u0442\u0438 \u043f\u0441\u0438\u0445\u043e\u043f\u0435\u0434\u0430\u0433\u043e\u0433\u0438\u043a\u0438 \u0438 \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430\u00bb, \u041a\u0438\u0448\u0438\u043d\u0435\u0432, 2011. p.373-379.<\/p>\n

            \n
          1. \u00ab\u0413\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u0442\u0435\u0430\u0442\u0440 \u0434\u0440\u0430\u043c\u044b \u0438 \u043a\u043e\u043c\u0435\u0434\u0438\u0438 \u0438\u043c.\u041d.\u0421.\u0410\u0440\u043e\u043d\u0435\u0446\u043a\u043e\u0439: \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \u0440\u0435\u0436\u0438\u0441\u0441\u0443\u0440\u044b \u043d\u0430 \u043f\u0435\u0440\u0435\u043a\u0440\u0435\u0441\u0442\u043a\u0435 \u0432\u0435\u043a\u043e\u0432\u00bb<\/em><\/strong>.<\/em><\/strong><\/li>\n<\/ol>\n

            II \u041c\u0435\u0436\u0434\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u0430\u044f \u043d\u0430\u0443\u0447\u043d\u043e-\u043f\u0440\u0430\u043a\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0438\u044f \u00ab\u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0435 \u043d\u0430\u0441\u043b\u0435\u0434\u0438\u0435 \u0432 \u0441\u0438\u0441\u0442\u0435\u043c\u0435 \u0434\u0443\u0445\u043e\u0432\u043d\u044b\u0445 \u0446\u0435\u043d\u043d\u043e\u0441\u0442\u0435\u0439 \u043f\u0440\u0438\u0434\u043d\u0435\u0441\u0442\u0440\u043e\u0432\u0441\u043a\u043e\u0433\u043e \u043e\u0431\u0449\u0435\u0441\u0442\u0432\u0430\u00bb, \u0422\u0438\u0440\u0430\u0441\u043f\u043e\u043b\u044c, 2009. p.125-135.<\/p>\n

             <\/p>\n

            Rezumatul tezei<\/strong><\/p>\n

             <\/p>\n

              \n
            1. Problematica abordat\u0103<\/strong><\/li>\n<\/ol>\n

              Identificarea particularit\u0103\u0163ilor regiei scenei ruse din Republica Moldova, definirea originalit\u0103\u0163ii viziunii regizorale \u015fi a personalit\u0103\u0163ii lor artistice constituie una din temele importante ale teatrologiei moldovene\u015fti contemporane. Doar regizorul poate intui \u00een mod direct sensul ascuns al fenomenelor realit\u0103\u0163ii \u015fi a transpune \u00eentr-o form\u0103 artistic\u0103 proprie at\u00e2t o oper\u0103 aparte, c\u00e2t \u015fi \u00eentreaga crea\u0163ie a unui dramaturg. Iat\u0103 de ce cercetarea crea\u021biei mae\u015ftrilor artei teatrale ruse din Republica Moldova, identificarea unicit\u0103\u0163ii stilului \u015fi particularit\u0103\u0163ile de regie prezint\u0103 un interes deosebit. Perioada supus\u0103 cercet\u0103rii \u00een teza de doctorat\u00a0 – sf\u00e2r\u0219itul sec. XX \u2013 \u00eenceputul sec. XXI – <\/strong>reprezint\u0103 \u043e cotitur\u0103 \u00een via\u0163a \u0163\u0103rii. Dac\u0103 pentru teatrul na\u0163ional din Republica Moldova aceasta este o perioad\u0103 de rena\u015ftere, de activitate intens\u0103\u00a0 \u015fi productiv\u0103, pentru teatrele ruse, care s-au desprins de matca teatrului rus, a constituit, de fapt, o perioad\u0103 de izolare, de instabilitate \u00een cadrul colectivelor artistice, soldat\u0103, respectiv, cu grave probleme de regie. Astfel, devine stringent\u0103 evaluarea realiz\u0103rilor regizorilor din teatrele ruse\u0219ti din Republica Moldova \u00een contextul culturii teatrale a \u0163\u0103rii.<\/p>\n

               <\/p>\n

                \n
              1. Con\u0163inutul de baz\u0103 al tezei<\/strong><\/li>\n<\/ol>\n

                Teza este structurat\u0103 \u00een trei capitole, 15 compartimente, care \u00eensumeaz\u0103 135 pagini de text, bibliografie (213 titluri) \u0219i 3 anexe.<\/p>\n

                Capitolul 1, Aspecte istorice si teoretice ale regiei<\/em><\/strong>, <\/em>cuprinde cinci compartimente, \u00een care este examinat\u0103 literatura \u0219tiin\u021bific\u0103, metodologic\u0103, istoric\u0103, precum \u0219i documentele de arhiv\u0103 existente \u00een domeniul supus cercet\u0103rii. Pe baza surselor studiate au fost formulate problemele principale de cercetare \u0219i a fost propus un algoritm, care i-a permis autorului s\u0103 \u00eentreprind\u0103 o analiz\u0103 complex\u0103 a regiei mae\u0219trilor ru\u0219i ai scenei din Republica Moldova.<\/p>\n

                Capitolul 2, Teatrul Dramatic Rus de Stat \u201eA.P.<\/em><\/strong> C<\/em><\/strong>ehov\u201d: totalitatea stilurilor regizorale individuale la r\u0103scrucea secolelor<\/em><\/strong>, <\/strong><\/em>este alc\u0103tuit din \u0219apte compartimente \u0219i cuprinde: o estimare a situa\u021biei \u00een Teatrul Rus \u201eA.P. Cehov\u201d din Chi\u0219in\u0103u la r\u0103sp\u00e2ntie de veacuri; analiza crea\u021biilor scenice ale regizorilor Veaceslav. Madan, Ilya \u0218a\u021b, Petru Vutc\u0103r\u0103u \u0219i Sandu Vasilache, precum \u0219i regia de tip actoricesc a lui Victor Cazacenco.<\/p>\n

                Capitolul 3, Teatrul de Stat de Dram\u0103 \u0219i Comedie <\/em><\/strong>din Transnistria<\/em><\/strong> \u201eN.S. Arone\u021bcaia\u201d, Teatrul Dramatic de Stat pentru Tineret \u201eDe pe strada Trandafirilor\u201d: c\u0103i de p\u0103strare a tradi\u021biilor la tranzi\u021bia dintre epoci,<\/strong><\/em><\/strong> este redactat \u00een trei compartimente. Prima sec\u021biune reflect\u0103 problemele regizorale ale teatrului din Tiraspol, legate de schimbarea paradigmei socio-culturale, dar \u0219i de instabilitatea din interiorul colectivului. Compartimentul doi este dedicat analizei activit\u0103\u021bii scenice \u0219i a relev\u0103rii particularit\u0103\u021bilor regizorale ale \u00eentemeietorului Teatrului Dramatic de Stat pentru Tineret \u201eDe pe strada Trandafirilor\u201d (Chi\u0219in\u0103u) Iurie Harmelin. Fiecare capitol se finalizeaz\u0103 cu concluziile de rigoare.<\/p>\n

                 <\/p>\n

                  \n
                1. Principalele rezultate ob\u0163inute<\/strong><\/li>\n
                2. Identificarea modific\u0103rilor de paradigme socio-culturale care au influen\u0163at activitatea teatrelor ruse\u0219ti din Republica Moldova, \u00een general, \u015fi specificului regiei, \u00een special.<\/li>\n
                3. Reliefarea stilului individual regizoral al mae\u015ftrilor teatrelor ruse\u0219ti din Republica Moldova, care s-a format sub influen\u0163a tradi\u0163iilor \u015fcolii teatrulu rus \u015fi s-a metamorfozat \u00een timp, iar la r\u0103scrucea secolelor s-a cristalizat \u00een diverse estetici artistice \u015fi modalit\u0103\u0163i de expresie ale regiei.<\/li>\n
                4. Eviden\u021bierea impactului activit\u0103\u021bii regizorale a mae\u015ftrilor teatrelor moldovene\u015fti, caree a permis integrarea teatrului rus \u00een procesul teatral al \u0163\u0103rii.<\/li>\n
                5. Caracterizarea artei regizorale a teatrelor ruse\u0219ti din Moldova din perioada cercetat\u0103 prin explorarea cronotopului teatrului clasic, modernist \u015fi postmodernist, prin sinteza diverselor sisteme teatrale, metodici \u015fi tehnici regizorale.<\/li>\n
                6. Reevaluarea contribu\u0163iei activit\u0103\u021bii regizorilor din teatrele ruse\u0219ti la formarea culturii teatrale din Republica Moldova.<\/li>\n
                7. Reconsiderarea unor aspecte inedite ale procesului teatral din \u021bar\u0103 de la finele secolului al XX-lea – \u00eenceputul secolului al XXI-lea.<\/li>\n<\/ol>\n

                   <\/p>\n","protected":false},"excerpt":{"rendered":"

                  A V I Z 21 februarie 2017 SE ANUN\u0162\u0102 SUS\u0162INEREA TEZEI DE DOCTOR Pretendent: Dolgodvorov Veaceslav \u00a0 Conduc\u0103tor \u015ftiin\u0163ific: Ro\u0219ca Angelina, dr. \u00een studiul artelor,Read More<\/a><\/span><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[10],"tags":[],"_links":{"self":[{"href":"https:\/\/ich.md\/index.php?rest_route=\/wp\/v2\/posts\/2549"}],"collection":[{"href":"https:\/\/ich.md\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ich.md\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ich.md\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/ich.md\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2549"}],"version-history":[{"count":2,"href":"https:\/\/ich.md\/index.php?rest_route=\/wp\/v2\/posts\/2549\/revisions"}],"predecessor-version":[{"id":2551,"href":"https:\/\/ich.md\/index.php?rest_route=\/wp\/v2\/posts\/2549\/revisions\/2551"}],"wp:attachment":[{"href":"https:\/\/ich.md\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2549"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ich.md\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2549"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ich.md\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2549"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}