{"id":15434,"date":"2026-05-12T11:34:07","date_gmt":"2026-05-12T08:34:07","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=15434"},"modified":"2026-05-12T11:34:15","modified_gmt":"2026-05-12T08:34:15","slug":"mentalitatea-estetica-a-personajelor","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=15434","title":{"rendered":"Mentalitatea estetic\u0103 a personajelor"},"content":{"rendered":"
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C\u00e2nd am intrat prima dat\u0103 la NOCA (New Oradea Contemporary Art),  am fost impresionat\u0103 de modul \u00een care curatorii acesteia reu\u0219esc s\u0103 creeze un spa\u021biu ambiental at\u00e2t de primitor \u0219i stimulativ, c\u0103ci aici artele vizuale sunt \u00eenso\u021bite de segmente muzicale, reunite pentru  a genera o singur\u0103 semnifica\u021bie, aceea a existen\u021bei lor \u00een sine, al\u0103tur\u00e2nd armonios valorile cromatice, formele tridimensionale \u0219i modula\u021biile sonore \u00eentr-o unitate artistic\u0103 de-a dreptul transformatoare. Trec\u00e2nd \u00eencet pe l\u00e2ng\u0103 \u0219irul de simeze cu lucr\u0103rile expozan\u021bilor edi\u021biei inaugurale (printre ace\u0219tia amintesc c\u00e2teva nume: Marta Jakobovits, Vioara Bara, Ion \u021auculescu, \u0218tefan Bertalan), am constatat c\u00e2t\u0103 \u201ebucurie, inspira\u021bie, stare de bine, \u00een\u021belegere, chiar salvare\u201d, pot aduce actele artistice, capabile s\u0103 elibereze trupul \u0219i spiritul, \u0219i  s\u0103 ac\u021bioneze cu adev\u0103rat \u201emultiple sisteme fiziologice \u0219i neuronale care ajut\u0103 corpul s\u0103 se vindece, care \u00eembun\u0103t\u0103\u021besc mintea \u0219i dau starea de bine\u201d (Magsamen, Ross, 2024: 180). Experien\u021ba pe care o am ori de c\u00e2te ori ajung \u00eentr-un muzeu sau o expozi\u021bie (\u0219i trebuie s\u0103 amintesc aici dou\u0103 dintre momentele mele estetice marcante de anul trecut, anume, spa\u021biul imersiv de la MINA din Bucure\u0219ti, respectiv, show-ul de la Timi\u0219oara, MINA Pop-Up), \u00eentr-o sal\u0103 de concerte sau la un eveniment muzical \u00een aer liber, o tr\u0103iesc cu siguran\u021b\u0103 \u0219i personajele c\u0103rora autorii lor le g\u0103sesc asemenea destina\u021bii, din dorin\u021ba de a le activa resursele ce le pot  schimba st\u0103rile emo\u021bionale \u0219i sentimentele. Cititorul este invitat, uneori chiar atras, \u00een aceast\u0103 curs\u0103 a descoperirii efectului artei \u0219i esteticii, adic\u0103 al neuroartei, asupra evolu\u021biei protagoni\u0219tilor \u00een economia unui roman, a \u00een\u021belegerii schimb\u0103rilor pe care impactul lor le declan\u0219eaz\u0103, nu de pu\u021bine ori reconfigur\u00e2nd destinele lor narative.<\/p>\n\n\n\n

Spa\u021bii interculturale<\/strong><\/p>\n\n\n\n

C\u00e2nd sunt pu\u0219i \u00een fa\u021ba unui act artistic, a unor manifest\u0103ri ale creativit\u0103\u021bii, alese de autorii lor, personajele \u00ee\u0219i fac cunoscut\u0103 mentalitatea estetic\u0103 prin felul \u00een care le percep \u0219i le \u00eenglobeaz\u0103, apoi, aplicat, \u00een via\u021ba lor, sus\u021bin\u00e2nd astfel ideea lansat\u0103 de autorul irlandez John O\u2019Donohue c\u0103 \u201earta este esen\u021ba con\u0219tientiz\u0103rii, ea te \u00eencurajeaz\u0103 s\u0103 fii permanent conectat la experien\u021bele tale senzoriale \u0219i \u00ee\u021bi permite s\u0103 creezi art\u0103 \u0219i s\u0103 apreciezi experien\u021bele estetice\u201d (dup\u0103 Magsamen, Ross, 2024: 13); poate fi vorba de un spectacol de balet, ca cel urm\u0103rit de fosta balerin\u0103 aspirant\u0103, Cora, \u00een incinta Operei Regale : \u201eE  \u00abDansul Lebedelor\u00bb \u2013 patru balerine mi\u0219c\u00e2ndu-se ca una, \u00een sincronie perfect\u0103, m\u00e2n\u0103 \u00een m\u00e2n\u0103, cu bra\u021bele \u00eencruci\u0219ate \u00een X-uri des\u0103v\u00e2r\u0219ite, [execut\u00e2nd] serii fulger\u0103toare de entrechat quatre, releve passe. <\/em>Pa\u0219ii sunt cura\u021bi, exac\u021bi, iar mi\u0219c\u0103rile, fluide […]. Balerinele privesc c\u00e2nd \u00eentr-o parte, c\u00e2nd \u00een alta cu o curiozitate senin\u0103, \u00een vreme ce, sub penele rochi\u021belor de balet, picioarele lor bat apa imaginar\u0103 […]. Cele patru trebuie s\u0103 se mi\u0219te \u00een raport precis unele cu celelalte ca s\u0103 nu afecteze distan\u021ba dintre ele. Trebuie s\u0103 \u00eemp\u0103rt\u0103\u0219easc\u0103 aceea\u0219i muzicalitate, acela\u0219i tempo; num\u0103r\u00e2nd fiecare pas p\u00e2n\u0103 c\u00e2nd \u00een sf\u00e2r\u0219it, \u00een ultimele momente, se despart \u0219i \u00eencearc\u0103 s\u0103-\u0219i ia zborul \u00eenainte de a se pr\u0103bu\u0219i pe podea\u201d (Knapp, 2025: 323), dar poate fi, la fel de bine, \u0219i str\u0103baterea unei galerii de art\u0103 (\u00een Spania, de data aceasta), cum face Gordon, aflat \u00een c\u0103utarea unui anume tablou de Goya: \u201e\u00ee\u0219i urmeaz\u0103 metodic  drumul de-a lungul pere\u021bilor, studiind fiecare tablou, pe r\u00e2nd. Sunt sumbre, greoaie, macabre […], cunoscute ca \u00abpicturile negre\u00bb ale lui Goya […],  au fost realizate direct pe pere\u021bii casei artistului, fiind transferate pe p\u00e2nz\u0103 abia dup\u0103 moartea lui […]. \u0218i iat\u0103 c\u0103 a ajuns, la jum\u0103tatea peretelui din st\u00e2nga. Saturn devor\u00e2ndu-\u0219i fiul <\/em>[…] pe care Goya a creat-o \u00een izolare, f\u0103r\u0103 s\u0103-\u0219i impun\u0103 opreli\u0219ti […]. Zeul Saturn poate fi considerat personificarea unor sentimente ca teama de pierdere a propriei puteri; \u0219i c\u0103 \u0219i-ar fi devorat vl\u0103starele din groaza de a nu fi deposedat de putere […] \u0219i c\u0103 unul dintre fiii lui Saturn, Jupiter, a sc\u0103pat cu via\u021b\u0103. Mama lui l-a protejat \u0219i l-a crescut \u00een siguran\u021b\u0103. Iar c\u00e2nd a devenit adult, Jupiter s-a \u00eentors \u0219i a dus profe\u021bia la \u00eendeplinire. B\u0103iatul \u0219i-a deposedat tat\u0103l de putere.\u201d (335)<\/p>\n\n\n\n

Personajele pentru care genurile muzicii devin \u201eexpresii esen\u021bializate ale tipurilor de con\u0219tiin\u021b\u0103 colectiv\u0103 (percep\u021bie, respectiv, imagine)\u201d (Garaz, 2016: 17), preg\u0103tite s\u0103 defineasc\u0103 existen\u021ba social\u0103 ca un sistem cultural complex, \u00ee\u0219i folosesc talentul \u0219i priceperea ca forme de comunicare \u0219i exprimare a emo\u021biilor, sentimentelor \u0219i convingerilor lor, cum o face Billy Swann, virtuozul solist la trompet\u0103 atunci c\u00e2nd ie\u0219ea s\u0103 c\u00e2nte c\u0103ci era \u201eca \u0219i cum ar fi fost singur, protejat \u0219i izolat de c\u0103tre reflectoarele care scufundau publicul \u00een bezn\u0103 \u0219i marcau o grani\u021b\u0103 de netrecut la marginea scenei\u201d; sau c\u00e2nd \u0219i-a conceput ultimul concert, \u00eentr-un mod  cu totul impresionant, vocea lui r\u0103sun\u00e2nd \u201eca un murmur dezbr\u0103cat de muzic\u0103, o lent\u0103 psalmodie, o stranie rug\u0103ciune de asprime \u0219i dulcea\u021b\u0103, s\u0103lbatic\u0103 \u0219i profund\u0103 \u0219i domolit\u0103 ca \u0219i cum, pentru a o asculta, ar fi fost nevoie s\u0103-\u021bi lipe\u0219ti urechea de p\u0103m\u00e2nt\u201d, iar c\u00e2nd a \u00eenceput s\u0103 c\u00e2nte, p\u0103rea c\u0103 este \u201ec\u0103l\u0103uzit de voce ca un orb, acceptat de c\u0103tre ea\u201d (Munoz, 1994: 214). Cititorul poate fi u\u0219or convins de maniera \u00een care rela\u021bia dintre crea\u021bia artistic\u0103 \u0219i via\u021ba social\u0103 poate fi reconfigurat\u0103 prin prezen\u021ba personajului-artist care reu\u0219e\u0219te, pe de o parte, s\u0103 introduc\u0103  \u201eo nou\u0103, original\u0103 structur\u0103 mental\u0103\u201d \u0219i s\u0103 contribuie \u201ela schimbarea celei ini\u021biale, \u00een genul unei adapt\u0103ri, dup\u0103 cum \u0219i el se adapteaz\u0103 la cea dint\u00e2i\u201d (S\u00eerbu, 1979: 51), iar pe de alt\u0103 parte, s\u0103 ofere  \u201enenum\u0103rate moduri de a cultiva starea de bine\u201d, ajut\u00e2ndu-ne \u201es\u0103 dep\u0103\u0219im cu bine starea de nesiguran\u021b\u0103 \u0219i imprevizibilitatea vie\u021bii\u201d \u0219i s\u0103 \u201e\u00eenfrunt\u0103m valul de emo\u021bii \u0219i sentimente complexe\u201d (Magsamen, Ross, 2024: 89).<\/p>\n\n\n\n

Subtilul impact al artelor<\/strong><\/p>\n\n\n\n

Efectul artelor asupra individului\/personajului este incontestabil, c\u0103ci arta dispune de proprietatea de a stimula anumite activit\u0103\u021bi cognitive ce pot oferi \u201esprijin social, experien\u021be noi \u0219i oportunit\u0103\u021bi de a ne exprima emo\u021biile\u201d, arta fiind perceput\u0103 dintotdeauna ca \u201eform\u0103 de educare \u0219i dezvoltare a abilit\u0103\u021bilor\u201d (Magsamen, Ross, 2024: 50), put\u00e2nd duce oric\u00e2nd la modificarea st\u0103rii noastre emo\u021bionale \u0219i put\u00e2nd genera un  anume mod de via\u021b\u0103, materializat \u00een mediul nostru cotidian; a\u0219a se \u00eent\u00e2mpl\u0103 \u0219i \u00een cazul lui Costin Barancea, a c\u0103rui cas\u0103 vizualizeaz\u0103 \u00eens\u0103\u0219i mentalitatea sa estetic\u0103: \u201e\u00cen col\u021buri \u0219i pe unde r\u0103m\u0103sese ceva spa\u021biu vertical \u00eentre tablouri, Costin a\u0219ezase statui contemporane, cre\u00e2nd un contrast pl\u0103cut, un fel de fuziune \u00eentre clasic \u0219i modern care lui \u00eei pl\u0103cea, de\u0219i \u00een general era v\u0103zut\u0103 ca un exces manierist. Tr\u0103ia \u00eenconjurat de art\u0103 pentru c\u0103 a\u0219a tr\u0103ise \u00eentotdeauna \u0219i nu s-ar fi desp\u0103r\u021bit niciodat\u0103 de nepre\u021buitele lui colec\u021bii pentru un decor minimalist sau de alt fel\u201d (Fula\u0219, 2023: 282). Cunosc\u00e2nd faptul c\u0103 arta este un me\u0219te\u0219ug \u0219i nu un dat natural, c\u0103 este prin defini\u021bie \u201eiste\u021bime, mimetism, imagina\u021bie \u00een aplicarea unui model\u201d, o abilitate dob\u00e2ndit\u0103 prin \u201eexperien\u021b\u0103, studiu, observa\u021bie\u201d, c\u0103 \u00eenseamn\u0103 folosirea con\u0219tient\u0103 a \u201edeprinderilor \u0219i imagina\u021biei creative\u201d (Ackerman, 2018: 244), avocatul Florian Sadova se \u00eencumet\u0103 s\u0103 c\u00e2nte la un restaurant \u00een prezen\u021ba grupului care-l \u00eenso\u021be\u0219te: \u201evocea p\u0103rea aspr\u0103 \u0219i avea un tremolo pe care noi l-am pus pe seama tracului […]. Se auzea numai el c\u00e2nt\u00e2nd, acompaniat de chitarist. […]; nimeni nu se a\u0219tepta ca un avocat cunoscut s\u0103 c\u00e2nte la microfonul unui restaurant. \u00cen nici un caz acest gen. C\u00e2ntecul se numea Milonga sentimental<\/em> […], f\u0103cut celebru prin anii \u201930 de Carlos Gardel, un interpret argentinian mistuit de incendiu. Tot atunci, Florian a mai c\u00e2ntat o melodie, Volver<\/em>, din acela\u0219i repertoriu.\u201d (Cangeopol, 2007: 326)<\/p>\n\n\n\n

\u00cen multiple pasaje, cititorul atent poate observa felul \u00een care un personaj se raporteaz\u0103 la o anume art\u0103, cel mai adesea m\u00e2nat de istoria sa personal\u0103, adic\u0103, \u201eprin prisma amintirilor sale\u201d (Kandel, 2024: 37), prin care devine autentic \u0219i \u00een permanent\u0103 redefinire, asemenea lui Claire, fascinat\u0103 de dansul \u00een care e atras\u0103 de \u201efirele muzicii\u201d care o sileau s\u0103 se mi\u0219te \u00eentr-un anume fel: \u201ef\u0103r\u0103 nici un efort, centimetru cu centimetru. Infinitezimal, muzica o ridica, \u00een timp ce bra\u021bele goale pluteau \u0219i se unduiau \u00een lumile lor separate. \u00cempotrivindu-se tot mai slab, trupul i se balansa \u00eencoace \u0219i \u00eencolo lin, ezitant, lini\u0219titor, \u00een vreme ce bra\u021bele \u00ee\u0219i continuau dansul \u00een lumea lor proprie, pe tonurile tainice \u0219i s\u0103lbatice ale ritmului. \u00cen lumina nemiloas\u0103 a reflectoarelor, trupul \u00een mi\u0219care lucea \u0219i sc\u00e2nteia ca \u00eembr\u0103cat \u00een oglinzi\u201d (Williams, 2020: 151). Este experien\u021ba ideal\u0103 care demonstreaz\u0103 o certitudine, anume, c\u0103 arta ne permite \u00eentotdeauna s\u0103 \u201ene exprim\u0103m ideile \u0219i emo\u021biile\u201d (Magsamen, Ross, 2024: 308), c\u0103 este cea care ne poate stimula motiva\u021bia \u0219i creativitatea, mai cu seam\u0103 prin faptul c\u0103 \u201eabordeaz\u0103 probleme etice, morale\u201d \u0219i ne poate \u201econduce spre noi ere ale umanit\u0103\u021bii\u201d, dezv\u0103luind \u201eceea ce sim\u021bim deja, dar nu \u0219tim cum s\u0103 definim\u201d \u0219i, nu \u00een cele din urm\u0103, \u201ene permite s\u0103 vedem c\u0103 nu suntem singuri\u201d (308).<\/p>\n\n\n\n

Referin\u021be<\/strong><\/p>\n\n\n\n

Ackerman, Jennifer, 2018 (2017), Geniul p\u0103s\u0103rilor<\/em>, Bucure\u0219ti: Publica (trad. Cristina Rusu);<\/p>\n\n\n\n

Cangeopol, Liviu, 2007, Z\u00e2mbetul. Portret al \u021b\u0103rmului la asfin\u021bit<\/em>, Bucure\u0219ti: Humanitas;<\/p>\n\n\n\n

Fula\u0219, Cristian, 2023, Specii,<\/em> Ia\u0219i: Polirom;<\/p>\n\n\n\n

Garaz, Oleg, 2016, Genurile muzicii. Ideea unei antropologii arhetipale<\/em>, Bucure\u0219ti: Eikon;<\/p>\n\n\n\n

Kandel, Eric, R., 2024 (2024), Eseuri despre art\u0103 \u0219i \u0219tiin\u021b\u0103<\/em>,Ia\u0219i: Polirom (trad. Adina Avramescu);<\/p>\n\n\n\n

Knapp, Florence, 2025, Trei vie\u021bi<\/em>,Bucure\u0219ti: Litera (trad. Adriana B\u0103descu);<\/p>\n\n\n\n

Magsamen, Susan, Ross, Ivy, 2024 (2023), Creierul sub influen\u021ba artei<\/em>,Bucure\u0219ti: Curtea Veche Publishing (trad. Alina-Gabriela Rudeanu);<\/p>\n\n\n\n

Munnoz Molina, Antonio, 1994 (1992), Iarna la Lisabona<\/em>, Bucure\u0219ti: Editura Funda\u021biei Culturale Rom\u00e2ne (trad. Ileana Mih\u0103il\u0103);<\/p>\n\n\n\n

S\u00eerbu, Viorel, 1979, Arta \u0219i ac\u021biunea social\u0103<\/em>,Timi\u0219oara: Facla;<\/p>\n\n\n\n

Williams, John, 2020 (1948), Nimic, doar noaptea<\/em>, Ia\u0219i: Polirom (trad. Ariadna Ponta).<\/p>\n","protected":false},"excerpt":{"rendered":"

Magda Danciu<\/p>\n","protected":false},"author":8,"featured_media":15435,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[52,58],"tags":[85,2777,86],"coauthors":[1239],"class_list":["post-15434","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rubrici","category-save-as","tag-magda-danciu","tag-nr-3-2026","tag-save-as"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/05\/NOCA.webp","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15434","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=15434"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15434\/revisions"}],"predecessor-version":[{"id":15437,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15434\/revisions\/15437"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/15435"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15434"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15434"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15434"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=15434"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}