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The role of confidence in public performances
No full textOvaj završni rad temelji se na opisivanju uloge samopouzdanja u javnom nastupu. Pregledom više pojmova i pojava – samopouzdanja i samopoštovanja, teorije vlastite vrijednosti, javnog nastupa, negativnih emocija uoči javnog nastupa te važnosti prvog dojma i pogrešaka u javnom nastupu – promatra se važnost samopouzdanja u postizanju uspješnih i uvjerljivih javnih nastupa. U radu se proučava i važnost neverbalne komunikacije, koja obogaćuje komunikacijski proces pružajući obilje informacija važnih za različite situacije u svakodnevnom životu. Nadalje, u radu se istražuje fenomen treme i njezina povezanost s kvalitetom javnog nastupa te načini za njezino uspješno prevladavanje i iskorištavanje kao produktivnoga čimbenika za postizanje angažirane izvedbe. Cilj je ovog rada utvrditi opseg utjecaja samopouzdanja u području javnog nastupa. Rad nastoji pokazati koliko značajno razina samopouzdanja može utjecati na ukupan uspjeh i učinkovitost javnih nastupa pojedinaca ili skupina nudeći vrijedne uvide onima koji teže izvrsnosti u jednom od važnih aspekata učinkovite komunikacije.This thesis is based on describing the role of self-confidence in public performances. Through an overview of various concepts and phenomena - self-confidence and self-esteem, the theory of self- worth, public performances, negative emotions before public performances, and the importance of first impressions and mistakes in public performances - the importance of self-confidence in achieving successful and persuasive public performance is examined. The paper also explores the significance of nonverbal communication, which enriches the communication process by providing a wealth of information relevant to various everyday situations. Furthermore, the thesis investigates the phenomenon of stage fright and its connection to the quality of public performances, as well as ways to successfully overcome and harness it as a productive factor for achieving engaged performance. The aim of this paper is to determine the multifaceted roles that self-confidence plays in the realm of public performance. The paper seeks to demonstrate how significant the level of self-confidence can be in influencing the overall success and effectiveness of public speaking by individuals or groups, offering valuable insights to those striving for excellence in one of the crucial aspects of effective communication
Izvođač u teatru prostora i svjetla
No full textPredstava „12 milisekundi“ diplomska je predstava studentice glume i neverbalnog teatra Lucija Matković pod mentorstvom izv. prof. art. Jasmina Novljakovića i sumentorstvom ass. Marijana Josipovića. Studentica ovom predstavom završava svoje studiranje na Akademiji za umjetnost i kulturu u Osijeku. U ovom radu, temeljito sam razmotrila proces stvaranja predstave "12 milisekundi". To uključuje razmatranje svih aspekata predstave, kao što su suradnja i interakcija svih članovima tima, metode i etape rada, proces režije i moj osobni doprinos. Cilj mi je bio strukturirati i izraziti svoje dojmove i razmišljanja vezana uz ovu predstavu kroz prizmu izvođača u teatru prostora i svjetla. Opisala sam načine i pristupe koje smo koristili kako bismo došli do cjeline, mentalni angažman koji je kasnije rezultirao pokretom, te naše promjene smjerova u traženju alata za pričanje priče. Nadalje, stavila sam veliki naglasak na tijelo, traženje logike pokreta i veza koje nisu nametnute nego intuitivne, a time i istinite. Kroz pažljivu introspekciju, suradnju s timom i iskrenu predanost, postigla sam dublje razumijevanje i obogaćenje vlastite uloge u kontekstu neverbalne predstave. Ovaj proces nije rezultirao samo osobnim i kolektivnim rastom, već je također doprinio kvaliteti i dubini naše izvedbe. Također, ovo iskustvo poslužilo mi je kao snažna inspiracija za nastavak moje umjetničke karijere i bavljenje s istom strašću i odlučnošću kao i dosad. Istodobno potaknulo me da dublje istražujem svoje tijelo, razumijem njegove mogućnosti i potencijal te ga koristim kao sredstvo izraza u umjetničkim projektima, da preuzmem inicijativu i hrabro krenem u izvođenje vlastitih autorskih projekata, u kojima mogu iskazati svoju kreativnost i umjetničku viziju. S ovom novom perspektivom i iskustvom, osjećam se spremnom za daljnji razvoj i ostvarenje svojih umjetničkih ambicija. „U toj borbi s istinom u sebi, s prevazilaženjem naše životne maske, kazalište me kroz materijalnost, tjelesnost, gotovo fiziologičnost, odavno asocira na mjesto provokacije s izazovom prema sebi, a time i prema gledatelju (ili također gledatelju, a time i sebi), s narušavanjem prihvaćenih stereotipa promatranja, osjećanja, sudova, ujedno drastičnijim pošto se stvarno događaju u ljudskom organizmu, u disanju, tijelu, unutarnjim impulsima. To je problem rušenja tabua, transgresije koja nam kroz šok omogućava skidanje maski i u potpunom ogoljenju, odslanjanju, nagosti prepuštanje nečemu što je teško imenovati, ali nečemu što u sebi sadrži i Eros i Caritas.“The performance "12 Miliseconds" is a graduation production by acting and non-verbal theater student Lucija Matković, mentored by izv. prof. art. Jasmin Novljaković with co-mentoring by ass. Marijan Josipović. Through this production, the student completes her studies at the Academy of Arts and Culture in Osijek. In this written work, I have thoroughly examined the process of creating the performance "12 Miliseconds." This includes consideration of all aspects of the performance, such as collaboration and interaction among all teammembers, methods and stages of work, the directorial process, and my personal contribution. My goal was to structure and articulate my impressions and thoughts related to this performance from the perspective of an actor in the theater of space and light. I have described the methods and approaches we used to arrive at the whole, the mental engagement that later resulted in movement, and our shifts in direction in the search for tools to tell the story. Furthermore, I placed a significant emphasis on the body, seeking the logic of movement and connections that were not imposed but intuitive, and therefore truthful. Through careful introspection, teamwork, and sincere dedication, I have achieved a deeper understanding and enrichment of my role within the context of this non-verbal performance. This process has not only resulted in personal growth but has also contributed to the quality and depth of our performance. Additionally, this experience has served as a strong inspiration for me to continue my artistic career with the same passion and determination as before. It has motivated me to delve deeper into exploring my body, understanding its capabilities and potential, and using it as a means of expression in artistic projects. Furthermore, it has encouraged me to take initiative and boldly embark on the execution of my own creative projects, where I can fully express my creativity and artistic vision. With this new perspective and experience, I feel ready for further development and the realization of my artistic ambitions. "In that struggle with the truth within us, with the transcendence of our life's mask, theater, through its materiality, corporeality, almost physiology, has long been associated as a place of provocation with a challenge to oneself, and thereby to the audience (or likewise to the audience, and thereby to oneself), by disrupting accepted stereotypes of observation, feelings, judgments, and, at the same time, more drastic since they truly occur within the human organism, in breathing, the body, inner impulses. This is the problem of breaking taboos, transgression that, through shock, allows us to remove masks and in complete exposure, vulnerability, and nakedness, surrender to something that is difficult to name, but something that contains both Eros and Caritas within itself.
Work on the play "I am an island"
No full textOtočka samoća pokretačka je točka mojeg umjetničkog istraživanja koje je rezultiralo predstavom Otok sam. Proučavanjem otočkih navika pokušala sam pronaći mogućnosti otjelovljenja istih. Promišljala sam kako kazališno uprizoriti otočke teme, kako publiku solidarizirati s otočkim životom i kako ih uvesti u atmosfere koje vladaju otokom. Koji put izabrati da publika zaroni u predstavu i otkrije svoj otok? Sama dvoznačnost naslova predstave Otok sam pruža publici mogućnost preispitivanja svog otoka, sebstva ili osluškivanja otočke samoće. Nakon stvaranja i napuštanja brojnih performativnih rješenja izniklih iz improvizacijskih i glumačkih zadataka, uslijedilo je dramaturško kolažiranje svega učinjenog. Spajanjem zvučnih etida koje su glazbenici proizveli po istom improvizacijskom ključu na temu otočkih raspoloženja i već ranije kreiranih izvedbenih etida dogodila se sinergija koja je nužno promijenila inicijalno postavljen izvedbeni pravac. Zaključno, nakon cijelog umjetničkog procesa dogodila se atmosferska predstava provučena kroz četiri godišnja doba jednog otoka u kojoj zajedno s glazbenicima balansiram između emocije i situacije. Publika je, s druge strane, pozvana na predstavu, na gledanje jednog izvedbenog komada, no, suštinska je intencija poziv gledatelju da nakratko posjeti otok i napusti ga razmišljajući o viđenim simboličkim narativima, osluškivanjem otoka u sebi.The loneliness of the island is the starting point of my artistic research that led to the theatrical performance entitled (I'm) An Island Alone. By studying the island's customs, I attempted to find ways to embody them. I thought about how to stage the island's themes theatrically, how to make the audience sympathise with the life that reigns there as well as introducing the viewer to the island's atmosphere. Which way to choose for the audience to immerse themselves in the performance and discover their own island? The very ambiguity of the play's title, (I'm) An Island Alone, offers the audience the opportunity to question their own island, to themselves or to listen to the loneliness of the island. After the creation and abandonment of numerous performative solutions from improvisational and acting tasks, it followed the dramaturgical collage of all that has been done. By combining the sound etudes produced by the musicians in the same improvisational key on the theme of island moods and the previously created performance etudes, a synergy occurred that necessarily altered the initially set performance direction. In conclusion, after the entire artistic process, there followed an atmospheric performance throughout the four seasons of an island, where together with the musicians I experienced a balance of emotion and situation. The audience, on the other hand, is invited to the show, to watch a performance piece, but the essential intention is to invite the viewer to briefly visit the island and leave it thinking about the symbolic narratives they have seen, listening to the island in themselves. KEYWORDS island, solitude
Formal and Informal Forms of Preschool Music Learning
No full textDijete je od najranije dobi u posrednom ili neposrednom doticaju s glazbom. U predškolskoj se dobi susreće s prvom strukturiranom glazbenom podukom, kroz formalne i neformalne oblike glazbenog učenja. U ovom radu, nakon osvrta na utjecaj glazbe na intelektualni, socijalni i emocionalni razvoj djeteta te na razvoj govora i motorički razvoj, objašnjavaju se formalni i neformalni oblici glazbenog učenja. Poseban se naglasak stavlja na aktualne primjere iz prakse, nastavu početničkog solfeggia koja se provodi u glazbenim školama te na zborske aktivnosti i glazbene radionice.The child is in direct or indirect contact with music from an early age. In preschool age, they encounter their first structured music education, through formal and informal forms of music learning. In this paper, after looking at the impact of music on the intellectual, social and emotional development of the child, as well as on the development of speech and motor development, formal and informal forms of music learning are explained. Special emphasis is placed on current examples from practice, beginner solfeggio classes conducted in music schools, and choral activities and music workshops
Media control systems in the function of monitoring society and shaping the desired behavior
No full textDiplomski se rad bavi problematikom nadzora i kontrole društva s naglaskom na ulozi medija u tim procesima. S početnom hipotezom o specifičnosti ponašanja masa, u radu se, analizom postojećih istraživanja, nastoje prikazati uvjeti, načini i učinci dominacije konkretnog medija i medijske poruke u danom razdoblju te njihov učinak na čovjekovu svijest o svijetu koji ga okružuje i na oblikovanje kulture zajednice koju vežu vrijeme i prostor. Analizirat će se teorije o psihologiji masa i stvaranju javnog mnijenja, različite definicije medija i medijskih konzumenata, ideja mediosfere kao kulturološkog razdoblja dominacije određenog medija te kronologija razvoja sustava društvenog nadzora, a sve to u cilju jasnijeg razumijevanja suvremenih kulturnih fenomena i vrijednosti koji obilježavaju našu svakodnevicu, a na čiju prilagodbu djeluju mediji.The graduate thesis deals with the issue of supervision and control of society with an emphasis on the role of the media in these processes. With the initial hypothesis about the specificity of mass behavior, the paper, by analyzing existing research, tries to show the conditions, ways and effects of the dominance of specific media and media messages in a given period and their effect on man's awareness of the world that surrounds him and shapes the culture of the community that binds time. and space. Theories on mass psychology and the creation of public opinion, different definitions of the media and media consumers, the idea of the medosphere as a cultural period of dominance by a certain medium, and the chronology of the development of the system of social surveillance will be analyzed, all with the aim of a clearer understanding of contemporary cultural phenomena and values that mark our everyday life, and whose adaptation is influenced by the media
Work on the play "Asdfdfgggggg"
No full textPredstava Asdfdfggggggg nastala je u režiji Ivane Vukićević pod mentorstvom Tamare Kučinović, redateljice i profesorice na Akademiji za umjetnost i kulturu u Osijeku uz lutkare Grgura Grgića, Lorenca Tolića, Dominika Karaule i Davora Tarbuka. Ovaj rad pojašnjava cjelokupni proces rada na predstavi Asdfdfggggggg i uobličuje ga u recepturu kakvu nalazimo u kuharskim priručnicima. Rad na predstavi, redoslijed stvaranja, potrebitosti jedne predstave, animacija i emocija u radu simbolično su popraćeni i objašnjeni kroz poglavlja, odnosno slijed sastojaka i koraka koji dovode do produkta.The play Asdfdfggggggg was directed by Ivana Vukićević and mentored by Tamara Kučinović, director and professor at The Academy of Arts and Culture in Osijek with puppeteers Grgur Grgić, Lorenco Tolić, Dominik Karaula and Davor Tarbuk. This thesis explains the entire process of working on the play Asdfdfgggggggg and shapes it into a recipe like we find in cookbooks. The work on the play, the order of creation, the necessities of a play, animation and emotion in the work are symbolically accompanied and explained through chapters; the sequence of ingredients and steps that lead to the product
Interpretation of Emotions Through the Psychological Effect of colors
No full textDiplomski rad Interpretacija emocija kroz psihološko djelovanje boja, osvrće se na mnogobrojne načine izražavanja koje nam boja omogućuje te daje uvid u razinu intime koju njome možemo postići. Rad se sastoji od serija crteža, slika i grafika koji su ekspresivni, gestualni i spontani te u svojoj ideji eksperimentalni.Glavni motivi izražavanja su vibrantne, spontane te kaotične forme, dok je postupak izrade prepušten isključivo instinktu. Zbog manjka kontrole i promišljanja tijekom izrade rada te postupka prepuštenog gotovo potpuno nasumičnim odabirom nijansi, dolazi do gomilanja formi i oblika primoranih na „suživot“ te povremenog nesklada.Vidljiv je subjektivan pristup korištenju boja, neovisno o njihovim kulturološkim i povijesnim simbolikama, iz razloga što je postizanje introspekcije glavni cilj rada. Zbog toga je rad moguće smatrati svojevrsnim emocionalnim dnevnikom ispisanim kroz subjektivnu kromatsku ekspresiju.The diploma thesis Interpretation of Emotions Through the Psychological Effect of Colors looks into various ways of expression that color allows us and gives us an insight into the level of intimacy that we can achieve by using it. The work consists of a series of drawings, paintings, and prints that are expressive, gestural and spontaneous, and also experimental in their idea. The main motifs of expression are vibrant, spontaneous and chaotic forms, while the process of making relies exclusively on instinct. Due to the lack of control and reflection during the creation of the work and the process which almost entirely relied on the random selection of shades, there is an accumulation of forms and shapes forced to "coexistence" as well as an occasional disharmony. A subjective approach to the use of colors is visible, regardless of their cultural and historical symbolism, because achieving introspection is the main goal of the work, which is why it can be considered a kind of an emotional diary written through subjective chromatic expression
The impact of internet memes on media literacy and culture
No full textInternetska je komunikacija u posljednje vrijeme postala najčešće korištenim načinom komuniciranja i razmjenom informacija, posebice među mlađim generacijama. Sasvim je jasno da će posljedica tolikog razvoja interneta dovesti do novih komunikacijskih i medijskih formi, koje će biti poznate samo korisnicima interneta. Jedna su od tih formi internetski memeovi, koji su ujedno povezani s kulturom i medijskom pismenošću pojedinca. Pravilno korištenje internetskih formi komunikacije poput memeova izravno govore o medijskoj pismenosti korisnika te o kulturi društva u kojem se nalazi. Cilj ovog rada jest otkriti utjecaj internetskih memeova na medijsku pismenost korisnika, kao i na samu kulturu i društvo, te detaljnije objasniti isti. Istraživanje je provedeno kroz analizu knjiga, znanstvenih i stručnih radova na hrvatskom i engleskom jeziku, te kako bi se tema što podrobnije prikazala provedena je i online anketa o ovoj temi koja je detaljno analizirana u radu.Internet communication has recently become the most used form of communication and information exchange, especially among the younger generations. It is quite clear that the result of such development of the Internet would lead to new forms of communication and media, which would be known only to Internet users. One of these forms is Internet memes, which are also connected to the culture and media literacy of the individual. The correct use of Internet forms of communication, such as memes, directly depict the media literacy of the user and the cultural society in which he is located. The aim of this work is to reveal the influence of Internet memes on the media literacy of its users and on the culture and society itself, and to explain it in more detail. The research was carried out through the analysis of books, scientific and professional works in Croatian and English, and in order to present the topic in as much detail as possible, an online survey on this topic was conducted and analyzed in detail in the paper
The impact of digital and guerilla marketing in the popularization of cultural events
No full textMarketing je u suvremeno doba bitna komponenta uspješnog poslovanja. Razvojem društva mijenjao se i pogled na marketinške aktivnosti. Tehnološke su promjene velik dio marketinških aktivnosti usmjerile na digitalne kanale. Digitalni marketing, zahvaljujući svojoj dostupnosti i interaktivnosti, postaje jedan od vodećih oblika marketinga. Kreativnost i inovativnost osobine su koje pokreću moderno poslovanje, a na tim se osobinama temelji i gerila marketing koji naglašava originalnost i neobičnost nekonvencionalnih metoda u učinkovitom zadovoljenju konvencionalnih ciljeva. Istovremeno, promjene navika korisnika izazvale su i veću potrebu kulturnog sektora da u svoje poslovanje uvrste nove koncepte oglašavanja, promocije i komunikacije s publikom. Marketing u kulturi treba pomoći u identificiranju i zadovoljavanju potreba korisnika. Kulturni su događaji postali mjesto spajanja društvenih i kulturnih potreba. Populariziranjem kulturnih događaja održavaju se i prenose kulturne vrijednosti, a samim tim pokreće i sinergijski učinak na mnogim područjima. Ovim se radom nastoje objasniti karakteristike digitalnog i gerila marketinga te mogućnosti njihove primjene u svrhu popularizacije kulturnih događaja. U empirijskom dijelu rada provedeno je istraživanje anketnim upitnikom za opću populaciju i dubinskim intervjuom sa stručnjacima iz muzeja s ciljem ispitivanja stavova korisnika i stručnjaka iz kulturnog područja o učinkovitosti i utjecaju digitalnog i gerila marketinga u promociji i popularizaciji kulturnih događaja.Marketing in the modern era is one of the essential components of a successful business. With the development of society, the view on marketing activites also changed. Techological development has focused a large part of marketing activities on digital channels. Thanks to its availability and interactivity digital marketing is becoming one of leading forms of marketing. Creativity and innovation are the qualities that drive moderan business and guerilla marketing is based on this qualities, it emphasizes the originality and unusualness of unconventional methods in effectively achieving conventional goals. At the same time, changes in user habits have caused a greater need for the cultural sector to incorporate new concepts of advertising, promotion and communication with the public. Marketing in culture should help to identify and satisfy user needs. Cultural events have become a place where social and cultural needs meet. By popularizing cultural events, cultural values are maintained and transmitted, and thus a synergistic effect is initiated in many areas. This paper tries to explain the characteristics of digital and guerilla marketing and the posibilities of their application for the purpose of popularizing cultural events. In the empirical part of this paper, research was conducted in the form of a survey questionnaire for the general population and in depth one with the experts from the museum with the aim of examining the views of users and experts from the cultural field about the effectiveness and influence of digital and guerilla marketing in the promotion and popularization of cultural events
Music Education in Upper Grades of Primary General Education in Global Countries
No full textU ovom radu je prikazana nastava glazbe u deset svjetskih drţava (Australija, Kina, Japan, Kanada, Španjolska, Danska, Brazil, Meksiko, Juţnoafriĉka Republika i Rusija). TakoĊer, prikazano je organiziranje obrazovnog sustava u navedenim svjetskim drţavama, satnica nastave glazbe, je li nastava glazbe u okviru nekog podruĉja ili je samostalan predmet, aktivnosti i sadrţaji nastave glazbe, cilj i zadaci nastave glazbe te uĉitelji koji izvode nastavu glazbe i njihovo školovanje. Osnovna škola u navedenim zemljama traje u prosjeku izmeĊu šest i devet godina. Satnica nastave glazbe se razlikuje s obzirom na drţave, ali satnica varira od 36 minuta tjedno do tri sata tjedno. Aktivnosti i sadrţaji nastave glazbe se najĉešće svode na slušanje, izvoĊenje i stvaranje glazbe. Zajedniĉki cilj nastave glazbe je razvoj glazbenih vještina, poticanje na aktivno slušanje, te razvoj kreativnosti kod uĉenika. Svaka drţava se razlikuje po kompetentnosti uĉitelja, jer svaka nudi razliĉito glazbeno obrazovanje. Zajedniĉko studijima u navedenim drţavama je to da studiji traju pribliţno isto godina (pet), jedina je razlika Španjolska, gdje studij koji obrazuje za izvoĊenje nastave glazbe traje tri godine.This work presents music education in ten countries around the world (Australia, China, Japan, Canada, Spain, Denmark, Brazil, Mexico, South Africa, and Russia). It also explores the organization of the educational system in these countries, the schedule of music classes, whether music education is integrated within a broader subject or a standalone subject, the activities and content of music lessons, the objectives and goals of music education, and the qualifications and training of music teachers. Primary education in these countries typically lasts between six and nine years. The schedule of music classes varies among countries, ranging from 36 minutes per week to three hours per week. Common activities and content in music education include listening to music, performing, and creating music. The shared goal of music education is the development of musical skills, active listening, and fostering creativity in students. Each country differs in the competence of its music teachers, as they offer diverse music education approaches. The duration of music education programs is approximately the same across these countries (five years), with the exception of Spain, where music education studies last for three years