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Relevant bibliographies by topics / Bucharest (Romania). Jewish State Theatre

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Journal articles

Academic literature on the topic 'Bucharest (Romania). Jewish State Theatre'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Bucharest (Romania). Jewish State Theatre"

1

Mateoc, Raluca. "The Aliyah of 1949: Unpublished Migration Requests of Jews from Romania as Vehicles of Memory." Martor. The Museum of the Romanian Peasant Anthropology Review 24 (November 15, 2019): 97–108. http://dx.doi.org/10.57225/martor.2019.24.08.

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In 1949, the political context of the People’s Republic of Romania and of the newly founded Israeli state formally provided a framework for the immigration of Romanian Jews to Israel, upon the opening of the Israeli Legation in Bucharest in 1948. Our paper proposes an analysis of the Aliyah in 1949 as portrayed in migration requests addressed by members of the Jewish community all over Romania to the Israeli Legation in Bucharest. The requests, never published before, have been hosted since 1997 by the Center for Research on Romanian Jewry within the Hebrew University of Jerusalem. First, we a

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2

Rus, Andrei. "The Avant-Garde and Experimental Film in Socialist Romania." History of Communism in Europe 15 (2024): 111–39. https://doi.org/10.5840/hce2024156.

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Although socialist Romanian cinematography focused on commercial and artistic feature films, hundreds of short films were produced every year on the fringes of the industry, in specialised animation and documentary studios, in amateur cine-clubs, by students at the National Institute of Film and Theatre in Bucharest, and by other amateurs (some of them visual artists) who owned a personal camera. Starting from an analysis of the context that allowed for such practices to flourish in a state whose official policies did not support this typology, this essay explores the modes of production and

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3

Marin, A. F., and M. A. Brovelli. "ACADEMIC TRACK OF FOSS4G 2019 BUCHAREST – THE ASYMPTOTIC CONNECTION BETWEEN SOFTWARE AND DATA: PREFACE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-4/W14 (August 23, 2019): 1–2. http://dx.doi.org/10.5194/isprs-archives-xlii-4-w14-1-2019.

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<p><strong>Abstract.</strong> FOSS4G stands for Free and Open Source Software for Geospatial. It is the flagship event of OSGeo. Each FOSS4G has its special aura, kindly designed by each Local Organising Committe, sharing the local culture and spirit with the greater community. In 2019, geo-spatial.org, the OSGeo Local Chapter of Romania, won the honour of organising the geospatial event of the year. FOSS4G 2019 was held in Bucharest (Romania), in three of the most important buildings of this city: National Theatre of Bucharest, InterContinental Hotel and Faculty of Geography

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4

JICMAN, Andreea-Diana, Georgiana-Adelina DOBREA, Ioana-Mădălina LIXĂNDROAIA, and Ana Maria Victoria VICOVAN. "DRAMA/THEATRE-BASED ACTIVITIES FOR DEVELOPING THE SOCIO-EMOTIONAL COMPETENCE OF AT-RISK YOUTH IN STATE CARE INSTITUTIONS FROM ROMANIA." Anthropological Researches and Studies 15, no. 1 (2025): 402–22. https://doi.org/10.26758/15.1.27.

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Objectives. The objective of this study was to validate an intervention model based on the theatrical methods to increase understanding of the concepts of core emotions, personal boundaries and interpersonal skills associated with reducing stress and abuse encountered by at-risk youth being in state care institutions. Material and methods. This study involved a group of 85 at-risk young people aged 8-19 years, affiliated with social protection institutions: General Directorate of the Social Assistance and Child Protection [Direcția pentru Asistența Socială și Protecția Copilului – DGASPC] Buch

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5

Piddubnyi, Ihor. "Theatrical activities in Bukovyna during World War II (1941-1944)." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 42 (January 12, 2024): 297–321. http://dx.doi.org/10.32626/2309-2254.2023-42.297-321.

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The purpose of the study is to analyze the conditions of theater activities in Bukovyna during the German-Soviet war, based on the available sources and existing developments of theater history researchers. The methodology of the study is based on the principles of historicism, objectivity, system and the use of methods of analysis and synthesis, problem-chronological, biographical, historical-genetic ones. The scientific novelty lies in the fact that for the first time in Ukrainian historiography, the state of theatre activities during World War II, specifically the period of the German-Sovie

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6

Schipor, Bogdan-Alexandru. "The German Invasion of Norway, April-June 1940: Romanian Echoes." Romanian Journal for Baltic and Nordic Studies 10, no. 2 (2018): 91–107. http://dx.doi.org/10.53604/rjbns.v10i2_5.

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We can all agree that World War II, beyond its military, political or economic coordinates, countless tragedies, convulsions propagated around the world, tensions and dramas often felt to our day, was for all of us a lesson of geography. From this perspective, the invasion of Poland in September 1939 by the German and Soviet troops was a first lesson, continued on another level by the Soviet-Finnish Winter War. The invasion of Norway (and Denmark) by the Germans in April 1940, followed by the allied reaction and the transformation of the Scandinavian states into a theatre of military operation

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7

Haliliuc, Alina. "Walking into Democratic Citizenship: Anti-Corruption Protests in Romania’s Capital." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1448.

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IntroductionFor over five years, Romanians have been using their bodies in public spaces to challenge politicians’ disregard for the average citizen. In a region low in standards of civic engagement, such as voter turnout and petition signing, Romanian people’s “citizenship of the streets” has stopped environmentally destructive mining in 2013, ousted a corrupt cabinet in 2015, and blocked legislation legalising abuse of public office in 2017 (Solnit 214). This article explores the democratic affordances of collective resistive walking, by focusing on Romania’s capital, Bucharest. I illustrate

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