The present paper aims at studying the student actors' ability to express their emotional experiences by analysing their expressions based on partially directed improvisation. The study uses an applicative approach which helps discover and stimulate the student actors during the practical courses. The expressions were caught on camera. In analysing the data, we used the judging method. By means of this type of evaluation, we intended to analyse the subjects' capacity to communicate their emotions; their expressiveness and the number of combinations proposed for each expression separately. If there is a hereditary creative potential (minimum average level), that is influenced by education, then we can introduce corrective technical elements and exercises meant to improve the subject's creativity (in terms of fluency, flexibility and inner development) and to develop their capacity of expression. Imaginary emotional experience involves maintaining a certain amount of control, therefore such an experience is never lived to the capacity and primary intensity of a real-life emotion. The ability of expression is revealed by achieving a satisfying average between the expressiveness evaluation and the evaluation of the internal elaboration of the expressions.

This paper aims at revealing the relationship between imagination and the scenic expression of the student actors, as a relevant sign of the talent for performance art. We took into account two indicators which we found essential for the scenic talent: an internal indicator which involves the processing of the role-related data largely on the basis of creative imagination, and an external one which covers the embodiment of the character by way of the system of expression means. If improvisation, as a creation method, helps the student actor capitalise on their creative abilities, we can determine, following the psychological mechanism of improvisation, the relationship between imagination and the scenic expression, and the extent to which scenic talent may be expressed by improvisation. To this end, we started from turning some classical improvisation exercises used in the training sessions of the student actors, into psychological improvisational models applied as a natural experiment. This approach resulted in positive correlations between the indicator being assessed and the artistic performances of the student actors.

The study covered two groups of children aged 12 -13 years, during a mesocycle training programme, namely from the beginning of the school year until winter break. The subjects followed specific training routines which also consisted of daily classical dance sessions. The research aimed at determining the similarities and differences between the two groups of subjects in point of the type of effort exerted during training, while referring to the type of effort specific to competitive events (in case of rhythmic gymnasts) and to the type of effort specific to performances (in case of the choreography high school students), respectively. We tested the subjects' cardiovascular fitness before and after training and determined the type of effort exerted during the training sessions. The measurements revealed a difference in training between the children practicing rhythmic gymnastics (who already participate in national and international competitive events), in whom we can notice cardiovascular adaptations, and the children practicing classical dance, who are at the beginning of their training (their artistic and competitive activity starts around the age of 16 -18 years), who experience no changes in the cardiovascular system yet. Having in view the results, we can conclude that the gymnasts exert a significantly greater physical effort as compared to the little girl dancers. We can say that rhythmic gymnastics training routines are far more demanding and far better structured than the training programmes followed by the dancers, which consist mostly of classical dance routines.

The training of good motor coordination optimizes the motor skills, and these, over time, lead to the improvement of the motor skills specific to the practiced movement. The purpose of this study was to assess the capacity and speed of learning coordinated movements in the context of working in an online system. At the same time, we set out to evaluate the level of motor coordination achieved through training using the eLearning platform Hudl and the Teaching Games for Understanding approach. Thus, three groups of students were analyzed whose motor histories were different. The analysis of the three tested groups was performed in the first year of study and in the third year of study. The training programs have been adjusted/modified according to the COVID-19 pandemic situation, which has determined their application in the online system as well. The results of this study confirm that by assisting learning through computer programs, in the online system, these workouts can be effective. At the same time, the study shows us that, in addition to the natural evolution from childhood and adolescence, an advanced form of motor coordination appears, which is installed through the action of learning.