3,149 matches
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variations. Here, death seems to be just another piece of information among others, and one of the merits of this performance is that it captures a type of homogenous communication în which banal observations are în the same league with more serious issues. Continuously connected to her handsfree device, Raluca[1]</a> (Sânziana Nicola) ceases to communicate în full sentences. Since she no longer makes any distinction between her personal life and her professional one, her discourse no longer reflects any
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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The usual television spot is one minute and twenty seconds. The cameras start buzzing on your opening statement and often run ouț of film before you finish. Șo make it brief and action packed. The question period should be even more dramatic. Use the questioner's first name when answering a question. This adds an air of informality and networks are more apt to use an answer directed personally to one of their newsmen. Express your emoțional feelings. Be funny, get
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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ouț of film before you finish. Șo make it brief and action packed. The question period should be even more dramatic. Use the questioner's first name when answering a question. This adds an air of informality and networks are more apt to use an answer directed personally to one of their newsmen. Express your emoțional feelings. Be funny, get angry, be sad or ecstatic. If you cannot convey that you are deeply excited or troubled or outraged about what you
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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nasty developmental infection called love.”[ 9] What one can identify în Meyerhold’s theories on the body of the actor is precisely the tension between a controlled use of the body (and identity) and the control by others (who have more access to power and produce subjects and passive bodies) of the actor’s body. This tension and obsession over an impossible totalizing control is worked ouț on the exteriority of the body to the point that control becomes superfluous or
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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nu sunt convinși că merită. Traducere din limba engleză de Marius Bogdan Tudor[:en]by Yvette Feuer</em> My name is Yvette Feuer and I am an actor and what we call în Hungary, a dramă pedagogue. After working for more than 10 years aș an actor în the alternative theatre field în Budapest, Hungary, în the year 2001I left for the UȘA. I was extremely lucky and happy to receive the Fulbright Grant and it enabled me to do what
Clovnii () [Corola-website/Science/295693_a_297022]
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myself to nourish my talent and create if this is what I want to do. 3. I should be aware that it is also my responsibility to use my art for the benefit of society; to make Planet Earth a more livable, just and equal place. (I am still working on the first two beliefs, but they have managed to completely convince me about the third one.) The theater department hâd some excellent teachers who were themselves living proof of the
Clovnii () [Corola-website/Science/295693_a_297022]
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Romă and non Romă communities and alleviate tension between those two through performances, workshops and dramă pedagogical projects. Aș of now we have three shows (one is brand new!) with altogether 5 actors and a musician, we have been to more than 110 schools and/or villages and more than 12.000 people have seen uș. We have regular dramă workshops în a small village called Bódvalenke, and every summer we do a dramă câmp for 15 kids, most of them
Clovnii () [Corola-website/Science/295693_a_297022]
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between those two through performances, workshops and dramă pedagogical projects. Aș of now we have three shows (one is brand new!) with altogether 5 actors and a musician, we have been to more than 110 schools and/or villages and more than 12.000 people have seen uș. We have regular dramă workshops în a small village called Bódvalenke, and every summer we do a dramă câmp for 15 kids, most of them returning customers în a poor North-Eastern town called
Clovnii () [Corola-website/Science/295693_a_297022]
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the education system and the lack of money. No money for cultural programs, no money for sports, no money for even the ink or the paper în the printer. And they are exhausted and overwhelmed. (My personal impression is that more and more kids fall ouț of this current system, more and more kids finish school without really learning to read and the system can offer almost nothing to those who do not fit în immediately for whatever reason. I must
Clovnii () [Corola-website/Science/295693_a_297022]
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system and the lack of money. No money for cultural programs, no money for sports, no money for even the ink or the paper în the printer. And they are exhausted and overwhelmed. (My personal impression is that more and more kids fall ouț of this current system, more and more kids finish school without really learning to read and the system can offer almost nothing to those who do not fit în immediately for whatever reason. I must say, though
Clovnii () [Corola-website/Science/295693_a_297022]
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for cultural programs, no money for sports, no money for even the ink or the paper în the printer. And they are exhausted and overwhelmed. (My personal impression is that more and more kids fall ouț of this current system, more and more kids finish school without really learning to read and the system can offer almost nothing to those who do not fit în immediately for whatever reason. I must say, though, that the so-called IPR schools (Integrated Pedagogical System
Clovnii () [Corola-website/Science/295693_a_297022]
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programs, no money for sports, no money for even the ink or the paper în the printer. And they are exhausted and overwhelmed. (My personal impression is that more and more kids fall ouț of this current system, more and more kids finish school without really learning to read and the system can offer almost nothing to those who do not fit în immediately for whatever reason. I must say, though, that the so-called IPR schools (Integrated Pedagogical System) are a
Clovnii () [Corola-website/Science/295693_a_297022]
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pe un instrument, și să pornim de-acolo.[:en]h.arta Group În a context în which the financial crisis is fueling sexism, racism and naționalism and în which the neocon discourse on religion and the tradițional family is becoming more visible and legitimate, what role could art play? What kind of art would be more effective? How could art (and cultural work în general) be used aș a methodology which explains contradictions and subverts inequalities? How could art be used
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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în which the financial crisis is fueling sexism, racism and naționalism and în which the neocon discourse on religion and the tradițional family is becoming more visible and legitimate, what role could art play? What kind of art would be more effective? How could art (and cultural work în general) be used aș a methodology which explains contradictions and subverts inequalities? How could art be used to develop prototypes which can be improved or freely appropriated by others? How does one
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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ăn activist, a teacher? How do we adapt these questions to the complex contexts în which we live and work? How do we overcome our admiration for the intellectual beauty of ideas and confront a reality which is often far more intricate, blurry and disappointing? We studied to become artists. Art was the context în which we met and started working together 12 years ago. We hâd just graduated from a department where the main effort consisted în finding a framework
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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the Socialist conscience of the masses, of the effects of mass-media, all of which allegedly led to a steady rise in the demands of performers and viewers alike. The desire to transmit and receive is dominated by the imperative of “more, stronger, deeper.” Dancing in and of itself was not enough, it had to be part of a “wider collective effort” and subordinated to “the realization and transmission of complex artistic messages, deep in their actuality, dramatic in the depth of
„Mulțumim pentru copilăria noastră fericită”: Spectacolul cu copii în România anilor 1980 () [Corola-website/Science/295691_a_297020]
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eleven schools, most of them on the outskirts of Cluj or în nearby villages. It’s very difficult to work în such schools because I’m constantly looking to innovate my methods and students tend not to pay attention for more than a couple of minutes. Therefore, I have to keep the teaching to a minimum of several simple phrases. Their unfocused participation maleș their works look like sketches, but that doesn’ț bother me (it does bother the principals, who
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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if they don’ț get involved în education. Faced with the capitalist context în which such knowledge is useless, I aimed to develop the student’s creative abilities. Visual education is especially suitable for such a goal, since it hâș more permeable rules than other subjects. The increasing hardships brought on by Romanian capitalism made me attempt to awaken the political conscience through various jocular ways that would get pupils to relate to certain topics. I try to get them to
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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I try to get them to think about other areas, such aș the political and social ones or the public sphere, șo that they can at some point take a critical (or non-critical) stând through creative visual means. [...] From my more limited experience of working with high-school students, I noticed that many of them are more aware of the current socio-political issues than I was at their age. At the same time, there seems to be a general apathy - we know
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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social ones or the public sphere, șo that they can at some point take a critical (or non-critical) stând through creative visual means. [...] From my more limited experience of working with high-school students, I noticed that many of them are more aware of the current socio-political issues than I was at their age. At the same time, there seems to be a general apathy - we know everything’s a mess, but nothing can be done about it. În this context, to
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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done about it. În this context, to what extent can art and artistic education function aș stimuli for rebellion and action among teenagers?</b> When I was teaching high-school, I met very few socially aware students. Most of them were more interested în the latest cell phones or socializing with classmates. During my first year of teaching, when I was approaching different ways of triggering creativity, I came across drawings which reflected political topics influenced by the media, aș you can
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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ground for participation wherein both teacher and student could develop together în the spirit of emoțional freedom, of a lucid exchange of needs and ideas and of the deșire to represent him/herself. According to Korczak, nothing estranges the child more than the feeling he/she hâș to be something they are not, that they have to adapt to a world în which they mostly do not count for anything, that they have to become meek, trained, stiff. That every single
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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becomes part of everyday life. The performance is the link with what people recognize happens to them every day or the challenge to take part în what could happen to them. This repositioning of the viewer makes him/her be more actively involved în what he/she sees. The viewer is no longer a passive, docile witness to what hâș been prepared for him/her, but swiftly interferes în that world. The participatory viewers are no longer subjected to the socio-cultural
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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world. The theatrical experience contains the dată of the everyday experience of those for whom the performance is a double encounter. It is, on the one hand, ăn encounter with those daily issues which they can now regard with a more critical eye because the issues are presented în a more neutral setting (through the voices of other people). On the other hand, it is an encounter with their own role, both individual and collective, în an attempt to find a
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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experience of those for whom the performance is a double encounter. It is, on the one hand, ăn encounter with those daily issues which they can now regard with a more critical eye because the issues are presented în a more neutral setting (through the voices of other people). On the other hand, it is an encounter with their own role, both individual and collective, în an attempt to find a solution to those issues. We can, therefore, talk about a
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]