3,149 matches
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the second group dream of inventing a Romanian commercial literary language. It’s not a bad idea, but considering you’re dealing with a huge market exercising pressure very effectively on the reader at a global level, it’s even more work than writing an aesthetic masterpiece. My pitch is not for a type of literature written according to a rigid social program. I’m not thinking of quotas on literature about the Romă, LGBTQ, migrants etc. My problem is that
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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of new realities and thousands of sidetracked issues will surface. Social literature is not a requirement for ideological lobbying, but for refining and adding depth to the discussion. A good novel capturing the issues of migration will have to be more than a tearjerker or an NGO report. A good novel tackling rural poverty will have to go beyond stupid urban ironies, but also beyond the teary swarms of philanthropy. În order to do that, artists should get a taste for
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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Alex Potocean, Andrei Șerban, Vasile Codrea (retired miner), Vasile Pantelimon (retired miner).Aninoasa, 2012. Photo: David Schwartz[/caption] Did you feel there was a big difference between the audience over there and the audience în Bucharest, to which you are more accustomed? I mean differences în their reactions to what was happening on stage. Andrei: Definitely. Already after the first show, we noticed the audience reacted during the event, they made additions to the text, they recognised the people and talked
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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Valley? Do you know how we live down în the mines? Have you ever been down there?” And then we would tell them that we did go down în the mines, we did talk to people and șo they became more trusting and realized our research wasn’ț a superficial one. Katia: And our performance didn’ț involve only miners, because everyone thinks only of miners when they hear of the Jiu Valley. We also talked about women, children, the elderly
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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for a lifetime. After I started my monologue, he stood up, raised his hand and said “That’s me!” And he was standing right în front me. It was very touching. He recognized his story and wanted to add some more information. I felt the text was being written then and there and we were writing it together. Sometimes he approved: “That’s right!” It is, indeed, a huge responsibility, especially since there was a significant age gap and there was
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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on human rights since 1992 and I’ve been up against the most alarming manifestations of racism: în România în the 90s we all witnessed a long series of conflicts în several communities - over 30 such conflicts (pogroms, to be more exact) were documented în those years. The most well-known was the one în Hădăreni, în 1993, when 4 people were killed and 14 houses belonging to Romă people were burned by the ethnic majority. This type of violence is less
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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mai degrabă sensul de “esență”. [:en]by Shaili Sathyu - Artistic Director, Gillo Theatre Repertory, Mumbai, India Yes, the title of this essay may sound a bit preposterous! But before I continue, I would like to say that this project is more for the individual growth of each artist involved în the production, rather than some larger service to society or reference to the politics of the arts. Background</em> For a few years now I have been thinking about what it
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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is în schools, activity centres, libraries, bookstores, homes, community spaces, parks, gardens and other spaces. There shall be no requirement for a formal stage or the paraphernalia that comes with it. (And we continue to do other longer performances at more formal theatre spaces.) The design of the productions shall be flexible and shall focus more on the performance form and text. Each story shall be performed using inspiration from performance and visual art forms from different parts of India. There
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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There shall be no requirement for a formal stage or the paraphernalia that comes with it. (And we continue to do other longer performances at more formal theatre spaces.) The design of the productions shall be flexible and shall focus more on the performance form and text. Each story shall be performed using inspiration from performance and visual art forms from different parts of India. There shall also be a strong element of developing a visual aesthetic that is complimentary to
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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delivery rooted în tradițional and folk forms. Another aspect of this project is that each performance shall be made accessible for children with hearing impairment or visual impairment. For example, the performances shall be re-worked to include sign language and more movement for the hearing impaired audience. For a blind audience we shall include more sounds, songs and also add touch-based activities related to props and costumes of the play. Research and theatre lab processes shall be done în collaboration with
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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each performance shall be made accessible for children with hearing impairment or visual impairment. For example, the performances shall be re-worked to include sign language and more movement for the hearing impaired audience. For a blind audience we shall include more sounds, songs and also add touch-based activities related to props and costumes of the play. Research and theatre lab processes shall be done în collaboration with institutions and experts working with children with special needs. Part one - Nautanki</em> The
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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capturing the essence of nautanki în this short 40 minute piece! The training and rehearsals were structured by Dr. Sharma and aș Artistic Director I would observe and give feedback aș and when I felt was necessary. My role was more aș a pedagogue making connections between the performance and the perspective of a young audience. The entire rehearsal process lasted for 12 days and over the last 3 days we called some children to watch rehearsals. This completely changed the
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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children to watch rehearsals. This completely changed the body language of the performers and the director. Now the rehearsal performance hâd the context of a live audience and helped a lot în shaping the final performance. The visual design was more challenging because we were working with characters like Hanuman, Narad[3] and other gods and goddesses. There is no dearth of tradițional ways of representing these characters, whether by way of masks, costumes or face painting. Yet, we chose to
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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like pitch, diction, acting with singing, etc. The operatic nature of the form hâș been challenging and inspiring at the same time. It hâș instilled belief în the artists that they can explore and go beyond. And they are now more eager to learn new things. This entire journey seems like an experiment, not în the form but more an experiment on the artists. Swaang-geet hâș helped uș extend ourselves aș performers and understand the unique grammar of an operatic form
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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at the same time. It hâș instilled belief în the artists that they can explore and go beyond. And they are now more eager to learn new things. This entire journey seems like an experiment, not în the form but more an experiment on the artists. Swaang-geet hâș helped uș extend ourselves aș performers and understand the unique grammar of an operatic form. Words în a song and words în operatic verse work șo very differently. It would probably have taken
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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Square. Period. When I was about 23, I went into a theater hall for the first time. It was at the Național Theater. I hâd a girlfriend who was smarter than me and, aș always, that weighs a great deal more than any posters of Florin Piersic. Besides, she was from Mizil, where they also hâd a theater, unlike în my native Slobozia. I can’ț remember the play, it was a comedy, but the funniest scene happened when the curtain
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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a collective need” to know that some Jews did not go to their slaughter like sheep (Rabinowitz, cited în Lubin 2002: 133). Lubin analyzes the expanded role of the witnesses to Lubetkin’s testimony: “Lubetkin allows her listeners to do more than enable the testimony; she allows them to mold it, to determine its narrative form and its symbolic use. Making herself subservient to the group, she tells a story that they need to hear” (Lubin 2002: 134). Lubetkin’s personal
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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personal story of injustice was selected for courtroom dramatization. The timing was șo ripe that the Montgomery Bus Boycott was organized to protest her arrest. Parks’ story became the story through which the community organized and drew a line: no more arresting Negroes for not giving up their seats to white people în public buses. Aș the Reverend Martin Luther King Jr. articulated when rallying the community to join the boycott, [N]obody can doubt the boundless outreach of [Parks’] integrity
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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în Uganda visibility and space to write. During that time, there were very few women writers and even those few writers were not really recognized în mainstream writing. That is how we started to promote women writers and to create more women writers through training workshops. Our main activity is to train women în creative writing skills and to provide space for them to write. We however have writing programs where we also consider men because sometimes they also face the
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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with the little that we publish, Femrite is still the major literary publishing house în Uganda. Profits from the books go to authors în form of royalties and whatever remains is plunged back into activities of the organization to nurture more writers and to publish other women’s works. În addition to publishing and training, we also do a lot of advocacy work around issues of literature. În the history of Uganda, there hâș not been Ugandan literature aș a section
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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teach all the other literature except our own literature. [caption id="attachment 1228" align="aligncenter" width="217"] Supporting Ugandan literature în Ugandan Schools[/caption] Why a Ugandan women’s association? Are there many male writers în your country? Yes, there are more male writers than women, but I think it’s only understandable because în most African countries it was the men who went the school first and șo they hâd the opportunity to master the art of story writing faster than
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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most African countries it was the men who went the school first and șo they hâd the opportunity to master the art of story writing faster than the women. Also publishers have în the past been taking on male authors more that female authors. Speaking to Julius Ocwinyo, one of Uganda’s most brilliant authors, în an interview at Femrite, he said that he is lucky to be male because publishers are more interested în maleș than they are în females
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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în the past been taking on male authors more that female authors. Speaking to Julius Ocwinyo, one of Uganda’s most brilliant authors, în an interview at Femrite, he said that he is lucky to be male because publishers are more interested în maleș than they are în females. “From the past, male writers have been taken more seriously în Uganda. Although this is not fair, it is the truth,” he stated. Well, it hâș been the same even în Europe
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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of Uganda’s most brilliant authors, în an interview at Femrite, he said that he is lucky to be male because publishers are more interested în maleș than they are în females. “From the past, male writers have been taken more seriously în Uganda. Although this is not fair, it is the truth,” he stated. Well, it hâș been the same even în Europe... And șo, the men started the writing craft first before the women and they got more opportunities
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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taken more seriously în Uganda. Although this is not fair, it is the truth,” he stated. Well, it hâș been the same even în Europe... And șo, the men started the writing craft first before the women and they got more opportunities and became more recognized than the women. When I was în school, I read only a few women; Barbara Kimenye, Elvania Zirimu Mukasa, Mary Okurut; I think about two or three women, but there where more men. But even
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]