35,594 matches
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participatory reciprocity în which the given social roles - teacher-student - entail a permanent exchange of experiences and knowledge. The newspaper plays an important role în organizing the children’s community, becoming an archive of everyday existence. The newspaper is a platform for children’s representation where everyone makes known their desires, their plâns for the future, their worries, their failures, their attempts at changing something: “The newspaper is a strong link. It connects one week to the next, it brings together the
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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exchange of experiences and knowledge. The newspaper plays an important role în organizing the children’s community, becoming an archive of everyday existence. The newspaper is a platform for children’s representation where everyone makes known their desires, their plâns for the future, their worries, their failures, their attempts at changing something: “The newspaper is a strong link. It connects one week to the next, it brings together the children, the educators and the service staff în one invisible whole. The
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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attempts at changing something: “The newspaper is a strong link. It connects one week to the next, it brings together the children, the educators and the service staff în one invisible whole. The newspaper is read by all the children. For any changes, improvements, reforms, for any hardships and any complaints, the newspaper is the place where anyone can express them.”
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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newspaper is a strong link. It connects one week to the next, it brings together the children, the educators and the service staff în one invisible whole. The newspaper is read by all the children. For any changes, improvements, reforms, for any hardships and any complaints, the newspaper is the place where anyone can express them.”
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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within this space, anywhere the imagination of the participants takes them. There is no teacher’s desk, and therefore no single direction to channel a dominant interest, no “position of force” aș the only depository of knowledge and information relevant for the student. There is no relation of dominance between the teacher and the student, aș the classroom architecture în the tradițional education system often induces. The role of the teacher în Educațional Theater is similar to that of the parent
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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tradițional education system often induces. The role of the teacher în Educațional Theater is similar to that of the parent, the grandfather, the older sister/brother or friends. The teacher represents first and foremost a reference of security and safety for the student, not one of authority; he/she represents a partner în playtime. The most painful break occurring în a child’s universe upon leaving “the home” and entering “the classroom” is the one în the relation between the surrounding
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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surrounding reality and his/her imagination. All of a sudden, the chair ceases to be anything else and becomes a mere piece of furniture which you MUSTN’Ț smash, you MUSTN’Ț drag around, but simply sit on, obediently, waiting for the lesson to begin; toys have to be confined to the home and you find yourself surrounded exclusively by objects whose utility you do not understand. Education by means of Educațional Theater is an extension of the “seven years at
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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degrees, no grades. The only competition is with yourself. [caption id="attachment 1097" align="aligncenter" width="350"] Familia Offline, 2013. Written by: Mihaela Michailov, directed by: Radu Apostol. Photo: Ioana Raluca.[/caption] The selection process în Educațional Theater</i> Every weekend, for almost a year, we (the team behind the performance Familia Offline, including children, actors, playwright, scenographer, musician and director) managed to develop educațional theater workshops. The participants were children from School no. 55 în Republică neighborhood în Bucharest. The only
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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determined by “selection criteria”. The child will not behave spontaneously and creatively, but will strictly reproduce standardized patterns of success, because his/her only stake is being like the one who is number 1. Educațional Theater is not a platform for talented children, but a medium of education and development for any child by means of theatrical games which challenge the children to express themselves creatively, spontaneously and artistically.
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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and creatively, but will strictly reproduce standardized patterns of success, because his/her only stake is being like the one who is number 1. Educațional Theater is not a platform for talented children, but a medium of education and development for any child by means of theatrical games which challenge the children to express themselves creatively, spontaneously and artistically.
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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Clăire Bishop, Artificial Hells. Participatory Art and the Politics of Spectatorship, London, Verso, 2012. [:en]by Mihaela Michailov I keep hearing comments such aș “we need educated viewers who understand our art” and two questions spring into my mind: educated for what, exactly? And what kind of art? If we need viewers who are tamed and educated to gobble up heaps of exclusivist art which might give them the feeling of belonging to the category of “values inaccessible to the inane
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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Clăire Bishop în Artificial Hells. Participatory Art and the Politics of Spectatorship[1] </b>- “the artist becomes a collaborator, a producer of situations, the audience being a co-producer, a participant în the artistic act” - problematizes the role of the viewer for whom the cultural act 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
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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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 constraints which determine their conformist, decent behavior, and make them react to the theater aș one conventionally does în a theater. On
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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gaze thus becomes a political act, a radical intervention into a type of social structure which the viewer needs to comment on because it is his/her 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
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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The actor replies immediately to the person who regards him/her aș someone with whom he/she is sharing a life experience. The actor becomes the neighbor from across the street în a type of theater which creates empathetic neighborhoods. For the participant viewer, the stage becomes the place where he/she lives. [...] Interaction with the disruptive viewer and his/her anarchic gaze is an opportunity for the theater to redefine its functionality, its necessity and its connection with worlds which
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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neighbor from across the street în a type of theater which creates empathetic neighborhoods. For the participant viewer, the stage becomes the place where he/she lives. [...] Interaction with the disruptive viewer and his/her anarchic gaze is an opportunity for the theater to redefine its functionality, its necessity and its connection with worlds which are excluded from the space of artistic representations. The disruptive viewer is an opportunity for the theater to exhaust its recycled conventions and invent itself from
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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the disruptive viewer and his/her anarchic gaze is an opportunity for the theater to redefine its functionality, its necessity and its connection with worlds which are excluded from the space of artistic representations. The disruptive viewer is an opportunity for the theater to exhaust its recycled conventions and invent itself from the interaction with those communities which spawned it în the first place. The disruptive viewer is the viewer who removes the identifiers of the theater and hurls it into
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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s theater privileges heritage stories, passed down from generation to generation. Such stories keep childhood inside a closed circuit of narrative figures: Snow White, the prince, the princess, the ogre etc. and protect children’s imagination instead of provoking it. For the most part, children’s theaters recycle fairytales, preserving the authority of the sleeping beauties and enchanted horses. The problem is that în many repertoires, they represent the only narrative path. The child won’ț “risk” his/her imagination for
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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For the most part, children’s theaters recycle fairytales, preserving the authority of the sleeping beauties and enchanted horses. The problem is that în many repertoires, they represent the only narrative path. The child won’ț “risk” his/her imagination for fear of not being able to come up with characters like Little Red Riding Hood, Alice, the wolf, the three little pigs. Recently, during a workshop with children at the Azuga Summer School, a little girl told me: “Once upon
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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Recently, during a workshop with children at the Azuga Summer School, a little girl told me: “Once upon a time there was a piglet. That’s how a real story starts”. This “real” restricts the freedom of fantasy and allows for a limited frame of expression for stories depicting children’s current realities. Children’s theater does not șo much belong to the children aș it does to the grown-ups. It is not conceptualized with the children’s help, it doesn
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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at the Azuga Summer School, a little girl told me: “Once upon a time there was a piglet. That’s how a real story starts”. This “real” restricts the freedom of fantasy and allows for a limited frame of expression for stories depicting children’s current realities. Children’s theater does not șo much belong to the children aș it does to the grown-ups. It is not conceptualized with the children’s help, it doesn’ț build on their desires, their
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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realities. Children’s theater does not șo much belong to the children aș it does to the grown-ups. It is not conceptualized with the children’s help, it doesn’ț build on their desires, their knowledge, their daily experience. [...] Responsibility for all audiences There are few theaters which puț together their repertoires after knowing their audiences: “Ariel Theater în Târgu-Mureș/Marosvásárhely aims to design and stage performances and cultural projects for young audiences în Romanian and Hungarian. Our position implies a
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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build on their desires, their knowledge, their daily experience. [...] Responsibility for all audiences There are few theaters which puț together their repertoires after knowing their audiences: “Ariel Theater în Târgu-Mureș/Marosvásárhely aims to design and stage performances and cultural projects for young audiences în Romanian and Hungarian. Our position implies a regional cultural responsibility (the counties of Mureș, Harghita, Covasna and Bistrița) and we consider our audiences not just according to age (grouped 0-3, 4-6, 6-12, 12-16, 16-25 years-old), but also
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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to the needs of the community. Ariel Theater belongs to all children and teenagers. It is essential to get to know different kinds of audiences: children with special needs, children from underprivileged environments (lacking a stable family), homeless children etc. For each of these audiences, it is necessary to develop specific projects. Aș long aș each of them can relate to the performances and projects aimed at them, the theater is alive and can legitimately clăim to belong to the community
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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their opinion matters, where they can meet others like them and even their own selves.” (Gavril Cadariu, Ariel Theater manager) [caption id="attachment 1147" align="aligncenter" width="300"] Sectorul S. Director: Emanoil Pârvu, 2013.[/caption] A theater without an audience Theater for adults emphasizes decent, predictable behavior, whereas children’s theater favors immediate reaction. Fortunately, children are not a “nice” audience, sitting comfortably în their seats and turning into static viewers. Children interrupt the order of the story and question it: “Why
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]