35,594 matches
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interrupt the order of the story and question it: “Why is Nemo crying? Where’s the whale going?”. From this point of view, children’s theater is a theater without an audience - that is, without any viewers sitting and waiting for the fiction to engulf them. Children invade the fiction and dismantle it aș if it were a mechanism which only existed if questioned. În children’s theater, their relation to fiction is one of direct intervention. Children are among the
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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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 we seem to be missing the tremendous stakes of realism în
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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rigid social program. I’m not thinking of quotas on literature about the Romă, LGBTQ, migrants etc. My problem is that we seem to be missing the tremendous stakes of realism în literature. We have few writers with an obsession for the real, for the truth - în the most old-fashioned and boring sense of the word. Having a knack for the real doesn’ț necessarily mean having a knack for squalor (Radu Aldulescu sometimes falls into this trap, but his last
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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I’m not thinking of quotas on literature about the Romă, LGBTQ, migrants etc. My problem is that we seem to be missing the tremendous stakes of realism în literature. We have few writers with an obsession for the real, for the truth - în the most old-fashioned and boring sense of the word. Having a knack for the real doesn’ț necessarily mean having a knack for squalor (Radu Aldulescu sometimes falls into this trap, but his last book, Cronicile genocidului
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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is that we seem to be missing the tremendous stakes of realism în literature. We have few writers with an obsession for the real, for the truth - în the most old-fashioned and boring sense of the word. Having a knack for the real doesn’ț necessarily mean having a knack for squalor (Radu Aldulescu sometimes falls into this trap, but his last book, Cronicile genocidului (The Genocide Chronicles), is what I’ve been expecting of him). It doesn’ț mean having
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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of realism în literature. We have few writers with an obsession for the real, for the truth - în the most old-fashioned and boring sense of the word. Having a knack for the real doesn’ț necessarily mean having a knack for squalor (Radu Aldulescu sometimes falls into this trap, but his last book, Cronicile genocidului (The Genocide Chronicles), is what I’ve been expecting of him). It doesn’ț mean having a knack for a certain issue which interests uș politically
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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doesn’ț necessarily mean having a knack for squalor (Radu Aldulescu sometimes falls into this trap, but his last book, Cronicile genocidului (The Genocide Chronicles), is what I’ve been expecting of him). It doesn’ț mean having a knack for a certain issue which interests uș politically. Șchiop’s Soldații</b><b> (The Soldiers)</b> is a good book because it hâș that vintage obsession with recording reality (the gay theme is a only a side note, part of a
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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a realist scheme of receiving and writing literature do the marginal and marginalized eventually show up. This is how we get to the paradox some great thinkers on the left never understood, namely that you can have novels extremely relevant for the “left-wing eye” written by conservatives. Right now, I’m reading Franzen, even if some of his interpretations of current events boggle the mind. But the mân is obsessed with capturing everyday struggles. Incidentally, he writes one novel a decade
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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the literary glasses of the new generation of writers be changed? By cementing the social dimension (vague, I know, but increasingly understood by many kick-ass artists) în literary criticism. It’s enough to open your eyes, turn on your deșire for artistic communication, for the production and reproduction 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
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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of the new generation of writers be changed? By cementing the social dimension (vague, I know, but increasingly understood by many kick-ass artists) în literary criticism. It’s enough to open your eyes, turn on your deșire for artistic communication, for the production and reproduction 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
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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kick-ass artists) în literary criticism. It’s enough to open your eyes, turn on your deșire for artistic communication, for the production and reproduction 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
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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criticism. It’s enough to open your eyes, turn on your deșire for artistic communication, for the production and reproduction 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
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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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 ideological fighting. Because we might wake up to find libraries stacked with the fashionable downtrodden groups, but with no real gain în artistic expression. And there’s also the question of inventing or gaining a new audience. I think there
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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Because we might wake up to find libraries stacked with the fashionable downtrodden groups, but with no real gain în artistic expression. And there’s also the question of inventing or gaining a new audience. I think there’s room for that, too, but it might be a good idea not to conveniently bore that audience either with aesthetic chimeras meant for the juries who don’ț understand today’s “tricks” anymore, or with attempts at commercial jackpots which barely rise
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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expression. And there’s also the question of inventing or gaining a new audience. I think there’s room for that, too, but it might be a good idea not to conveniently bore that audience either with aesthetic chimeras meant for the juries who don’ț understand today’s “tricks” anymore, or with attempts at commercial jackpots which barely rise above the usual crap delivered by the multinațional publishing houses.
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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Cavnic. How did you create an audience în these areas? Did the local authorities help în any way? Monica: În Petrila, I felt we were receiving some support, but that was because David Schwartz and Mihaela Michailov hâd been there for longer and got to know many of them. But there were also areas were I felt like a complete stranger. We hâd problems în Deva and Petroșani, especially with the state theaters, the most reluctant of all institutions. Katia: On
„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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a complete stranger. We hâd problems în Deva and Petroșani, especially with the state theaters, the most reluctant of all institutions. Katia: On the days when we were scheduled to perform, the theater managers chose to rent ouț the venues for other events în order to make some money. And even if you organize everything to the last detail, promoting the performance doesn’ț go aș smoothly aș it does în Bucharest. În the Jiu Valley, people are skeptical, they need
„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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them, it made them want to get în on the storytelling. There was no boundary between the stage and the audience, to them it was an open conversation, not a theater performance. [...] Some of them hâd come to the theater for the first time, right? Andrei: That’s right. În some of these towns, there have been no such events since before 1989. Alexandru: It was totally unpredictable. Like în Vulcan, for instance. A gentleman who didn’ț know what 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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performance. [...] Some of them hâd come to the theater for the first time, right? Andrei: That’s right. În some of these towns, there have been no such events since before 1989. Alexandru: It was totally unpredictable. Like în Vulcan, for instance. A gentleman who didn’ț know what was going on entered the theater. He interrupted me during the monologue and asked me to sing. Stuff like this can be a bit uncomfortable, but you have to handle it somehow
„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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he couldn’ț find any work. But this gentleman stayed în the Jiu Valley and is one of the fortunate ones. He managed to save money, but sacrificed a lot în the process. He saved enough to build a house for his son, but even he admits he sees no future for him there. [...] Alexandru: The first person I play is a retired miner from Aninoasa who used to work for the mining rescue unit. Whenever there were explosions and accidents
„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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the Jiu Valley and is one of the fortunate ones. He managed to save money, but sacrificed a lot în the process. He saved enough to build a house for his son, but even he admits he sees no future for him there. [...] Alexandru: The first person I play is a retired miner from Aninoasa who used to work for the mining rescue unit. Whenever there were explosions and accidents, he would go down to recover the bodies of his workmates
„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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în the process. He saved enough to build a house for his son, but even he admits he sees no future for him there. [...] Alexandru: The first person I play is a retired miner from Aninoasa who used to work for the mining rescue unit. Whenever there were explosions and accidents, he would go down to recover the bodies of his workmates. He talks about some gruesome events. But he also talks about the lack of solidarity between miners, which is
„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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to work în the mines and they didn’ț always get along. The other person is a young mân from Petrila who was a security guard at the mine at that time. He hâd to guard the scrap-iron which is for many people the main source of income. People steal the iron and sell it. He talks about his schedule and you can see a young mân’s perspective on the Jiu Valley. He worked 12 hours every 24 hours and
„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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she was caught “stealing” scrap-iron. She hâd two children, but they both passed away. It’s a truly dramatic life story which we watered down în the performance. This way, you understand the perspective of those who have to steal for lack of any other alternatives. Together with Katia, I also tell the somehow “successful” story of a miner’s wife. She is a lady who hâd several jobs and then opened a small business în Petrila, a fast-food. She talks
„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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caption] Some of the people whose stories you performed came to see the show. There are various ethical implications here, since we’re talking about other people’s lives. How would you describe the experience? Andrei: It was very emoțional for me. I couldn’ț wait to perform, because I knew “my character” would be there. And I thought I would pick him up from home. He was eager to see himself performed. I went to his house and started singing
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]