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Corola-website/Science/295718_a_297047

performance. We spent an hour together before the show, and I tried to understand what kind of person he was. It’s interesting he didn’ț see me aș a stranger. He acted aș if we’d known each other 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

„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” (2014) [Corola-website/Science/295718_a_297047]
Corola-website/Science/295717_a_297046

flux. Noi vom continua să insistăm. Interviu realizat de Mihaela Michailov[:en]Interview with Mona Nicoara I saw Our School</a> for the first time at the One World România documentary film festival în 2012. After the screening, there was a debate where Romă rights activists highlighted the disastrous effects of segregation and structural racism în the Romanian education system. The then-Minister

„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” (2013) [Corola-website/Science/295717_a_297046]
highlighted the disastrous effects of segregation and structural racism în the Romanian education system. The then-Minister of Education, Cațălin Babă, claimed that Our School was an isolated case which was not relevant for education în România. He said he would look into the matter and take all necessary action. But what happens when one case becomes endemic to the teaching reality of România, a reality which privileges those seen aș “competent” while marginalizing

„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” (2013) [Corola-website/Science/295717_a_297046]
mixed schools. The children then return to their former school with condescending teachers who treat them like retards who have no idea that the grass is colored green because it is green. They are subsequently relocated to a special school for children with disabilities, even though the principal admits they have no disability. The final scene, where we see them trying to fit în, is the key-scene. Who is în fact responsible for the repeated and abusive disintegration and re-integration these

„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” (2013) [Corola-website/Science/295717_a_297046]
They are subsequently relocated to a special school for children with disabilities, even though the principal admits they have no disability. The final scene, where we see them trying to fit în, is the key-scene. Who is în fact responsible for the repeated and abusive disintegration and re-integration these children go through? How humiliating is the condition of the child who witnesses the prejudice-ridden kindness of the “benevolent” authorities on a daily basis? Whom do our schools belong to? (Mihaela

„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” (2013) [Corola-website/Science/295717_a_297046]
Mihaela Michailov) [caption id="attachment 1139" align="aligncenter" width="300"] Alin. Our School, 2012, director: Mona Nicoară.[/caption] How much hâș your experience aș a human rights activist influenced your work on Our School? The idea for the film originated în my personal frustration aș an activist: în the past 20 years, I’ve seen hundreds of reports and strategies for Romă people that have changed little în our collective understanding of the issues the Romă are

„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” (2013) [Corola-website/Science/295717_a_297046]
aș a human rights activist influenced your work on Our School? The idea for the film originated în my personal frustration aș an activist: în the past 20 years, I’ve seen hundreds of reports and strategies for Romă people that have changed little în our collective understanding of the issues the Romă are confronted with and of our role în solving them. I was hoping a different approach - a real, simple story, with people you get to

„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” (2013) [Corola-website/Science/295717_a_297046]
were not surprised to see Romă children alongside their own - they also hâd Romă classmates when they were students. But the expectations of the teachers, of the administration, of the entire community, were șo low! And this set the pace for the efforts to integrate, which was very slow. Some of them were even counterproductive: older Romă children were placed în a separate class where they were allegedly meant to catch up to the ethnic majority. But the teachers and the

„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” (2013) [Corola-website/Science/295717_a_297046]
was very slow. Some of them were even counterproductive: older Romă children were placed în a separate class where they were allegedly meant to catch up to the ethnic majority. But the teachers and the equipment were not a priority for the school and șo the separate class hâd a sluggish pace, with the children being both ostracized and lacking the basic knowledge to allow subsequent integration. We realized that what was at stake for the storyline was the way în

„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” (2013) [Corola-website/Science/295717_a_297046]
the equipment were not a priority for the school and șo the separate class hâd a sluggish pace, with the children being both ostracized and lacking the basic knowledge to allow subsequent integration. We realized that what was at stake for the storyline was the way în which the children were affected by this accumulation of factors - wrong decisions, unforeseen consequences, involuntary reflexes, mere carelessness and immobility. Many of these are not linked to a particular individual, a “guilty party”, but

„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” (2013) [Corola-website/Science/295717_a_297046]
Corola-website/Science/295710_a_297039

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 For a few years now I have been thinking about what it means

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
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 For a few years now I have been thinking about what it means to be an ‘urban’ theatre practitioner. One is bombarded with accusations from within and without, regarding one’s identity, background, aesthetic core, training and traditions. Stuck between an

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
în tight-jacketed boxes (or genres). În India especially there is the romanticism of the folk, obsessing with the idea of tradition and not its politics, fossilising art forms against their grain. În this background, we aș a company creating performances for young audiences have been facing questions when it comes to the forms we ‘should’ use. Aș artistic director I was keen to explore the idea of using so-called folk forms with contemporary or newly written stories (definitely not related to

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
forms with contemporary or newly written stories (definitely not related to ‘save the environment’ or ‘anti-AIDS’ or any other such campaigns). It would be an attempt to use a framework în which the folk forms would be used not just for their ‘museum value’ but for their timeless structures, interactive format and ability to ‘connect’ with the folk, the audience - elements that make these forms popular, accessible and ‘of the folk’. Inițial ideas With this thought we have planned six

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
written stories (definitely not related to ‘save the environment’ or ‘anti-AIDS’ or any other such campaigns). It would be an attempt to use a framework în which the folk forms would be used not just for their ‘museum value’ but for their timeless structures, interactive format and ability to ‘connect’ with the folk, the audience - elements that make these forms popular, accessible and ‘of the folk’. Inițial ideas With this thought we have planned six performances for young audiences between

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
museum value’ but for their timeless structures, interactive format and ability to ‘connect’ with the folk, the audience - elements that make these forms popular, accessible and ‘of the folk’. Inițial ideas With this thought we have planned six performances for young audiences between 5 years and 14 years. Each performance will be 30 to 40 min and based on published stories written în the last 20 years by Indian authors. We feel children will be open and receptive to new

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
tell our stories. But the choice of forms also depends on which guest artists we collaborate with, the tradițional form they are well versed în and what they want to share with artists of our repertory. Instead of being performances for the formal stage, these will be designed aș stand-alone shows that can be performed literally anywhere, whether it is în schools, activity centres, libraries, bookstores, homes, community spaces, parks, gardens and other spaces. There shall be no requirement for a

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
performances for the formal stage, these will be designed aș stand-alone shows that can be performed literally anywhere, whether it 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

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
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 the performance form and at the same time stimulating and interactive for children. We want the performances to not only tell a story but also expose children to a performance idiom and an aesthetic that they may not normally engage with. But the aim is not to ‘teach’ children about the art

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
It is to bring în a certain body language în the performers, a narrative style and a manner of dialogue 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

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
language în the performers, a narrative style and a manner of dialogue 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

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
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 institutions and

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
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 institutions and experts working with children with

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
în India this year (he teaches at the University of California, Fresno, UȘA) and I heard that he hâd done a workshop production with students at the FTII. Șo I asked him if he would like to conduct a workshop for artists of Gillo and he said yes. It was an intense 2-day workshop which included lectures, demonstrations and training. All artists responded very enthusiastically and I could see that the engagement hâd sparked something în them. [caption id="attachment 1112" align

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]
demonstrations and training. All artists responded very enthusiastically and I could see that the engagement hâd sparked something în them. [caption id="attachment 1112" align="aligncenter" width="300"] Actors learning the tradițional nautanki verses[/caption] The 2-day workshop was an eye-opener for most of uș and it also inspired uș to start working on a performance using this style. We were very clear that we did not want to re-perform or recreate any of the old nautankis aș they are for adults

Recâștigarea poporului – un eseu reflexiv (2013) [Corola-website/Science/295710_a_297039]