3,804 matches
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and the fear of taking a break. A break is “risky” because it implies confronting the present, while în a corporation everything is projected towards the future. “<i>For the coming future, for the growth, for development,</i>” says Raluca. “But what happens to now?,” she asks herself în the end. That “now” which gives you the chance to get a blood test (“a blood sugar test takes one minute and fourteen seconds”) and to communicate with those around you. </a
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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of time. În șo doing, în pushing ever further the game of creating new, emotionally provocative situations, the situationists are gambling that change will usually be for the better. În the short term the odds are obviously against that bet. But even if we have to lose it a thousand times, we see no other choice for a progressive attitude”[4]. Iar o astfel de deviație de la normativitatea cotidiană implică o conceptualizare și tematizare atentă a situației supuse atenției pentru a
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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his poetics by connecting science, art, politics and labor productivity. For example, Ivan Pavlov’s ideas of chain of reflex responses, aș he developed them în the lab experimenting on dogs, were thoroughly explored by Meyerhold, not în the lab but în the rehearsal room, not on dogs but on his own and actors’ bodies. The premise was the long domino line of responses considered by Pavlov “the foundation of the nervous activities of both men and of animals.”[ 1] Frederick
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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labor productivity. For example, Ivan Pavlov’s ideas of chain of reflex responses, aș he developed them în the lab experimenting on dogs, were thoroughly explored by Meyerhold, not în the lab but în the rehearsal room, not on dogs but on his own and actors’ bodies. The premise was the long domino line of responses considered by Pavlov “the foundation of the nervous activities of both men and of animals.”[ 1] Frederick Winslow Taylor, on the other hand, offered the
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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into transforming theatre into a post-human laboratory. First, he moved away from a psychological individualism: “theatre built on psychological foundations is aș certain to collapse aș a house built on sand.” His exploration of biomechanics was full of technical flaws but nevertheless, “a theatre which relies on physical elements is at the very least assured of clarity.”[3] The technological understanding of theatre made Meyerhold emphasize the physical training of actors and puț a strong focus on the bodies, which were
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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curse bus a joyful, vital necessity.”<a title="" href="# ftn5">[5]</a> Meyerhold often went with his students to the zoo to study and imitate animals,[6] because the need for change did not jut relate to forms of acting but also to methods for actors to train the body în a completely different way from that done at that time. By agitating the animal, certain dispositions în the body can emerge and new actions can be performed on stage. By
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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and disturbing the body/mind relation, the actor gets stimulated by objects and situations and forms desires and movements that can move beyond the limits of the learned theatrical behavior. Meyerhold understood acting not aș a form of artistic relaxation, but aș a form of work which needed methods that can be applied “to any form of work with the aim of maximum productivity.”[7] By focusing on the theatrical unity of time, space and corporeality, he wanted to focus paradoxically
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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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 în Meyerhold’s own words: “I don’ț know how to stage the play but one thing I do know, there is no need for discussion. What we need to do is get up on the stage and act.”[10] The utopian purpose for Meyerhold was that his so-called joyful experiments would become the propriety
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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only a part of a dedicated group of directors, playwrights, stage-designers and actors who actively tried to apply în theatre the Leninist ideas of “complete overthrow of the status quo and the installation of a new, utterly different regime.”[ 12] But even when criticized from an anticommunist perspective, Meyerhold stands alone: “Meyerhold, the major director-producer of the early Soviet dramă, was an extremist în translating Communism into theatre.”[13] Meyerhold’s earlier experimentations with circus, commedia dell’arte and popular forms
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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enthusiasm, unlaboured creativity, the participation of the audience în the corporate creative act of the performance.”[14] Actors don’ț need to identify with the characters, to show empathy for their role or even to have emotions în their activity “but to consciously comment on the character by remaining clearly distinct from it.”[15] For Meyerhold, corporeality and movement are not produced by emotionality but are its source: through biomechanics, the actor can achieve those “correct postures and moves” that miraculously
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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the characters, to show empathy for their role or even to have emotions în their activity “but to consciously comment on the character by remaining clearly distinct from it.”[15] For Meyerhold, corporeality and movement are not produced by emotionality but are its source: through biomechanics, the actor can achieve those “correct postures and moves” that miraculously will “lead naturally to an emoțional state în the actor and, by extension, affect the audience.”[ 16]</a><i> </i>Provoking emotions through gestures
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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achieve those “correct postures and moves” that miraculously will “lead naturally to an emoțional state în the actor and, by extension, affect the audience.”[ 16]</a><i> </i>Provoking emotions through gestures might seem a cold, detached or unengaged exercise, but through Pavlovianism, Meyerhold introduces another aspect: spontaneity. When Meyerhold expects actors to become Pavlovian dogs, the focus is precisely on the theatrical usage of “Pavlov’s studies of conditioned response behaviour, the origin of behaviorism, a reflex-like realization of an
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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performance, Tretyakov’s The Earth în Turmoil, from 23 February 1923, în celebration of the fifth anniversary of the founding of the Red Army, hâd an immediate political goal: direct agitation. Lyubov Popova’s design was not abstract and technical but used real machine guns, motorcycles and other objects. Meyerhold explained the new direction: “the assembler attempts to achieve not an aesthetic effect, but an effect that is indistinguishable from what the spectator experiences în real phenomena such aș maneuvers, parades
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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Army, hâd an immediate political goal: direct agitation. Lyubov Popova’s design was not abstract and technical but used real machine guns, motorcycles and other objects. Meyerhold explained the new direction: “the assembler attempts to achieve not an aesthetic effect, but an effect that is indistinguishable from what the spectator experiences în real phenomena such aș maneuvers, parades, street demonstrations, etc. Costumes and things (great and small) are exactly aș în reality; their nature aș products is în the centre - no
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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artistic leftists în the 1930s (with their two icons, Meyerhold and Mayakovski, who committed suicide în 1930) was brutally manifested în the closing of Meyerhold’s theatre and his arrest. These directions were not forms of lack of official favors but were generated by a growing hostility towards modernism that was seen by important figures like Gorky, for example, aș a manifestation of the corruption and decadence of Western capitalism. Meyerhold was a direct victim of the major campaign of the
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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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 type of artist SLC believed în: they created (wrote, produced, directed, etc.) their own material
Clovnii () [Corola-website/Science/295693_a_297022]
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is an NGO whose profile is humanitarian clowning. They go to areas of crisis and bring clown and circus-inspired acts to kids and offer laughter “to relieve the suffering of all persons, especially those of children.” The artists are professionals, but the work is strictly voluntary. You make all the necessary preparations, the fund-raising, your own act and bang, you go! There are many chapters în Europe (the first one was created în Barcelona, Spain în 1993) and în North-America, aș
Clovnii () [Corola-website/Science/295693_a_297022]
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called Ózd. For four years now în a row we make a big donation gathering event for Christmas for a very poor region of the country. Our work hâș been made possible șo far mainly by the Open Society Foundation, but we also have hâd other resources. It is not voluntary work, even though part of our annual work is voluntary. We constantly write grants and do fundraising. We usually go to the poorest parts of the country. În Hungary, two
Clovnii () [Corola-website/Science/295693_a_297022]
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write grants and do fundraising. We usually go to the poorest parts of the country. În Hungary, two third of the poorest (officially: “accumulatively unprivileged”) children are Romă. Șo where we go, there are usually a lot of Romă kids, but Romă or not, they are deprived of a lot of possibilities other children - în other regions and with different backgrounds - benefit from. These children have very often never seen a theater show, a clown or any cultural event. Most children
Clovnii () [Corola-website/Science/295693_a_297022]
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go to our male actor. The little ones go to anyone. Two ouț of our five actors are Romă, one actress is half-Roma. The biggest star of the first two shows is Tamás, who is Romă and plays a gentle but strong, idealistic male character. The boys love him to death. They gather around him after the show, and it hâș happened a couple of times that they spring up during the show and hug him șo tight that before we
Clovnii () [Corola-website/Science/295693_a_297022]
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strong need to talk to someone who is like them, is from where they are, and comes back to be with them, teach them, entertain them, etc. Of course, they also are happy to connect to the rest of uș, but the boys clearly need Tamás the most. În Ózd, when we ask the children at the end of each day what they enjoyed the most during that day, they always answer that the rehearsals, the part of the day when
Clovnii () [Corola-website/Science/295693_a_297022]
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to focus on school work, often lacking basic clothing for regularly going to school, poor immune system and frequent diseases, lack of daily routine în parents’ lives, lack of stability, lack of self-esteem, lack of encouragement - not always, of course, but too often, unfortunately. Children, therefore, may easily grow up în an environment that lacks any positive stimulus. It means they are very grateful for whatever mental, emoțional, human or creative stimuli and attention they get. And this is our chance
Clovnii () [Corola-website/Science/295693_a_297022]
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self-referential territory wherein the brilliant artist discovered the pure form). The collective aș a manner of working which enables you to discover yourself în relation to others was not the trusting ground on which art (and life) could be built, but the environment which endangered the integrity and purity of your “œuvre”, your exclusive rights over it. [...] We teach a subject called Visual Education, a subject which, according to the curriculum, should encourage students to cultivate their aesthetic sensitivity în an
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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ideology in its maximal form. The child-performance functioned as the absolute truth of the regime, to whom the politically imperfect adults owed the functioning of the “multilaterally developed Socialist society.” The child-performance disciplines subjectivity and always lurks in the shadows (but also in the lime light or on the silver screen), able to correct the errors of ideological zombiefication and perform the mandatory cultivation of Socialist reproduction.
„Mulțumim pentru copilăria noastră fericită”: Spectacolul cu copii în România anilor 1980 () [Corola-website/Science/295691_a_297020]
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suppress all critical inclinations. [...] Peter Hollindale, a British literary critic and pedagogue, claims that writing children’s literature is essentially a political act. Do you agree?</b> I’m not completely familiar with the context în which he asserted this, but I fully agree. It is a deeply subversive act. If we think of Lewis Carroll, his literature dynamited all the strict Victorian standards. His stories of Alice have a subversive nature not just at a social level, but also linguistically
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]