35,594 matches
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been the best way, but I didn’ț take it. Instead, I psychologized this whole thing and tried to explain his homophobia, which was wrong. I think I somehow screwed up this part. I was a bit of a douche-bag for emphasizing this aspect. I let it be understood that he is somehow sickened by it, that he can’ț feel good, just like he is sickened by women and femininity, he is sickened by gay men and can’ț trust
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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the accusations of homophobia? It’s internalized. It’s internalized homophobia. Nowadays, if you’re born în an urban area, în a middle class family, people are somehow more tolerant of homosexuality and you don’ț end up hating yourself for it. But I went through a really rough period. The 90s were... They were unreal. People were shouting ouț their homophobia. În the media, the homosexual was the archetypal “Romanian criminal”, there was a newspaper publishing all sorts of dubious
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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the homophobic opinions without even realizing it. But I think it’s a sort of self-loathing. You’ve also been accused of racist fetishizing. How do you reply to that? I didn’ț mean to fetishize anything. I lived there for 4 years. This is actually annoying, because I feel like saying “Fuck you, you go live there for 4 years then come and teach me a lesson.” This really pisses me off: when someone hanging ouț only în the city
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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also been accused of racist fetishizing. How do you reply to that? I didn’ț mean to fetishize anything. I lived there for 4 years. This is actually annoying, because I feel like saying “Fuck you, you go live there for 4 years then come and teach me a lesson.” This really pisses me off: when someone hanging ouț only în the city center, going only to bars and parties în that area and maybe doing some volunteer work where they
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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come and teach me a lesson.” This really pisses me off: when someone hanging ouț only în the city center, going only to bars and parties în that area and maybe doing some volunteer work where they talk to people for a couple of minutes, teaches me about fetishizing and racism when they have no actual contact with that life. [...] Interview conducted by ALICE MONICA MARINESCU [1] Ferentari is a neighborhood în Bucharest depicted în the urban imaginary of the city
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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changes which began în the early 1990s. The project aims to document the economic situation, life and work of the miners during post-Socialism. <b>Theater Underground </b>is a project of performative reconstruction of the document-stories which set the foundation for the history of the communities în the Jiu Valley, communities which find themselves somewhere between survival, migration, disappearance and possible reconstruction.</i> The performance Underground is based on research done în the Jiu Valley and coordinated by Mihaela Michailov (playwright
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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that the names of the specific cities which make it up are less familiar. But the phrase “Jiu Valley” transmits familiarity; not șo much a spațial one aș one of historical temporality marked by change. A sort of cliché symbol for the regime change of 1989-90 and a touchstone în reverse for the progress made by România after socialism: the more derelict the area becomes, the more progress is made towards overcoming the (post)socialist condition. The people living în the
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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are less familiar. But the phrase “Jiu Valley” transmits familiarity; not șo much a spațial one aș one of historical temporality marked by change. A sort of cliché symbol for the regime change of 1989-90 and a touchstone în reverse for the progress made by România after socialism: the more derelict the area becomes, the more progress is made towards overcoming the (post)socialist condition. The people living în the region have gradually (some quite rapidly) become a dislocated, marginal group
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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more derelict the area becomes, the more progress is made towards overcoming the (post)socialist condition. The people living în the region have gradually (some quite rapidly) become a dislocated, marginal group both symbolically and în terms of their usefulness for contemporary capital. În the mainstream media, we/they are mostly depicted aș ouț of touch with current realities. This situation is partly reproduced even în smaller, allegedly more progressive, circles. Aș my interest for the Jiu Valley communities gradually became
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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and în terms of their usefulness for contemporary capital. În the mainstream media, we/they are mostly depicted aș ouț of touch with current realities. This situation is partly reproduced even în smaller, allegedly more progressive, circles. Aș my interest for the Jiu Valley communities gradually became one of research, aș well, I actively sought ouț academic, journalistic or documentary inițiative where I could find at least a part of the reality I knew. Projects interested în more than just the
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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most often difficult - ways of surviving. [caption id="attachment 1668" align="aligncenter" width="600"] UnderGround, 2013. Photo: Ioana Szilagy[/caption] Aș a process, performing the memories and experiences of people în the region before a live audience works în two directions. For those involved în the project, who share personal developments, and for those în the Valley, who listen to them, the staging of narrations about the past and the present reaffirms common points, draws and redraws connections of a common history
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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width="600"] UnderGround, 2013. Photo: Ioana Szilagy[/caption] Aș a process, performing the memories and experiences of people în the region before a live audience works în two directions. For those involved în the project, who share personal developments, and for those în the Valley, who listen to them, the staging of narrations about the past and the present reaffirms common points, draws and redraws connections of a common history, of belonging to a group. At the same time, it is
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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common points, draws and redraws connections of a common history, of belonging to a group. At the same time, it is a reminder and a reliving of certain events at an individual level, aș well aș at the group level. For those who have a chance to watch the collages made up, on the one hand, of historical moments already entered în “official” history, such aș strikes, mining accidents, “mineriade” (coal miners storming Bucharest în the nineties), layoffs, and on the
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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actors’ bodies, the words of the people, movement, gestures and a minimal decorum charges the stories emotionally. The affective vibrations embedded în the stories make them more powerful, more memorable and therefore more resistant to erasure from memory. The need for a structure to coagulate all the stories meaningfully poses obvious problems, but framing them aș part of a museum is somewhat questionable. The life of the locals hâș no doubt been shaped by the evolution of mining, and the pit
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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of life and connected people. The transformations which followed meant very often vulnerability and degradation: of the socio-economic structure, of the political relevance of the communities, of the workers’ status, of the locals’ bodies, of the environment. The museum framework for “endangered communities” fits with the empty discourse of the authorities, which promote “saving” the region through culture and tourism, and also contributes to the strengthening of the dominant historiography which tends to reduce the realities în the Jiu Valley to
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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la vârsta mea dar eu nu mă simțeam pregătită la 13 ani să devin soție și nici mamă!” „Mi‑a dăruit un C.D. cu albumul lui pe care mi‑a scris: «the best two days of my life, big kiss for my future wife». Când am ajuns în Olanda am aflat că el era dealer de marijuana. Acolo mi se spunea Romanian gipsy girl. Toți erau curioși să afle lucruri despre mine, despre familia mea <i>gipsy </i>de parcă eram exponat
Platforma de Teatru Educațional (4−29 octombrie) () [Corola-website/Science/295789_a_297118]
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Educațional Replika se dorește un spațiu al schimbării sociale prin arta educațională și creațiile deschise spre categorii marginalizate. Centrului de Teatru Educațional Replika este un proiect realizat cu sprijinul financiar al Fondului pentru Inovare Civică, program finanțat de <b>Trust for Civil Society in Central and Eastern Europe</b>, sponsorizat de <b>Raiffeisen Bank</b>, administrat de <b>Fundația pentru Dezvoltarea Societății Civile</b>. Parteneri PARTENERI PRINCIPALI: Teatrul Mic, Fundația Centrul Cultural European, Centrul Național al Dansului București, Colegiul Național
Eveniment: Deschiderea Centrului de Teatru Educațional Replika () [Corola-website/Science/295819_a_297148]
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Trajan and Decebalus. (From the Pages of Gay History în România) By/With: Paul Dunca, Mihaela Michailov Scenography: Andrei Dinu How would one live a “gay lifestyle” în România before 1989? What where the meeting points? What were the rituals for socializing and how did the oppressive structures work? What were the outcomes of article 200, whose provisions punished sexual relations between persons of the same sex by 1 to 5 years în prison? How could you be yourself by avoiding
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
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tell it again and again to every curious stranger, we tell it to each other simulating compassion and letting everyone know we’re the good guys. Yes, those of uș with “hard-working peasant grandparents persecuted under communism” have no patience for nostalgias, utopias or comebacks from those who cannot instrumentalize their inheritance aș well aș we do. We can’ț take the resignation of the losers of the transition, either, and neither do we care about the projects of the radicals
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
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Hungarian or German grandparents affected by Ceaușescu’s ethnic naționalism. These stories are not just too extreme to fit with the official history (which some of uș teach), but în all honesty, these stories are too uncomfortable and ambiguous even for our time. Every now and then, another challenge comes up în the cultural sphere of Bucharest - a lesson în alternative history which attempts to prove that not all grandparents were persecuted because they were hard-working peasants. Some of them seem
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
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of Bucharest - a lesson în alternative history which attempts to prove that not all grandparents were persecuted because they were hard-working peasants. Some of them seem to have suffered and continue to suffer because of love... definitely because of love for people of the same sex.
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
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one hand, there are always more dată în the records than the historian can include în his representation of a certain part of the historical process. The historian must therefore “interpret” the dată by deeming some of the information irrelevant for his account and excluding them from the narrative. On the other hand, în his effort to reconstruct a certain historical period “aș it was”, the historian cannot exclude from his narrative an account of an event or series of events
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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his account and excluding them from the narrative. On the other hand, în his effort to reconstruct a certain historical period “aș it was”, the historian cannot exclude from his narrative an account of an event or series of events for which there isn’ț enough dată to allow a plausible explanation. This means the historian hâș to “interpret” the material by filling the gaps în research through speculation and inference.[ 1] But on what criteria would such a selection be
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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first of them is the so-called “usable past”, a set of historical references aimed at shaping contemporary attempts at social consensus. A “usable past” is an invention, or at least a retrospective reconstruction serving the needs of the present.[3] For sure, perspectives on historical events have been constantly influenced by institutions and power structures which have legitimated certain official versions about the past according to certain interests (for instance, the heroization or demonization of certain historical periods în order to
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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at least a retrospective reconstruction serving the needs of the present.[3] For sure, perspectives on historical events have been constantly influenced by institutions and power structures which have legitimated certain official versions about the past according to certain interests (for instance, the heroization or demonization of certain historical periods în order to legitimize the dominant ideology which allowed the reproduction of those institutions).[4]</a> Hence, the life experience of certain social groups (women, slaves, industrial workers, immigrants, peasants etc.
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]