35,594 matches
-
art, aș well aș an agency of theater productions which “develops creative social games using expertise from the social sciences.” [...] În an interview to Magyar Narancs, Gábor Takács referred to a TV show în post-apartheid South Africa aș the inspiration for the program. That show was made up of a series of discussions between a white person and a black person which took place în an amphitheater. The program was on for several years and its beneficial effects were scientifically tested
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
-
TV show în post-apartheid South Africa aș the inspiration for the program. That show was made up of a series of discussions between a white person and a black person which took place în an amphitheater. The program was on for several years and its beneficial effects were scientifically tested. În the case of The New Spectator</b> - an experiment which can be assessed aș similar to that of the South African one - the organizers chose two villages în which the
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
-
spațiului tranzit.ro/București) Programul (pe scurt) Vineri 21 martie 17:00 /// Deschidere: de ce un forum al justiției locative? /// Frontul Comun pentru Dreptul la Locuire 18:00 /// Comunitatea Rahova-Uranus: lupta anti-evacuări /// Reprezentanți ai comunității Rahova-Uranus. 19:00 /// Evacuă<b>ri for</b><b>ț</b><b>ate, drepturi locative </b><b>ș</b><b>i ghetoizare etno-social</b><b>ă</b> /// Eniko Vincze 20:00 /// Prea-fericiții din gropa de gunoi (film documentar) /// proiecție, 56 min. Sâmbătă, 22 martie 16:00 /// Protecția
Forumul Justiţiei Locative - ediţia #1 () [Corola-website/Science/295750_a_297079]
-
to perform în those venues and how did your first encounter with the audience go?</i></b> The performance is funded by the OSCE[1] and they were the ones who came up with the story and with the proposition for the performance. We staged it three times în a row at Ginta Latină, because they wanted a large venue. The OSCE also suggested we stage it în the countryside. I hadn’ț performed în the countryside before. I remember we
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
-
when certain lines from the text were very suitable, șo I emphasized them. I took advantage of certain lines în order to have some sort of a conversation with them. We did a lot of shows, 5 tours, 8 performances for each tour. One of these tours was funded by the foster home “Amicul” and those performances were very well organized, în the sense that people knew what they were coming to see. The people from “Amicul” talked to the local
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
-
at first, but I’m sorry to say that it gradually became just another activity to get through aș quickly aș possible. One time, 2nd and 3rd graders came to the performance, and Luminița asked them what they were there for and they said they came to the concert. Șo the organizers didn’ț even bother to tell people that the performance was not suitable for children. The OSCE was basically checking another box on their activity roster. They receive some
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
-
and 3rd graders came to the performance, and Luminița asked them what they were there for and they said they came to the concert. Șo the organizers didn’ț even bother to tell people that the performance was not suitable for children. The OSCE was basically checking another box on their activity roster. They receive some funds and they have to spend it. What do you think of the audience în these small towns? Are the people interested? Can they relate
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
-
do you think of the audience în these small towns? Are the people interested? Can they relate to the stories? It’s really complicated. I think people do relate, but their reactions have to be understood în their local context. For instance, one time we asked the people how long hâd it been since they last went to the theater. And they told uș no theater performance hâd come to their town since 1989. We didn’ț understand why they were
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
-
understand why they were laughing, why they were moving around during the performance, why they were noisy, and we got upset. But it was actually understandable, because they hâd never seen a theater play before. You can’ț blame people for reacting this way or that way. And really, their reactions vary significantly. Sure, when you’re up there on stage, doing your thing, it annoys you that they laughed and “ruined your monologue”. But if you think about it, the
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
-
walk în the park compared to what they’ve been through. Șo even if they laugh, I think it’s because it touches them somehow and they can relate to the story. [...] Interview conducted by David Schwartz [1] The Organization for Security and Cooperation în Europe, made up of 57 member states from Europe, Asia and North America.
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
-
CU MIGRANȚII ne ajută să înțelegem mai bine fețele invizibile ale migrației contemporane. Mulțumiri speciale: Parteneri: ARCUB, Centrul Național al Dansului, Muzeul Național de Artă Contemporană (Spațiul Platforma), IOM, Erste Stiftung, BMUKK, Ado Sah Rom, K& K Hotels, Art for Art, Bahamut Productions, Kultur in favoriten, Kosice 2013, Marseille Province 2013, Loft City. Media suport: Metropotam, Observatorul Cultural, Revista Be where the city is, Revista Zeppelin, Șapte Seri, Deutsche Zeitung, Revista Accente, Tataia, Buna dimineața, București!, Veiozaarte.ro, RFI, Radio
ACASĂ. În dialog cu migranții - teatru, proiecție de film, dezbatere. 28-30 martie. () [Corola-website/Science/295753_a_297082]
-
then, TV still hâd the occasional outburst of life. Or maybe the HBO documentary based on the performance was pseudo-feminist enough and cheesy enough to enthrall both housewives and teenage girls from the slums. Or maybe I still hâd patience for the TV, since there was no Facebook. Or maybe I was too young. Maybe it was ME Tori Amos was singing to “’Căușe sometimes / I said sometimes / I hear my voice / And it’s been here / Silent all these years
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
-
hâș nothing to do with how I related to it at the time. Why would I make retrospective negative projections? It would reflect nothing genuine. The two distinct readings would just assault each other until they created a deconstructionist hotchpotch for the sake of deconstruction. Șo I’d rather say it aș it is: The Vagina Monologues came at the right time. Total mindfuck: they’re talking about the first period on TV, about the rapes în Bosnia, about all the
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
-
enough to say that none of the students from that cast were underage. And also: this was the same high-school where the scandal of the 2013 LGBTQIA Pride erupted. These are two cases with similar backgrounds: religious fanatics versus activism for acceptance and inclusion. But the shock came on a different level: that of diverging opinions. Me: “It’s OK to talk about those things în a text, în the theater, în the public sphere.” Them: “How can you talk about
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
-
well aș mental hygiene. Understanding the other side (“opposing” is too divisive a word) became a goal în itself. În the meantime, Eve Ensler lost the support of pro-sexuality feminists, among them Betty Dodson. Several feminist groups criticize the text for its stance against men and heterosexuality, for drawing a direct line between sex and violence, for ignoring the importance of sexual education for pleasure, for becoming a massive fund-raising bandwagon, for glorifying a form of râpe în the inițial version
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
-
side (“opposing” is too divisive a word) became a goal în itself. În the meantime, Eve Ensler lost the support of pro-sexuality feminists, among them Betty Dodson. Several feminist groups criticize the text for its stance against men and heterosexuality, for drawing a direct line between sex and violence, for ignoring the importance of sexual education for pleasure, for becoming a massive fund-raising bandwagon, for glorifying a form of râpe în the inițial version of the text and șo on. I
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
-
goal în itself. În the meantime, Eve Ensler lost the support of pro-sexuality feminists, among them Betty Dodson. Several feminist groups criticize the text for its stance against men and heterosexuality, for drawing a direct line between sex and violence, for ignoring the importance of sexual education for pleasure, for becoming a massive fund-raising bandwagon, for glorifying a form of râpe în the inițial version of the text and șo on. I understand these arguments and I mostly agree with them
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
-
Ensler lost the support of pro-sexuality feminists, among them Betty Dodson. Several feminist groups criticize the text for its stance against men and heterosexuality, for drawing a direct line between sex and violence, for ignoring the importance of sexual education for pleasure, for becoming a massive fund-raising bandwagon, for glorifying a form of râpe în the inițial version of the text and șo on. I understand these arguments and I mostly agree with them. The Monologues have become obsolete and have
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
-
the support of pro-sexuality feminists, among them Betty Dodson. Several feminist groups criticize the text for its stance against men and heterosexuality, for drawing a direct line between sex and violence, for ignoring the importance of sexual education for pleasure, for becoming a massive fund-raising bandwagon, for glorifying a form of râpe în the inițial version of the text and șo on. I understand these arguments and I mostly agree with them. The Monologues have become obsolete and have been partly
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
-
them Betty Dodson. Several feminist groups criticize the text for its stance against men and heterosexuality, for drawing a direct line between sex and violence, for ignoring the importance of sexual education for pleasure, for becoming a massive fund-raising bandwagon, for glorifying a form of râpe în the inițial version of the text and șo on. I understand these arguments and I mostly agree with them. The Monologues have become obsolete and have been partly taken over by the mainstream, aș
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
-
inițial version of the text and șo on. I understand these arguments and I mostly agree with them. The Monologues have become obsolete and have been partly taken over by the mainstream, aș have many texts which voice realities silenced for a long time. Today’s good feminism is different, it’s more relaxed, more inclusive and it doesn’ț impose the privilege of the white, middle-class woman on minorities. Șo what am I to do with my references? With The
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
-
story and extended the debate to encompass the idea of non-differentiated education, a type of education which downplays acquired social roles and relates to actual community needs. The performance I Am Special was part of the project of active art for community education Turneu la țară (On Tour in the Countryside)<b>[1]</b></a></b>, a project with an important socio-cultural stake: the rehabilitation of community cultural centers - almost entirely abandoned after 1989 - with an emphasis on their unifying role
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
-
County).</i><i> On September 30<sup>th</sup> 2009, there was a presentation of <b>Turneu la țară</b> at the Ministry of Culture and Heritage, accompanied by a proposal to transform the community cultural centers into community centers for creative education and active art <b>(Mihaela Michailov).</b></i> [caption id="attachment 1301" align="aligncenter" width="300"] Turneu la țară. Photo: Bogdan Paraschiv[/caption] What was relevant for you in the story of the English teacher who stays on as
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
-
by a proposal to transform the community cultural centers into community centers for creative education and active art <b>(Mihaela Michailov).</b></i> [caption id="attachment 1301" align="aligncenter" width="300"] Turneu la țară. Photo: Bogdan Paraschiv[/caption] What was relevant for you in the story of the English teacher who stays on as a cleaning lady? I find that the whole story questions the power relations in the education system and the status of the one who has the right to
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
-
b>When I first went to Bicazu Ardelean, I was convinced it was a systemic issue and that we’ll be dealing precisely with that: the Ministry isn’t doing anything, there are no teachers available, there’s no opportunity for development in rural areas etc., but after doing research, I was embittered by the discrimination to which the teacher was subjected by the people around her. It turns out they didn’t have a problem with her being a teacher
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]