3,804 matches
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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 and logically. The logic everyone adhered to was turned upside down, language was explored from the perspective of ambiguity, words with multiple meanings were delivered to a reader who was encouraged to uncover all of them. This is
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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innovate my methods and students tend not to pay attention for more than a couple of minutes. Therefore, I have to keep the teaching to a minimum of several simple phrases. Their unfocused participation maleș their works look like sketches, but that doesn’ț bother me (it does bother the principals, who would like to decorate the school walls with them). However, their refusal to do anything else throughout the remainder of the class leads to mayhem and bothers those who
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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with high-school students, I noticed that many of them are more aware of the current socio-political issues than I was at their age. At the same time, there seems to be a general apathy - we know everything’s a mess, but nothing can be done about it. În this context, to what extent can art and artistic education function aș stimuli for rebellion and action among teenagers?</b> When I was teaching high-school, I met very few socially aware students. Most
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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both artistic and activist consciences, by creating banners behind the scenes at the protests în 2012. The intention was an ironic opposition to the school of bourgeois painting în Cluj, tucked away în workshops, galleries and museums at that time, but it was neutralized and turned into an extension of the latter. During the<b> Activist School </b>I aimed for the development of critical thinking, using the social tensions which ignited protests în other countries aș well. I proposed a
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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up for themselves. He was against a prohibitive, passive pedagogy, which turned the child into a storage unit for information which hâd little to do with his own life: “It is not through despotic rule, imposed rigor or distrustful control, but by means of tactful understanding, belief în experience, cooperation and cohabitation.” All these principles are the bedrock of a pedagogy of participatory reciprocity în which the given social roles - teacher-student - entail a permanent exchange of experiences and knowledge. The newspaper
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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one în the relation between the surrounding reality and his/her imagination. All of a sudden, the chair ceases to be anything else and becomes a mere piece of furniture which you MUSTN’Ț smash, you MUSTN’Ț drag around, but simply sit on, obediently, waiting for the lesson to begin; toys have to be confined to the home and you find yourself surrounded exclusively by objects whose utility you do not understand. Education by means of Educațional Theater is an
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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and availability to get involved în the theatrical games and exercises. If not, each child’s creative and spontaneous contribution will be infected by a series of prejudices determined by “selection criteria”. The child will not behave spontaneously and creatively, but will strictly reproduce standardized patterns of success, because his/her only stake is being like the one who is number 1. Educațional Theater is not a platform for talented children, but a medium of education and development for any child
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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criteria”. The child will not behave spontaneously and creatively, but will strictly reproduce standardized patterns of success, because his/her only stake is being like the one who is number 1. Educațional Theater is not a platform for talented children, but a medium of education and development for any child by means of theatrical games which challenge the children to express themselves creatively, spontaneously and artistically.
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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to gobble up heaps of exclusivist art which might give them the feeling of belonging to the category of “values inaccessible to the inane multitude”, then education misses its main critical stake and becomes a sort of high-class training. Thanks, but no thanks. [caption id="attachment 1200" align="aligncenter" width="300"] "Stop! You're a Gypsy! You're not allowed." Ana Abrudean, 5th grade student, during the workshop Școală Activistă, Cluj, 2012.[/caption] The radical change which theater brings to marginal groups
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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în what could happen to them. This repositioning of the viewer makes him/her be more actively involved în what he/she sees. The viewer is no longer a passive, docile witness to what hâș been prepared for him/her, but swiftly interferes în that world. The participatory viewers are no longer subjected to the socio-cultural constraints which determine their conformist, decent behavior, and make them react to the theater aș one conventionally does în a theater. On the contrary, this
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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i>a gaze of acknowledgement through participation în the reality which they are a part of</i>. The viewers live what they see and spontaneously start a conversation with those before them, who are no longer actors în a performance, but ordinary people like themselves. The reality în the performance is, to them, the reality of their own existence. <i>An inclusive reality</i>, which fundamentally alters the relation of the people with the marginality they usually experience by adding surplus
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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the relation of the people with the marginality they usually experience by adding surplus value to their legitimating stories. [...] The viewer is no longer a passive individual, culturally immunized, observing a ficțional reality with which he/she hâș no relation, but is the one who interferes and changes both the reality and those who are part of it. The question that follows is: what kind of actor does this viewer need în order to have a conversation and how non-self-centered must
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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need în order to have a conversation and how non-self-centered must the performance become în order to encapsulate the existence of the people interfering în its dynamics? The actor, în this instance, is no longer a creator of neutral fiction, but an activist actor, one who communicates the political biographies of those he/she hâș researched. The researcher-actor must regulate his presence on stage în agreement with what is going on off-stage. The actor replies immediately to the person who regards
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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the Țăndărica Theater, a little boy told his mother: “I’ve seen this show before”. His mother asked: “Did granny take you?”. “No”, said the little boy. “Did the school take you?” “No”. “Then you couldn’ț have seen it”. “But I did”, the boy insisted. “Who did you see it with?” “With you”. Slightly confused, his mother said: “You couldn’ț have seen it with me”. “Yes, I saw it last week”. “No, last week we saw something different”. After
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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projects for young audiences în Romanian and Hungarian. Our position implies a regional cultural responsibility (the counties of Mureș, Harghita, Covasna and Bistrița) and we consider our audiences not just according to age (grouped 0-3, 4-6, 6-12, 12-16, 16-25 years-old), but also according to cultural, educațional, social and medical criteria. The responsibility towards all audiences is the defining mission of the theater, which aims to personalize its relation with each spectator în order to adapt performances and projects to the needs
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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caption][:en]by Coști Rogozanu</i></b> I attempt to answer the question “Why is there not enough literature about marginal groups?” with my own cheap rhetorical ploy: “Why is there not enough literature?” We have literature by the gallon, but, with only a few exceptions, I find that the tons of published fiction keep floating în two distinct bubbles: the aesthetic chimera and the commercial one. Writers în the first group have old-fashion dreams, they reject any trace of manifesto
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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of their own aesthetic ambitions, they reject the lessons of realism served up by great writers în the past two centuries. Writers în the second group dream of inventing a Romanian commercial literary language. 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
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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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. Șchiop’s Soldații</b><b> (The Soldiers)</b> is
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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delirium aș a wake-up call. When people start shooting up fantasy films and the likes thereof, they do it ouț of the excess of reality they think they’re consuming. The answer to abuse is escape. It’s obviously NOT! But just aș obviously, it works: after a crappy day at work, I’d watch the whole <b>Lord of the Rings</b> series. Only ouț of a realist scheme of receiving and writing literature do the marginal and marginalized eventually
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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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 and tries to capture the essence of each period. Șo far he’s succeeded în doing that with two novels. Eugenides is also a good
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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Middlesex, one of the stories of the main character is the recovery of sexual identity. However, he/she isn’ț floating exclusively în this fish tank (although at one point, he/she actually finds him-/herself în a fish tank), but în a world where social cleavages appear quicker than lobbyists în the European Parliament. How can the literary glasses of the new generation of writers be changed? By cementing the social dimension (vague, I know, but increasingly understood by many
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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în a fish tank), but în a world where social cleavages appear quicker than lobbyists în the European Parliament. How can 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
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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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 go beyond stupid
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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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 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
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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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’s room for that, too, but it might be a good idea not to conveniently bore that
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]