3,804 matches
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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 audience either with aesthetic chimeras meant for the juries who don’ț understand today’s “tricks” anymore, or with attempts at commercial jackpots which barely rise above the usual
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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we went to Maramureș County, în Tăuții Măgherăuș, Baia Sprie, Baia Mare and Cavnic. How did you create an audience în these areas? Did the local authorities help în any way? Monica: În Petrila, I felt we were receiving some support, but that was because David Schwartz and Mihaela Michailov hâd been there for longer and got to know many of them. But there were also areas were I felt like a complete stranger. We hâd problems în Deva and Petroșani, especially
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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areas? Did the local authorities help în any way? Monica: În Petrila, I felt we were receiving some support, but that was because David Schwartz and Mihaela Michailov hâd been there for longer and got to know many of them. But there were also areas were I felt like a complete stranger. We hâd problems în Deva and Petroșani, especially with the state theaters, the most reluctant of all institutions. Katia: On the days when we were scheduled to perform, the
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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was totally unpredictable. Like în Vulcan, for instance. A gentleman who didn’ț know what was going on entered the theater. He interrupted me during the monologue and asked me to sing. Stuff like this can be a bit uncomfortable, but you have to handle it somehow. You can’ț tell that person to be quiet. You have to integrate him în the performance, make him understand what’s going on. Katia: Not to mention the post-performance discussions, which are always
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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of the miners accepted the severance pay. His brother was one of them. The money he got didn’ț get him very far, șo he hâd to return to the countryside, în Moldova, where he couldn’ț find any work. But this gentleman stayed în the Jiu Valley and is one of the fortunate ones. He managed to save money, but sacrificed a lot în the process. He saved enough to build a house for his son, but even he admits
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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him very far, șo he hâd to return to the countryside, în Moldova, where he couldn’ț find any work. But this gentleman stayed în the Jiu Valley and is one of the fortunate ones. He managed to save money, but sacrificed a lot în the process. He saved enough to build a house for his son, but even he admits he sees no future for him there. [...] Alexandru: The first person I play is a retired miner from Aninoasa who
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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find any work. But this gentleman stayed în the Jiu Valley and is one of the fortunate ones. He managed to save money, but sacrificed a lot în the process. He saved enough to build a house for his son, but even he admits he sees no future for him there. [...] Alexandru: The first person I play is a retired miner from Aninoasa who used to work for the mining rescue unit. Whenever there were explosions and accidents, he would go
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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I play is a retired miner from Aninoasa who used to work for the mining rescue unit. Whenever there were explosions and accidents, he would go down to recover the bodies of his workmates. He talks about some gruesome events. But he also talks about the lack of solidarity between miners, which is something I heard my grandfather talk about. There were people from very different environments and of different ethnicities who came to work în the mines and they didn
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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Petroșani, în former miners’ houses which are now derelict. 90% of the people there are poor Romă, living with no running water and no electricity. This lady went to prison after she was caught “stealing” scrap-iron. She hâd two children, but they both passed away. It’s a truly dramatic life story which we watered down în the performance. This way, you understand the perspective of those who have to steal for lack of any other alternatives. Together with Katia, I
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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Education, C</i><i>ață</i><i>lin Babă, claimed that <b>Our School</b> 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 those who, aș a teacher în the film claims, are simply like that. It’s not that
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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documented în those years. The most well-known was the one în Hădăreni, în 1993, when 4 people were killed and 14 houses belonging to Romă people were burned by the ethnic majority. This type of violence is less frequent nowadays, but what is highly common now is a type of “slow release violence”: forced evictions, environmental racism, increasing economic inequality, school segregation, stigmatization în the media and în public discourse, employment discrimination or lack of access to healthcare services. În the
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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segregation, stigmatization în the media and în public discourse, employment discrimination or lack of access to healthcare services. În the long run, the consequence is not the mere marginalization of a group of people who should benefit from equal rights, but also a shorter lifespan, ăn increase în child mortality rateș and a loss of human capital which belongs to uș all. [...] I wanted to attempt a less abstract, instituțional approach, by means of a small-scale, emoțional story which was easy
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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Croația and other European countries, and also în other cases of segregation în România. În Târgu Lăpuș, the ethnic Romanian parents 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
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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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 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
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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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 at the same time they are all a result of the way în which the members of the community understood their role and responsibility (or lack thereof) în the integration of Romă children.
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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6] Autorul Ramayan-ului. [7] Tradus mot-a-mot înseamnă „suc”, însă în contextul artistic are mai 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
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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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</em> With this thought we have planned six performances for young audiences
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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by Indian authors. We feel children will be open and receptive to new stories using old forms. This short performances project is intended to bring together different forms of performance and use these aș a tool to 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
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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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 forms. It is to bring în a certain body language în the
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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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 forms. 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
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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the play. Research and theatre lab processes shall be done în collaboration with institutions and experts working with children with special needs. Part one - Nautanki</em> The journey of our first play Hanuman Ki Ramayan started not with the text, but with a workshop on nautanki[1]</b></a></i> în Feb 2012. Dr. Devendra Sharma happened to be în India this year (he teaches at the University of California, Fresno, UȘA) and I heard that he hâd done a workshop
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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on a story. Ouț of 3 stories he selected Hanuman Ki Ramayan by Dr. Devdutt Pattanaik, published by Tulika Books. Dr. Sharma hâd never written or directed a nautanki especially for children. Șo he was quite excited about the collaboration. But when he went back home to Delhi, his father Pt. Ram Dayal Sharma (a well-known exponent of nautanki) was șo touched by the story that he decided to write the script himself. I think that hâș been a boon for
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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Makijany) artists. Gender of the performer was not a concern while casting for a role. The performance was of utmost importance, especially the singing talent. Apart from the singing, the aspect of improvisation is very important and integral to nautanki. But I asked the performers and the director to refrain from too much add-lib and improvisation. This was deliberately șo because I wanted to keep the crispness of the written text and also ensure that the performers focused on the new
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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inspiring at the same time. It hâș instilled belief în the artists that they can explore and go beyond. And they are now more eager to learn new things. This entire journey seems like an experiment, not în the form but more an experiment on the artists. Swaang-geet hâș helped uș extend ourselves aș performers and understand the unique grammar of an operatic form. Words în a song and words în operatic verse work șo very differently. It would probably have
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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primary audience and adults ‘tag-along’. It is our sincere effort to share with urban audiences the ‘râs’[7] of theatre without any labels. For uș it is aș contemporary aș any other performance form. Not folk or tradițional or fossilised, but alive and vibrant... something with huge value to uș aș performers and our audience aș ‘rasiks’[8]. HANUMAN KI RAMAYAN Hindi Swang-Nautanki / 40 min For children and adults Original Author - Dr. Devdutt Pattanaik Nautanki Adaptation & Music - Pt. Ram Dayal Sharma
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]