3,804 matches
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birth to nautanki aș we know it today. [3] Narad is a sage who prominently features în texts like the Ramayan. [4] An upper-body garment worn în India. [5] Crown. [6] Author of the Ramayan. [7] It literally means juice, but în an artistic context, it means essence. [8] A connoisseur.
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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on it. Mom and dad paid just aș much tax aș the people în Bucharest, Iași, Timișoara, Constantă, Cluj or Ploiești, except there was no theater în my city, unlike în the above-mentioned ones. They even hâd one în Caracal... But geographic discrimination is not my topic here, although it would be worth discussing. I simply meant to explain, în a couple of words, why a hillbilly like myself doesn’ț have a clue about the theater, hâș never been în
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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aș always, that weighs a great deal more than any posters of Florin Piersic. Besides, she was from Mizil, where they also hâd a theater, unlike în my native Slobozia. I can’ț remember the play, it was a comedy, but the funniest scene happened when the curtain accidentally fell over the actors în the middle of the play. It was nice, I laughed and never returned. Șo I took another break from the theater until 2011, when I Declare at
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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be a brave, determined, educated, young (unfortunately Romă) woman. I can’ț remember how many times I’ve seen this play. Not because I didn’ț get it the first time, nor because it was the only one ouț there, but because I saw, for the first time, ideas taking shape. After spending ten years în the narrow world of Romă NGOs în the midst of wooden tongue approaches, of speeches and statistics, of lamentations, of dry, cold conflicts with those
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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comrades, aunts, cousins, neighbors, members of Parliament. I learned, during the spân of over a year, that all these people understood the message, no matter their background, their social status or their experiences. Maybe I’m using a silly cliché, but I find it captures my thoughts exactly: there is a language în which political theater manages to speak to all of uș. The plays about Romă people - this one by Alină Șerban, the one by Bogdan Georgescu (No Support), the
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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to all of uș. The plays about Romă people - this one by Alină Șerban, the one by Bogdan Georgescu (No Support), the one by Mihaela Dragan (Del Duma - Tell Them about Me) - manage to deliver not just an ethnic message, but combine a series of other issues: education, poverty, class differences, feminism and a critique of conservatism.
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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to have a public conversation, to be în relationship to others. Such stories do not necessarily address oppression; they are aș likely to be about cultural celebration and individual affirmation. Stories of both celebration and oppression move toward the political but differently. Telling stories of cultural celebration is a way that members of marginalized groups express their own values and is an example of assets-based community organizing, emphasizing a group’s strengths. To the degree that the teller hâș a strong
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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meet every two weeks în one of our apartments and talk about gender concerns from our everyday lives. We told personal stories to unearth their political implications. We’d hesitate; it seemed șo petty to talk about our little relationships. But like women telling such stories în kitchens all across the country, we were discovering that many of our personal peeves were în fact socially structured to keep women în their place. Such knowledge emboldened uș to change our everyday arrangements
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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women în their place. Such knowledge emboldened uș to change our everyday arrangements. [...] Collective identification with personal story În Forum Theatre, when the story is enacted, it is no longer just that person’s tale. Each person’s story is but the raw material from which the scene, with which everyone în the group must identify, is created. În testimony about social oppressions, the teller is speaking on behalf of not just himself but a whole class of people struggling against
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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s tale. Each person’s story is but the raw material from which the scene, with which everyone în the group must identify, is created. În testimony about social oppressions, the teller is speaking on behalf of not just himself but a whole class of people struggling against similar unjust treatment. Under what conditions are people with no social cachet individually not only listened to but treated aș catalysts, their experience deemed important, and their authority to speak for a group
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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În testimony about social oppressions, the teller is speaking on behalf of not just himself but a whole class of people struggling against similar unjust treatment. Under what conditions are people with no social cachet individually not only listened to but treated aș catalysts, their experience deemed important, and their authority to speak for a group recognized? Aș Shoshana Felman writes, to testify is “to produce one’s own speech aș material evidence for truth—to accomplish a speech act rather
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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to two Zionist leaders, one of whom writes: “She told us—in tears, with pauses, în Yiddish, în Hebrew, în silences—what was în her heart. The story was unimaginably tragic. There was nothing în it of heroism, no glory, but it was aș if she herself was bearing the entire six million” (Rabinowitz, cited în Lubin 2002: 133). The second time, two days later, she gave her testimony publicly: “Relinquishing the first-person grammatical form, she translated her personal experience into
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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mayhem, Boal tried to convince angry spectators that it was just a play, a fiction, not them. They would have none of Boal’s explanation, feeling grievously misrepresented. Finally they agreed that the actors could continue to speak the script but they would correct them aș necessary. This performance intrigued Boal în its interaction of the image and the reality of the same character. He also recognized the dynamizing effect on the people on whom the play was based and the
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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Boal în its interaction of the image and the reality of the same character. He also recognized the dynamizing effect on the people on whom the play was based and the level of interaction precipitated when not just an individual but a whole community gets to see performed what they themselves presumably said or did. This production also raises the issue of intimacy and distance—i.e., the degree of close-people who identify with it. While a play is always a representation
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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even when based on an actual event, such recognition is difficult for an audience watching a play of and about themselves, using their very words. For the Sânto André audience, this play was their story. That intimacy caused a problematic but ultimately productive level of engagement, resituating the play at the intersection between an aesthetic event and a documentary of their very lives. [caption id="attachment 1196" align="aligncenter" width="216"] Laurențiu Ridichie. No title, 2012.[/caption] Critical storytelling în theatrical practice
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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the local legacy of civil rights. The artist gathers personal stories on the subject that are used în some way thereafter with the help of the educator and the activist. The idea is that people may have limited material resources but are rich în experience. The stories are vessels for what people have learned and what they find meaningful that can be translated into educațional and activist projects. Suzanne Lacy, who creates large scale, visually-compelling performances with nonactors about issues that
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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instituțional and familial alliances, and then to their public position: “We’d ask, ‘How do people treat you on the bus?’ and they began to make the links. The kids operate aș beings în terms of their own personal narrative but they also operate aș symbols for a culture, with a political impact” (Lacy 2002). Personal stories raise awareness of the kids aș both “beings” and “symbols,” real individuals who are often treated generically aș representatives of a (maligned) group. The
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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Boal identifies singularity aș the domain of the psychotherapist, and generalization aș the terrain of the theatre artist. He emphasizes that TO “is the theatre of the first person plural. It is absolutely vital to begin with an individual account, but if it does not pluralize of its own accord we must go beyond it by means of analogical induction”—that is, proceeding by analogy rather than identification (1995: 45). I have by and large been astounded by the significant discoveries
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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usefulness of stories for both the identifying group and the individual teller. Boal, O’Neal, and Lacy all fulfill what Benhabib [...] calls redefining the “private, non-public, and non-political” aș “matters of public concern, issues of justice, and sites of power”, but they do șo în different ways. Boal proposes a structured approach to illuminating the political realities embedded în personal stories. The subject of these embryonic stories always encounters, struggles with, but does not overcome oppression. Thus an opening is provided
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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public concern, issues of justice, and sites of power”, but they do șo în different ways. Boal proposes a structured approach to illuminating the political realities embedded în personal stories. The subject of these embryonic stories always encounters, struggles with, but does not overcome oppression. Thus an opening is provided for public problem-solving. The structure of O’Neal’s story circles is looser than the structures of TO, inviting any kind of story rather than one focused on oppression. O’Neal
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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creative writing skills and to provide space for them to write. We however have writing programs where we also consider men because sometimes they also face the same challenges, such aș lack of writing space. The Organization started în 1995, but it was officially launched on May 3rd 1996. What kind of association is this? A government one or an NGO? It is an NGO. When we started, we were fewer than ten women, led by Hon. Mary Karooro Okurut but
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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but it was officially launched on May 3rd 1996. What kind of association is this? A government one or an NGO? It is an NGO. When we started, we were fewer than ten women, led by Hon. Mary Karooro Okurut but we are now 112 registered members - women. It is a non-profit organization. We have a small publishing arm where we publish only a few manuscripts. Due to lack of capacity, we are not able to develop and publish all quality
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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arm where we publish only a few manuscripts. Due to lack of capacity, we are not able to develop and publish all quality manuscripts that we receive. Aș a result, we recommend most of the writers to other publishing houses. But with the little that we publish, Femrite is still the major literary publishing house în Uganda. Profits from the books go to authors în form of royalties and whatever remains is plunged back into activities of the organization to nurture
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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except our own literature. [caption id="attachment 1228" align="aligncenter" width="217"] Supporting Ugandan literature în Ugandan Schools[/caption] Why a Ugandan women’s association? Are there many male writers în your country? Yes, there are more male writers than women, but I think it’s only understandable because în most African countries it was the men who went the school first and șo they hâd the opportunity to master the art of story writing faster than the women. Also publishers have
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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before the women and they got more opportunities and became more recognized than the women. When I was în school, I read only a few women; Barbara Kimenye, Elvania Zirimu Mukasa, Mary Okurut; I think about two or three women, but there where more men. But even today, for example, if you look at the school curriculum it is only male writers. Șo we started Femrite to lobby for women’s literary space, promote women writing and to train more women
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]