3,431 matches
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involved, the role of social art and the way this art can enable important transformations: “If social art ends up being consumed and puț on a pedestal by the art system, it’s not enough. I’m not naïve, I don’ț believe art can change the world. But if it manages to știr some discussions on certain delicate issues, then it’s an important step forward.” For Matei Bejenaru, making art with workers represents a form of social involvement from
„Am făcut gem în Barcelona din căpşunile culese de căpşunarii noştri” () [Corola-website/Science/295668_a_296997]
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that matter? Let’s say I have a team, others bring their teams and we get around five teams which agree not to go work and set some clear fees. That leaves ten other teams which will go work. They don’ț care, they’re going to work anyways. There’s a lack of solidarity. I think the only solution might be a union led by a racketeer. Seriously! I think someone like Nicu Gheara might be very good at this
”Munceam pe degeaba. Adică sclavie direct!”. Interviu cu Cristi Badea. () [Corola-website/Science/295661_a_296990]
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You need to get your money back one way or another. Why do you think other people puț up with this? They’re scared they might not find other jobs, that no one else will hire them. But now I don’ț care anymore, because I don’ț want to work with them.
”Munceam pe degeaba. Adică sclavie direct!”. Interviu cu Cristi Badea. () [Corola-website/Science/295661_a_296990]
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back one way or another. Why do you think other people puț up with this? They’re scared they might not find other jobs, that no one else will hire them. But now I don’ț care anymore, because I don’ț want to work with them.
”Munceam pe degeaba. Adică sclavie direct!”. Interviu cu Cristi Badea. () [Corola-website/Science/295661_a_296990]
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and passive bodies) of the actor’s body. This tension and obsession over an impossible totalizing control is worked ouț on the exteriority of the body to the point that control becomes superfluous or în Meyerhold’s own words: “I don’ț know how to stage the play but one thing I do know, there is no need for discussion. What we need to do is get up on the stage and act.”[10] The utopian purpose for Meyerhold was that
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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whilst building a role. Here is our theatrical programme: plenty of light, plenty of high spirits, plenty of grandeur, plenty of infectious enthusiasm, unlaboured creativity, the participation of the audience în the corporate creative act of the performance.”[14] Actors don’ț need to identify with the characters, to show empathy for their role or even to have emotions în their activity “but to consciously comment on the character by remaining clearly distinct from it.”[15] For Meyerhold, corporeality and movement
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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all the best intentions în mind. After the children have access to the books recommended by the grown-ups, they end up searching for themselves and talking to each other. If it’s worded properly by saying “literature for children”, I don’ț really know. It’s the middle road. I’d like it if it were called “literature with children.” When I was little, I used to love reading books whose main heroes were children. When I was nine and the
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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and goal) of art în the education of children and teenagers?</b> Initially, I thought the goal was to pump enough knowledge to eliminate the illiteracy surrounding visual arts. Artists cannot blame society for its lack of understanding if they don’ț get involved în education. Faced with the capitalist context în which such knowledge is useless, I aimed to develop the student’s creative abilities. Visual education is especially suitable for such a goal, since it hâș more permeable rules
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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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 crap delivered by the multinațional publishing houses.
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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everything to the last detail, promoting the performance doesn’ț go aș smoothly aș it does în Bucharest. În the Jiu Valley, people are skeptical, they need a lot of information, you have to explain everything very clearly and they don’ț trust strangers very much. [caption id="attachment 1208" align="aligncenter" width="300"] Alex Potocean, Andrei Șerban, Vasile Codrea (retired miner), Vasile Pantelimon (retired miner).Aninoasa, 2012. Photo: David Schwartz[/caption] Did you feel there was a big difference between 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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also ensure that the performers focused on the new form they have just learnt. I didn’ț want them to get distracted or carried away. Each form hâș its own grammar of improvisation and I feel aș a company we don’ț have enough understanding to improvise în nautanki. It would only land up being a caricature and I did not want that to happen. Sometimes things are better just aș they are. Adding things need not necessarily improve a performance
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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clăim ground and hold it. Which merely affirms the problem you’re starting with în the first place. Șo instead of standing on stage and answering questions, I moved off the stage and sat în the audience and said, “Why don’ț you tell me a story that the experience of the theatre evoked în you?” (O’Neal 2002) În O’Neal’s current inițiative, The Color Line, story gathering is part of an assets-based approach to dismantling racism. One artist
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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Virginia Woolf, Simone de Beauvoir or others? Well, there is Emily Brontë, Wuthering Heights, the old classics. I think Emily is the only women that I remember studying în school. There are no contemporary women writers on our curriculum. We don’ț have Virginia, we don’ț have anyone apart from a few on supplementary readers. Unfortunately, we do not have a storng literary voice în Uganda. Aș writers and publishers, I really think that we should pressure the state to
„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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or others? Well, there is Emily Brontë, Wuthering Heights, the old classics. I think Emily is the only women that I remember studying în school. There are no contemporary women writers on our curriculum. We don’ț have Virginia, we don’ț have anyone apart from a few on supplementary readers. Unfortunately, we do not have a storng literary voice în Uganda. Aș writers and publishers, I really think that we should pressure the state to create a section of Ugandan
„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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few on supplementary readers. Unfortunately, we do not have a storng literary voice în Uganda. Aș writers and publishers, I really think that we should pressure the state to create a section of Ugandan literature on the național curriculum. I don’ț see why not. But Femrite seems to be a lonely voice în this advocacy. Our big publishing houses such aș Fountain Publishers MK Publishers and others, publish only one literary title a year and șo it is not really
„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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find different small groups that have carried it ouț for generations. It is carried ouț silently. It is promoted by the community and șo it is deeply entrenched în their social life such that the women fear that if they don’ț get cut, than they are not women, which is very ironical of course. Although I think this cutting is against their will, isn’ț it? Culture is kind of a double-edged sword. Yes, it’s against their will, 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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assimilation device. This book was coordinated by you and Violet Barungi. Is this a long term collaboration? What other projects have you done together? We have other projects together such aș editing stories of women în armed conflict situations. I don’ț know if you heard of the war of the Lord’s Resistance Army în northern Uganda. We have two books with stories of the girls and women and what they went through during war. We also recorded some stories
„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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a small book fair în Uganda where you find about 28 or 30 exhibitors and very few visitors. Well, în Moldova, where I come from, it’s the same situation... Oh, really? Well, Moldova is a very small country, I don’ț know if we have there more than 100 bookshops. We also have very few bookshops. Do you distribute your books în those bookshops? There are only two major bookshops that really take our books. The rest are very small
„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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countries. Are there many people coming? It’s still a question of resources. When a public reading is well advertised, it gets many people. When it is not it gets very few people. Sometimes we have smaller readings, which we don’ț advertise much, we just use e-mail and Facebook and we have maybe like 60 people coming ouț. Sometimes we organize them în partnership with the Național Library of Uganda, the Național Book Trust of Uganda, The Național Library of
„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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social position of the woman and promoting respect for humanity. What is the official politic of the actual government of Uganda? Officially, it is a democratic government. And unofficially - you have Femrite and other associations who fight against it... I don’ț know. I can’ț commit myself. But a few days ago I wrote a very short poem titled; Digging a Hole: If you dig a hole / And dig deep / And dig too deep / It might be better to stay
„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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field? Is it vibrant? Is literature a field that is vibrant? Are writers very visible, are they aș popular aș the musicians, for example, or the visual artists and the painters? Do you know any writer from România? No, I don’ț. Well, we have some big publishing houses în România who are here, at the Romanian Pavilion... I saw the pavilion. It is very big! 100sqm în which are promoted the good writers, many of them have been translated în
„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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chairmen of the boards of banks, to curators and internațional art dealers. We started to call these people up to let them know, "Hey, there's a unique phenomenon going on right here that nobody knows about, and if we don't do something, it'll be destroyed." Despite inițial misgivings about a common căușe, the SoHo artists also allied themselves with the historical preservation constituency în the form of the Friends of Cast Iron Architecture (FCI). An offshoot of the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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the kids continued with the performances and the music. And the first book came ouț - the Generosity Offensive album. Throughout this experience, working with the artists for 7 years, I understood that it’s also a kind of business. I don’ț call it a project, this is how I heard you call it. And with all our issues, the evictions, losing the house, Cherecheș[1] and șo on, I didn’ț care about it, I’ll do what you want
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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secrete a condus toată transformarea societății post-1989. Bogdan: Desigur, este foarte simplu. Au existat niște factori decizionali care au dus lucrurile în direcția asta. Multe dintre eminențele cenușii care au activat înainte, s-au împărțit pe urmă. Știi vorba englezească - don’t put all your eggs in one basket. Așa și ei, există oameni, nu doar în partide, dar în societate, în societatea civilă. Eminențele cenușii de la noi, locale, există desigur în orice societate, există acest cor care cântă într-o
„S-a scandat de multe ori lozinca „singura soluție, înc-o revoluție”, care i-a și adus pe mineri la București. Această lozincă este mai actuală astăzi ca oricând!” () [Corola-website/Science/295770_a_297099]
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pride” doesn’ț mean anything to me. I’m not proud to be gay, aș I’m not proud to be Romanian or proud to be a mân. I hâd no contribution to either of these things, even though I don’ț regret them, either. I don’ț regret being Romanian or being a mân or being gay. This is the hand I’ve been dealt and I try to do what is needed șo that others feel good about themselves
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]